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Andrew Nemr [biography]
Dates: 1980-
Birth Date: Jul 23, 1980
Andrew Nemr, rhythm tap dancer, director, and one of the most hard working and diverse dancers of his generation, was born in Alberta, Canada to parents Joseph and Marlene Nemr, who had migrated to Canada in 1976 from their native Beirut, Lebanon. The family migrated to Alexandria, Virginia, where at age three Andrew took his first dance class with Chris Collins. At age nine, upon seeing the film Tap (1989), starring Gregory Hines, Nemr fell in love with tap dance, especially with the challenge dance scene in the film that featured such veteran hoofers as Bunny Briggs, Harold Nicholas, Steve Condos, Sandman Sims, Jimmy Slyde, and Sammy Davis, Jr. "It was the freedom of it," Nemr recalled of that scene, "and I just wanted to do what they were doing." These masters would influence Nemr's rhythmic literacy, especially Hines, who became his teacher and mentor. From Hines, says Nemr, who studied with him at Woodpecker's Tap Center, "I learned about space and patience." Said Hines about the young dancer, "His skills are rich and truly expressive."
From 1990 to 1992 Nemr became part of the Savion Glover's so-called DC Crew, as part of an NEA tap residency grant Glover was awarded. Glover later included Nemr in a small group called Real Tap Skillz, and brought the group to New York to perform. There, Nemr was embraced by the new breed of hoofers performing in Bring in ‘da noise, Bring in ‘da Funk (directed by George Wolffe and choreographer by Glover) that opened at the Public Theater (1995) and would move to Broadway. They included Baakari Wilder, Joseph Webb, and Vincent Bingham. In 2003 Nemr became a member of Ti Dii, Glover's new company of young tap talents. From Glover, Nemr says, "I learned about never quitting and what it is to be in the creative process-- to be completely within the craft amongst an audience or peers, to allow oneself to be vulnerable, and to allow the craft work to carry you through."
Those lessons—which were also honed by Nemr's participation in tap jams at La Cave, (hosted by Jimmy Slyde) and Swing 46 (hosted by James Buster Brown) where he learned about jazz improvisation-- have remained the mantra of Nemr's tap career that expanded from performing as a soloist to founding a company and participating in efforts to sustain the legacy of tap dance.
In 2002 Nemr co-founded with Gregory Hines the Tap Legacy, an organization that in its broadest mission sought to build a home for the art of tap dance; to preserve its past, support its present needs, and establish a groundwork for its continued growth. To that end, the Legacy established an online presence for tap masters; produced work by veteran masters; produced the finger Lakes Tap Festial, and honorary celebrations of the masters. The most ambitious project being to build a permanent home for tap dance in New York City.
In 2005 Nemr founded his own tap dance company, CPD PLUS (Cats Paying Dues), which has garnered critical acclaim. The choreographic work he pursued with the company was built on the idea of presenting tap as an ensemble form that does not take away from the individual performer.
Nemr is a highly respected rhythm tap dancer, distinguished for impeccable musicianship and sensitivity, and respect for the craft that he loves. Andrew's choreography and solo work has been described as a welcome return to the elegance of simplicity of tap, and as aural magic.
As a featured jazz tap soloist, Nemr has performed nationally and internationally. He was featured alongside Jazz greats Clark Terry, Jimmy Heath, Hank Jones, James Carter, and John Faddis in A Great Night in Harlem at New York's Apollo Theater, in support of the Jazz Foundation of America; in Harry Connick Jr.'s Only You tour at Proctors Theatre, Schenectady, New York; and with the Duke Ellington Orchestra's presentation of Ellington's Sacred Concert. He was also a featured performer at the Clifford Brown Jazz Festival; and Lionel Hampton Jazz Festival; and has performed regularly with the legendary Les Paul at New York's Iridium Jazz Club.
"Anything I do is reflective of some aspect of the tradition," Nemr reflected. "I am most in love with the people and dances I have gravitated to in the course of my life. I'm trying to continue the cycle. I want to make situations in which someone else will do as well. Seeds to be planted and watered, and to grow.
[Sources: Constance Valis Hill, Tap Dancing America, A Cultural History (2010); interview with the author, December 29, 2012)