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Savion Glover

Tap dancer, choreographer and actor Savion Glover was born on November 19, 1973 in Newark, New Jersey. Glover began taking in music classes at Newark Community School of the Arts at four years old. He soon progressed to advanced classes, becoming the youngest student in the school’s history to receive a full scholarship. At the age of seven, Glover enrolled in tap dance classes, and was soon opening at festivals with such greats as Jimmy Slyde, Chuck Green, Honi Coles, and Buster Brown. In 1991, Glover graduated from Newark’s Arts High School.

Glover appeared on Broadway for the first time at ten years old in The Tap Dance Kid. He was featured in the title role when the production moved to the Minskoff Theater in 1984. From 1988 to 1989, Glover danced in Black and Blue, a Broadway musical revue of black Parisian culture in the interwar period. His performance earned him a Tony Award nomination for Best Performance by a Featured Actor in a Musical, and he was dubbed a “teen-age prodigy” by The New York Times’ dance critic Anna Kisselgoff. In 1989, Glover made his film debut dancing in Tap, alongside Gregory Hines. The following year, at the age of seventeen, Glover made his choreographic debut at the Apollo Theater’s Rat-A-Tat-Tap Festival in New York City, and began dancing on Sesame Street. Upon his graduation from Newark’s Arts High School, Glover portrayed the young Jelly Roll Morton, appearing again with Gregory Hines, in George C. Wolfe’s Jelly’s Last Jam. In 1996, Glover rejoined Wolfe to conceive, choreograph and star in Bring in da Noise, Bring in da Funk, a Broadway musical revue of black history. Glover returned to film in 2000 to portray the tap-dancing minstrel Manray/Mantan in Spike Lee’s satire, Bamboozled. He also appeared in the television biopic Bojangles (2001), Classical Savion at New York City’s Joyce Theater, and provided the choreography for the tap-dancing penguin Mumble in the animated movie Happy Feet (2006). Glover opened his tap school, The HooFeRzCLuB School for TaP, in Newark in 2009. He continued performing pieces such as SoLe Sanctuary (2011) and Om (2014) at the Joyce Theater, until reuniting with director George C. Wolfe as choreographer of the 2016 musical Shuffle Along, or, the Making of the Musical Sensation of 1921 and All That Followed.

In 1992, Glover became the youngest recipient of a National Endowment for the Arts grant. Glover was nominated for several Tony Awards for Bring in da Noise, Bring in da Funk, winning the Best Choreography Award, in addition to a Drama Desk Award.

Savion Glover was interviewed by The HistoryMakers on November 30, 2016.

Accession Number




Interview Date


Last Name


Maker Category

Arts High School

BRICK Avon Academy

Queen of Angels School

Professional Children's School

Jose Feliciano Performing Arts School

First Name


Birth City, State, Country




Favorite Season

All Seasons


New Jersey

Favorite Vacation Destination

Jamaica, Anywhere Tropical, Paris

Favorite Quote

What Did He Do?

Bio Photo
Speakers Bureau Region State

New York

Interview Description
Birth Date


Birth Place Term
Speakers Bureau Region City

New York



Favorite Food

Macaroni And Cheese

Short Description

Tap dancer, choreographer, and actor Savion Glover (1973 - ) first appeared on Broadway at ten years old, and went on to choreograph and star in Jelly’s Last Jam (1991), Bring in da Noise, Bring in da Funk (1996), and Shuffle Along (2016).


The Tap Dance Kid

Black and Blue


Apollo Theater

Sesame Street


Not Your Ordinary Tappers

HooFeRzCLuB School for a Holistic Approach to Tap

'Bring in 'da Noise, Bring in 'da Funk'

'Jelly's Last Jam'

Favorite Color


Timing Pairs

Tape: 1 Story: 1 - Slating of Savion Glover's interview

Tape: 1 Story: 2 - Savion Glover lists his favorites

Tape: 1 Story: 3 - Savion Glover talks about his mother's singing career

Tape: 1 Story: 4 - Savion Glover describes his mother's family background

Tape: 1 Story: 5 - Savion Glover talks about his maternal great-grandfather

Tape: 1 Story: 6 - Savion Glover describes his father's family background, pt. 1

Tape: 1 Story: 7 - Savion Glover describes his father's family background, pt. 2

Tape: 1 Story: 8 - Savion Glover describes his maternal grandmother's musical career

Tape: 1 Story: 9 - Savion Glover talks about his maternal grandmother

Tape: 2 Story: 1 - Savion Glover reflects upon his lack of a father figure

Tape: 2 Story: 2 - Savion Glover describes his earliest childhood memories

Tape: 2 Story: 3 - Savion Glover describes the sights, sounds and smells of his childhood

Tape: 2 Story: 4 - Savion Glover describes his schooling in Newark, New Jersey

Tape: 2 Story: 5 - Savion Glover recalls the start of his tap training

Tape: 2 Story: 6 - Savion Glover remembers his early tap lessons at the Hines-Hatchett dance studio in New York City

Tape: 2 Story: 7 - Savion Glover recalls his audition for 'The Tap Dance Kid'

Tape: 2 Story: 8 - Savion Glover describes his experiences on Broadway in 'The Tap Dance Kid'

Tape: 3 Story: 1 - Savion Glover describes his experiences at the Profession Children's School in New York City

Tape: 3 Story: 2 - Savion Glover remembers auditioning for shows in New York City

Tape: 3 Story: 3 - Savion Glover talks about the impact of his early celebrity

Tape: 3 Story: 4 - Savion Glover remembers performing in 'Black and Blue' in Paris, France, pt. 1

Tape: 3 Story: 5 - Savion Glover remembers performing in 'Black and Blue' in Paris, France, pt. 2

Tape: 3 Story: 6 - Savion Glover recalls the development of his technique during the production of 'Black and Blue'

Tape: 3 Story: 7 - Savion Glover talks about the influence of his tap dance predecessors

Tape: 3 Story: 8 - Savion Glover describes the evolution of his tap style

Tape: 4 Story: 1 - Savion Glover reflects upon the influence of his 'Black and Blue' cast members

Tape: 4 Story: 2 - Savion Glover talks about his time in Paris, France

Tape: 4 Story: 3 - Savion Glover remembers being cast in 'Tap'

Tape: 4 Story: 4 - Savion Glover describes the film, 'Tap'

Tape: 4 Story: 5 - Savion Glover remembers Sammy Davis, Jr.

Tape: 4 Story: 6 - Savion Glover describes his start as a choreographer and teacher

Tape: 4 Story: 7 - Savion Glover remembers the death of Hassoun Tatum

Tape: 4 Story: 8 - Savion Glover remembers his guest appearances on 'Sesame Street'

Tape: 4 Story: 9 - Savion Glover remembers performing in 'Jelly's Last Jam'

Tape: 4 Story: 10 - Savion Glover reflects upon his experiences in 'Jelly's Last Jam'

Tape: 4 Story: 11 - Savion Glover reflects upon the influence of his teachers and mentors







Savion Glover talks about his maternal grandmother
Savion Glover reflects upon the influence of his 'Black and Blue' cast members
My [maternal] grandmother [Anna Lundy Lewis] had a house on Farley Avenue [Newark, New Jersey], around the corner from Barr [Annie Barr (ph.)]. So we lived--and so when, when, so first we grew up on Rose Terrace in the, in the apartment, in the same house as Barr and Poppel [George Barr (ph.)]. We grew, we, we lived on the first floor, Barr and Poppel were on the second floor, and all, everybody happened on the second floor and the third floor. So then once we moved from there we moved maybe ten blocks down the hill to Livingston Street. My grandmother still had a room in the house, my mother [Yvette Glover] would, so my mother would have to be on the couch to accommodate my grandmother. To this day I don't understand that concept but that's what it is. And that carried on when we moved down the hill to Livingston Street. We were, it was a townhouse, you know, the first townhouses which were not, you know, it was, they were projects, people brought these things in on the truck and boom, boom, boom. We had three rooms upstairs, myself, my two older brothers, my mother, my grandmother. And then another friend of the family or aunt, Aunt Arlene [Arlene Graham (ph.)], and her child. We all lived in this unit, three bedrooms (laughter). My mother would, again, give my grandmother the largest room in the townhouse. I shared a room with Abron [Abron Glover] and then I shared a room with Carlton [Carlton Glover] and then I slept with--my mother shared the room with Carlton, she just slept in there. I slept with my mother in that bed or I would sleep on some clothes in Abron's (laughter) bed. And I'm saying all this to say meanwhile, my grandmother had a house on Farley Avenue.$$Where she didn't stay?$$It was for her hats. My grandmother had a house (laughter), my grandmother had a house--$$(Laughter).$$--full of hats, Harriette [HistoryMaker Harriette Cole].$$(Laughter).$$Excuse me.$$For her church--$$Yes.$$--church, the church hats; right (simultaneous)?$$(Simultaneous) Yes.$$Performance hats?$$Her hats, I mean, it was a home. You walk in the home and there were just boxes. She paid rent for her hats (laughter). And would, and would stay with us though. I--we, we'd get evicted, we couldn't pay the bill, the, they would cut off the lights or lock us out, we'd come home from vacation, we'd pull up, all of us, me and my brothers, Aunt Arlene, my, my mother, her child, six of us pull up in a Nova [Chevrolet Nova], my grandmother would be on the porch with the dog, "Nana, what's, what's up?" "Well, they locked us out." Meanwhile she has a home (laughter) and I mean she has money too, my grandmother's best friend was Doris Duke.$$(Laughter).$$So at any given time, (laughter) you know, she had about five thousand dollars in the attache case, easily. She'd be sitting on that porch--$$(Laughter).$$--with the dog saying, "You know, praise all mighty God, they locked us out. We didn't have no lights, Mr. Williams [ph.] came," and boom, boom, boom. "Told me to get out, I have to get out." She could have bought the whole town, all twenty of the townhouses (laughter), she could have went to her home, she could have gotten a hotel, she could have called Doris Duke to send a helicopter for her (laughter), but she chose to, and this was, this would happen, you know, if the lights would go out, we couldn't, you know, my grandmother would not budge.$Back to these men for a moment.$$Um-hm.$$You are working with them during your formative years. You're--$$Right.$$--you're a teenager, growing up (simultaneous).$$(Simultaneous) Everything I, after 'Tap Dance Kid' ['The Tap Dance Kid,' Charles Blackwell], everything I did was with them.$$So even though you didn't have your father [Willie Mitchell] in your life you now have these men?$$(Nods head).$$And they're also teaching you how to be a man?$$Everything. Everything. These men became everything to me. God is, (laughter) these men became everything to me. They became my fathers, they became my grandfathers, they became my brothers, they became my friends, my mentors, my teachers, they became everything to me. (Pause) I cannot, aside from my mother [Yvette Glover], I am not what I am if they are not in my life. If Jimmy Slyde, if I don't know a Jimmy Slyde, (sighs) if I don't, if I don't know a Lon Chaney or a Bunny Briggs or a George Hillman, I don't know what I would do, what I would be, where I would be. They became everything for me. George Hillman was the first to pass along, to transition. And again, that is when, I met George Hillman, he was eighty-one (laughter). I think he died like maybe, maybe he passed when he was like ninety-two or something like that, ninety-five, I'm, I'm not sure. But his passing it affected me. It was like a, like a wakeup call, it was like--it, it, his passing allowed me to realize how much I loved these men.$$And did you stay in touch with them after you were no longer working with them?$$Oh, yeah.$$Um-hm. They, they became your family?$$Oh, yes--$$Um-hm.$$--without a doubt.