dance

"For the untrained eye, Tai Ji Men’s Dragon Dance might appear to be merely a cultural showcase. It is undoubtedly a colorful and vibrant performance of Chinese cultural heritage, which is made possible by hand-crafting artisanal dragon heads and sometimes dozens of meters-long dragon bodies. This massive mythical creature is then brought to life by syncretizing the movements of , who are led by the dragon ball, before the creature’s head. For scholars of religion, however, the arduous preparation process and the practice of the Dragon Dance also unveil further interpretative layers."

"The Greek Dances are extremely pleasant, and full of Mirth. They are of two kinds: The first is a sort of Country-Dance or Couranto, danc'd by Pairs; and the second a kind of Gavote or Branle, in which the Men and Women are mingl'd, as at Passepied in France; only you must hold in your right-hand the Left-hand of your Left-hand Woman, and in your Left the Right-hand of her that is on your Right-hand. The Man who leads the Dance holds the Corner of a Handkerchief and gives the other to his Lady, that he may have room enough to take his Measures, and to give the Dance what Figure or Turn he pleases. At first they begin very gravely with a Saraband-Step, two Steps forwards and three backwards: Then mending their pace by degrees, they begin to leap and run, yet still observing the Rules of a Harmonious Motion; so that the Dance becomes very Gay and Amorous: For the Women leaping one Step forwards, draw their Bodies backwards with a certain pretty Turn that cannot be call'd immodest, yet gives a Man occasion to think of something more than he sees. And besides, the Musick contributes very much to the pleasantness of their Dances, for their Tunes are extremely Brisk and Airy.The fittest time to take the pleasure of viewing their way of Dancing, is when they are met at a Wedding; for on such Occasions they give themselves up to Joy and Pleasure, drinking, eating, and sporting, and indulging themselves in all manner of Diversions."

"It is the spirit of Purusha and Prakriti, an expression of evolution of movement, a truly creative force that is handed down the ages. This embodiment of sound and rhythm creating spiritual poetry is called dance or Natya. . . . The first glimpse of the dance comes to us from Siva Himself, a Yogi of Yogis. He shows us the Cosmic Dance and portrays to us he unity of Being. . . . The Cosmic Rhythm of His dance draws around Him ensouled matter, which manifests itself into the variety of this infinite and beautiful universe."

"For the modern physicists, then, Shiva's dance is the dance of subatomic matter."

"From the seventeenth century onwards, Christian missionaries made scathing attacks on the Indian classical dance-forms, seeing them as a heathen practice. This was often expressed by attacking the devadasi system on the grounds of human rights. The devadasis were temple dancers, dedicated in childhood to a particular deity. The system was at its peak in the tenth and eleventh centuries, but a few hundred years later, the traditional system of temples protected by powerful kings had faded away under Mughal rule, especially since the Mughals turned it into popular entertainment, devoid of spirituality. The devadasi system degenerated in some cases into temple dancers used for prostitution, although the extent of this was exaggerated by the colonialists."

"Actually, dance forms an intrinsic part of worship in the temples. . . . India alone has a concept of a God who dances. Siva is Nataraja, Lord of dancers, who dances in the Hall of Consciousness and weaves into it the rhythm of the Universe. Within His Cosmic Dance are included the Divine prerogatives of Creation, Preservation, Regeneration, Veiling and Benediction . . . Dance in India has been so closely linked with religion, that today it is impossible to think of it divorced from this essential background."

"Muslim rulers and nobles always patronised music throughout the medieval times... Indian classical music survived throughout the Sultanate period, although classical Indian dancing almost died out in northern India because it had drifted from the aesthetic sphere into that of the courtesans and the dancing girls."

"In Hinduism, classical dance is conceived as an internalized spiritual practice: using movement, sound and emotion to internalize the cosmology and epistemology within the dancer's body. It is the only major world religion to have been successfully transmitted through such embodiment for so long. This is exemplified by the iconographic depiction of Shiva-Nataraja, which is a stylized projection of Shiva manifested as the ascetic master of sacred dance. Similarly, the narratives and iconography of Krishna dancing with his devotees exemplifies, evokes and reinforces the 'rasa' (inner emotional states) of the devotees as they attempt to unite inwardly with their 'ishta-devata' (personal deity). Such expressions are not reserved for use by a spiritual elite; rather, they inform and engage the entire culture and are part of the folk narratives known to every Hindu."

"Many of the English-educated elites of India accepted the colonial condemnation of their heritage and apologized for its 'primitiveness'. Some of them turned into Hindu reformers, and found the devadasi system detestable for moral and even social-hygienic reasons. However, the devadasis saw their very existence threatened and sent handwritten pleas to the colonial government, explaining the spiritual foundation of Bharata Natyam. They quoted Siva from the Saiva Agamas, saying, 'To please me during my puja, arrangements must be made daily for shudda nritta (dance). This should be danced by females born of such families and the five acharyas should form the accompaniments'. Since these Agamas are revered by every Hindu, the devadasis asked, 'What reason can there be for our community not to thrive and exist as necessary adjuncts of temple service?' They opposed the proposed draconian punishment for performing their tradition, calling the legislation 'unparalleled in the civilized world'. Instead of abolition of their traditional profession, they demanded better education to restore their historical status. They wanted the religious, literary and artistic education as in the past, saying, 'Instill into us the Gita and the beauty of the Ramayana and explain to us the Agamas and the rites of worship'. This would inspire devadasi girls to model themselves after female saints like Maitreyi, Gargi and Manimekalai, and the women singers of the Vedas, such that:. . . we might once again become the preachers of morality and religion. . . . You who boast of your tender love for small communities, we pray that you may allow us to live and work out our salvation and manifest ourselves in jnana and bhakti and keep alight the torch of India's religion amidst the fogs and storms of increasing materialism and interpret the message of India to the world."

"In the night of Brahma, Nature is inert, and cannot dance till Shiva wills it: He rises from His rapture, and dancing sends through inert matter pulsing waves of awakening sound, and lo! matter also dances appearing as a glory round about Him. Dancing, He sustains its manifold phenomena. In the fullness of time, still dancing, he destroys all forms and names by fire and gives new rest. This is poetry; but none the less, science."

"Then there are ragas and raginis designated for dance. Dance in its art form is as elaborate as music, and is based on Hindu natya-shastra. Sculptures of dancers and musicians carved on ancient and medieval temples, now mostly surviving in south India, bear testimony to their excellence, popularity and widespread practice."

"Music in India has a history of at least three thousand years. The Vedic hymns, like all Hindu poetry, were written to be sung; poetry and song, music and dance, were made one art in the ancient ritual."

"In Italy I'm big because they're all so sex-obsessed. In Germany I succeeded because they've been waiting for someone like Marlene Dietrich to come along ever since the war. I played on their need for a drunken, nightclubbing vamp. And I've won the gays, who are crucial because they have all the best discos, entirely because of the extraordinary legends about me."

"I knew nothing when I first met him. He taught me to see things through his eyes. Dalí was my teacher. He let me use his brushes, his paint and his canvas, so that I could play around while he was painting for hours and hours in the same studio. Surrealism was a good school for me. Listening to Dalí talk was better than going to any art school."

"Compilations, to me, are embarrassing. To bring out a compilation, to me, is to say, "Look. I've got no new material so please buy this. I need money to pay the rent." I think it's very embarrassing. And that is very annoying because the record company owns all those titles and they don't ask me for my advice. They just decide to release "the best of" compilations and they put out a lot of very bad quality music. There are a couple of good titles but the rest are just tracks to fill out the album. And they know very well that they can't rely on me promoting them because I won't promote such records."

"The Germans told me "We're going to conquer the world!" and I don't regret working with a German record company at all, because for my career it was great, but they wanted to control me, direct me and restrict me. They wanted absolute discipline and that's not the life for me, so after a few years of that I wanted out."

"I hate to spread rumours: but what else can one do with them?"

"I don't care when I was born, if I'm 50, 60 or 70. It's important that I am alive."

"I'd grown up thinking I was ugly, ugly, ugly. I was much too tall, I was much too skinny, I was flat-chested, I had my mother's Asian eyes and cheekbones so I looked foreign compared to all my girlfriends, my mouth was too big and my teeth were too big so I never smiled. And then Françoise Hardy had her breakthrough in France and everything suddenly changed. Before her you were supposed to look like Brigitte Bardot, blonde, curvy and busty. But I was about twenty when people started telling me "You know what, you look a little like Françoise Hardy, you could be a model" and then out of the blue this famous woman, the great Catherine Harlé turns up. By sheer accident she happened to see me in the street in Paris and asked me if I wanted to be a fashion model and I thought she was joking! And she said "No, no, no, you're exactly the type of girl we're looking for" and all of a sudden all of these flaws, all the things I'd been so ashamed of, became my greatest assets. By sheer accident, as most things in my career."

"People only know me as a celebrity and don't realize how much more important art is to me than makeup and set costumes. Show business pays the rent, but painting is my only true passion, so I define myself as a painter who works in show business. Art is a kind of therapy to me, thanks to which I can interpret my feelings. An empty canvas before my eyes is synonymous with the absolute freedom of expression."

"A tutu is a special kind of skirt worn by dancers in many ballets. When the first ballets were performed in the 15th and 16th centuries, female dancers performed in the courts of royalty wearing floor length gowns with heavy decorations. These cumbersome outfits greatly restricted their movements."

"Male dancers typically do not wear pointe shoes. They wear ballet slippers or special ballet boots that are flexible enough for them to move in."

"In the early 1800s, with the development of the pointe shoe and the many stories about fairies and nymphs, the Romantic tutu became popular. This skirt came below the dancers’ knees, and gave them a dreamy, ethereal look, while allowing them to move more freely."

"All ballet exercises begin and end with one of the five basic positions of the feet]. There are also complementary arm positions. The positions are executed with the legs and feet turned out from the hip socket. They allow for greater flexibility, range of movement and also for a beautiful and long line of the body."

"The language of ballet is French. The terminology was originally developed in the court of Louis XIV during the 17th century. Today, wherever in the world a ballet class is given, the names of the steps are given to students in their original French."

"Ballet dancers are an elite group of athletes. They train for many years before becoming professional dancers and once they join a company their training does not end. Dancers’ bodies need to be extremely strong and flexible to execute the demanding technique of ballet so they must practice and rehearse every day to keep their bodies in top physical condition. For every minute of dancing you see on the stage, there has been one hour of rehearsal."

"The ballet is a purely female thing; it is a woman, a garden of beautiful flowers, and man is the gardener."

"Developed in the early 19th century, pointe shoes are worn by female dancers to enable them to dance on the tips of their toes."

"What I fell in love with as a child was 'My Fair Lady,' 'Funny Face,' 'American in Paris,' and 'Singin' in the Rain.' Just perfect movies to me and I was dancing. I started ballet when I was three. And I fell in love with those movies and fell in love with Audrey Hepburn and Leslie Caron."

"To highlight and accentuate their eyes, cheeks, noses and other features, all dancers, male and female, wear makeup when they are onstage."

"Slashing its way to the finish line, 'Black Swan' is the first ballet movie for highbrow horror fans for whom ballet itself signifies little to nothing. Those of us who know and love ballet can only look on it with a different kind of horror."

"The ballet needs to tell its own story in such a way it can be received without having to be translated into language."

"Just as you have to learn your ABC’s in order to read and write, dancers have to learn the basic exercises and positions of ballet in order to perform choreography on the stage. They practice these exercises every day in order to keep their bodies limber and in top performing shape."

"When dancers rehearse in the studio a pianist plays the music for them. It is usually at the dress rehearsal that the dancers hear the orchestra for the first time. It is also at the dress rehearsal that they have their final opportunity to try on their costumes, work with the props and scenery, and practice the steps on the stage. Everyone’s hard work is rewarded the moment the curtain rises and the ballet begins."

"Choreographers and costume designers in the 21st century now choose costumes which best suit the purpose of their ballet. This means that depending on the ballet, you may see a Romantic tutu, a Classical tutu or no tutu at all."

"The popularity of adult ballet is, in my mind, a back to basics thing in a time when different dance styles are abundant. To master different styles has one precondition: to master the basics. There is no better way to achieve this than studying ballet."

"I'm so fair that I didn't go in the sun as a child. When all my friends were on the beach, I was going to ballet. The teachers there didn't like you going in the sun, so I never did."

"In order to dance professionally, you have to start at a young age. No matter what, your muscle structure and your bones have to be groomed from a very young age. Nobody wakes up at 17 and decides to become a ballet dancer."

"So many people report to be contemporary dancers, and they're not. They are sort of jazz dancers that feel like they're throwing a bit of classical in there. I mean, a true contemporary dancer has got ballet as their base and classical ballet, and that is their base. And then they choose to extemporize on that and go into a contemporary world."

"Ballet is the fairies' baseball."

"Anytime you look at anything that's considered artistic, there's a commercial world around it: the ballet, opera, any kind of music. It can't exist without it."

"I feel his arm Lightly Over me. He takes one of my outstretched hands. Draws it beneath my stomach. "One more time..." This is not sex, Not friendship. Something Strange Special In the stillness of his breath, The water like way he moves. He is making a dance We are making a dance."

"Some people think that movements, such as the movements in ballet, are a higher cultural expression, whereas some are just dirt. I think it is elitist to think that a trained movement is more acceptable than untrained and possibly unrehearsed movements."

"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."

"I started taking ballet lessons when I was 4, and I was performing in ballet companies when I was 10, and I did summer stock in Miami Beach when I was 12, and finally I said, 'I gotta go to Broadway.'"

"Being a former dancer, classical dancer, it informed me as a human being just in terms of the grace I guess. Ballet is a very graceful form of art. You also become very aware of your body and your mind and your body is working in conjunction. That kind of helps you in acting as well. It's not only using your mind, it's like making your mind communicate this character into your body so that you can bring it to life and physicalize it."

"In ballet a complicated story is impossible to tell... we can't dance synonyms."

"A lot of people insisted on a wall between modern dance and ballet. I'm beginning to think that walls are very unhealthy things."

"I started ballet in my early 20s. I studied for about ten years. Ballet is probably the one of the hardest things I've done, almost like MMA. People don't give it a lot of credit and think it's easy, but it's very difficult. For an athlete, you use muscles you really don't use, and ballet is something I really respect."

"But he had never seen Myrna in practice...never that close up. He had been impressed and a little frightened by the contrast between seeing ballet on stange, where everyone seemed to either glide or mince effortlessly on the tips of their pointes. and seeing it from less than five feet away, with harsh daylight pouring in the floor-to-ceiling windows and no music- only the choreographer rythmically clapping his hands and yelling harsh criticisms. No praise, only criticisms. Their faces ran with sweat. Their leotards were wet with sweat. The room, as large and airy as it way, stank of sweat. Sleek muscles trembled and fluttered on the nervous edge of exhaustion. Corded tendons stood out like insulated cables. Throbbing veins popped out on foreheads and necks. Except for the choreographer's clapping and angry, hectoring shouts, the only sounds were the thrup-thud of ballet dancers on pointe moving across the floor and harsh, agonized panting for breath. Jack had suddenly realized that these dancers were not just earning a living, they were killing themselves. Most of all he remembered their expressions- all that exhausted concentration, all that pain... but transcending the pain, or at least creeping around its edges, he had seen joy. Joy was unmistakably what that look was, and it scared Jack because it had seemed inexplicable."