Dancers Motivational Quotes

Sometimes in life confusion tends to arise and only dialogue of dance seems to make sense.

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

Caution not spirit, let it roam wild; for in that natural state dance embraces divine frequency.

If movements were a spark every dancer would desire to light up in flames.

Dance as the narration of a magical story; that recites on lips, illuminates imaginations and embraces the most sacred depths of souls.

If spirit is the seed, dance is the water of its evolution.

Dance is the timeless interpretation of life.

Show me a person who found love in his life and did not celebrate it with a dance.

If you opened the dictionary and searched for the meaning of a Goddess, you would find the reflection of a dancing lady.

Don't breathe to survive; dance and feel alive.

Life is an affair of mystery; shared with companions of music, dance and poetry.

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

Dance to inspire, dance to freedom, life is about experiences so dance and let yourself become free.

Through synergy of intellect, artistry and grace came into existence the blessing of a dancer.

DANCE – Defeat All Negativity (via) Creative Expression.

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

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,

She who is a dancer can only sway the silk of her hair like the summer breeze.

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

Dance is the ritual of immortality.

One step, two steps, three steps; like winds of time experience joy of centuries, when movements become revelations of the dance of destinies.

All my life I've been fascinated by the precipice in all of us. When you come to it, you either choose to fall or you don’t --Alvin Ailey

Burdened no more is soul for whom life flows through dance and not breath.

Dance is that delicacy of life radiating every particle of our existence with happiness.

Hearts shall dance once again; when canvas of ice is painted with the brush of skates.

Transcend the terrestrial; surpass the celestial, from nature’s hands when you receive the sublime pleasures of dance.

World seems like a void of silence every time footsteps are deprived of dancing shoes.

When a dancer performs, melody transforms into a carriage, expressions turn into fuel and spirit experiences a journey to a world where passion attains fulfillment.

Dance was her style, dance was her fashion.

Are you considering becoming a creative person? Too late, you already are one. To even call somebody "a creative person" is almost laughably redundant; creativity is the hallmark of our species. We have the sense for it; we have the curiosity for it; we have the opposable thumbs for it; we have the rhythm for it; we have the language and the excitement and the innate connection to divinity for it. If you're alive, you're a creative person. You and I and everyone you know are descended from tens of thousands of years of makers. Decorators, tinkerers, storytellers, dancers, explorers, fiddlers, drummers, builders, growers, problem-solvers, and embellishers--these are our common ancestors.

What you think of yourself in your mind is nobody's business. Make it count.

Burdened no more is soul for whom life flows through dance like breath.

Make dance the mission every moment seeks to accomplish.

The video was still playing, although I didn't know why. It seemed as if the able-bodied dancers were mocking me.

Spirit is a child, the tune of dancing feet its lullaby.

Pursuit of contentment is not the pursuit of an elusive tomorrow; it is the celebration of today. In that, it is the pursuit to end all pursuits.

Limit not to only five, when the divine gifts the supreme sixth; the sense of dance

Dancing with a spinal cord injury is a challenge like no other, but I aspired to prove to myself that I could still be phenomenal dancer even with an SCI

Ballet shoes... I cannot play with them like they're toys. But when the music is playing they get deep on my toes.

Audience of angels descend in the ambiance reciting praises in your glory, when you wear your dance shoes, when you arrive at the stage and with every step you take beneath your feet heaven moves. That is the power of dance.

When you see the extent to which people try, like the tremors of a ballet dancer, or the intensity of a pianist, or a mural containing the details of tiny little people making up the background-- you see the vulnerable extension of our private selves. There is an element inside us and it wavers between beauty and madness. You know it when you see it, like a hyperactive atom bouncing in a tube. It is like trying, really trying, and when we do, we are in our most honest forms. When we reach, we expose the contents of the human spirit. The more often we see it spill, the more encouraged we are to go further. And we can go further than others, in joyous competition. After all, it is called the human race, no?

We hurt one another. We go through life dressing up in new clothes and covering up our true motives. We meet up lightly, we drink rosé wine, and then we give each other pain. We don't want to! What we want to do, what one really wants to do is put out one's hands—like some dancer, in a trance, just put out one's hands—and touch all the people and tell them: I'm sorry. I love you. Thank you for your e-mail. Thank you for coming to see me. Thank you. But we can't. We can't. On the little life raft of Mark only one other person could fit. Just one! And so, thwarted, we inflict pain. That’s what we do. We do not keep each other company. We do not send each other cute text messages. Or, rather, when we do these things, we do them merely to postpone the moment when we'll push these people off, and beat forward, beat forward on our little raft, alone.

I hope you'll make mistakes. If you make mistakes, it means you're out there doing something. I escaped from school as soon as I could, when the prospect of four more years of enforced learning before I could become the writer I wanted to be, seemed stifling. I got out into the world, I wrote, and I became a better writer the more I wrote, and I wrote some more, and nobody ever seemed to mind that I was making it all up as I went along. They just read what I wrote and they paid me for it or they didn't. The nearest thing I had, was a list I made when I was about 15, of everything I wanted to do. I wanted to write an adult novel, a children's book, a comic, a movie, record an audio-book, write an episode of Doctor Who, and so on. I didn't have a career, I just did the next thing on the list. When you start out in the arts, you have no idea what you're doing. This is great. People who know what they're doing, know the rules, and they know what is possible and what is impossible. You do not, and you should not. The rules on what is possible and impossible in the arts, were made by people who had not tested the bounds of the possible, by going beyond them, and you can. If you don't know it's impossible, it's easier to do, and because nobody's done it before, they haven't made up rules to stop anyone doing that particular thing again. That's much harder than it sounds, and sometimes, in the end, so much easier than you might imagine, because normally, there are things you have to do before you can get to the place you want to be. When you start out, you have to deal with the problems of failure. You need to be thick-skinned. The things I did because I was excited and wanted to see them exist in reality have never let me down, and I've never regretted the time I spent on any of them. If you have an idea of what you want to make, what you were put here to do, then just go and do that, whether you're a musician or a photographer, a fine artist, or a cartoonist, a writer, a dancer, singer, a designer, whatever you do, you have one thing that's unique, you have the ability to make art. For me, for so many of the people I've known, that's been a lifesaver the ultimate lifesaver. It gets you through good times, and it gets you through the other ones. The one thing that you have, that nobody else has, is you! Your voice, your mind, your story, your vision. So write and draw, and build, and play, and dance and live, as only you can. Do what only you can do best, make good art.

Revelation. I understand the mechanism of my own thinking. I know precisely how I know, and my understanding is recursive. I understand the infinite regress of this self-knowing, not by proceeding step by step endlessly, but by apprehending the limit. The nature of recursive cognition is clear to me. A new meaning of the term ‘self-aware.’ Fiat logos. I know my mind in terms of a language more expressive than any I’d previously imagined. Like God creating order from chaos with an utterance, I make myself anew with this language. It is meta-self-descriptive and self-editing; not only can it describe thought, it can describe and modify its own operations as well, at all levels. What Gödel would have given to see this language, where modifying a statement causes the entire grammar to be adjusted. With this language, I can see how my mind is operating. I don’t pretend to see my own neurons firing; such claims belong to John Lilly and his LSD experiments of the sixties. What I can do is perceive the gestalts; I see the mental structures forming, interacting. I see myself thinking, and I see the equations that describe my thinking, and I see myself comprehending the equations, and I see how the equations describe their being comprehended. I know how they make up my thoughts. These thoughts. Initially I am overwhelmed by all this input, paralyzed with awareness of my self. It is hours before I can control the flood of self-describing information. I haven’t filtered it away, nor pushed it into the background. It’s become integrated into my mental processes, for use during my normal activities. It will be longer before I can take advantage of it, effortlessly and effectively, the way a dancer uses her kinesthetic knowledge. All that I once knew theoretically about my mind, I now see detailed explicitly. The undercurrents of sex, aggression, and self-preservation, translated by the conditioning of my childhood, clash with and are sometimes disguised as rational thought. I recognize all the causes of my every mood, the motives behind my every decision. What

We have learned in the course of this investigation that the libido which builds up religious structures regresses in the last analysis to the mother, and thus represents the real bond through which we are connected with our origins. When the Church Fathers derive the word religio from religare (to reconnect, link back), they could at least have appealed to this psychological fact in support of their view.71 As we have seen, this regressive libido conceals itself in countless symbols of the most heterogeneous nature, some masculine and some feminine—differences of sex are at bottom secondary and not nearly so important psychologically as would appear at first sight. The essence and motive force of the sacrificial drama consist in an unconscious transformation of energy, of which the ego becomes aware in much the same way as sailors are made aware of a volcanic upheaval under the sea. Of course, when we consider the beauty and sublimity of the whole conception of sacrifice and its solemn ritual, it must be admitted that a psychological formulation has a shockingly sobering effect. The dramatic concreteness of the sacrificial act is reduced to a barren abstraction, and the flourishing life of the figures is flattened into two-dimensionality. Scientific understanding is bound, unfortunately, to have regrettable effects—on one side; on the other side abstraction makes for a deepened understanding of the phenomena in question. Thus we come to realize that the figures in the mythical drama possess qualities that are interchangeable, because they do not have the same “existential” meaning as the concrete figures of the physical world. The latter suffer tragedy, perhaps, in the real sense, whereas the others merely enact it against the subjective backcloth of introspective consciousness. The boldest speculations of the human mind concerning the nature of the phenomenal world, namely that the wheeling stars and the whole course of human history are but the phantasmagoria of a divine dream, become, when applied to the inner drama, a scientific probability. The essential thing in the mythical drama is not the concreteness of the figures, nor is it important what sort of an animal is sacrificed or what sort of god it represents; what alone is important is that an act of sacrifice takes place, that a process of transformation is going on in the unconscious whose dynamism, whose contents and whose subject are themselves unknown but become visible indirectly to the conscious mind by stimulating the imaginative material at its disposal, clothing themselves in it like the dancers who clothe themselves in the skins of animals or the priests in the skins of their human victims.

In the uncertain hour before the morning Near the ending of interminable night At the recurrent end of the unending After the dark dove with the flickering tongue Had passed below the horizon of his homing While the dead leaves still rattled on like tin Over the asphalt where no other sound was Between three districts whence the smoke arose I met one walking, loitering and hurried As if blown towards me like the metal leaves Before the urban dawn wind unresisting. And as I fixed upon the down-turned face That pointed scrutiny with which we challenge The first-met stranger in the waning dusk I caught the sudden look of some dead master Whom I had known, forgotten, half recalled Both one and many; in the brown baked features The eyes of a familiar compound ghost Both intimate and unidentifiable. So I assumed a double part, and cried And heard another's voice cry: 'What! are you here?' Although we were not. I was still the same, Knowing myself yet being someone other— And he a face still forming; yet the words sufficed To compel the recognition they preceded. And so, compliant to the common wind, Too strange to each other for misunderstanding, In concord at this intersection time Of meeting nowhere, no before and after, We trod the pavement in a dead patrol. I said: 'The wonder that I feel is easy, Yet ease is cause of wonder. Therefore speak: I may not comprehend, may not remember.' And he: 'I am not eager to rehearse My thoughts and theory which you have forgotten. These things have served their purpose: let them be. So with your own, and pray they be forgiven By others, as I pray you to forgive Both bad and good. Last season's fruit is eaten And the fullfed beast shall kick the empty pail. For last year's words belong to last year's language And next year's words await another voice. But, as the passage now presents no hindrance To the spirit unappeased and peregrine Between two worlds become much like each other, So I find words I never thought to speak In streets I never thought I should revisit When I left my body on a distant shore. Since our concern was speech, and speech impelled us To purify the dialect of the tribe And urge the mind to aftersight and foresight, Let me disclose the gifts reserved for age To set a crown upon your lifetime's effort. First, the cold friction of expiring sense Without enchantment, offering no promise But bitter tastelessness of shadow fruit As body and soul begin to fall asunder. Second, the conscious impotence of rage At human folly, and the laceration Of laughter at what ceases to amuse. And last, the rending pain of re-enactment Of all that you have done, and been; the shame Of motives late revealed, and the awareness Of things ill done and done to others' harm Which once you took for exercise of virtue. Then fools' approval stings, and honour stains. From wrong to wrong the exasperated spirit Proceeds, unless restored by that refining fire Where you must move in measure, like a dancer.' The day was breaking. In the disfigured street He left me, with a kind of valediction, And faded on the blowing of the horn. -T.S. Eliot, "Little Gidding

O wayfarer! Yearn finds quench, not in meadows, seashores or altitude of mountain peaks; but when being becomes dance.

O wayfarer! Yearn finds quench, not in meadows, seashores or altitude of mountain peaks; but when being and dance are one.

Cancer can’t stop a soul-dancer. Be strong, be the one.

There are mysteries in science, and mysteries in art, but the greatest mystery has always been another person's deepest motivation.

First you have to take your skills and talent somewhere , In order for your skills and talent to take you everywhere.

Only a dancer can sway the silk of her hair like the summer breeze.

Ava was the best dancer,

Revelation. I understand the mechanism of my own thinking. I know precisely how I know, and my understanding is recursive. I understand the infinite regress of this self-knowing, not by proceeding step by step endlessly, but by apprehending the limit. The nature of recursive cognition is clear to me. A new meaning of the term "self-aware". Fiat logos I know my mind in terms of a language more expressive than any I'd previously imagined. Like God creating order from chaos with an utterance, I make myself anew with this language. It is meta-self-descriptive and self-editing; not only can it describe thought, it can describe and modify its own operations as well, at all levels. What Gödel would have given to see this language, where modifying a statement causes the entire grammar to be adjusted. With this language, I can see how my mind is operating. I don't pretend to see my own neurons firing; such claims belong to John Lilly and his LSD experiments of the sixties. What I can do is perceive the gestalts; I see the mental structures forming, interacting. I see myself thinking, and I see the equations that describe my thinking, and I see myself comprehending the equations, and I see how the equations describe their being comprehended. I know how they make up my thoughts. These thoughts. *** Initially I am overwhelmed by all this input, paralyzed with awareness of my self. It is hours before I can control the flood of self-describing information. I haven't filtered it away, nor pushed it to the background. It's become integrated into my mental processes, for use during my normal activities. It will be longer before I can take advantage of it, effortlessly and effectively, the way a dancer uses her kinesthetic knowledge. All that I once knew theoretically about my mind, I now see detailed explicitly. The undercurrents of sex, aggression, and self-preservation, translated by the conditioning of my childhood, clash with and are sometimes disguised as rational thought. I recognize all the causes of my every mood, the motives behind my every decision. What can I do with this knowledge? Much of what is conventionally described as "personality" is at my discretion; the higher-level aspects of my psyche define who I am now. I can send my mind into a variety of mental or emotional states, yet remain ever aware of the state and able to restore my original condition.

One morning when we three were alone, Nee leaned forward and said, “Elen, you’ve been closeted with Vidanric a lot, I’ve noticed. Has he said aught about a coronation? I confess it makes me nervous to have it not decided--as if they are waiting for something terrible to happen.” Elenet’s expression did not change, but high on her thin cheeks appeared a faint flush. “I trust we will hear something soon,” she murmured. And she turned the conversation to something general. Were they in love? I knew that she was. Elenet would make a splendid queen, I told myself, and they both certainly deserved happiness. I found myself watching them closely whenever we were all at an event, which occurred more and more often. There were no touches, no special smiles, none of the overt signs that other courting couples gave--but she was often by his side. I’d inevitably turn away, thinking to myself that it was none of my business. It wasn’t as if I didn’t have admirers, both the social kind and one real one--though I didn’t know his name. Still, the subject made me restless, which I attributed to my knowledge of how badly I had behaved to Shevraeth. I knew I owed him an apology, or an explanation, two things I could not bring myself to offer lest--someone--misconstrue my motives. And think me angling for a crown. So I hugged to myself the knowledge of my Unknown. No matter how my emotions veered during those social occasions, it was comforting to realize that I would return to my room and find a letter from the person whose opinions and thoughts I had come to value most. I preferred courtship by paper, I told myself. No one feels a fool, no one gets hurt. And yet--and yet--though I loved getting those letters, as the days went by I realized I was becoming slightly impatient of certain restraints that I felt were imposed on us. Like discussing current events and people. I kept running up against this constraint and finding it more irksome as each day passed. We continued to range over historical events, or the current entertainments such as the Ortali ribbon dancers or the piper-poets from faraway Tartee--all subjects that I could have just as well discussed with an erudite lady. The morning of Nee’s question to Elenet about coronations, I found the usual letter waiting when I returned to my room. I decided to change everything. Having scanned somewhat impatiently down the well-written comparison of two books about the Empire of Sveran Djur, I wrote: I can find it in myself to agree with the main points, that kings ought not to be sorcerers, and that the two kinds of power are better left in the charge of different persons. But I must confess that trouble in Sveran Djur and Senna Lirwan seems a minor issue right now. The problems of wicked mage-kings are as distant as those two kingdoms, and what occupy my attention now are problems closer to home. Everyone seems to whisper about the strange delay concerning our own empty throne, but as yet no one seems willing to speak aloud. Have you any insights on why the Renselaeus family has not made any definite plans?

When you see the extent to which people try, like the tremors of a ballet dancer, or the intensity of a pianist, or a mural containing the details of tiny little people making up the background-- you see the vulnerable extension of our private selves. There is an element inside us and it wavers between beauty and madness. You know it when you see it, like a hyperactive atom bouncing in a tube. It is like trying, really trying, and when we do, we are in our most honest forms. When we reach, we expose the contents of the human spirit. And we can go further than others, in joyous competition. After all, it is called the human race, no?

Talent & Skills are useless & won’t get you anywhere, without lot of practice, commitment & prioritization

This view of motivation, where students invest effort to get good at something, is often seen in out-of-school contexts – learning so as to be a dancer, a musician, a gamer. When in-school experiences lack this sense of purpose, it is most often because of dreary content and grading practices that reward compliance rather than learning. The measurement literature is replete with studies documenting the mixture of considerations that go into teachers’ grades. The majority of teachers use points and grades to “motivate” their students. Contrary to their intentions, this leads to the com-modification of learning and fosters a performance orientation rather than a mastery or learning orientation.

I made it a point to recruit only subjects who had trained extensively as athletes, dancers, musicians, or singers. None of them ever quit on me. So here we have purposeful practice in a nutshell: Get outside your comfort zone but do it in a focused way, with clear goals, a plan for reaching those goals, and a way to monitor your progress. Oh, and figure out a way to maintain your motivation.

Women have come a long way , since that day on September 7th 1968 , when they burnt myriad symbolic feminine products , including mops and bras , as a mark of protest . The women wanted to call world-wide attention to women's rights and women's liberation ! Today women are making headlines each and every day as the makers and creators of positive change in all walks of life . Be it as doctors , pilots , engineers , artists , writers , musicians, innovators, teachers , astronauts , researchers, managers , private or government employees , designers , scientists , dancers, singers, entrepreneurs , architects , bus-drivers , nurses , chefs , actors, athletes , politicians , or home-makers , women have been and are continuing to prove themselves that they are equal to or better than men in all walks of life ! A big 'Salute ' to all the women in the world !