Quotes of All Topics . Occasions . Authors
My dance is a sacred poem in which each movement is a word and whose every word is underlined by music. The temple in which I dance can be vague or faithfully reproduced, for I am the temple.
Remembering that man is indeed the microcosm, the universe in miniature, the Divine Dance of the future should be able to convey with its slightest gestures some significance of the universe.
There's a style in modern dance right now called Release Technique. It's based on a feeling of falling and catching yourself, and I thought it was such a good metaphor for the way life feels.
The choreographer and the dancer must remember that they reach the audience through the eye. It's the illusion created which convinces the audience, much as it is with the work of a magician.
When you dance, you own everything you have. You are really in your own body. You do it with your muscles and your bones and your weight and your height - it's how to love yourself by moving.
My goal now is to dance all the dances as long as I can, and then to sit down contented after the last elegant tango some sweet night and pass on because there wasn't another dance left in me.
Almost nobody dances sober, unless they happen to be insane. H. P. LOVECRAFT, attributed, Telling It Like It Is Dancing is very important nowadays. No girl will look at you if you can't dance.
I have never had a lap dance in Tampa or any other part of Florida. If I ever did have a lap dance, I don't think I would be discussing television ideas with the girl that was giving it to me.
I'm a really new artist here. I would say that my style is an artist who can dance and sing. That's why my album is really upbeat. Maybe we will try slowly to do ballads or middle tempo songs.
I'm not trying to compete with any other revival soul acts. It's just Leon Bridges, a kid from Fort Worth trying to be himself and give people hope. It's great music to dance to and just love.
The real self of an artiste lies in art, so when an artiste performs, all the pain, trauma and tension get released through art, be it dancing, painting, singing, writing or even martial arts.
And my father was a comic. He could play any musical instrument. He loved to perform. He was a wonderfully comedic character. He had the ability to dance and sing and charm and analyze poetry.
It is a temptation to exploit one's technique because an audience is easily reached this way, but they cannot be moved by technique alone and to move an audience is the role of dance as an art.
I danced a little as a kid here in Canada: in Ottawa at the Elite Dance Studio and at the Top Hat Dance School in Cornwall where I grew up. So I had some experience of having to learn routines.
There is a general decline of taste for classical dance,ce, which is neglected and this must be developed from the grassroots. There is so much of razzle-dazzle... that classical dance suffers.
I was born in Toronto and studied with the National Ballet of Canada. I went to school to study dance, slept on the floor, ate nothing, waitressed - and then there was a Mary J. Blige audition.
When it comes time to dance, they're like a regiment; they do the same steps - except for the Mike Teavee dance, where the Oompas play in a rock band. I learned to play the guitar for that one.
I don't want to see people decorating a house or digging a garden. As for guys like Jonathan Ross, he got an award there last Christmas. What for? He doesn't sing, dance or tell jokes, does he?
My mother was a modern woman with a limited interest in religion. When the sun set and the fast of the Day of Atonement ended, she shot from the synagogue like a rocket to dance the Charleston.
Dancing is my number one love. That was my first goal as a child. I would love to do stage, maybe do Chicago. I love being in front of an audience. It's so stimulating. I also love to barbecue.
When you face a 'performance' that might provoke the 'I'm scared' response, choose love and approach your opportunity as a chance to dance with God. It's more fun than 'Dancing with the Stars!'
Girls love guys who dance, and I'm definitely going to be the first one on the dance floor. Usually, you just see guys sitting around, but I definitely don't hold back when it comes to dancing.
We learn by practice. Whether it means to learn to dance by practicing dancing or to learn to live by practicing living, the principles are the same. One becomes in some area an athlete of God.
I'm from the disco era where everybody thought they were John Travolta... What song is going to get me on the dance floor? Anything from 'Saturday Night Fever,' and you're up there like a demon.
Dance music doesn't care where you live. It doesn't care who your friends are. It doesn't care how much money you make. It doesn't care if you're 74 or if you are 24 because... 74 is the new 24!
The one important thing I have learned over the years is the difference between taking one's work seriously and taking one's self seriously. The first is imperative and the second is disastrous.
Scotland is one of my favourite places to perform: it's really something special. Scottish audiences are just so enthusiastic; their approach to dance music just feels similar to my own somehow.
That's a traditional Samoan dance. I was lucky that I was able to fly my cousins, who are professional dancers, up from Hawaii and they were able to be in the movie with me. We had a great time.
I have two favorite songs. My first is called 'Dance of The Robe' and it's a very powerful number where she is feeling the pressure from her people to take on the responsibility of leading them.
If I am walking with two other men, each of them will serve as my teacher. I will pick out the good points of the one and imitate them, and the bad points of the other and correct them in myself.
That's what my music does for me. It makes people happy. When I play, I thank the Lord I've never seen someone walk away from a Dick Dale dance not having a good time. That's what it's all about.
Growing up as a little, introverted boy, dance was the only way I could communicate. For me, it's the greatest language - no words. Sharing people's stories through the art of movement is magical.
There's always very high tension with dance auditions! You're in a group, watching the people in the front of the room, hoping you'll get something, anything that will relieve a bit of the stress.
I wanted to make something that, from the sound of it, could be down at the club. I just realised that I'd never heard Tame Impala played somewhere with a dance floor or where people were dancing.
I would love to do a Fred Astaire/Gene Kelly type movie musical - a fun, song and dance, romantic comedy. Or, even just play the lead in one of those broad comedies - that would just be fantastic.
Let us first teach little children to breathe, to vibrate, to feel, and to become one with the general harmony and movement of nature. Let us first produce a beautiful human being, a dancing child.
The dance grew into a colorful flower bouquet which caught and contained the glow of sun-happy summer days, the secret of star-studded nights, and the wistful sweetness of overcast and rainy hours.
If you're driving around or at home with the stereo blasting pure dance track, it gets boring within about 15 minutes. It doesn't work at home like it does in a nightclub. You've got no atmosphere.
Astaire never thought of what he was doing as balletic, but Kelly was always trying to dance with women on points. And his choreography is so showy and flashy. He always looks self-satisfied to me.
When it comes to choreography practice, the rest of the five members learn from the dance instructor while Rap Monster and I are excluded from the group and end up learning the moves in the corner.
As a guitar player, I've been influenced by dance music - it was Crystal Method and The Prodigy back in the day. I would listen to those textures and try to approximate them on the electric guitar.
It's not that I wanted to be an actor; it's that I didn't want to be a dancer! I was trained in traditional Chinese dance, and after working so hard it seemed unfair to just disappear into a group.
My grandmother had a Miss Margaret's School of Dance to teach tap and ballet to kids, but I never studied it. I was raised a Mormon and they're dancing fools. It's the only vice they have - dancing.
The choreographic process is exhausting. It happens on one's feet after hours of work, and the energy required is roughly the equivalent of writing a novel and winning a tennis match simultaneously.
All the ills of mankind, all the tragic misfortunes that fill the history books, all the political blunders, all the failures of the great leaders have arisen merely from a lack of skill at dancing.
All writers, musicians, artists, choreographers/dancers, etc., work with the stuff of their experiences. It's the translation of it, the conversion of it, the shaping of it that makes for the drama.
I loved the atmosphere of the dance studios - the wooden floors, the big mirrors, everyone dressed in pink or black tights, the musicians accompanying us - and the feeling of ritual the classes had.
I think that's a responsibility I have, to not leave the listener with complete dread or depressing, dark thoughts, but to leave a little door open so that you can dance your way out if you want to.
Who is Mike Judge? Let me think. The only way I could possibly answer that question would be in a nonverbal fashion. I think I could do an interpretive dance that would answer that question for you.
No artist is pleased. There is no satisfaction whatever at any time. There is only a strange, divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.