Judith Jamison Quotes

If you look at a dancer in silence, his or her body will be the music. If you turn the music on, that body will become an extension of what you're hearing.

You don't enter a dance studio and say "I can't do that." If you do, then why are you in the studio in the first place?

The first time I started choreographing was in the dark, in my living room, with the lights completely out, to some popular music on the radio. I put the radio on full blast and I started moving. I didn't know what it looked like. I didn't want to see it... I had to start in the dark.

Learn the craft of knowing how to open your heart and to turn on your creativity. There’s a light inside of you.

The last encounter was one Ian enjoyed, because Elizabeth was with him after they’d had their second-and last permissible-dance. Viscount Mondevale had approached them with Valerie hanging on his arm, and the rest of their group fanned around them. The sight of the young woman who’d caused them both so much pain evoked almost as much ire in Ian as the sight of Mondevale watching Elizabeth like a lovelorn swain. “Mondevale,” Ian had said curtly, feeling the tension in Elizabeth’s fingers when she looked at Valerie, “I applaud your taste. I’m certain Miss Jamison will make you a fine wife, if you ever get up the spine to ask her. If you do, however, take my advice, and hire her a tutor, because she can’t write and she can’t spell.” Transferring his blistering gaze to the gaping young woman, Ian clipped, “’Greenhouse’ has a ‘u’ in it. Shall I spell ‘malice’ for you as well?” “Ian,” Elizabeth chided gently as they walked away. “It doesn’t matter anymore.” She looked up at him and smiled, and Ian grinned back at her. Suddenly he felt completely in harmony with the world. The feeling was so lasting that he managed to endure the remaining three weeks-with all the requisite social and courtship rituals and betrothal formalities-with equanimity while he mentally marked off each day before he could make her his and join his starving body with hers. With a polite smile on his face Ian appeared at teas and mentally composed letters to his secretary; he sat through the opera and slowly undressed her in his mind; he endured eleven Venetian breakfasts where he mentally designed an entirely new kind of mast for his fleet of ships; he escorted her to eighteen balls and politely refrained from acting our his recurring fantasy of dismembering the fops who clustered around her, eyeing her lush curves and mouthing platitudes to her. It was the longest three weeks of his life. It was the shortest three weeks of hers.

Sociobiologist Edward O. Wilson later said that there should be a “consilience” between art and science. 79 Former NASA astronaut Mae Jemison took selected images with her on her first trip to space, including a poster of dancer and former artistic director of the Alvin Ailey American Dance Theater Judith Jamison performing the dance Cry, and a Bundu statue from Sierra Leone, because, as she said, “the creativity that allowed us . . . to conceive and build and launch the space shuttle, springs from the same source as the imagination and analysis it took to carve a Bundu statue, or the ingenuity it took to design, choreograph, and stage ‘Cry.’ . . . That’s what we have to reconcile in our minds, how these things fit together.” 80 As a jazz musician once told me, musicians are mathematicians as well as artists. Morse’s story suggests that the argument started not because of the need to bring art and science together, but because they were once not so far apart. 81 When Frank Jewett Mather Jr. of The Nation stated that Morse “was an inventor superimposed upon an artist,” it was factually true. 82 Equally true is that Morse could become an inventor because he was an artist all the while. In one of the final paintings that laid him flat, the painting that failed to secure his last attempt at a commission, one he had worked fifteen years to achieve, Morse may have left a clue about his shift from art to invention, and the fact that the skills required for both are the same. He painted The House of Representatives (1822–23) as evidence of his suitability for a commission from Congress to complete a suite of paintings that still adorn the U.S. Capitol building. The painting has an odd compositional focus. In the center is a man screwing in an oil chandelier, preoccupied with currents. Morse was “rejected beyond hope of appeal” by the congressional commission led by John Quincy Adams. When he toured the picture for seven weeks—displayed in a coffee house in Salem, Massachusetts, and at exhibitions in New York, Boston, Middleton, and Hartford, Connecticut—it lost twenty dollars in the first two weeks. Compounded by a litany of embarrassing, near-soul-stealing artistic failures, he took to his bed for weeks, “more seriously depressed than ever.” This final rejection forced him to shift his energies to his telegraph invention. 83 By 1844 Morse went to the Capitol focused on a current that would occupy the work of Congress—obtaining a patent for the telegraph.