Dance Quotes
Most Famous Dance Quotes of All Time!
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I learned a lot from Rudimental's live set. It's all about good feelings, good vibes and a good time, and that's what I want from my shows. I like big, bolshy performances, like Beyonce. I can't dance like her, though.
I was a competitive swimmer as a teenager, only stopping when I got persistent ear infections. Every day was a 6 A.M. start to swim before lessons, then choir or dance classes after.
Disco told audiences to dance, while punk told them to be anything but passive. The artists didn't mind; in fact, they encouraged it.
No movie influenced me more to go after my dreams than 'Flashdance.' After seeing it, I took 15 dance lessons a week. I cut all my sweatshirts. I did the 'Maniac' thing.
I'm always working out; I did ice hockey in high school, but I'm not a dance person. I mean, this was horrible, but I had a dance double in my high-school musical.
There's music to dance to and make love to, music to cry to. I'm starting from scratch, coming fresh. But my sound still embodies the same soulful, intricate harmonies.
I'm attracted to soccer's capacity for beauty. When well played, the game is a dance with a ball.
The best part of the high school in Hastings must have been the Music Department. Its orchestra and concert band did well in county competitions, and the dance band formed by its students was the best in the region. I played lead trumpet in all of them.
They're making a song and dance because that serves their immediate interests. But what will happen tomorrow? They will have to pay salaries and pensions.
Panamanian boxing is unique - it's very musical. It's almost like a dance. It has a lot to do with being in the Caribbean and with salsa. When you see a Panamanian boxer, there's a style. There's a playfulness in the way you throw the punches.
Whenever I went to a wedding or a party, girls kept complaining about their shoes. I love to dance, and I wanted them to have shoes they could keep on all night.
I try to keep fit, as it's better for both skiing and plastering. I cycle and jog and I dance a lot - Ceroc, a form of modern jive.
I love all types of music. I love top 40 dance pop, hip-hop, I don't even know what they call it now. I'm a huge fan of all that.
I do eventually want to get back into performing, but right now it's more fun for me to dance for myself.
I'm a tap dancer. Once you're a tap dancer, you're always a tap dancer. In 'After Midnight,' I get to dance, but I don't do a full tap number.
In terms of theater, I would love to go back to do theater. If I could find something for me to do that fits in with the 'Psych' off-season, I'm game. I would like to do theater where I get to act and dance.
I did, like, two drop-in hip-hop dance classes when I was, like, 20, so I am no dance expert but I always love a challenge.
My daughter just graduated college and she's a dance major. She's done a couple of dance videos already and won Miss Massachusetts a couple of weeks ago. She's going out for Miss United States the second week of July, out in Las Vegas. She will probably wind up going to New York and trying the Broadway thing.
When I was a teeny little girl, I was in dancing school, and I sang. We had to put a dance to a song, so I went to the 10-cent store one day and looked at all the sheet music. It was all laid out, and I picked 'Life Is Just a Bowl of Cherries.'
I think a lot of people don't realize that martial arts are just an expression like anything else. It's just that most people are not trained to punch or kick, but you can walk or run or dance, which is also part of expression.
An action choreographer is kind of like a dance choreographer. You choreograph the moves and you let the director, cinematographer take into positioning their cameras.
I first met Linda Lawrence in March 1965 in the green room of 'Ready Steady Go!,' the British pop TV show. Linda was a friend of one of the co-hosts. She had an art-school vibe, and after a brief conversation, I asked her to dance to a soul record playing. As we jazz danced, I fell in love.
I get plastic nails done in the salon. When I was younger, they were stronger, but now I get my nails built up. Then I can dance over the strings. I say, 'Okay, I need four nails; I'm a guitarist.' Sometimes if I'm in a strange place, the girl says, 'Yeah, all the guys say that.'
Bob Fosse and Gwen Verdon intimidated us all because she walked in and was going to be the dance captain. She was a great star, but she loved that kind of work as his assistant.
It takes a lifetime of devotion to build your craft, your confidence, and the ability to sing and dance and act believably.
To go back to visit the early days with Bob Fosse and Gwen Verdon, when she was the dance captain of 'How to Succeed,' and finding them again 25 years later and working with them on 'Charity.' That was really great fun.
Sure, the first light snowfall may be a chance to dance giddily, leaving squeaky footprints through the neighborhood, marking the runner's right to the domain. But later drubbings of snow merely complicate running. Snow turns to ice, to slush, to ice again. Tire ruts twist ankles. New snow hides the hazards.
Almost all of what I learned about mounting and hosting a dance show I learned from Dick Clark.
People who dance well, dress well, are well groomed and know how to behave seem to know others who dance, dress and behave well.
We moved from the suburbs to L.A. and I picked up break dancing when I was 10. I joined a dance crew in high school and I was battling. I also took ballet most of my life until high school.
I grew up with a sister and a younger brother in a house where every evening was spent performing a dance routine in front of our parents with my sister.
I follow a routine on a daily basis, which comprises dance class, gymnastics, and going to the gym. I also spend about half an hour on yoga, too.
We've all tried to bunk our gym session or dance class. A single routine can get monotonous. That's why I have decided to make my fitness regime fun by incorporating different workouts into my schedule. From dancing to yoga, I plan to keep it as interesting as possible so I'm never bored of working out.
I like dancing but not in crowded clubs. I would rather dance alone than go to a club.
I wake up, go for dance class, and do the same things that I used to do. I am very asocial. I don't go out too often.
They're not particular about whether you're playing a flatted fifth or a ruptured 129th as long as they can dance to it.
New York feels like the whole city is into dance music. That's not how it felt when I was younger. There was more of a hipster scene.
Dance music is so interchangeable. There's not a lot of face to it. It's a bunch of Dutch DJs with the same haircut.
Dancehall has always had a homophobic problem, but you go to dance parties in Jamaica, and some of the biggest dancers are kinda gay, just not outspoken about it. Dancehall was the first kind of music I was DJing, and it was always more about the rhythm.
When I was a kid, I had ambitions for being a television announcer, which was before television took off, you know, in the late '40s. And just through necessity, going out looking for work, I was starting to sing, and dance, and act, and I never expected to do that, nor to have any success at it at least.
I asked Fred Astaire once when he was about my age if he still danced, and he said 'Yes, but it hurts now.' That's exactly it. I can still dance, too, but it hurts now!
When I auditioned for 'Bye Bye Birdie' on Broadway, Gower Champion said, 'You've got the job!' I said, 'Mr. Champion, I can't dance.' He said, 'We'll teach you what you need to know.'
Everyone should dance. And everyone should sing. People say, 'Well, I can't sing.' Everybody can sing. That you do it badly is no reason not to sing.
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.
And we love to dance, especially that new one called the Civil War Twist. The Northern part of you stands still while the Southern part tries to secede.
It was an unwritten law that black comics were not permitted to work white nightclubs. You could sing and you could dance, but you couldn't stand flat-footed and talk; that was a no-no.
In high school, I taught dance classes for 3-year-olds up to 16-year-olds, so between that and some bat mitzvah money, I saved up a pretty good nest egg to move to L.A.
I think if I hadn't had the dance background, it would have been much harder as a kid to be like, 'I'm going to be an actress.' But you're involved with one area of the arts and other things interest you. It feels like an easier move.
I didn't take the typical path and go to college after high school. Instead, I saved up money from teaching dance classes and moved to L.A. But my family was so supportive - I never felt pressure from them. It's crucial to find a support system, even if it's not your family.
I can do Shakespeare, Ibsen, English accents, Irish accents, no accent, stand on my head, tap dance, sing, look 17 or look 70.
Look at where I lived! Four blocks from Lincoln Center. I used to play in the fountain. And then I started taking dance lessons. I was in 'The Nutcracker' for the N.Y. City Ballet when I was 8 and dancing in 'The Firebird' for George Balanchine when I was 9. Believe me, that's something you don't ever forget.
Opera is the ultimate art form. It has singing and music and drama and dance and emotion and story.
My parents liked to go dancing, and they encouraged all of us to bring our friends home. My brother had a skiffle group, and there would often be dancing in the house. And my parents would come and dance with us.
Except for Carrie Bradshaw's in the opening credits of 'Sex and the City,' I don't know if the tutu has ever really been trendy, but I want to wear one. I want to dance around in it, and I want that to be socially acceptable.
But I'm tone deaf - window-shattering tone deaf. I can't sing for the life of me. I can't sing or dance, so no remake of 'Grease' for me!
I always wanted to experience what performance would be like without the fourth wall, so I formed a company in Australia, and we did avant-garde theater, playing with gender norms, conversations about race - we just had a box of issues that we wanted to subvert with our stories, with dance.
Whether it be through television, or through music, or through dance, or through film, whatever it is, as long as it's the right project that makes sense, then I'm all for it.
I like to dance and sing when there's no one around, but, if I'm out, I'm really shy about it. So it takes a lot to get me going, but I enjoy being around music.
It's something that I learned even before I started acting: the movement, the dance of the body, is very important, and it comes before words.
For me, it's like biking around the neighborhood, the walks and stuff, because I have never enjoyed the gym. Or I'll do, since I used to dance a lot, all the old dance exercises.
When it comes time to dance, they're like a regiment; they do the same steps - except for the Mike Teavee dance, where the Oompas play in a rock band. I learned to play the guitar for that one.
If a scene called for numerous Oompas to join in a narrative song and dance, I would perform the steps for all of them with subtle distinctions of expression and movement. When the images were joined with the help of a computer, I became an entire troupe.
As a children's author, you get to advocate for reading and writing in general, in a way an adult author might not be able to. It's a really interesting dance we do to get literature into the hands of young people and to help them to become literate and become readers; we want them to grow up reading and continue to do so when they're adults.
I do take class because I still dance, and yes, I do slip into class with the Royal Ballet from time to time.
I think it's useful to experience other types of dance and other cultures, and the life of a classical dancer these days is certainly not all tutus! So experience of other dance forms is a good idea.
He doesn't make it so complicated but just really allows the lyric to come through even though there's a lot of production going on. I think that's the key and that's the magic, it's making sure that people could still connect with the lyrics while they're on the dance floor.
I always thought that it was every performer's dream. That's the epitome of being an artist, being able to express song, dance and acting in a live theatre setting and really connecting with an audience on that level.
I have two favorite songs. My first is called 'Dance of The Robe' and it's a very powerful number where she is feeling the pressure from her people to take on the responsibility of leading them.
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.
I use something that is a real staple in the directing world. It's called a dance floor. You lay it down so that it's so smooth you can roll around, and you can put furniture on top of it. It's seamless and you don't see it.
I always loved to entertain and show off in front of the neighbors. I would sing and dance at their houses.
I think it's one thing to be able to dance, and it's another thing to learn all the wonderful moments of dance because in my day... it was the moving of dance.
We didn't have any real proper school. We did not have a place to go to learn to dance and the joy of dancing.
Everybody's all up on the EDM bandwagon now, because it's, like, another viable conduit for traditional pop music to ride for a bit so they can get out of their little stagnant pool and make a dance hit.
Music and dance is part of everything in New Orleans. So I grew up appreciating it all.
I just want to be a storyteller, and I think the way to do that is by your lyrics, by your visuals, by your choreography, by your dance. It's imperative as an artist.
I love what a women embodies. I love our bodies; I love the way we communicate with our bodies. I love the way dance creates movement. It's art in motion.
I've just become obsessed with ballroom dancing. I signed up for the introductory course, which was like a four-week thing. By the end of it, I was hooked. I love it. It's sort of flirty, but it's not sexual. I can't quit until I've got it down and I can really dance. I'm there four or five times a week.
Some actors have an affinity for dance, and they should explore it, train in it, and get good.
Fight choreography has far more in common with dance choreography than it does with actual martial arts. You learn martial arts techniques, but those are just the movements for the choreography. You're working with a partner in choreography. You're working on timing.
If someone is worried about bulking up their quads, they're not going to do a traditional squat. They're going to do a wide-stance squat or a plie squat, which is second position dance, opening up your legs and bringing the focus to the inner thighs and not to the quads.
Because I could dance, my folks went through hell so I could be in movies. But I didn't dance in pictures. I cried! At one point I had polio, which I believe was a result of the stress I felt in the studios.
So dance music is now pop music. So now, as a dance producer, what do I have to do? So I'm starting to do alien music, because pop is not pop anymore; we need to go alien to be independent.
Every company has its own texture, vocabulary, and singular place in dance history, and I have always wanted to share my perspective of these world renowned institutions.
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