So many dancers rely on some sort of magic happening on the stage. They never, for various reasons, work full out in rehearsal. That's very uncreative. They don't discover the kinds of things that add up to a remarkable performance.
I would like to tell all dancers to forget themselves and the desire for self display. They must become completely absorbed in the dance. Even in a classical variation there should never be any thought of a dancer doing a variation--he should become identified with it.
There are many kinds of richness, and the man who is rich because of money is the lowest as far as the categories of richness are concerned. Let me say it in this way: the man of wealth is the poorest rich man. Looked at from the side of the poor, he is the richest poor man. Looked at from the side of a creative artist, of a dancer, of a musician, of a scientist, he is the poorest rich man. And as far as the world of ultimate awakening is concerned he cannot even be called rich.
Dancers work and live from the inside. They drive themselves constantly producing a glow that lights not only themselves but audience after audience.
Some dancers dream about successful careers...and some dancers wake up and do the hard work that's necessary to achieve them.
Afro-Caribbean influences are in me as a creative being the same way Spanish influences were in Picasso's work. I think the notion of labels - "black dancer, black choreographer" -is a ploy to divide and conquer, and to limit.
Anyone who has a child today should train him to be either a physicist or a ballet dancer. Then he'll escape.
A silent figure is the dancer, true but still, words become dance, and all things there express'd.
What is dance? I am dancing all the time. Every gesture, the body line of every pose, the way I get from place to place, the movement in the acting - none of it would be the way it is if I weren't a dancer.
Though I soon became typecast in Hollywood as a gangster and hoodlum, I was originally a dancer, an Irish hoofer, trained in vaudeville tap dance. I always leapt at the opportunity to dance in films later on.
Dancers dance through their pain I shrink from mine.
But remember that intent is everything. One does not just jump, one lifts into the air, one rises. In the same way the lifted leg of an arabesque becomes a wing, and not a mechanical leverage like a raised trap door. This is the precise difference between dancing and acrobatics. The dancer tries to express something; the acrobat merely pulls, raises, stretches and grinds. The acrobat is lost in a web of muscles the dancer is all but invisible in projected idea.
Modern dancers give a sinister portent about our times.
Diaghilev was the first to notice good character dancers and that sort of thing.
The dancer of the future will be one whose body & soul have grown so harmoniously together that the natural language of the soul will have become the movement of the body.
The dancer's body is simply the luminous manifestation of the soul. The true dance is an expression of serenity; it is controlled by the profound rhythm of inner emotion. Emotion does not reach the moment of frenzy out of a spurt of action; it broods first, it sleeps like the life in the seed, and it unfolds with a gentle slowness. The Greeks understood the continuing beauty of a movement that mounted, that spread, that ended with a promise of rebirth.
If you dance, you dance because you have to. Every dancer hurts, you know.
Dancers are a great breed of people. And they really want to dance so you don't have to beg them to work. However, dancers sometimes build walls around themselves because they are presenting themselves all the time: dancing is very much a confession.
Fifth positions, heads, musicality, energy. Not technical things so much-getting your leg higher or doing more turns but things that would set you apart from other dancers. The only way you can be different is to be yourself if you don't find your spirit and reveal it, you just look like every other dancer.
A dancer, more than any other human being, dies two deaths: the first, the physical when the powerfully trained body will no longer respond as you would wish. After all, I choreographed for myself. I never choreographed what I could not do. I changed steps in Medea and other ballets to accommodate the change. But I knew. And it haunted me. I only wanted to dance.
A dancer must listen to his body and pay homage to it. Behind the movement lies this terrible, driving passion, this necessity. I won't settle for anything less.
To me, this acquirement of nervous, physical, and emotional concentration is the one element possessed to the highest degree by the truly great dancers of the world. Its acquirement is the result of discipline, of energy in the deep sense. That is why there are so few great dancers.
I imagine a future where many of us will call ourselves dancers and collaborate to make an art which concerns itself with primary areas of life... for me, peace is a communal work process, a collective vision. The dance itself tries to exemplify a few of these methods in a truly grounded and practical way so that the people can say: yes, there are prospects of survival.
Someone need not be perfect to be a great dancer - feeling a soul is more important than what the body can do.
On the brilliance of James Brown's dancing − and the frustrations of bad camera-work on dancers:cers: I think James Brown is a genius you know when he's with the Famous Flames, unbelievable. I used to watch him on television and I used to get angry at the camera-man because whenever he would really start to dance they would be on a close-up so I couldn't see his feet. I'd shout "Show him! Show him!", so I could watch and learn.
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