A brief reflection.
What a week.
Tap dance works both your mind and your body considerably; for me, it’s a perfect workout. I’ve always loved the feeling of calm, happy exhaustion (and of course, the sore feet and legs) that comes with spending your days in tap shoes. Coupled with the opportunity to connect and reconnect with the small community of remarkable humans brought together by this shared love, the Sydney Tap Dance Festival has been a highlight of 2017, so far.
While technically not a member of the faculty for the festival, I was invited to perform for the closing-night event. I felt like one of the family, as did most people who attended the festival, I daresay.
The single organiser of the event – JW Murray – has hugely inspired me with his daring. He seems to be a man immersed in a feeling of gratitude; I get the feeling that the event was everything he had hoped it would be. In the roughly 12 days that we have been in contact, he has become someone I consider a good friend, and I hope to see him again soon.
The first ever Sydney Tap Dance Festival already holds special memories and happy nostalgia for me. I’m grateful to have been invited to be a part of it, and for the opportunity to share the stage with my girl for the first time as a duo, guest performing a magical routine originally by Fred Astaire and Eleanor Powell, Begin The Beguine*. I suspect we will look back at that moment in the years ahead with much happiness.
For most of us, I think the Sydney Tap Festival was a wonderful little holiday where we could put everything else in our lives aside and exclusively dedicate our time—without a shred of guilt or judgement—to immersing ourselves within this very special art form.
Gratitude. Lots of it.
But for now, it’s back to Brisbane and back to work, planning the next chance to dance.
The only group photo I’ve come upon so far.
Faculty in front (L to R): Peta Anderson, Thomas Egan, Nathaniel Hancock, JW Murray, Richie Miller, Jesse Rasmussen, Kelsey McGowan, Caley Carr.
I’m in there somewhere.