Savion Glover Quotes

If you like being battered, the work of Savion Glover - one-time child prodigy - should be up your alley. I don't, and it isn't up mine.

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.

I think 'Tap Dogs' has lasted so long because people have a natural interest in tap dancing. This form of dancing can't be dated, it's such an intriguing form of dance because the feet are also an an instrument.

The world is full of ways for people to dance. Concert dance doesn't get its due.

I am different because I have better schooling, better understanding of the line, gesture, how feet working, positions. They taught me modern things... and I wanted to give what I had: my schooling.

I was a dancer first, which made me realize how much I loved performing.

When I was a kid, toe dancing and toe shoes had a meaning in our culture as a serious kind of art.

There's no point pretending that all of Martha Graham's pieces are equally strong.

I would love to be able to tap dance.

I approach dancing from a different angle than those who begin dancing at 8 or 9. Those who have studied from the beginning never question anything.

I was always the kid down the street who got the other kids to put on a show. But it was only when I was 19, and discovered ballet and contemporary dance, that I got interested in the fact that you could have a whole evening of dance - rather than just waiting for the dancers in a musical.

I started dancing when I was 5 years old. Ballet. Flamenco.

I was a Spanish dancer. I don't mean to put that down, because that was great, too, but nothing like the kind of dancing you had to do in 'West Side Story,' which was called jazz.

I grew up dancing and singing and I just love everything about that.

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.

To understand what I am saying, you have to believe that dance is something other than technique. We forget where the movements come from. They are born from life. When you create a new work, the point of departure must be contemporary life -- not existing forms of dance.

I worked as a belly dancer at a Greek restaurant senior year in high school.

I'm tryna figure out when I'm gonna do my version of the Moonwalk... It's coming, you know? That Dolla $ign moonwalk is comin'.

Pure dance form is not dying.

My go-go dancing was not your typical go-go dancing: I really was doing performance art. I would do dramatic, elaborate lyricals across the bar. I learned a lot, actually, as an artist during that time.

Because of things like 'The X Factor' and 'Autotune', the real art of communicating a song is not treasured any more. But singing other people's songs can be an intensely personal experience. I want the songs to be vessels that people fill with their own imagination, the same way that I fill it with my thoughts and feelings.

An artistic standpoint - I've watched a lot of ballet and source some inspiration from how they move, connect with each other, and find meaning in their movement.

Partner dancing is a cultured act.

I don't sing. I don't dance.

A. L. Vijay asked if I could dance, and I just said yes. I didn't tell him the only dancing I had done was on nights out in Liverpool. He said he would arrange workshops and help me with the scripts and the language. He liked the fact that I was English but had an Indian look.