Quotes of All Topics . Occasions . Authors
What we want from modern dance is courage and audacity.
I used to dance when I was younger - ballet and modern dance.
I danced modern dance my whole life, and it makes me feel young again.
Now there is in a way a renaissance of modern dance - suddenly, it is more respected and discovered.
The early giants of modern dance - Isadora Duncan, Ruth St. Denis - barely left traces of their art.
The modern dance is no dance in the first place, and when you've finally learned it, it's not modern any more.
The eternal and uneasy relationship between ballet and modern dance endures, but radically altered in tone and intensity.
A lot of people insisted on a wall between modern dance and ballet. I'm beginning to think that walls are very unhealthy things.
If nobody comes to your shows, then it's modern dance. If everybody comes to your shows and no one likes it, is that ballet? I don't know.
When I look at the people who are the guiding figures in modern dance, I think, 'This does not look to me like the way I want to spend my days.'
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.
You know I very much respect Yvonne Rainer, she is very important - in American dance, the entire development of modern dance, and creating a wonderful physical language.
I attended Professional Children's School in Manhattan because my ballet and modern dance schedules were intensive and had started to interfere with regular school hours.
I had art as a major, along with English, French and History. I had dance, modern dance. In English I was allowed to write my own poetry, which I eventually got published.
See, modern dance forms have a pull because the youngsters can relate to it, but it makes me happy to say that in Kerala and Tamil Nadu, people still relate to classical art forms.
I never studied dance, but if you look at 'Wild At Heart,' my mother saw that movie and said, 'You are a dancer. Look at how you're moving: all that strange energy is like modern dance.'
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.
My background is in modern dance. I was a dancer and a choreographer before I was a director, and in dance, you can't cheat. Your leg goes up in the air, or it doesn't. So when I direct, I'm a big preparer.
If I were to try to break into the world of modern dance, after the first few rejections the logical response might be, practice even more. But after the 12,000th rejection, maybe I should realize this isn't a viable career option.
Dance has been a driving force in my life for 25 years. From music videos and hip hop, to jazz and musical theater, to ballet and classic modern dance, I have had extensive exposure to a variety of techniques that inspire my own electric style.
I was in the chorus in high school, not a soloist. I was on the basketball team. I was in modern dance, part of the group. I was a cheerleader, part of the group. I played the violin, part of the orchestra. I never wanted to be out there alone. Ever.
The way Alvin Ailey has transformed modern dance and dance in general is the fact of variety. It's a cornucopia of ways to move. There are choreographers in the company as - as diverse, as different from each other as Donald McKayle and Bill T. Jones, or Jawole Zollar and John Butler, Lar Lubovitch, you know, and Judith Jamison.