photo: courtesy of William Frederking
Lane Alexander proves there's truth in the old joke about how to get to Carnegie Hall. He's performed alongside all the great hoofers of the last three decades, from Donald O'Connor to Savion Glover. He's taught at every major dance studio in Chicago. He choreographs for a bevy of companies nationwide. He even designs shoes. And, as founder and artistic director of the
Chicago Human Rhythm Project, Alexander is indeed a tapper committed to the craft. Between preparing for a performance at the
Harris Theater for Music and Dance and jetting to Beijing, the former Chicagoan of the Year discussed the history and future of the Project, the biggest organization dedicated to cultivating this great American art form.
What inspired the formation of the Chicago Human Rhythm Project?
We've been around for 17 years now. The idea was inspired by a tap festival I attended in Portland, Oregon, where I saw the most amazing array of master hoofers. These guys were in their 60s and 70s, but there was a younger generation, too—guys in their 40s and 50s. It was all rhythm tap—African-based dancing where sound—complexity and syncopation—is more important than visual effect. My work was in theatrical tap so seeing this was revolutionary for me. The Human Rhythm Project started in Chicago as a summer program and has grown into what I like to call the Ravinia of Rhythm. It's not strictly tap dance; we present all types of percussive dance and contemporary rhythmic art. For instance, TAO [a Japanese percussion company hosted by the HRP at the Harris Theater last weekend] is strictly musical.
How did the involvement with TAO come about?
I was teaching in Zurich and saw an ad in the newspaper for their show. I've developed an instinct about the quality of companies from press photographs and my first reaction to their picture was "wow!" The show was fantastic. They've toured extensively in Europe and Asia, but this is their North American debut.
I know the CHRP isn't only about performance. Can you tell me a little about your outreach programs?
Last year we partnered with Urban Gateways to bring a lecture/demonstration called "We All Got Rhythm" to K-12 schools throughout Chicago. In one year, we've performed more than 60 shows in over 40 schools. We teach the kids by showing. We do try to include as much as we can about the African and Irish traditions and roots of the dance in 45 minutes without boring them.
Do you feel there is an intrinsic characteristic to tap dance in Chicago? Is it different here than on the east or west coasts?
[Laughs] Not really. I say that because I can name four or five companies here all doing different things. You'll find everything from hardcore rhythm dancers to jazz tap to theatrical. In New York there's a narrow range—it's all rhythm-based.
Why is that?
Well, the Human Rhythm Project tries to respect the art form past, present and future, not just what's hot today. We consistently present a broad variety of percussive artists and dancers.
Is there anything else I should ask about?
Yes, one exciting new thing: We've been invited as one of two U.S. companies to perform in the 5th annual Beijing International Dance Festival. We'll be bringing five jazz musicians from Columbia College and a crew of about 65 people to perform five shows in Beijing. Since, you know, we have so much spare time.
The Human Rhythm Project's next performance takes place February 15-17, 2008 at the Winter Tap JAMboree at the Beverly Arts Center.
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