The Pied Piper’s Taps:
Al Gilbert, the legendary “Pied Piper of Dance,” was born Allesandro Zicari on July 12, 1921. Al came from a generation of people who valued one another and truly cared. During that time, people genuinely treasured friendships and supported each other’s endeavors. This was in an age without technology. Thus, people reached out more to one another than they do today. They talked, were friendly, and neighborly, and they built relationships and bonded. They tried to make life easier, more palatable, and they freely and without reservation lent a helping hand when needed. People of this era also assisted by helping unconditionally those who were less fortunate.
Al Gilbert was affectionately known as Uncle Al, Star–Maker, Dance Educator, and the teachers’ teacher. His career lasted well over 60 years. He was a no-nonsense instructor who inspired and motivated all. He was internationally known, and could simplify steps in a way no one else could.
The Music Works Unlimited website says it best: “At a time when nothing like it existed, …Al’s revolutionary vision to create instructional dance material for dance instructors and their students generated a trend that changed the entire dance industry.”
Al codified syllabi for tap and jazz dance and made a long–lasting impact on the dance world. From the earliest days, when he worked side by side with his brothers on the back street-corners of Rochester, New York, Al Gilbert made dance more accessible without even realizing it.
I first met Al on a beautiful Southern California spring day in 1954. I was three. My mother was driving down Pico Boulevard in Los Angeles, with me by her side, in our 1952 two-tone blue hardtop Chevy. She looked up and spotted a sign. It read, “Al Gilberts Theatrical Dance Studio.”
Being the progressive thinker and person she was, she turned the corner, parked the car, took me by my little hand, and walked through his front doors to talk with him. Of course, she had called ahead, and after being turned down by every other dance teacher in town, she knew Al was eager to work with me, a tiny girl with a leg brace. That was well over 70 years ago. It was a magical moment as he greeted the two of us both. Within seconds of entering his door, my mother and I both knew. It was my privilege to be his friend, his student, and to become a teacher, who has carried on his precious legacy to our disabled community in so many ways.
There is not much talk or literature about Allesandro Zicari, and how Al gave of himself and his time unconditionally, not only to future stars like Annette Funicello, but to the disabled world. So I will. He helped everyone who came to him, even my disabled girlfriends from school. And my mother thought so much of him, she recommended Al to their parents.
Al Gilbert, dance teacher, poet, author, and humanitarian, proposed coming to my elementary school for handicapped kids and giving of himself and his talents unreservedly. He was enthusiastic about teaching other disabled children and giving his time to our community. However, even though the master in taps, he did not have a college teaching degree, so he was blocked by “the experts.” Time and time again he “proved it could be done” while the experts said it couldn’t! He was a leader in his own right and made an impact on every life he touched. Including mine!
I remember that day we met. I was a toddler, only three and a half years old. And to remember so vividly after so many years is truly a blessing. I remember how he unconditionally loved me, and how he gently took me under his wing and nurtured me. I remember how he taught me to dance, and how he would look down at me with his smile. His kind and mild temperament, along with his encouraging words, taught me how to hop, skip, jump, and run. He also taught me to point and flex my toes, and gain movement in my left ankle that I probably would never have developed if it weren’t for him.
No therapist ever gave to me like he gave himself. Because of his teachings and his techniques, my once twisted torso straightened out, along with my left leg. Not only did my dragging foot and floppy out–to–the–side gate correct itself, but at age eleven, I was able to hang my full length brace in my closet, never to wear it again, thanks to his unwavering dedication and devotion, week after week, year after year, recital after recital, teaching me lessons with and without my brace, dramatically changing me and my physical being.
Through all those years, he gently but firmly reminded me to bend my knees while doing shuffles, shuffle hops, or shuffle ball changes. I recall him telling me to turn my knee out for better positioning, and I remember hearing his voice on his tap technique records. Al gave me a ballet bar too, along with a book about a little girl who had weak legs, who got strong through dance—only to become a ballerina. One time he went away, and when he returned, he brought me cymbals to improve my coordination and strengthen my left hand. In his unwavering, unique, and loving approach toward me, he tried every way possible to motivate and encourage.
After my other therapies and lessons were done for the day, every chance I had, I practiced his teachings. Every chance while at home, I practiced after all my other therapy lessons were done. So, with discipline, willingness, and an open mind, I put my record player on, to hear Al’s soothing voice instructing me as he always did.
I also remember him making my lessons fun, calling my mother up to have her bring me into his studio for extra lessons with no extra charge. He used to say to my mama… “…Karen’s smile was payment in full…that was all I needed.”
He even signed me up for piano lessons, at his expense, and he made these fun too. With his playful side, he checked up on me and the piano teacher every chance he got. Never once did he let on that the piano lessons were to strengthen my left hand.
I remember the closeness we had, and how our friendship developed over the decades. I trusted Al. I respected him and his word, and I talked to him as if he were my daddy after I lost my own to cancer. Al became a temperate figure I looked up to for strength and endurance. Al became the rock and pillar in my mind’s eye to endure all. He gave me a quiet love, acceptance, and devotion not only for dance, movement, and rhythm, but he bestowed upon me a burning desire and passion which could not be denied. His love and enthusiasm for music, rhythm, and mankind was passed on, body, mind, and soul. I knew what I wanted to become, and I was going to become it. I was going to follow Al Gilbert’s footsteps even though I had cerebral palsy. I was blessed with the same gift as Al.
I was born to dance, and as with all his students before and after me, Al endowed me with his skill and talent.