Dance Quotes
Most Famous Dance Quotes of All Time!
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Human speech is like a cracked kettle on which we tap crude rhythms for bears to dance to, while we long to make music that will melt the stars.
Language is a cracked kettle on which we beat out tunes for bears to dance to, while all the time we long to move the stars to pity.
For Mike Mills, I learned that having dance parties and crying with your cast does not make you a weak director, it makes you a strong director.
I was part of a hip-hop group called Fly Style. I was one of two white girls, and I was part of the younger company, which was called Touch of Style. And it was amazing. It gave me a different perception of dance and beauty because the other girls were mostly African-American and Latina.
I don't remember not dancing. When I realized I was alive and these were my parents, and I could walk and talk, I could dance.
I think my signature dance move might be some sort of '80s new wave pogo, which I only break out on very special occasions. It will only last for about three seconds. Then I go back to a very subtle, less-is-more approach.
And currently, there are four to five new works in the pipeline for upcoming celebrations such as the Sydney 2000 Olympics, Australian Federation, my 50th Birthday, and Sydney Dance Company's 25th Anniversary.
I wanted to give people - which is fairly bizarre considering my whole life is contemporary dance really - I wanted to give people a really fulfilling sense that they had seen a white classical ballet - in a very pure form.
The misconception about the record company is that they were the ones who got me wearing short skirts, or got me to do my hair blond, or got me to dance around onstage and start doing different things with my clothes. No, that was actually all me.
We were introduced to a lot of dance music that we were blown over by. Kidnap Kid we love, WOZ, and Rudimental.
There a lot of other things I love to do. I consider myself as an artist, so I dance, I paint, I sing, so as long as I'm creating, I'm happy.
Iranian parents can't stop their children. They're just wild - they want to party, they want their rights, they want to paint, they want to dance. No one can stop these new generations coming. That's why Iran has to open up: it's like a pot full of hot water, vapour and steam.
We went through an era of big dance records, an era of hip-hop being the biggest thing on the planet. The people who really break through are the people who are not afraid to express themselves in how they feel.
Back in the day, when 'Pony' came out, I don't believe there was anyone that could dance like me.
Dance music doesn't care where you live. It doesn't care who your friends are. It doesn't care how much money you make. It doesn't care if you're 74 or if you are 24 because... 74 is the new 24!
Even when disco went out, I could still make hits. Once I had so much success, every idea became concentrated. I had so much confidence. I knew how the bass should sound, what rhythms would work. The tempos I knew: 110 to 120 BPM. I knew they would dance in the clubs in New York or anywhere.
I was in Studio 54 one time; it was great. But I'm not a discotheque guy. Sometimes, if I had a new demo, I went to some discotheques to check it out - see how the reactions of the people were. But just to dance, I rarely did that.
Part of the joy of dancing is conversation. Trouble is, some men can't talk and dance at the same time.
I used to babysit. And the kids I babysat were huge Hilary Duff fans, and so we used to have dance parties every day to her music. So I am very familiar with the albums of Miss Hilary Duff.
I feel like the Internet has embraced the pizza dance. I feel appreciated for once in my life.
Now, the instrumentation in the jazz band and the jazz dance band has gone through many evolutions. For instance, in the 'twenties the tradition was two or three saxophones.
My American gay audience have continued to dance and sing to the music I make in a way that straight Americans haven't. I am grateful to them for that.
And I always say, when Southern people get on the dance floor, they ain't getting off.
In ballet a complicated story is impossible to tell... we can't dance synonyms.
The pleasant surprise for me is that when I look into Tony's eyes, he's still 100% present, sharing everything that's going on. Acting with him is like a beautiful dance.
I've done a lot of dance sequences because I like them; I like to animate dancing because it's fun and visual.
Actors fall into this trap if they missed being loved for who they really were and not for what they could do - sing, dance, joke about - then they take that as love.
A real New Yorker is always someone who came here from somewhere else to avoid some kind of persecution, often sexual-preference based, or to be discovered in one of the infinite-though-no-longer-thriving alternative scenes, i.e. theater, music, dance, vaudeville, art, drag, or, in those of the greatest egos, to be 'the next Andy Warhol.'
I'd studied dance in Chicago every summer end taught it all winter, and I was well-rounded. I wasn't worried about getting a job on Broadway. In fact, I got one the first week.
I know my body. What happened is that I got so caught up in the applause I forgot how I should dance. All my life I've been what others wanted - in dancing and in life. Now I'm doing it my way.
I ended up doing a local AmDram musical when I was nine or so. We had to sing and dance and act. It was probably terrible, but I loved it.
I'm a teller of stories. I put bloody skins on my back and dance around the fire, and I say what the hunt was like. It's not erudite; it's not intellectual. I sail, run dogs, ride horses, play professional poker, and tell stories about the stuff I've been through. And I'm still a romantic; I still want Bambi to make it out of the fire.
I started dancing when I was about 15 or 16 in my high school drama club, and then I liked it so much that they offered dual enrollment classes. So my senior year, I ended up taking college dance courses while I was in high school because I had good grades.
When I was still a student, I came out of a performing arts high school, and the female students who were doing traditional dance and ballet were so beautiful. They were beautiful, starting from their postures.
I just listened to regular commercial music from Korea. I would just follow the choreographed dance routines. I didn't have any ambitions of pursuing rapping. I liked dancing, so I did that.
I wouldn't want to do a Bollywood film per se, but I would like to do an Indian-language film. For some reason I think Bollywood has become synonymous with commercial cinema, which is song and dance and everything that is larger than life, and I am interested in the reality.
I'm the same guy at that podium preaching to the people on every single song. I'm not doing a dance for you on another song. It's all a direct assault.
In Hungary all native music, in its origin, is divided naturally into melody destined for song or melody for the dance.
I have no desire to prove anything by dancing. I have never used it as an outlet or a means of expressing myself. I just dance. I just put my feet in the air and move them around.
This search for what you want is like tracking something that doesn't want to be tracked. It takes time to get a dance right, to create something memorable.
My wife says that I become different once I start to work with animals. My movements become different, my mood is different. It involves letting everything fall behind you, becoming intuitive in your dealings with wild creatures in a way that bypasses reason. Sometimes it's more like a dance than anything else.
My first show was when I was a high school freshman, but it was at the junior class dance. My older friend and bandmate booked it.
We've always wanted to do it, something you could dance to, and deep down we always thought we could bring something to the table if we could do it, but the live shows always made us pull back and be a rock band.
Contrary to popular opinion, the hustle is not a new dance step - it is an old business procedure.
For me, I actually come from an electronic dance music background: house music, electro house, trance music, even. When I was coming out of school, basically, I discovered Brain Fever, Flying Lotus, J Dilla and all that. That was when I got excited about hip-hop and when the Flume project started.
My main inspirations come from early '90s Trance, the French electro movement round '06, then a bunch of artists like Flying Lotus, J Dilla, Moby, The Prodigy. So I'd say it's some kind of experimental electronica with a strong hip hop influence. It's chilled, but people can still get super crazy and dance to it.
I've got my ideal job. I like to sing, I like to dance, I like to bang drums and dress up, and someone pays me - it's incredible.
The hype man's job is to get everybody out of their seats and on the dance floor to have a good time.
I remember rap music. We used to party and dance off of it. Today it's all about a whole different angle... Rappers are going against each other, and it's more of a bragging, boasting thing.
Even before I auditioned for 'X Factor' the second time, I was doing a lot of dance music.
The Florida sound would probably be best defined as heavy bass with high energy dance records. There's a strong Caribbean heritage in Florida which features a lot of uptempo music, and the music accents the sexy, body-oriented sound.
New York has a deep culture of house and dance music, and to be able to tap into that is my way of shutting off. I go to friends' parties and local spots around the area: places I can go to, have a dance, and forget about being an actor and the attention.
We need musicians! We need them healthy - we need to dance and we need to escape - and none of that is possible when musicians themselves need support.
I actually got started in acting when I was in pre-school. I was really into dance and performing, so my mom had me in dance classes, and then I got involved in a local theater company.
I came from a dance background, so that's what I did my whole teenage years. I was at the dance studio a lot. It just becomes your social scene and part of your life.
When I was in school, I was very involved with a lot of things. I was very very active. I couldn't say that I wasn't popular. I was a cheerleader when I was in junior high. I didn't make it in high school so I started a dance line.
Twerking takes its place in a long line of dance moves deemed immoral, even apocalyptic. The waltz was called sinful because it demanded dangerously close contact between dance partners. In 1914, the tango earned a papal denunciation for being 'damaging to the soul.'
Music begins to atrophy when it departs too far from the dance... poetry begins to atrophy when it gets too far from music.
Well, number one I like dancing. Number two I knew it would be challenging because I had never done this type of dance before. I always wanted to and I happened to have the courage to go out there and give it my best shot.
They said that Etta James is still vulgar. I said, Oh, how dare them say I'm still vulgar. I'm vulgar because I dance in the chair. What would they want me to do? Want me to just be still or something like that? I've got to do something.
See, I don't like places where people can't dance - don't like clubs or theatres where a bunch of bourgeois people sit around tip, tip, tipping their fingers.
In my senior year of high school, I was doing a dance with a bunch of friends for the talent show, and my pants split entirely in half. It was incredible.
I like to read, and I like dance. I don't dance, but I like to see other people dance.
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.
People like the shows I do. I want to be real, to have fun, even when I dance on stage... it's a buzz.
Tim Tebow cannot dance, I know that. Tebow can do a lot of things, but he can not dance.
Actors are almost conditioned to get their director's approval. 'I just did my song and dance, boss. What did you think?' Actors are infantilized so much.
I tried to dance in my earlier films, but it was more like struggling to stay afloat once you are thrown into the water.
I am athletic and I exercise a lot, so I might look like I dance, but I don't.
All I can say is thank God my stepdaughter's favourite band in the whole wide world is The Beatles. We do have dance parties to 'Wannabe' though.
As possibly one of the biggest 'Strictly' fans on the planet, I still can't believe this is happening. I'm very much a dance around your handbag kinda girl, but now I've been given this wonderful opportunity to learn all the different styles of dancing from the very best in the business.
I was like little-miss wannabe punk-rocker; I would go home and secretly listen to Pink, and dance around, like, 'Ugh, she understands me so well!'
Keeping physical items from the past is important - we keep old toys, grandparents' jewelry, yearbooks, dance recital programs - and we assign meaning to them. Those items become the memories, and that's a very healthy thing to do. The problems occur when we have too many of those sentimental items, and they start weighing us down.
I had to learn to dance for 'The Adjustment Bureau' and it was nearly impossible. I turned up with my knees knocking in my leotard and went home and cried my eyes out.
When I got a lap dance, because I was 17, they had to put a massive pillow between me and the girl when she was grinding me. It was weird, yet pleasurable.
The battle scenes in 'Gladiator' don't have the exultant lift of Hong Kong period-action pictures like the 'Once Upon a Time in China' series, where the fights have the eye-popping panache of dance sequences from a musical.
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