Savion Glover’s Meditative Aspirations through Dance

Savion Glover is inviting audiences to literally worship with him.

The call to prayer is a very serious and thoughtful chapter in Glover’s continued growth as an artist. His summer shows at New York’s Joyce Theater, not only introduce us to what will become his latest production for the coming year, but allows us a window into the latest developments of an artist some have unabashedly called a genius.

With his latest show, “Om,” Glover explores the spirit and his expression and celebration of it through dance. “Om” runs through July 12 at New York City’s Joyce Theater.

This is certainly not the first time Glover has delved into the spiritual realm in his work. Indeed, there has been a steadily growing expression of spirit within his shows over the years. Increasingly, he has also worn photos around his neck that honor his tap mentors. Other expressions over the years have even extended to his way of positioning his hands—cupped and held in front of him—as if to receive a blessing or to pray.

But in “Om,” Glover takes us even deeper inside his own personal spiritual journey.

It should be said from the outset that this is not a show for the faint of heart or spirit. Those expecting an evening of happy, carefree razzle dazzle should look elsewhere; that’s never been Glover’s style anyway.

But, this may be a tough show to absorb even for the most avid tap dance fans and Glover followers. Indeed at the opening night performance, a steady trickle of audience members could be seen leaving about halfway into the 90 minute show (which is performed without intermission).

Certainly, the virtuosic brilliance that is Glover’s calling card is much in evidence. And it is nothing short of astounding to take in what is essentially a musical symphony emanating from Glover’s feet: the complex rhythmic patterns, the intricate shadings, the masterful control taking movements from almost pedestrian to warp speed.

It cannot be said enough how brilliant Glover’s footwork is.

As a work of art, “Om” is as genuine and heartfelt a tribute as one could ever hope to see. Glover, it should be noted, has long taken great pains to offer tributes to the many mentors and artists who taught and inspired him. In “Om,” those tributes come not only in the numerous portraits placed around the stage amid a profusion of candles and religious symbols, but in the snippets of signature steps—the ultimate tap homage.

Especially for those familiar with the great hoofers, this is a feat in and of itself. As each passage built in intensity, Glover mixed in signature steps form these legendary hoofers with his own flourishes and expansions on rhythms only he could hear and decipher. Equally fascinating was his ability to coax rhythms out of thin air.

But as a theatrical experience, “Om” falls short.

There are intriguing forays that are never fully explored, such as Glover’s occasional rhythm trade-offs with his frequent collaborator Marshall Davis, Jr. and an ensemble passage by Glover, Davis along with a trio of dancers (Mari Fujibayashi, Keitaro Hosokawa and Olivia Rosenkrantz) danced tenderly to Mahalia Jackson’s classic rendition of the spiritual “Trouble of the World.”

And the show opens in mesmerizing fashion as Glover, clad in white, stands seemingly motionless amid a sea of candles, shimmering ripples of sound emanating from his feet. This serves as an undercurrent as we hear Glover’s voice reading first Psalm 23 “The Lord is my shepherd …” and then The Lord’s Prayer. Adding to this aural symphony is a meditative hum of voices punctuated by gongs and other sounds associated with calls to worship.

But that was the extent of that road of exploration. From there, the presentation turned increasingly inward. Glover’s inner thoughts are reflected through his feet—dazzling, virtuosic, even brilliant.

In maintaining focus over his search for spiritual fulfillment, some may feel that Glover’s “Om” is perhaps, too literally, a physical manifestation of meditation. The experience for the audience is just as it would be for someone to watch someone else meditating or praying.

And therein lies the challenge for audiences: worship and prayer and meditation are really not intended to be spectator or theatrical events.

—Karyn D. Collins