Tuesday, June 11, 2013

Thoughts on Harold Cromer



When my dad died, over 20 years ago, I remember thinking nothing would be the same again in my life.  The first of my parents had passed on, I lost part of my world.  When my mom followed 10 years later, I felt I had no core or "North Star" to be my base or guide.  I obviously am not the only person to experience this, but I've been feeling a similar response to the transition of Harold Cromer this past weekend.  He was the last male link I had to a certain era that has been long gone, an era of history and show business.  I also realize that I have been so emotional for the past few days because Harold, like my father, grew up in a part of Manhattan called Hell's Kitchen and he had a particular New York City accent (I think most people would not have noticed) from long ago that my dad also had.  So there were times when talking with him was like talking with my father.

Harold Cromer was the fifth African American male tap dancer who had an influence on my life and art.  The first was a man whose name I only remember as Mr. Dow.  He was my tap teacher at Mable Hart's Dance Studio in Harlem in the late 1950s, where I learned to tap dance in my late adolescence.  I did it only as an activity, like some kids were doing in learning piano, and had no interest in doing it as a living but always loved it to see and do.  Time went by and I went to college, studying TV production so I could direct variety shows (a popular TV genre in the 50s, 60s and 70s).  I actually began college in Pre-Engineering, but that's another story.  Now the thing is, I was a closeted performer who wanted to be near variety productions but fearful of being IN them.  Well, eventually I did wind up performing mime (another long story) while working in TV and in my late 20s decided I wanted to get back to tap.
In the 70s I discovered Tony White and studying with him got me back to tapping.  By this point, I had a knowledge of African American performance history and soaked up what Tony knew beyond just teaching steps.  The third person was Charles "Cookie" Cook, who started teaching at a place called Clark Center.  Tony was a mentor, but Cookie became even more of a mentor and introduced me to The Copasetics.  So, in my 30s I got to perform tap with Cookie and others of his students in some shows we did.  I also continued to soak up stories from Cookie as I had done with Tony.  By the late 90s the man I got to know very well, more as a colleague than a mentor, was James "Buster" Brown.  He was the one who really helped me gain confidence to be on the stage and really do my thing, which he also did for a whole bunch of people!  It's during this time that I began to "get out there" and develop my style as a performer and entertainer, in my late 40s into my 50s.  After Buster died, Harold took over the host job at the Swing 46 tap jam, that Buster had started, and this is where I got to know Harold.

Now, all of these guys had distinctive personalities and Harold, needless to say, had a real particular one.  He could drive you nuts sometimes....or a lot of the time.  He was adamant about a lot of things, often said exactly what was on his mind, without censorship, and would say it on and on and on!  I admit there were times when I could handle but so much of "Harold time" and some of his humor, but the thing is he just had points and information that he felt really needed to be out there.  Particularly in regard to the image, depiction, history and representation of African Americans.  He knew a lot!  So, the challenge would be to put up with him sometimes because there might be something worthwhile coming out of his outbursts.  He had done a lot of things in show business and had seen a lot and a big reason I'm going to miss him is because I could come up with a name of an actor or performer that most people know nothing about (yeah, I'm a bit of a show biz geek/nerd when it comes to certain trivia) and Harold would not only know who I was talking about, but probably had personally known the person, too.

Some of us would often hang together in the Westway Diner on 9th Ave., which was convenient for Harold since he lived a block away at Manhattan Plaza.  He always liked company and eventually a tradition developed of some of us tap folks gathering with him at Westway on New Years Day.  Actually, it was usually just me, Toes Tiranoff, Megan Haungs and sometimes Traci Mann who would show up to be with Harold.  That Westway "hang" thing, which began with Buster after Swing 46 sessions, was legendary in what would go on.  We sometimes developed shows that we wound up doing at Cobi Narita's "Cobi's Place" while sitting at a table eating.  One show we did included Harold and I singing Cole Porter's "Well, Did You Evah?", which came about from a conversation he and I had a Westway "session".

There are too many memories to try and relate here, plus I already may have run the risk of going on too long to hold your interest.  I'll just mention one memory about the college where I teach, Bloomfield College.  Harold came a few times to be a guest in my class, "African American Performance History", thanks to the assistance of Hillary-Marie Michael, who was always able to get him there.  We usually had a good time during those visits, where we would talk and I'd show pictures and videos I have of him.  In 2008, The College gave him an honorary doctorate and from then on he was Dr. Harold Cromer.  He gave a speech at commencement that a few of my colleagues on the faculty still talk about as being inspirational and unforgettable, even though at the time I was very concerned would be too long!  But Harold seemed truly moved to receive it and I'm happy that I had something to do with him getting it.  In true Harold form, when he was given the degree and the Dean put the sash over his head, to go around his neck, he joked that for a moment he wasn't sure what was happening (alluding to lynching imagery).  It was a great day, with a number of tap folks showing up for the occasion.

I just needed to write something to help process his passing.  Many have been touched and affected by him and more information will be put out there about him.  Below are some clips of and about "The Captain"



Harold with The Hoofers (Chuck Green, Buster Brown, Jimmy Slyde & Lon Chaney)
video


Harold rehearsing his choreography, "Opus 1"
video


Harold receiving honorary doctorate from Bloomfield College, 2008
video



Sunday, June 9, 2013

Harold Cromer stories


I'm still processing the news of Harold's passing last night, and will have a post up with my thoughts/memories/feelings about him.  But I'd like you to contribute a story or anecdote about Harold for all to see.  Just click on "post a comment" and share something.

Tuesday, June 4, 2013

The year so far...

Well, no new postings since last September.  You can see that September to May is basically one school year (college-wise that is!) and that's the reason for no posts.  I just get too busy with the responsibilities at Bloomfield College, where I teach, to keep up with the blog.  But hopefully after next year I can stay on top of it more.  Yeah, it will be "retirement" time for me....well, from the college, but not from life!!

May just ended a few days ago, a month traditionally filled with a lot of tap activity, mainly because of National Tap Dance Day.  It also sort of ended the first half of a year of fascinating tap dance performances and events in the local NY/NJ area.  So, here's my brief take on Tap 2013 so far, at least what I got to see or participate in.

Michelle with Dormeshia Sumbry Edwards
and Dormeshia's daughter, Ebony, post-show at
St Marks Church
January:  The year kicked off with Michelle Dorrance & Dorrance Dance at St. Marks Church in the East Village.  The full evening piece, " SOUNDspace", was quite inventive with a large cast of performers.  The floor of the church is not conducive to using metal taps, so the dancers performed in
socks, bare feet, and shoes with leather and/or wooden soles.  It gave for a nuanced sound.  I like Michelle's work because it goes beyond just straight tap dancing and she has a nice sense of humor and adventure.  This summer she's being given the 2013 Jacob's Pillow Dance Award of $25,000 to acknowledge her artistic work.  Well done, Michelle!

February:  My good friends, Michael "Toes" Tiranoff and Megan Haungs, arranged a show at Zeb's
Toes and Megan rehearsing 
in mid Manhattan called, "A Love Supreme:  A Celebration of the Spiritual Music of John Coltrane".  It was a big line up of singers and dancers who performed with the back up of The Sugar Hill Quartet, led by Patience Higgins.  Toes and Megan have been in San Francisco for a few years attending and performing at the Saint John Coltrane African Orthodox Church.  Their experiences there, incorporating tap in the services, inspired them to do this show.  In fact, they have both been appointed Ministers of Tap Percussion Dance by the Church and Megan is now starting something called, The Sacred Tap Dance Project.  The spirit of tap stays alive!

Khalid Hill and Jason Janas
warming up backstage of
"Rhythm is Our Business"
 March:  The American Tap Dance Foundation mounted two shows, "Rhythm is Our Business" and "Rhythm in Motion", at The Theater at the 14th Street Y.  I had the pleasure of performing in "Rhythm is Our Business" and it was a great experience.  It was just a basic straight out show of
entertainment, about one hour long, that gave the audience a good ole time.  Directed by Derick Grant,
with choreographic contributions of Dormesha Sumbry Edwards, it had chorus line dancers, comedy, killer tap numbers and headlined by the one and only Mable Lee.  At 91, she is literally still kickin'.  The musical director was the great Frank Owens.  "Rhythm in Motion" was a collection of contemporary tap pieces that had a wide range of material.  Some pieces were weaker than others, but I was particularly moved by a solo number that Kazu Kumagai did that was sort of a meditation of recent events in Japan.  The two shows demonstrated the breadth of what tap dance can be.

April:  Jane Goldberg presented an afternoon of "Rhythm and Schmooze" as part of the Karen Bernard/New Dance Alliance's "Performance Mix" Festival.  In addition to Jane's dancing and words, there were the outstanding Michela Marino Lerman, Roxane Butterfly and Cheryl Johnson.  Another instance of variety in tap.  Some storytelling, some improvisation, and some staged dramatic movement.  The main theme seemed to be the relationship to music and motion, whether the music was live, recorded or music of words.  Jane has been at this for a while, dancing, writing and dialoguing about the art form.  She still is often referred to as the "Tap Goddess of the Lower East Side"...although she hasn't lived there in a while!
Jane Goldberg, Roxane Butterfly, Michela Marino Lerman,
Cheryl Johnson.  Photo by Joy Nagy

May:  The Queens Tap Extravaganza was held on May 11th at Flushing Town Hall, produced by Traci Mann and Al Heyward in conjunction with Cobi Narita.  The line up was essentially the same "usual suspects" that wind up doing the show each year.  It was fun to do and honors/awards were
Pre Queens show moment;  Bernice Brooks,
Michelle Dorrance, Frank Owens
given out to a few people, including Michela Marino Lerman and Tony Waag for their work in tap.
  On May 25th, which is National Tap Dance Day, the NY Tap Extravaganza was done, with some of the same performers doing their thing.  



Dianne Walker talking
about Buster at Swing 46
But the big event during May this year, as far as I'm concerned, was the James "Buster" Brown Centennial Celebration, held the weekend of May 17 - 19th.  Buster was an important person in the tap world, mainly as a supporter of anyone who wanted to dance.  Beginning in 1997, he ran a sort of tap jam at Swing 46 on 46th St., that became the place to be on Sunday nights.  He passed away in 2002 and would have turned 100 this year, so the weekend was to celebrate him with classes, film, video, discussions and a final "reunion" at Swing 46.  It was spearheaded by Michela Marino Lerman, one of Buster's proteges, with support from Tony Waag and the American Tap Dance Foundation and the wonderful Cobi Narita.  I can't begin to describe all that happened, but the final performance at Swing 46 was great and emotional.

Upcoming:  Savion Glover is coming to the Joyce this month for a three week engagement.  July will bring American Tap Dance Foundation's Tap City, a festival of classes and performances in NYC, which will be kicked off with Laraine Goodman's tap jam, "TAP & ROLL" at The HUB in the West Village.   In August we have the NJ Tap Festival, and there will be more tap activity this summer across the country and 'round the world.  Check "Tap related websites" for more information.

All photos by Hank Smith, unless otherwise noted.