Hoofing in the 21st Century
Rhythm Tap Dancer, Savion Glover and his peers [Gregg Russell, Germaine Salsberg, Mike Wittmers, Mark Goodman, et al] and contemporaries [Tap Dogs, Tap Sounds, Tap Kids, etc.] have continued to work tirelessly to highlight rhythm tap as an artistically challenging and commercially viable dance form. Though very few dancers are able to make a living as hoofers, companies and events, or jams, throughout America and beyond remain dedicated to sound, rhythm, and individuality as integral elements of tap dancing.
Today, dancers who study rhythm tap quickly find that thinking on their feet is just as important as dancing on them. Improvisation continues to give rhythm tap much of its vitality, as tap jams often unite dancers, musicians, and spectators. Both choreographed and improvised rhythm tap operates outside musical boundaries, simultaneously creating and utilizing music and beats. Rhythm tapping might be coupled with any genre of music or instrument and is often performed a cappella. As a result, it remains one of dance’s most interesting and versatile facets, erasing the lines between dancer and audience or performance and rehearsal.