Zitat des Tages von Savion Glover:
I don't really care what the visual is looking like. I've gotten away from - not shenanigans, but spectacle.
I can hold a note, but that's about it.
I try new stuff every time I perform. I have steps I do that I know are definite, and stuff I can make up right then and there and then forget.
The youth coming up is interested in dance now, and they're coming to the shows. That's a blessing for those of us who create.
I'm happy that people think of me as the greatest tap-dancer that ever lived. But it's just a rumor. Because the greatest dancer that ever lived knows everything, and I don't. I'm still learning. I still have a lot of work to do.
I've changed my whole angle for dance. I'm moving towards moving back rather than hanging out with my peers. I'm reaching back to older dudes for a second.
My personal style at this point in my life is more audio; it's more driven on less visual and more musicality. But because of my upbringing, my fabulous mentors and teachers that I've had throughout my dance journey or career, I also possess a style that is of the past. It was just a matter of me reaching back.
Whatever you do, just learn about what you're doing; get into it.
My style is raw; my style is '95. My style is what I live. My style is my story.
I don't like being too serious. I'm the type of person that, if the mike isn't in the right place when I go on, I just move it. Other people, they'll be all frantic. I'm more relaxed.
I see myself helping the next generation of dancers who come along, helping them to keep the dance focused, so we don't get into a position where they're saying in 2050, or whatever, that around 2001 or 2002 or something the dance died.
I'm continuing the educational process of getting people to accept dance as music.
I used to think I had this responsibility to carry on this tradition. Now I just feel like I have to keep the dance out there, keep it in the public eye.
I don't think I'm a genius. Not yet.
I was first introduced to dancing through the TV: I remember watching ballet, jazz and ballroom dancing when I was very little. But I felt no connection with it whatsoever: it was just like watching a Tom and Jerry cartoon.
Tap dancing is like... it's equivalent to music, not only for the African American community, but also for the world. Tap dancing is like language; it's like air: it's like everything else that we need in order to survive. I'm blessed and honored to be knowledgeable of the art form and to be a part of the art form.
They're taking away the arts programmes in the schools, and that's a terrible thing.
Everything has to do with meditation. It's a conversation; it's a joy - it's everything.
The Nicholas Brothers were the best tap-dancers. I'm not talking about their flash-dancing, I'm talking about tap-dancing. They were really saying something with their feet.
My mom couldn't afford dance shoes, so she put me in these old cowboy boots with a hard bottom so I could get some sound out. I used them for seven months. When I finally got real tap shoes, I was nervous. I kept moving my feet, thinking, 'Oh, so this is how it's supposed to sound.'
I love riding my ATV 450.
There's no dancer alive better than those of the 1950s and 1960s. It's only the energy that changes. Every now and then, someone like me comes along, and people say, 'Oh, this guy is this new thing.' But that's not so. There is no me without them. The tradition just goes on.
I deal with more complex rhythmical patterns than a regular tap dancer. I even think in rhythms.
Every performance is different because I'm different; my mood is different.
I'm inspired by breath, by the human body - by so many things.
If someone wants to be very tight about authenticity or ownership, it just sounds kind of competitive to me.
Movie making is such a long process, and they only use that one take, although you do it over and over about 30 times. Live theatre is that one time and one time only.
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.
Jimmy Slyde was more a musician than a dancer; Greg Hines was more musician than dancer.
I started as a drummer. The feet are an extension of that.
I go for a nice walk in my neighborhood and search for vinyl, old jazz, classics. Then I go home and listen to them.
I was always looking at footage of dancers from Nicholas Brothers to Ralph Brown to Sand Man to Miller Brothers and Lois, and I grew up looking at old footage.
My mom always had me and my brother watching old Fred Astaire movies.
I'm thankful I am able to continue to share the joy and the inspiration tap brings.
I grew up watching Gregory Hines banging out rhythms like drum beats, and Jimmy Slyde dancing these melodies, you know, bop-bah-be-do-bap, not just tap-tap-tap. Everyone else was dancing in monotone, but I could hear the hoofers in stereo, and they influenced me to have this musical approach towards tap.
I like to be around dancers who are totally committed to the art form, totally committed to the men and women around them.