And Still You Must Swing
Jacob’s Pillow Dance Festival, July 6-10. Tickets $25-$45, 413-243-0745, www.jacobspillow.org
This week, Jacob’s Pillow Dance Festival gets its groove on in a major way, as three virtuosic, award-winning tappers — Dormeshia Sumbry-Edwards, Derick K. Grant, and Jason Samuels Smith — premiere a new collaboration titled “And Still You Must Swing.’’ The production explores the history and aesthetic of swing, that sweetly propulsive groove that has influenced every jazz dance and music style from ragtime to bop.
The three dancer-choreographers share extensive connections, including stints in the Broadway show “Bring in ’Da Noise, Bring in ’Da Funk,’’ but this marks the first time they have collaborated for an original full-evening production.
Sumbry-Edwards, the work’s mastermind, is one of the most acclaimed female tappers of all time. In addition to her Broadway credits, she has appeared in the film “Tap’’ with Gregory Hines, as well as Spike Lee’s “Bamboozled’’ and “The Rise and Fall of Miss Thang,’’ and she was Michael Jackson’s personal tap instructor.
Hometown tapper Grant is acclaimed as a choreographer and teacher as well as a performer, and he is artistic director of Tap2You, a nationally touring tap workshop. Smith, director of the Los Angeles Tap Festival, is also a Broadway veteran with credits on television (“Psych,’’ “So You Think You Can Dance,’’ and “Dancing With the Stars’’). This year’s Jacob’s Pillow Dance Award winner Camille A. Brown is the production’s special guest artist. The show features live music under the direction of Allison Miller, with original arrangements by Miller and Sumbry-Edwards.
The Globe recently caught up with Sumbry-Edwards following a daylong rehearsal at Jacob’s Pillow.
Q. What was the genesis of this piece?
A. A conversation about the state of the form. There are so many people tap dancing. It’s pretty much a globalized form, and that’s wonderful. But for me, there was a disconnect in the feeling. When I realized the thing that was missing is the groove that we call swing, I had an idea of what to do. So this is a response to the one thing that we’ve gotten away from. I want people to be aware that there is this groove and that as tap dancers and musicians, we should know what that is.
Q. So how are you trying to revitalize swing?
A. We have to be consistent in teaching and performing. When you realize what’s missing, you have to speak about it. We as a tap community got caught up in the present day and forgot about the beginnings of this form. We don’t have to swing all the time, but when there’s no awareness, I get a little bit nervous. There are all these amazing dancers who do all this amazing stuff, and I say now we’re gonna swing, and they say, huh?
Q. You sound like you’re on a bit of a mission.
A. A little bit, if for no one else, for me. I need to swing. I hope that it will cross over to anyone who has an opportunity to see the piece.
Q. So does this production combine a historical homage to swing and the roots of tap with edgy innovation?
A. I couldn’t have said it better myself. It’s exactly all of that. It’s not just dance, not just a history lesson, not just an homage to the groove, but really all of those things. . . . I’m finding what I’ve always felt [is true], but to [have it] confirmed and to express it in this piece with these people is amazing.
Q. “And Still You Must Swing’’ unfolds as a series of pieces. What’s the connective thread?
A. The dance, the rhythm, and the music, and different branches off of those threads, making connections to Africa. In Africa, we had drums and dance. The drum was taken away, and still we have the dance and we’re still grooving. We came through all of that.
Q. Tell me about “Rhythm Migration,’’ which recalls cultural traditions that flourished despite extreme social injustice, like the “Buzzard Lope.’’ I understand that may be one of the oldest surviving pieces of African dance in North America?
A. This is what Camille brought to the table. It’s about Africans being brought to America and being enslaved, and when they passed on, not given proper burial. Bodies would be left out and buzzards would come and eat the flesh. This was a dance that [references] that.
Q. Your solo in the production celebrates the rich history of women in tap, doesn’t it?
A. Yeah, not one specific woman or anyone in particular. I will have a bunch of ladies in mind. I’ve been doing research on them, from the past up to now.
Q. And the music for the show is original?
A. We have arranged tunes very specifically for each piece to support the dance. Often, a tap dancer can call a tune, say give me a couple of choruses, give me a set time, and wing it. This is giving us an opportunity to really feature the band. The music is amazing by itself. The dance is amazing by itself. Put the two together — whew! They complement each other very well.
Q. What do you hope audiences take away from this evening?
A. I want people to walk away feeling good and having an understanding of the groove. Walk away swinging, with your toes tapping, fingers snapping, and heart feeling good.
And Still You Must Swing
Jacob’s Pillow Dance Festival, July 6-10. Tickets $25-$45, 413-243-0745, www.jacobspillow.org
Interview was edited and condensed. Karen Campbell can be reached at karencampbell4@rcn.com.
