I'm more a percussion instrument than a dancer.
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.
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.
The connection of what I do to flamenco lies in the whole lament, whole cry, whole pouring back into the earth and giving energy back to the earth. It's a cry and a celebration. That's what music, sound, vibration should do. It should spark energy in someone.
I try to convey the musical notes through dance, take on the music.
I search for different tonalities in my taps. But my greatest pleasure is hearing a note I haven't heard before, hearing a chord that sparks something new.
I'm thankful I am able to continue to share the joy and the inspiration tap brings.
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.
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.
If someone wants to be very tight about authenticity or ownership, it just sounds kind of competitive to me.
Frank Sinatra changed people's approach to singing. Ella Fitzgerald, Marvin Gaye, van Gogh, they were all part of movements that allowed people to think about their craft differently. They changed the game. These people changed the game.
I wake up, and I'm in the zone... My performance is the continuation of my life.
Everything has to do with meditation. It's a conversation; it's a joy - it's everything.
Who is Savion Glover? Who is that guy? Good question. I'm a lot of things... Intense... Focused.
I started as a drummer. The feet are an extension of that.
I was very happy with the success of 'Noise/Funk,' but of course, there is a lot more that I have to say about the dance, about the history, about the people involved with the dance and their history.
I like to express myself inside of the work that is given, and I let the dancers do the same.
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.
They all come from the street - tap, jazz and flamenco. And the streets are always changing. If it comes from the streets, change is the only thing that's consistent.
There are people who take tap class, do a tap dance. And then there are people who know the dance, who know why they take tap classes. Who know why they do 20 shuffles, or 50 shuffles, before they go on.
