Quotes from Savion Glover

When I'm on TV or whatever, I'm able to bring my instruments, my board, and my sound is intact. But other kids who are on TV, when they're doing tap, sometimes they're just on the regular floor. It's not as safe; it's not as sound-worthy as it should be.

I'm going to continue to tap until I can't move.

What I'm trying to do is bring young people into doing tap so that the art form will keep going.

I was a drummer in a group called Three Plus. We were performing at a club in New York, and my mother signed me up for tap classes. I fell in love from the door... so you can blame it on my mother.

I used to think I could save tap. But tap was here way before I was, and it's going to be here after I'm gone.

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.

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 feel it's my duty, my job, now to allow people to hear the dance to different genres of music, to ensure audiences have the chance to listen to tap dancing up against all these other styles.

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 wasn't into tapping when it began dying down. Ever since I started, it's been alive for me. I just want to keep on dancing. I want to do it all.

La Cave was a great platform for me to learn and be able to listen in on conversations and just get a lot of notes and teachings from those older guys.

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.

I'm still growing, still learning. I'm still open and vulnerable enough to know there's much more to be taught to me and learned by me. I hope I don't reach my pinnacle on this earth where I think I know it all.

A tapper sticks to existing routines. Whereas hoofing... a hoofer pushes the art form.

I'm continuing the educational process of getting people to accept dance as music.

I started as a drummer. The feet are an extension of that.

I come from a long line of people who express themselves through the dance. I come from a long line of people who create music through their feet.

The spirituality of the dance, that's something that's evolved for me in the past ten years or so. I'm still trying to figure out where that's taking me.

There's a tendency to think tap's had its day, but 'Happy Feet' kept us in the race. That penguin is our Shirley Temple.

They're taking away the arts programmes in the schools, and that's a terrible thing.

When Puffy asked me to do the video, I said yes. Cuz it's all about the Benjamins!

I'm committed to the purity of my art form.

I'm a basketball freak.

My mom always had me and my brother watching old Fred Astaire movies.