Quotes About Dancers

For 20 years, I've been running an institute in Chennai where serious dancers from Kerala come with aspirations of becoming professional dancers.

Independent dance - and, fine, it's a very good thing that it remains independent - is a much tougher life: all dancers expect that, and accept that there will be periods of not being able to work, provided there are choice moments during the year when they really can work.

Dancers are trained to be disciplined to do what they are told, but I knew that time goes by, and I didn't want to make the mistakes of the others.

When I'm making a new ballet, I usually read through the score a little bit, and then I have to go back and translate or transcribe all the counts for dancers because the way that you hear it is completely different from the way the musicians read and play it.

What Nietzsche is describing is a kind of transcendence—a mental state of complete and utter absorption well known to artists, athletes, gamblers, musicians, dancers, soldiers in battle, mystics, meditators, and the devout during prayer.

It's normal; Arab women have always been very active at the forefront of culture - as film producers since the 1920s; as singers, dancers, choreographers, writers for much longer than that.

My parents were both in show business. My father was an actor, my mom an actress, and both singers, dancers and actors. They met in Los Angeles doing a play together and so I grew up in a show biz family.

I have two sisters and neither one of them are dancers.

Polls? Nah... they're for strippers and cross country skiers.

I will say a lot of dancers do such beautiful things for their body and then they smoke a cigarette. I've never been a smoker, but I realized after taking yoga . . . in ballet you're not encouraged to do a lot of breathing. I think in a weird way, a lot of dancers find relief in actually breathing.

I would advise dancers, musicians and others in the entertainment industry to take up yoga, as it clears the mind and creates a sense of balance and stillness which is important for any performing artist.

As a child growing up in a grey-skied Yorkshire village, I would occasionally happen upon a Bollywood movie on the television. After a few minutes watching a bunch of sari-clad dancers cavorting on a Swiss mountain to tuneless music, I would switch over to some proper drama about housing estates and single mothers.

Dancers are kept in a perpetual state of pre-puberty, and for young girls in particular, that type of pressure breeds insecurities.

When I was a dancer, I would see that dancers were treated like garbage. I mean like, like extras.

Most dancers have a young body. This is part discipline and part desire, because just sitting around makes one feel sluggish.

The dancers were whisked away to the hospital suffering from severe electrolyte imbalances, which my mind insisted on processing as "severe acolyte imbalances." Once I'd been assured they'd be okay, I kept snickering at visions of little hooded figures singing Gregorian chants and stumbling around like drunkards.

They carried sticks and wore white clothes with bells on them, to stop them creeping up on people. No one likes an unexpected Morris dancer.

While they could appreciate the artistry of the dancers and musicians, they were not carried away by the pleasures they offered. They had their own dreams—to find answers concerning the spiritual quest and the renewal of society.

I thought the musical aspect of 'Freak Dance' was a good contrast to how dancers always try to come off as really tough in those movies - they're trying to literally come off as gangs like as if the Crips and the Bloods are also dancing in addition or instead of fighting with guns and knives and stuff.

Obviously, the young dancers lack a certain air of maturity.

As you get older, the physical abilities decrease, which is particularly frustrating because your brain gets so good! So as you are becoming less technically or physically able, younger dancers are emerging who need the space to perform.

A lot of professional dancers become professional when they turn 15 or 16 years old, when they're still children. So you've trained every single waking moment up until that point for a career that could maybe only last 10 years, maybe longer if your body holds up, if your injuries are kept at bay.

I like to always remind my dancers about ways to avoid injury. One of the basic ways to avoid injury is to always make sure to stretch and warm up your body. This will loosen up your muscles, which will help to avoid common strain injuries such as shin splints and ankle strains.

There are some ballets you can do for a long time. With others, you have to know when to stop. Some are very destructive. Forsythe's choreography pushes dancers to the extreme. That's why it's best to vary. That way, you break your body a little bit in different places, but not a lot in one place.