Classical Dancer Quotes

I think classical ballet dancers dance on pointe because they're simultaneously touching the earth and reaching up to the skies

Dance less in motion and more in spirit; awaken the dreamer within.

Art doesn’t give rise to anything in us that isn’t already there. It simply stirs our curious consciousness and sparks a fire that illuminates who we have always wanted to be.

Music does not need language of words for it has movements of dance to do its translation.

Dance resides within us all. Some find it when joy conquers sorrow, others express it through celebration of movements; and then there are those... whose existence is dance,

Soar like an eagle beyond skies of heavens reach; as wings of dreams dance with winds of reality.

Do you know what I've learned? That although ecstasy is the ability to stand outside yourself, dance is a way of rising up into space, of discovering new dimensions while still remaining in touch with your body. When you dance, the spiritual world and the real world manage to coexist quite happily. I think classical ballet dancers dance on pointe because they're simultaneously touching the earth and reaching up to the skies.

When the melody plays, footsteps move, heart sings and spirit begin to dance.

Madame LaFleur would say that you're more of a classical ballet dancer instead of a jazz dancer. But sometimes all you have to do is change costumes to become something different.

As a matter of fact, yes,” I lie. “I love classical piano. Beethoven and, uh…those other guys.” He cocks an eyebrow. “Name two pieces.” “Um…‘Piano Man’ by Billy Joel.” “Oh, God.” “And ‘Tiny Dancer’ by Elton John.” He grins suddenly, and his face, which is already too nice of a face, transforms into gorgeous.

Charles had too much self-respect to consider himself a contemporary dancer. He had been classically trained, or whatever passed for classical in Maine, and he had certain ideas about what that meant.

To be so at one with one's own destiny that no one will be able to tell the dancer from the dance, that the answer to the question, Who are you? will be the Cardinal's answer, "Allow me ... to answer you in the classic manner, and to tell you a story," is the only aspiration worthy of the fact that life has been given us. This is also called pride, and the true dividing line between people is whether they are capable of being"in love with {their} destiny" or whether they "accept as success what others warrant to be so ... at the quotation of the day. They tremble, with reason, before their fate.

We know the faces of the ancient Greeks from classical paintings, we have seen Assyrians on the pediment of the palace at Susa. And so, when we actually meet Orientals belonging to a particular group, we feel that we are in the presence of creatures spirited before our eyes by necromancy. Our image of them so far has been a superficial one; now it has acquired depth, it has become three-dimensional, it moves. The young Greek banker’s daughter who is such a society favorite at present, seems like one of those dancers in a ballet, at once historical and aesthetic, who symbolize Hellenic art in flesh and blood; yet the theater setting makes these images seem banal;

Good luck. For most of my generation, it would just go to student debt and cocktails. If anything came to me (an impossibility), I would dump it into a poorly managed career in edgy luxury items. You can’t make opera money on perfume that smells like cunts and gasoline. At any rate, I didn’t usually make an appearance beyond the gala. Or, I hadn’t until recently. But Joseph Eisner had promised me a fortune, and now he wouldn’t take my calls. He did, however, like his chamber music. It had been an acquired taste for me. In my distant undergraduate past, when circumstance sat me in front of an ensemble, I spent the first five minutes of each concert deciding which musician I would fuck if I had the chance, and the rest shifting minutely in my seat. I still couldn’t stand Chanel. And while I had learned to appreciate—indeed, enjoy—chamber ensembles, orchestras, and on occasion even the opera, I retained my former habit as a dirty amusement to add some private savor to the proceedings. Tonight, it was the violist, weaving and bobbing his way through Dvořák’s Terzetto in C Major like a sinuous dancer. I prefer the romantics—fewer hair-raising harmonies than modern fare, and certainly more engaging than funereal baroque. The intriguing arrangement of the terzetto kept me engaged, in that slightly detached and floating manner engendered by instrumental performance. Moreover, the woman to my left, one row ahead, was wearing Salome by Papillon. The simple fact of anyone wearing such a scent in public pleased me. So few people dared wear anything at all these days, and when they did, it was inevitably staid: an inoffensive classic or antiseptic citrus-and-powder. But this perfume was one I might have worn myself. Jasmine, yes, but more indolic than your average floral. People sometimes say it smells like dirty panties. As the trio wrapped up for intermission, I took a steadying breath of musk and straightened my lapels. The music was only a means to an end, after all.

Now, who and what is this minstrel in reality? Where does he come from? In what respects does he differ from his predecessors? He has been described as a cross between the early medieval court-singer and the ancient mime of classical times. The mime had never ceased to flourish since the days of classical antiquity; when even the last traces of classical culture disappeared, the descendants of the old mimes still continued to travel about the Empire, entertaining the masses with their unpretentious, unsophisticated and unliterary art. The Germanic countries were flooded out with mimes in the early Middle Ages; but until the ninth century the poets and singers at the courts kept themselves strictly apart from them. Not until they lost their cultured audience, as a result of the Carolingian Renaissance and the clericalism of the following generation, and came up against the competition of the mimes in the lower classes, did they have, to a certain extent, to become mimes themselves in order to be able to compete with their rivals. Thus both singers and comedians now move in the same circles, intermingle and influence each other so much that they soon become indistinguishable from one another. The mime and the scop both become the minstrel. The most striking characteristic of the minstrel is his versatility. The place of the cultured, highly specialized heroic ballad poet is now taken by the Jack of all trades, who is no longer merely a poet and singer, but also a musician and dancer, dramatist and actor, clown and acrobat, juggler and bear-leader, in a word, the universal jester and maître de plaisir of the age. Specialization, distinction and solemn dignity are now finished with; the court poet has become everybody’s fool and his social degradation has such a revolutionary and shattering effect on himself that he never entirely recovers from the shock. From now on he is one of the déclassés, in the same class as tramps and prostitutes, runaway clerics and sent-down students, charlatans and beggars. He has been called the ‘journalist of the age’, but he really goes in for entertainment of every kind: the dancing song as well as the satirical song, the fairy story as well as the mime, the legend of saints as well as the heroic epic. In this context, however, the epic takes on quite new features: it acquires in places a more pointed character with a new straining after effect, which was absolutely foreign to the spirit of the old heroic ballad. The minstrel no longer strikes the gloomy, solemn, tragi-heroic note of the ‘Hildebrandslied’, for he wants to make even the epic sound entertaining; he tries to provide sensations, effective climaxes and lively epigrams. Compared with the monuments of the older heroic poetry, the ‘Chanson de Roland’ never fails to reveal this popular minstrel taste for the piquant.

be funny nor attempt to deal analytically with social ills.4 Even the original title (Gangway!) and the original setting (warring Catholics and Jews in a modern-day Romeo and Juliet story) held little promise for commercial or artistic success. In addition, the show would feature no stars, and the cast—consisting primarily of dancers—might be inexperienced kids pulled from the streets of New York (if the New York press was to be believed), not from dance rehearsal halls. The score, written by a classical music conductor, would be dissonant and fiendishly difficult to play and sing and would include—of all things—a fugue. The teenagers, whose dialogue was written by a middle-aged Jewish playwright, would speak in an invented street slang, uttering lines like “womb to tomb” and “cracko Jacko.” The backers’ meetings continually and repeatedly failed to attract investors for producer Cheryl Crawford, who finally dumped the project shortly before rehearsals were to begin. It is no surprise that no one thought this show would succeed.

On what basis do we humans possess this stunning ability to affirm graciousness and love as the heart of reality when the here and now demands the opposite affirmation? The answer to that can only be that somehow we apprehend in the here and now - despite its often brutal suggestion that death and darkness are the final answer - a gracious absolute that lies beyond. Like the classical theist who looks at a rose and is able to perceive the creator and sustainer who gives it existence at that precise moment, so too do we sense the gracious Dancer who is Lord over all dances, including the horrible one that now threatens us, and who will bring us all to a new day and a new loving dance.

The theme of music making the dancer dance turns up everywhere in Astaire’s work. It is his most fundamental creative impulse. Following this theme also helps connect Astaire to trends in popular music and jazz, highlighting his desire to meet the changing tastes of his audience. His comic partner dance with Marjorie Reynolds to the Irving Berlin song “I Can’t Tell a Lie” in Holiday Inn (1942) provides a revealing example. Performed in eighteenth-century costumes and wigs for a Washington’s birthday–themed floor show, the dance is built around abrupt musical shifts between the light classical sound of flute, strings, and harpsichord and four contrasting popular music styles played on the soundtrack by Bob Crosby and His Orchestra, a popular dance band. Moderate swing, a bluesy trumpet shuffle, hot flag-waving swing, and the Conga take turns interrupting what would have been a graceful, if effete, gavotte. The script supervisor heard these contrasts on the set during filming to playback. In her notes, she used commonplace musical terms to describe the action: “going through routine to La Conga music, then music changing back and forth from minuet to jazz—cutting as he holds her hand and she whirls doing minuet.”13 Astaire and Reynolds play professional dancers who are expected to respond correctly and instantaneously to the musical cues being given by the band. In an era when variety was a hallmark of popular music, different dance rhythms and tempos cued different dances. Competency on the dance floor meant a working knowledge of different dance styles and the ability to match these moves to the shifting musical program of the bands that played in ballrooms large and small. The constant stylistic shifts in “I Can’t Tell a Lie” are all to the popular music point. The joke isn’t only that the classical-sounding music that matches the couple’s costumes keeps being interrupted by pop sounds; it’s that the interruptions reference real varieties of popular music heard everywhere outside the movie theaters where Holiday Inn first played to capacity audiences. The routine runs through a veritable catalog of popular dance music circa 1942. The brief bit of Conga was a particularly poignant joke at the time. A huge hit in the late 1930s, the Conga during the war became an invitation to controlled mayhem, a crazy release of energy in a time of crisis when the dance floor was an important place of escape. A regular feature at servicemen’s canteens, the Conga was an old novelty dance everybody knew, so its intrusion into “I Can’t Tell a Lie” can perhaps be imagined as something like hearing the mid-1990s hit “Macarena” after the 2001 terrorist attacks—old party music echoing from a less complicated time.14 If today we miss these finer points, in 1942 audiences—who flocked to this movie—certainly got them all. “I Can’t Tell a Lie” was funnier then, and for specifically musical reasons that had everything to do with the larger world of popular music and dance. As subsequent chapters will demonstrate, many such musical jokes or references can be recovered by listening to Astaire’s films in the context of the popular music marketplace.

Human history is in large part nonsense, and I think it is appropriate to pay tribute to the percentage of the nonsense that is not tragic, that is harmless, even benign. Looking back at the challenges flung to us by the Soviets in our long struggle for hearts and minds, it is striking to realize how elegant, how courtly they tended to be. Their dancers and their skaters carried themselves like Romanovs, grave and unapproachable, aesthetically chaste and severe. It is striking as well how effectively their classicism governed the competition. Ballet was suddenly urgently important in America. Our orchestras were heroes of democracy for doing well just what they had always done. The Russians rejected modernism, and we looked a little askance at it ourselves, or flaunted it to the point of self-parody. Behind it all was an unspoken assumption carried on from the nineteenth century, that a great culture proved the health, worth, and integrity of a civilization. This was a sensitive issue for both countries, Russia having entered late into the Europe its arts so passionately emulated, America having entered late into existence as a nation. There are respects in which Russia was a good adversary. When they launched their first satellite, my little public school became more serious about my education. They helped to sensitize us to the hypocrisy of our position on civil rights, doing us a great service. This is not to minimize all that was regrettable, the doomsday stockpiles and that entrenched habit of ideological thinking, which lives on today among us, often in oddly inverted form, for example in the cult of Ayn Rand and the return of social Darwinism. The use of culture as proxy, its appropriation for political purposes, yielded a fair amount of self-consciousness and artificiality. Perhaps it compromised the authenticity of culture in ways that have contributed to the marginalization we see now. Still, given certain inevitabilities that beset the postwar world, the Russians were interesting and demanding of us, until our obsessions drifted elsewhere.

The etiquette of a Sabbath appeared to consist of one rule only: to do nothing for long. Partners came and went, figures and conformations were in a continual flux. Sometimes the dancers were coupled, sometimes they jigged in a circle round some specially agile performer, sometimes they all took hands and galloped about the field. Half-way through a very formal quadrille presided over by the Misses Larpent they fell abruptly to playing Fox and Geese. In spite of Mr. Gurdon’s rosette there was no Master of Ceremonies. A single mysterious impulse seemed to govern the company. They wheeled and maneuvered like a flock of starlings.

We see in RKO the beginnings of the use of dance as part of the plot line or growing out of the action and, with the teaming of Astaire and Rogers, the introduction of technically demanding duet and chorus work. It marks the demise of the “hoofer” and the birth of the “dancer.

But most importantly, by the late ’40s, technically trained dancers were plentiful—a far cry from the self-taught hoofers of the ’20s and ’30s. This was fortunate not only for Pan, whose work demanded highly skilled and versatile dancers,

Apparently, Paul McCartney and I were on the same wavelength that night, because five songs into the set, he played a number that only a small, demented fraction of the audience wanted to hear. And yet there he was, jamming on “Temporary Secretary,” seemingly oblivious to the mass confusion created by the song’s mind-bending mess of synth bleeps and slashing acoustic guitar and McCartney’s robo-ranting about needing a woman who can be a belly dancer but not a true romancer. I loved it, and I loved how the people around me didn’t love it.

Britain had become a kind of cargo cult, a jumble of disassociated local customs, rituals and superstitions: uncanny relics of the distant, unknowable Britain of ancient days. Why, for instance, do sword dancers lock weapons in magical shapes such as the pentagram or the six-pointed star, led by a man wearing a fox’s head? What is the straw bear plodding round the village of Whittlesey in Cambridgeshire every January? Why do a bunch of Nutters black up their faces and perform a coconut dance in several Lancashire villages? What possesses people to engage in the crazed ‘furry dance’, singing the ‘Hal-An-Tow’ song, on 6 May at Helston in Cornwall? Why do beribboned hobby horses canter round the streets of Padstow and Minehead every May Day, with attendant ‘Gullivers’ lunging at onlookers with a giant pair of pincers? The persistence of such rites, and the apparent presence of codes, occult symbolism and nature magic in the dances, mummers’ plays and balladry of yore, have provided a rich compost for some of the outgrowths of folk in the 1960s and afterwards. Even to dip a toe into the world of folklore is to unearth an Other Britain, one composed of mysterious fragments and survivals – a rickety bridge to the sweet grass of Albion. As Bert Lloyd mentioned, ‘To our toiling ancestors [these customs] meant everything, and in a queer irrational way they can still mean much to us.’1

To those who actually practise it, morris dance has an elemental quality, an ancient ritual magic comparable to the whirling dervish dance of Sufism, the Native American ghost dance or the spiritual movements developed by G. I. Gurdjieff. Its gestures are designed to act as a lightning conductor for spiritual energies to unite the universe with the earth and replicate the seasonal cycles of growth, death and rebirth. Morris dancers’ tatter jackets act as symbolic antennae; clogs dash against the ground, awakening slumbering earth gods. The EFDSS had gentrified the dance in the 1930s and 40s, slowing the pace and draining its erotic vigour. More recently, morris has become the anvil round the revival’s neck, its boisterous moves, outlandish costumes and trite musical accompaniment treated as a national joke. To dive into the music of this much-ridiculed custom shows how giddily Ashley Hutchings had fallen under the spell of English traditional music. Morris was the last locked cupboard of the entire post-war folk revival. By unsealing it, he was prepared to stake a hard-won reputation and credibility on a music that appeared to be unredeemable.

Actors were little better than whores—no, they actually were whores: Christians regularly substituted the words “actor” and “dancer” with the word “prostitute”; the theater itself was “the temple of lust for prostitution.

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The breaking point came when two young classical dancers, Bhavani and her husband, Chellappen, arrived to teach us Bharatanatyam. Through Bharatanatyam we learned the stor-ies and sub- stories of the Ramayana and Mahabharata. We came to know them as well (or as badly) as we knew the Bible. Mrs Mathews was outraged. She said ChellappenBhavani (we always thought of them as a unit) were the Devil Incarnate. She vehe-mently objected to the Vandana, the opening invocation to Lord Shiva, with which every Bharatanatyam performance begins. She said it was heathen, unchristian and unacceptable to her, and that a choice would have to be made between ChellappenBhavani and her. Sadly, Mrs Mathews didn’t stand a chance against those two exquisite human beings whose every glance was coquetry, and every gesture high art. So, she left as suddenly as she had arrived. It was sad, but somehow inevitable. Her departure did not in any way dampen the enthusiasm or slow down the success of the school.

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