A Quote by Savion Glover
It wasn't until I did a musical revue in Paris in the 1980s called 'Black and Blue,' and met the great men and women responsible for the progress of tap dance, that my relationship with the dance really began.
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I was really creative. I started to dance very young. I loved to dance. I begged my mother to put me into dance classes, and finally, in third grade, she did. Tap and jazz, but not ballet.
I am realizing and accepting my role as a tap dancer in this world is not only to tap dance for the sake of performance, but through tap dance be able to share and spread a message and congregate with people I would not necessarily be with had it not been for dance.
I did a dance sequence in my second short film, which was my best short film, called 'Hairway to the Stars,' and I think Chris Wink, the founder of Blue Man Group, was in that. It's a black-and-white dance sequence. We were Glorious Food waiters together.
Here in New Orleans, what a lot of the musical families do - and this is a romantic concept on my part - is they teach their kids to tap dance first. Then after tap dance, you learn piano, and after piano, you get to pick between all the instruments that are out there.
For people who know about dance, 'Cats' is a musical that really celebrates dance, and there are so many different styles of dance in this film, too. I was really looking forward to being part of that.
I began with dance, doing ballet at 3, then tap, jazz, modern. Then I sang in church choirs, learned how to play clarinet and drums, sang with rock bands and only then did I get into musical theatre.
I grew up in a very musical household. There was music and dance. My great-grandma was a famous tap dancer in the '40s, my mom was a dancer, she met my dad on the road when he was on tour in the '60s. Music is my heart and soul, it's my love.
I don't tap dance, and I don't think you can learn to tap dance in three weeks at my ripe old age.
We dance for laughter, we dance for tears, we dance for madness, we dance for fears, we dance for hopes, we dance for screams, we are the dancers, we create the dreams.
I really think music and movement - dance, you know - and literature inform my visuals. I think film is also based in dance. The relationship between me, the camera and the actor is always a dance.
The desires of the heart are as crooked as corkscrews Not to be born is the best for man The second best is a formal order The dance's pattern, dance while you can. Dance, dance, for the figure is easy The tune is catching and will not stop Dance till the stars come down from the rafters Dance, dance, dance till you drop.
There was a dance that everyone was doing that was heavily skewed with the power in one direction, but the dance was basically working, and then the dance got really disrupted with the first wave of feminism, and nobody found their footing yet - not the guys, not the women.
Dance is a universal language, and whether you know how to dance or grew up training in dance, you have a respect for people who love to dance, and it's also visually very entertaining to watch a great dancer.
Dance, when you're broken open. Dance, if you've torn the bandage off. Dance in the middle of the fighting. Dance in your blood. Dance when you're perfectly free.
You put music in categories because you need to define a sound, but when you don't play it on your so-called radio stations that claim to be R&B or jazz or whatever... All music is dance music. But when people think of dance music, they think of techno or just house. Anything you can dance to is dance music. I don't care if it's classical, funk, salsa, reggae, calypso; it's all dance music.
On Saturday afternoons, there was a film, of course, and then we did about four shows between the films. And I would do a tap dance, a little military tap.
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