Best 1204 quotes in «dance quotes» category

It requires less character to discover the faults of others, than to tolerate them.

It removes the limitations of his body, extinguishes his consciousness, and pours the divine spirit into him. The whirl dance is the purest form of dance devotion.

It's always been my dream to do a dance scene with Anthony Hopkins.

It's a wonderful thing to be able to create your own world whenever you want to.

It seems to be hard wired into our pleasure centres to move to music.

It's hard to dance if you just lost your wallet. Whoa Where's my wallet But, hey this song is funky.

It's like the time capsule with everything in it. Or like the seed that when you plant it, becomes the enormous tree with leaves and fruit. Everybody was in that little seed, and so everything can open. The tree of dance is like that. It just takes a long, long time to blossom.

It's not just for its influence on us, but to knowknow that we can play a part in it, to understand the influence that we have outside our own existence.

It's not magic! It's physics. The speed of the turn is what keeps you upright. It's like a spinning top.

It's the one who won't be taken that cannot seem to give, and the soul afraid of dying that never learns to live.

It's very easy to become selfish and narrow-minded and see ballet as the only thing in life, but there's lots more.

It's the heart afraid of breaking that never learns to dance. It is the dream afraid of waking that never takes the chance.

It's very difficult to justify a profession as a dancer.

I've never understood the point of ecstasy. I think if I wanted to get dehydrated and jump about with a load of people I've never met before I could go to a Methodist barn dance.

It takes ten years, usually, to make a dancer. It takes ten years of handling the instrument, handling the material with which you are dealing, for you to know it completely.

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.

It's what I always wanted to do, to show the laughter, the fun, the joy of dance.

It takes time to get a dance right, to create something memorable.

It was then that my religious consciousness emerged to flower years afterward into definite forms of religious dancing in which there is no sense of division between spirit and flesh, religion and art.

I've done everything but tap dance across the table.

I've relaxed my feelings about other companies performing my works. I have never in principle been against my ballets being danced by other companies. Rather, it is that we lack the time, space and money to insure that they are done well. To me, the only sin is mediocrity.

I very much like dance and dancers.

I wanted to see if the American man in plain brown pants and a bare torso could speak profound things.

I wanted to invent some kind of American dance that was danced to the music that I grew up on: Cole Porter and Rodgers and Hart and Irving Berlin. So I evolved a style that certainly didn't catch on right away - but I had some good mentors in New York who encouraged me.

I want to see people dance, and I would like to guess what kind of people they are. I don't want to know the recipe for their pasta.

I want people to look like people when they're dancing.

I want to win an Oscar. I want to be known for more than, like, going out. For being the 'party girl'. I hate that. I bust my ass when I'm filming and when I have time off, yeah, I like to go out and dance.

I want women to be liberated and still be able to have a nice ass and shake it.

I was a ballerina. I had to quit after I injured a groin muscle. It wasn't mine.

I was asked to act when I couldn't act. I was asked to sing "Funny Face" when I couldn't sing and dance with Fred Astaire when I couldn't dance and do all kinds of things I wasn't prepared for. Then I tried like mad to cope with it.

I was born to be a ballerina - my physique, my spirit, my feeling for music. What I am can only be expressed in dance. I am an erotic woman and that's what dance is.

I was not naturally talented. I didn't sing, dance or act, though working around that minor detail made me inventive.

I will make an average man into an average dancer, provided he be passably well made. I will teach him how to move his arms and legs, to turn his head. I will give him steadiness, brilliancy and speed; but I cannot endow him with that fire and intelligence, those graces and that expression of feeling which is the soul of true pantomime.

I wasn't out drinking and abusing my body. I simply loved to go out and dance.

I will dance and resist and dance and persist and dance. This heartbeat is louder than death.

I will dare to just do what I do. Be just what I am, and dance whenever I want to.

I wish I could dance like Michael Jackson. I'd love to be able to have my life exactly the way it is, but with his dance moves.

I would believe only in a God that knows how to Dance.

I would like to go and dance in Palestine one day, with great pleasure, great pleasure.

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 would like to tell all dancers to forget themselves and the desire for self display. They must become completely absorbed in the dance. Even in a classical variation there should never be any thought of a dancer doing a variation--he should become identified with it.

James Brown lives, as long as someone steps out of their body and dances uncontrollably.

I would rather dance as a ballerina, though faultily, than as a flawless clown.

Just as the ancients danced to call upon the spirits in nature, we too can dance to find the spirits within ourselves that have been long buried and forgotten.

Joy is a strength; intoxication, a weakness.

Knowledge passes from dance teacher into the student through the process of mane, which is often translated as imitation, but learning to dance is more a process of total identification than of simple copying. We repeat the movements of our teachers until we can duplicate them exactly, until, in a sense, we have absorbed the teacher's mastery into ourselves. Artistic technique must be fully integrated into the cells of our bodies if we are to use it to express what is in our hearts, and this takes many years of practice.

Just the pleasure of moving and the pleasure of using your body is, I think, maybe the main point. And the pleasure of dancing with somebody in an unplanned and spontaneous way, when you're free to invent and they're free to invent and you're neither one hampering the other - that's a very pleasant social form.

Just sit and open your eyes and open your heart. It's dance theater.

Latin guys dance. American guys don't dance. That's a big difference.

Leaders must encourage their organizations to dance to forms of music yet to be heard.