Other dances are like languages, like French or Spanish, but my steps are slang, and slang is always changing.
Savion GloverRead
I can produce any instrument, any sound that I can imagine; it may be percussive to the audience, but in my mind it may be a piano, a melody, or a tuba, or a harp, or a harmonica. My mission is to allow people to hear the dance in its purity and up against any other type of sound or music.
Interpretation
The quote expresses the ability to create and interpret music in diverse ways, transcending traditional sounds and instruments.
In this quote, Savion Glover articulates the limitless potential of musical creativity. He emphasizes that regardless of how an instrument is perceived by the audience, the essence of music lies in the artist's imagination. Glover's mission to showcase the purity of dance alongside various sounds highlights the transformative power of art and the unique interpretations that each individual can bring to it.
In practice
This quote can be shared at a music festival to inspire fellow musicians.
Other dances are like languages, like French or Spanish, but my steps are slang, and slang is always changing.
Just like a comedian has a certain joke or a jazz musician has a riff that they know will get the crowd, a tap dancer always has a step.
For me, the importance in learning about the dance is using it as a voice. It's not about a step, it's about a way to express oneself.
There are many different styles of, and approaches to, tap. My own leans towards a more intellectual view: tap dancing not just for the sake of entertainment but to educate and spark emotion.
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.
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.'
My music has been a sort of personal therapy. It's got me out of tough times, it has been the friend that I needed, when I didn't have a friend there.
Every scene should be able to answer three questions: "Who wants what from whom? What happens if they don't get it? Why now?"
To me more dear, congenial to my heart, One native charm, than all the gloss of art.
I think if you're writing a play, it should be its own end game; you'll never get to do a good one unless you know it's not a blueprint for a film; you're not going to get the action right and the story right.
Although you should never mention your premise in the dialogue of your play, the audience must know what the message is. And whatever it is, you must prove it.
By attracting attention to yourself, you distract people from the movie. Ideally, you like a movie to speak for itself. You don't describe a song before you sing it or tell about a painting before you show it. You don't reveal the recipe before you serve the dish. You taste it.
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