Dance with a girl three times, and if you like the light of her eye and the tone of voice with which she, breathless, answers your little questions about horseflesh and music about affairs masculine and feminine, then take the leap in the dark.
When I design a wedding dress with a bustle, it has to be one the bride can dance in. I love the idea that something is practical and still looks great.
I think I can take responsibility for that in that I was the audience. I was the voice of sanity around whom all these crazies did their dance. And I reacted in the same way that a member of the audience would have reacted.
I do take class because I still dance, and yes, I do slip into class with the Royal Ballet from time to time.
I would have to challenge the term, modern dance. I don’t really use that term in relation to my work. I simply think of it as dancing. I think of it as moving.
I took several years of dance lessons that included ballet, tap and jazz. They helped a great deal with body control, balance, a sense of rhythm, and timing.
I never danced a step in my life so naturally. My first motion picture was a musical, and Bob Fosse was the choreographer. I didn’t exactly dance for Fosse, I just did the best that I could to do what he taught us to do.
I mean whatever I do it’s important that I put my stamp on it and keep it in my world, whether I’m doing a dance track or something like the Russian album for example.
The web of life is a beautiful and meaningless dance. The web of life is a process with a moving goal. The web of life is a perfectly finished work of art right where I am sitting now.
When I was in school, I was very involved with a lot of things. I was very very active. I couldn’t say that I wasn’t popular. I was a cheerleader when I was in junior high. I didn’t make it in high school so I started a dance line.
The little song and dance number at the end – that’s me, my voice, howling out. It was a new experience for me. I’ve never sung before and I’ve certainly never sung on screen. I think I sung on stage when I was 13 and for some reason nobody’s asked me to try it again since.
We were doing the dance routine and I dislocated my knee. I’ve been doing stunts for a long time and it’s kind of weird that I’d dislocate my knee just dancing.
And currently, there are four to five new works in the pipeline for upcoming celebrations such as the Sydney 2000 Olympics, Australian Federation, my 50th Birthday, and Sydney Dance Company’s 25th Anniversary.
When I’m not at the keyboard, I’m generally reading, practicing tai chi or middle eastern dance, or cooking.
The Lord doesn’t like us to be dead. Be alive. Sometimes I dance to the glory of the Lord, because He said so.
Think of the magic of that foot, comparatively small, upon which your whole weight rests. It’s a miracle, and the dance is a celebration of that miracle.
I had certain physical limitations that made me change the choreography for myself or made me more interested in choreography only rather than dancing. I have never been a person who wanted to just dance. I have always been interested in developing for other people.
The dance can reveal everything mysterious that is hidden in music, and it has the additional merit of being human and palpable. Dancing is poetry with arms and legs.
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.
Happiness, that grand mistress of the ceremonies in the dance of life, impels us through all its mazes and meanderings, but leads none of us by the same route.
I think differently, I think it’s about reaching everybody on every different plane and every different level, and if I could remix the song and do a dance remix, that’s great. If I could do a classical version, that’ll be great too. It’s all just about expression.
Every music – except dance music, which is for dancing, I suppose – is for the spirit of the human being, and not for the body.
The only time I’ve really been away from my kids to do work was doing Shall We Dance because they both were in camp and it was the first time in twenty years that I haven’t been with my kids.
It’s weird when you see pieces of choreography that were done for you 15 or 20 years ago and now they are being done by another dance company.
When I got a lap dance, because I was 17, they had to put a massive pillow between me and the girl when she was grinding me. It was weird, yet pleasurable.
A lot of the stuff I’ve accumulated over the last few years of touring I thought was really interesting. Like sounds, sound bites, and beats even, but they weren’t good dance beats they weren’t ones anyone would want to rap over or anything.
I’m the interpreter. I’m the one who takes your words and brings them to life. I was trained to sing and dance and laugh, and that’s what I want to do.
Come Fairies, take me out of this dull world, for I would ride with you upon the wind and dance upon the mountains like a flame!