Tap Legacy

Join in celebrating the life and work of Gregory Hines in anticipation of his upcoming birthday.

This special Tap Legacy™ Summit will be all online (via zoom) and feature six sessions hosted by Tap Legacy co-founder, Andrew Nemr. Each session will include a conversation with members of the Gregory Hines Band, and time for Q&A with attendees.

Thanks to your continued support this entire event is FREE, but registration for each session is required.

Full Schedule*

Friday, February 12th
2:00PM ET – Session 1: Jim Oakley and Rob Harari – REGISTER
4:30PM ET – Session 2: Branice McKenzie – REGISTER
7:00PM ET – Session 3: Gregory Hines Career Retrospective with Andrew Nemr – REGISTER

Saturday, February 13th
12:00PM ET – Session 4: Rick Cutler – REGISTER
2:00PM ET – Session 5: Keith Loving – REGISTER
4:00PM ET – Session 6: Barry Saperstein – REGISTER

*Schedule subject to change

Since our founding in 2003 by tap dancers Gregory Hines and Andrew Nemr, the Tap Legacy™ Foundation has held a mission to preserve and advance the art of tap dance.

We have experimented with a lot of ways of fulfilling that mission. They have included producing shows, movie screenings, and festivals, installing memorial plaques, building informational websites, digital archives and exhibits. Through it all, we have done our best to focus on the people.

Everything in tap dance is about people. This uniquely American art form, as expressed by each individual dancer, is a function of their personality, forged through their unique experience of life. That experience is not isolated from the history. On the contrary. Tap dancers have been significantly affected by the social history of the United States of America. That history isn’t pretty. Imbalances and abuses of power have affected people in America. These imbalances and abuses have affected different races disproportionately. It continues today, and it is sickening.

While we normally lean towards focusing on the joy of dancing and celebrating the wonderful and many cultural contributions of each practitioner, the long hand of history is upon us in this moment. As an organization that is focused on the art form of tap dance and the people who made it so, we find it necessary to do what we can. We don’t presume to know what will be most helpful in this current moment, but we do know that enough is enough.

Every member of our community should be rightfully recognized and credited for their contribution, be it small or large, in the areas of production, performance, education, documentation, and preservation.”

In the tap dance world there is an amazing variety of people who have stewarded our craft through the past century. Not only have performers carried, showcased, and contributed to the techniques we enjoy today, but producers, directors, educators, documentarians, and preservationists have all played a role. Each has had a hand in how our craft has been presented, passed on, evolved, and eventually remembered and promoted around the world.

In addition to names like Gregory Hines, Fred Astaire, and Jimmy Slyde, there are the Hermes Pans, Sammy Dyers, and Ernie Smiths of the tap dance world. There are numerous cultural trends that make giving credit where credit is due ever more important. The one with the most impact has to do with the way we, as a community, use social media.

Social media sites like YouTube, Facebook, and Wikipedia, present unique opportunities like the consolidation of global information, the sharing of rare documents, and the connecting of our global community. However, the inability to confirm the accuracy of the information posted is a severe set back. For tap dance specifically, our focus on the performers is warranted, but not a complete picture of all those who have contributed to the lifeblood of the craft.

The resilience of oral traditions rests on the memory of all the witnesses, the accuracy and trustworthiness of the oral record, and the ability of the carriers of the tradition to name names, places, and events.

The history of tap dance is full of hard stories we might rather not retell, maybe even people we’d rather not be part of our story. However, if we want our craft to continue to thrive, we should strive for the fullest retelling of our story. The good, the bad, and the ugly. Retold with honesty. To that end, every credit is worthy of being given. Every member of our community is worthy of the recognition due, for the sake of the craft.

We believe that every member of our community should have access to all the information, collected materials, and stories that informs the understanding of our tradition.

In any community it is imperative that every member have access to the material that informs the history of that community. If access is limited, classes emerge. We see this across history as religious, intellectual, and political classes emerge and consolidate power from the rest of the population through the control of information and narrative. In the world of active oral traditions it is normal for a select few members of a community to be tasked with upholding the standard of a particular tradition. They are usually the most experienced and trustworthy, but can also be part of a particular family line or tradition of apprenticeship and specifically trained for the role. Still, the power of these select few should be balanced by the active involvement of the entire community in the tradition, be it a celebration, religious ritual, or other expression of dance, music, or storytelling.

Today the tap dance community is separated by its geography. The lineages of tradition are many and do not always align with regards to approach to the craft. Furthermore, multiple collections of materials – archives of photographs, show programs and posters, audio and moving image recordings, and physical objects – are scattered around the globe, held both privately and by private and public institutions.

Digital platforms like YouTube have done wonders to surface video clips of tap dancers from long ago and spread around the world at the speed of the internet. But access isn’t just about the stuff. Access is about the quality and value of the information. It’s about context. So that what is spread ultimately supports the tradition which in turn supports the community. Learning a single tap dance step from a video is great. Learning the stories that surround that step, who your actually stealing it from, and who was behind the documentation of the clip itself are as important if not more when it comes to the oral tradition. Unfortunately the latter is much more difficult with the platforms we currently have, but we can fix this.

Access is the key. As we develop the Archive of American Vernacular Dance, access is at the heart of our endeavor. We aim to build a platform that is accessible to the entire tap dance community, not just a particular subset. We aim to build a platform that provides access to the material that informs the stories upon which the tradition of tap dancing and American vernacular dances stand. We aim to provide the tools necessary for anyone in our community to learn, understand, and contribute to the body of work that is our collective history.

Access to the stories that make up the history of a community is a matter of social justice. People inside the community should be the primary storytellers, not outside observers. We now have the technology to rectify this situation, which unfortunately has happened often in the world of American Vernacular Dance.

If this resonates with you, we want to here from you here.

If you’re moved to support this endeavor, you can do so here.