Quotes about dance and ballet
page 11

“So ferr I fallyng into lufis dance,
That sodeynly my wit, my contenance,
My hert, my will, my nature and my mynd,
Was changit clene ryght in anothir kynd.”

James I of Scotland (1394–1437) King of Scots

Source: The Kingis Quair, Line 312

Nature

“I'll bet if I compare notes with Junie Allyson and Debbie Reynolds and anyone else who's had more than one marriage, the fact is that you fall in love and it's so wonderful to think about something other than yourself and whether the script's right for you and who's going to be your leading man, that you don't really ask yourself questions about the fellow. He's just wonderful looking and he dances well and you have a wonderful time and it's fun to go out, and all of a sudden you're in a lifelong marriage.”

Esther Williams (1921–2013) competitive American swimmer and actor

At Home With: Esther Williams; Swimming Upstream http://www.nytimes.com/1999/09/02/garden/at-home-with-esther-williams-swimming-upstream.html (September. 2, 1999)

Love, Marriage, Question, Thinking

“Early feminists sensed this: they were strong opponents of protective legislation. They knew that as long as the princess was protected from the pea, women would be deprived of equality. The modern-day woman’s ‘pea under the mattress’ is the rough spots in the workplace. When today’s feminists are proponents of protective legislation, they oppose equality. Sexual harassment legislation is sexist because it makes only the man responsible for the male role in the sexual dance.”

Warren Farrell book The Myth of Male Power

Source: The Myth of Male Power (1993), Part III: Government as substitute husband, p. 307.

Women, Sense, Strong, Princess

“Disco dancing is really dancing for people who hate dancing, since the beat is so monotonous that only the champions can find interesting ways of reacting to it. There is no syncopation, just the steady thump of a giant moron knocking in an endless nail.”

Clive James (1939–2019) Australian author, critic, broadcaster, poet, translator and memoirist

'The flying feet of Frankie Foo'
Essays and reviews, The Crystal Bucket (1982)

Hate, People, Way

“Ten thousand saw I at a glance,
Tossing their heads in sprightly dance.”

William Wordsworth (1770–1850) English Romantic poet

Stanza 2. I Wandered Lonely as a Cloud http://www.bartleby.com/145/ww260.html (1804)

“I don't make love by kissing, I make love by dancing.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Fred Astaire to Henry Ephron, screenwriter on Daddy Long Legs, as quoted in Ephron, Henry. We Thought We Could Do Anything: The Life of Screenwriters Phoebe and Henry Ephron, New York: Norton, 1977, p. 131. (M).

Love, Making love, Kiss

“She moves like and angel
And seven evening stars
Dance through the window
Of her universal house”

Cat Stevens (1948) British singer-songwriter

Angelsea
Song lyrics, Catch Bull at Four (1972)

Angels, Star, Universe, Housing

“Dicko: Oh my God, you can dance can't you. Hey look, fantastic song for you. You look wonderful. If you can't do bling on a disco night when can you? That was just a real eye opener for me. That was just a real, real joyous experience for me. What we've noticed, and certainly at the finals stage is there is the performance that defines someone and shows their true star potential. For me that was yours. That was terrific.”

Hayley Jensen (1983) Australian singer

Australian Idol, Final Performances, Final 9

God, Star, Night

“Here's Big Brother, singing and dancing, force-feeding you, so your mind never goes hungry enough to think.”

Chuck Palahniuk book Lullaby

Source: Lullaby (2002), Chapter 14

Thinking, Singing

“We were outside. The icy wind whipped my face. I was constantly biting my lips so that they wouldn't freeze. All around me, what appeared to be a dance of death. My head was reeling. I was walking through a cemetery. Among the stiffened corpses, there were logs of wood. Not a sound of distress, not a plaintive cry, nothing but mass agony and silence. Nobody asked anyone for help. One died because one had to. No point in making trouble.”

Elie Wiesel book Night

Night (1960)

Death, Silence, Appearance, Help

“If I had to take eveything into consideration, [the truly essential song] would have to be "Conga." First, because I don't think I can get away with not performing that song in some shape or form. Second, because it started the possiblility of "Mi Tierra" [Estefan's top-selling Spanish album] happening. Not only did it talk about a specific rhythm of my homeland [Cuba], it talked about being Latino, and the celebratory nature of dance. It was very musically forward in that it mixed a funk bassline and a 2/4 beat on the drums and the Latin percussion. It was something that really put us on the map. And even though it's a frivolous and fun song, it talks about who we are as immigrants in this land.”

Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada

Reuters (November 17, 2006)
2007, 2008

Music, Nature, Thinking

“Purity" of and in art — any art, including music and dance — is an illusory notion, of course. It may be remotely conceivable or imaginable, but it can't be realized because it can't be recognized any more than a "pure" human being or a "pure" (or, for that matter, gratuitous) act can be. All the same, for Western art in its Modernist phase "purity" has been a useful idea and ideal, with a kind of logic to it that has worked, and still works, to generate aesthetic value and maintain aesthetic standards as nothing else in our specializing culture has over the last hundred-odd years.But this logic has also worked to exclude the decorative — the decorative insofar as it functions solely as decoration. It's as though aesthetic value, quality, could be preserved only by concentrating on "absolute" or "autonomous" art: thus on visual art — including even architecture — that held and moved and stirred the beholder as sheer decoration could not. Decoration is asked to be "merely" pleasing, "merely" embellishing, and the "functional" logic of Modernism leaves no room, apparently, for such "mereness.”

Clement Greenberg (1909–1994) American writer and artist

This is part of the pity of Modernism, one of the sacrifices it enjoins.... "Detached Observations" http://www.sharecom.ca/greenberg/detached.html, Arts Magazine (December 1976) 1970s

Art, Music, Imagination, Idea

“Most of the time you're playing the crazy girl or the stripper - always the stripper! I mean, how many strippers can I play. I can do a lap dance phenomenally, and that's not a good sign, because I'm not a stripper.”

Diora Baird (1983) American actress and model

About her roles; in Stuff magazine, reprinted in October 23, 2006 New York Post, p. 6.

Girl, Time

“The folksong collectors Bartok (Hungary) and Plicka (Czechoslovakia) notated the perceived interval deviations with a plus or minus sign (+,-). Older folksong collectors had notated all the intervals in the system of semitones, not observing the finer modifications of intervals. This first gained currency from the phongraph and tape recordings of folk music from various lands…. From folksong I learned to perceive melodic intervals a little smaller or greater than those of the semitone-system…. In my youth it often happened that the folk singers, who during the intermissions of dance festivals sang songs of "their kind," deviating from the semitone system, demanded that the first violinist of the Wisowitzer Kapelle play "their" melody just as they sang it. Once a tempermental singer threatened to strike the double-bass player with a beer mug if he didn't "play along" with the song, exactly as he sang it.”

Alois Hába (1893–1973) Czech music educator and composer

Mein Weg zur Viertel- und Sechsteltonmusik (1971) Düsseldorf: Verlag der Gesellschaft zur Förderung der systematische Musikwissenschaft, 12, 14; translated by and printed in Modernism and Music: An Anthology of Sources(2004) by Daniel Albright ISBN 0226012670 .

Youth, Music, Beer, Learning

“How shall I tell what I saw? The towers are not all broken — here and there one still stands, like a great tree in a forest, and the birds nest high. But the towers themselves look blind, for the gods are gone. I saw a fishhawk, catching fish in the river. I saw a little dance of white butterflies over a great heap of broken stones and columns. I went there and looked about me — there was a carved stone with cut — letters, broken in half. I can read letters but I could not understand these. They said UBTREAS. There was also the shattered image of a man or a god. It had been made of white stone and he wore his hair tied back like a woman's. His name was ASHING, as I read on the cracked half of a stone. I thought it wise to pray to ASHING, though I do not know that god.”

Stephen Vincent Benét book By the Waters of Babylon

Source: By the Waters of Babylon (1937)

God, Understanding, Bird, Fish

“The Ainu, with their improvisational style of both composing music and dancing, greatly influenced me. I became very different from the other music students, who had been raised with European pieces, because of this. They had been taught that composition is very difficult, but to me, it seemed relatively easy because of the freedom allowed for by the improvisational style of the Ainu.”

Akira Ifukube (1914–2006) Japanese composer

As quoted by David Milner, "Akira Ifukube Interview I" http://www.davmil.org/www.kaijuconversations.com/ifukub.htm, Kaiju Conversations (December 1992)

Music, Freedom

“In televisionland we are all sophisticated enough now to realize that every statistic has an equal and opposite statistic somewhere in the universe. It is not a candidate's favorite statistic per se that engages us, but the assurance with which he can use it.
We are testing the candidates for self-confidence, for "Presidentiality" in statistical bombardment. It doesn't really matter if their statistics be homemade. What settles the business is the cool with which they are dropped.
And so, as the second half hour treads the decimaled path toward the third hour, we become aware of being locked in a tacit conspiracy with the candidates. We know their statistics go to nothing of importance, and they know we know, and we know they know we know.
There is total but unspoken agreement that the "debate," the arguments which are being mustered here, are of only the slightest importance.
As in some primitive ritual, we all agree — candidates and onlookers — to pretend we are involved in a debate, although the real exercise is a test of style and manners. Which of the competitors can better execute the intricate maneuvers prescribed by a largely irrelevant ritual?
This accounts for the curious lack of passion in both performers. Even when Ford accuses Carter of inconsistency, it is done in a flat, emotionless, game-playing style. The delivery has the tuneless ring of an old press release from the Republican National Committee. Just so, when Carter has an opportunity to set pulses pounding by denouncing the Nixon pardon, he dances delicately around the invitation like a maiden skirting a bog.
We judge that both men judge us to be drained of desire for passion in public life, to be looking for Presidents who are cool and noninflammable. They present themselves as passionless technocrats using an English singularly devoid of poetry, metaphor and even coherent forthright declaration.
Caught up in the conspiracy, we watch their coolness with fine technical understanding and, in the final half hour, begin asking each other for technical judgments. How well is Carter exploiting the event to improve our image of him? Is Ford's television manner sufficiently self-confident to make us sense him as "Presidential"?
It is quite extraordinary. Here we are, fully aware that we are being manipulated by image projectionists, yet happily asking ourselves how obligingly we are submitting to the manipulation. It is as though a rat running a maze were more interested in the psychologist's charts on his behavior than in getting the cheese at the goal line.”

Russell Baker (1925–2019) writer and satirst from the United States

"And All of Us So Cool" (p.340)
There's a Country in My Cellar (1990)

Life, Men, Behavior, Exercises

“An infernal storm-cloud of feathers, wings, and screeches flew up, in the midst of which, Adela, looking like a furious mænad, half-obscured by the spinning of her thyrsus, danced a dance of destruction.”

Bruno Schulz (1892–1942) Polish novelist and painter

“The Birds” http://www.schulzian.net/translation/shops/birds.htm His father, Adela (the domestic servant)

“It was one of those nights when the sky came down and wrapped itself around the world. The rain clawed at the windows of the bar like an angry cat and tried to sneak in every time some drunk lurched in the door. The place reeked of stale beer and soggy men with enough cheap perfume thrown in to make you sick.
Two drunks with a nickel between them were arguing over what to play on the juke box until a tomato in a dress that was too tight a year ago pushed the key that started off something noisy and hot. One of the drunks wanted to dance and she gave him a shove. So he danced with the other drunk.
She saw me sitting there with my stool tipped back against the cigarette machine and change of a fin on the bar, decided I could afford a wet evening for two and walked over with her hips waving hello.”

Mickey Spillane book The Big Kill

The Big Kill (1951)

Men, World, Cats, Beer

“Dance on, dance on, we see, we see
Youth goes, alack, and with it glee,
A boy the old man ne’er can be;
Maternal thirty scarce can find
The sweet sixteen long left behind.”

Arthur Hugh Clough (1819–1861) English poet

Youth and Age http://whitewolf.newcastle.edu.au/words/authors/C/CloughArthurHugh/verse/poemsproseremains/youthage.html, st. 1.

Youth, Boy, Maternity

“I think he Pollock responded to rhythm more than anything else in art. Indeed, perhaps it is not to much to assert that his greatest works are marked by the intensity and violence of his rhythm, modified by an incorruptible respect for the work's flat surface, an art masculine and lyrical and, as in a Celtic dance, measured, despite its original primitive impulse. That he also meant to me, his rhythm…”

Robert Motherwell (1915–1991) American artist

'Jackson Pollock: An Artists' Symposium', in 'ARTnews', Vol. 66, no. 2 April 1967
1960s

Art, Thinking

“Come on, take me to the Mardi Gras,
Where the people sing and play,
Where the music is elite and there's dancing in the street,
Both night and day.”

Paul Simon (1941) American musician, songwriter and producer

Take Me To The Mardi Gras
Song lyrics, There Goes Rhymin' Simon (1973)

People, Music, Singing, Night

“Mary kept the belt of love, and oh, but she was gay!
She danced a jig, she sung a song that took my heart away.”

William Allingham (1824–1889) Irish man of letters and poet

Lovely Mary Donnelly; reported in Bartlett's Familiar Quotations, 10th ed. (1919).

Love, Heart

“Four handsome, naked, female dancers separate themselves from the crowd in Prospero's cloak… and they dance. From now on -- they become Prospero's dancers -- they mark out a four-figured symmetrical space around him -- dancing in perfect unison -- a strange, prancing, high-stepping, complicated, frankly sensuous dance -- danced with great firmness and confidence -- their eroticism is aimed only at themselves -- no mincing or quarter given -- their erotic confidence is demonstrative and challenging.”

Peter Greenaway (1942) British film director

Prospero's Books

Confidence, Perfection

“But first I was made to learn music, because music and dance go together. You can sing, but you can’t dance without music…”

Vyjayanthimala (1936) Indian actress, politician & dancer

In "There's no slowing down for Vyjayanthimala."

Music, Learning, Singing

“Whether what you manage is a business, hospital, university department, government agency or even a symphony orchestra or dancing school, we suspect you will find it advisable to try to prepare ahead for what might happen in the future.”

Simon Ramo (1913–2016) Father of the ICBM

Simon Ramo, Ronald Sugar, : A Structured Approach to Shaping the Future of Your Business. (2009), p. 8

School, Business, Universe, Future

“Oh Carol, don't let him steal your heart away
I'm gonna learn to dance if it takes me all night and day”

Chuck Berry (1926–2017) American rock-and-roll musician

"Carol" (1958)
Song lyrics

Learning, Heart, Night

“The main difference between decapitations in Syria and Mexico is that Mexicans also behead women, children, and innocent bystanders. In addition to pioneering videotaped beheadings, Mexicans specialize in corpse desecration, burning people alive, rolling human heads onto packed nightclub dance floors, dissolving bodies in acid, and hanging mutilated bodies from bridges. Why are the media obsessed with ISIS’s beheadings but not the more frequent head-chopping right next door?”

Ann Coulter (1961) author, political commentator

2015, Adios, America: The Left's Plan to Turn Our Country into a Third World Hellhole (2015)

Women, Children, People

“The man who tells the tale if he has a tale worth telling will know exactly what he is about and this business of the artist as a sort of starry-eyed inspired creature, dancing along, with his feet two or three feet above the surface of the earth, not really knowing what sort of prints he's leaving behind him, is nothing like the truth.”

William Golding (1911–1993) British novelist, poet, playwright and Nobel Prize for Literature laureate

Interview with Frank Kermode, BBC Third Programme (28 April 1959)

Truth, Business

“I saw every performance Nijinsky danced in New York, and I see every baseball game I can get to. You watch a good second baseman digging for a badly thrown ball without letting his foot leave base and it's the same beautiful impossibility as a good pas de deux in Swan Lake.”

Rex Stout (1886–1975) American writer

Life, "Author Rex Stout vs. the F.B.I."

Beauty, Game

“As I twirled, cha-cha-ed and clapped my hands to the beat, I began to remember, for the first time in a long time, those moments I used to steal as a kid, dancing alone in my room with headphones on. Those fleeting moments when what I looked like didn’t matter, only what I felt. Only this time, I wasn’t a child anymore. There was no one who could burst in unannounced, laugh at me, punish me, force me to stop. I felt so free, so beautiful, in a way I had written off as impossible for me long ago. … My inner dancer began to emerge from the deep pit where I had kept her all this time. I found the girlhood I was never allowed.”

Kai Cheng Thom (1991) writer

What I learned, loved and lost as a trans Zumba addict (2018)

Beauty, Way, Time

“Since ever and ever the world began
They danced like a ribbon of flame,
They have sung their song through the centuries long,
And yet it is never the same.
And though you be foolish or though you be wise,
With hair of silver or gold,
You can never be as young as the fairies are,
And never be as old.”

Rose Fyleman (1877–1957) British writer

The Fairies

World

“Faith is more basic than language or theology. Faith is the response to something which is calling us from the timeless part of our reality. Faith may be encouraged by what has happened in the past, or what is thought to have happened in the past, but the only proof of it is in the future. Scriptures and creeds may come to seem incredible, but faith will still go dancing on. Even though (because it rejects a doctrine) it is now described as "doubt."”

Sydney Carter (1915–2004) British musician and poet

This, I believe, is the kind of faith that Christ commended.
Obituary in The Independent (17 March 2001)

Faith, Reality, Past, Future

“And we danced all night to a soul fairy band.
And she kissed me just right like only a lonely angel can.
She felt just right just like as sweet as a spirit in the night.
In the night baby don't know what she do to you?
Spirits in the night, in the night.
Stand up now and let her shoot right through you.”

Bruce Springsteen (1949) American singer and songwriter

"Spirit in the Night"
Song lyrics, Greetings from Asbury Park, N.J. (1973)

Angels, Soul, Kiss, Baby

“Nature, exerting an unwearied power,
Forms, opens, and gives scent to every flower;
Spreads the fresh verdure of the field, and leads
The dancing Naiads through the dewy meads.”

William Cowper (1731–1800) (1731–1800) English poet and hymnodist

Source: Table Talk (1782), Line 690.

Flowers, Nature

“I like to see you boogie right across the floor,
I'd like to do it to you 'til you howl for more,
I like to reggae, but you dance too fast for me,
I'd like to make love to you so you can make me scream.”

Stevie Wonder (1950) American musician

Boogie On Reggae Woman
Song lyrics, Fulfillingness' First Finale (1974)

Love, Making love

“Now the great thing about the current Britney (Spears) tour, is that it has a lot of fantastic dancing… and she doesn't get bogged down in any…. ahm…singing!”

Kathy Griffin (1960) American actress and comedian

Balls of Steel (2009)

Singing

“I want my street to be crazy, I want my avenues, shops and buildings, to enter into a crazy dance, and this is why I deform and distort their outlines and colours. However I always come up against the same difficulty, that if all the elements were one by one deformed and distorted excessively, if in the end nothing remained of their real outlines, I would have totally effaced the location that I intended to suggest, that I wished to transform.”

Jean Dubuffet book Prospectus et tous écrits suivants

Source: 1960-70's, Prospectus et tous écrits suivants, 1967, p. 483

“It was great mixing dance beats with the choir. The reaction of the classically trained choir when asked to sing on top of dance beats was great.”

Jesper Kyd (1972) musician

Recording the score for Freedom Fighters, BSOSpirit interview

Singing, Training

“A bat is born
Naked and blind and pale.
His mother makes a pocket of her tail
And catches him. He clings to her long fur
By his thumbs and toes and teeth.
And then the mother dances through the night
Doubling and looping, soaring, somersaulting —
Her baby hangs on underneath.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

"A bat is born," lines 1-31; reprinted as "Bats" in The Lost World (1965)
The Bat-Poet (1964)

Baby, Night

“He is Karna, whom the world has abandoned. Karna Alone. Condemned goods. A prince raised in poverty. Born to die unfairly, unarmed and alone at the hands of his brother. Majestic in his complete despair. Praying on the banks of the Ganga. Stoned out of his skull.
Then Kunti appeared. She too was a man, but a man grown soft and womanly, a man with breasts, from doing female parts for years. Her movements were fluid. Full of women. Kunti, too, was stoned. High on the same shared joints. She had come to tell Karna a story.
Karna inclined his beautiful head and listened.
Red-eyed, Kunti danced for him. She told him of a young woman who had been granted a boon. A secret mantra that she could use to choose a lover from among the gods. Of how, with the imprudence of youth, the woman decided to test it to see if it really worked. How she stood alone in an empty field, turned her face to the heavens and recited the mantra. The words had scarcely left her foolish lips, Kunti said, when Surya, the God of Day, appeared before her. The young woman, bewitched by the beauty of the shimmering young god, gave herself to him. Nine months later she bore him a son. The baby was born sheathed in light, with gold earrings in his ears and a gold breastplate on his chest, engraved with the emblem of the sun.
The young mother loved her first-born son deeply, Kunti said, but she was unmarried and couldn't keep him. She put him in a reed basket and cast him away in a river. The child was found downriver by Adhirata, a charioteer. And named Karna.
Karna looked up to Kunti. Who was she? Who was my mother? Tell me where she is. Take me to her.
Kunti bowed her head. She's here, she said. Standing before you.
Karna's elation and anger at the revelation. His dance of confusion and despair. Where were you, he asked her, when I needed you the most? Did you ever hold me in your arms? Did you feed me? Did you ever look for me? Did you wonder where I might be?
In reply Kunti took the regal face in her hands, green the face, red the eyes, and kissed him on his brow. Karna shuddered in delight. A warrior reduced to infancy. The ecstasy of that kiss. He dispatched it to the ends of his body. To his toes. His fingertips. His lovely mother's kiss. Did you know how much I missed you? Rahel could see it coursing through his veins, as clearly as an egg travelling down an ostrich's neck.
A travelling kiss whose journey was cut short by dismay when Karna realised that his mother had revealed herself to him only to secure the safety of her five other, more beloved sons - the Pandavas - poised on the brink of their epic battle with their one hundred cousins. It is them that Kunti sought to protect by announcing to Karna that she was his mother. She had a promise to extract.
She invoked the Love Laws.”

Arundhati Roy book The God of Small Things

pages 232-233.
The God of Small Things (1997)

Love, Women, God, Secret

“In point of substantial merit the law school belongs in the modern university no more than a school of fencing or dancing.”

Thorstein Veblen (1857–1929) American academic

Veblen (1918) The Higher Learning in America. p. 155

School, Law, Universe

“The bottom line is more tax money is going to be needed. Just how much will be the primary issue on the agenda when Congressional leaders meet with the President later today, Wednesday, May the 9th, 1990. And good morning, welcome to Today. It’s a Wednesday morning, a day when the budget picture, frankly, seems gloomier than ever. It now seems the time has come to pay the fiddler for our costly dance of the Reagan years.”

Bryant Gumbel (1948) American sportscaster

Leading off Today, May 9, 1990 Real Video http://www.mediaresearch.org/rm/projects/99/Gumbel2/segment1.ram

Money, Time

“Our patron has always sort of danced upon the notion that austerity and piety go hand in hand; down here, we show our appreciation for things by appreciating, if you get me.”

Scott Lynch The Lies of Locke Lamora

Interlude “Locke Stays for Dinner” section 2 (p. 132)
The Lies of Locke Lamora (2006)

“I want to turn the whole thing upside down.
I’ll find the things they say just can’t be found.
I’ll share this love I find with everyone.
We’ll sing and dance to mother nature’s songs.
I don’t want this feeling to go away.”

Jack Johnson (musician) (1975) American musician

Upside Down.
Song lyrics, Sing-A-Longs and Lullabies for the Film Curious George (2006)

Love, Feeling, Nature, Singing

“We all observe that the reality of sexual intercourse is far from perfect; yet this does not convince us that sex is a greatly overrated occupation. Every time a man glimpses a pretty girl pulling up her stocking, he catches a glimpse of what might be called the "primal sexual vision." It is unfortunate that there seems to be a certain disparity between this primal vision and most ordinary sexual experience. But it dances in front of us like a will-o'-the-wisp, luring us into tormented effort. It can lead novelists to write novels, poets to write poems, and musicians to write symphonies.”

Colin Wilson book The Misfits: A Study of Sexual Outsiders

Source: The Misfits: A Study of Sexual Outsiders (1988), p. 39

Sex, Girl, Reality, Effort

“Cage took it to work in his way of making compositions then; and he used the idea of 64—the number of the hexagrams —to say that you had 64, for example, sounds; then you could cast, by chance, to find which sound first appeared, cast again, to say which sound came second, cast again, so that it's done by, in that sense, chance operations. Instead of finding out what you think should follow—say a particular sound—what did the I Ching suggest? Well, I took this also for dance.”

Merce Cunningham (1919–2009) American dancer

Merce Cunningham, A Lifetime of Dance, 2000

Way, Idea, Thinking, Sense

“Once after a dinner party, Gregory Peck and I drove Fred Astaire home. Fred lived in a colonial house that had a long porch with many pillars. When we dropped him off, he danced along the whole front porch, then opened the door, tipped his hat to us, and disappeared. Wow! Greg and I couldn't speak for a few minutes. It was a beautiful way to say thank you.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Kirk Douglas in Douglas, Kirk. Let's Face It. Wiley, 2007. ISBN 9780470084694, p. 26.

Beauty, Way, Home, Housing

“Dancing begets warmth, which is the parent of wantonness. It is, Sir, the great grandfather of cuckoldom.”

Henry Fielding Love in Several Masques

Act III, sc. vii
Love in Several Masques (1728)

Parent

“The earliest achievement of this (of equality and the restriction on the powers of the constitutionally mandated magistrates), the most ancient opposition in Rome, consisted in the abolition of the life-tenure of the presidency of the community; in other words, in the abolition of the monarchy… Not only in Rome (but all over the Italian peninsula) … we find the rulers for life of an earlier epoch superseded in after times by annual magistrates. In this light the reasons which led to the substitution of the consuls for kings in Rome need no explanation. The organism of the ancient Greek and Italian polity through its own action and by a sort of natural necessity produced the limitation of the life-presidency to a shortened, and for the most part an annual, term… Simple, however, as was the cause of the change, it might be brought about in various ways, resolution (of the community),.. or the rule might voluntarily abdicate; or the people might rise in rebellion against a tyrannical ruler, and expel him. It was in this latter way that the monarchy was terminated in Rome. For however much the history of the expulsion of the last Tarquinius, "the proud", may have been interwoven with anecdotes and spun out into a romance, it is not in its leading outlines to be called in question. Tradition credibly enough indicates as the causes of the revolt, that the king neglected to consult the senate and to complete its numbers; that he pronounced sentences of capital punishment and confiscation without advising with his counsellors(sic); that he accumulated immense stores of grain in his granaries, and exacted from the burgesses military labours and task-work beyond what was due… we are (in light of the ignorance of historical facts around the abolition of the monarchy) fortunately in possession of a clearer light as to the nature of the change which was made in the constitution (after the expulsion of the monarchy). The royal power was by no means abolished, as is shown by the fact that, when a vacancy occurred, a "temporary king" (Interrex) was nominated as before. The one life-king was simply replaced by two [one year] kings, who called themselves generals (praetores), or judges…, or merely colleagues (Consuls) [literally, "Those who leap or dance together"]. The collegiate principle, from which this last - and subsequently most current - name of the annual kings was derived, assumed in their case an altogether peculiar form. The supreme power was not entrusted to the two magistrates conjointly, but each consul possessed and exercised it for himself as fully and wholly as it had been possessed and exercised by the king; and, although a partition of functions doubtless took place from the first - the one consul for instance undertaking the command of the army, and the other the administration of justice - that partition was by no means binding, and each of the colleagues was legally at liberty to interfere at any time in the province of the other.”

Theodor Mommsen (1817–1903) German classical scholar, historian, jurist, journalist, politician, archaeologist and writer

Vol. 1, Book II , Chapter 1. "Change of the Constitution" Translated by W.P. Dickson
The History of Rome - Volume 1

Life, People, Justice, Way

“Well, every one for himself, and Providence for us all--as the elephant said when he danced among the chickens.”

Charles Dickens (1812–1870) English writer and social critic and a Journalist

Charles Reade, A Simpleton (1873)
Misattributed

“Many people have said many things. I can only say I did not consciously go after dance. It found me.”

Rukmini Devi Arundale (1904–1986) Indian Bharatnatyam dancer

Quotations by 60 Greatest Indians, 1 December 2013, Dhirubhai Ambani Institute of Information and Communication Technology http://resourcecentre.daiict.ac.in/eresources/iresources/quotations.html,

People

“Amid whose swift half-intermitted burst
Huge fragments vaulted like rebounding hail,
Or chaffy grain beneath the thresher's flail :
And 'mid these dancing rocks at once and ever
It flung up momently the sacred river.”

Samuel Taylor Coleridge Kubla Khan

Kubla Khan (1797 or 1798)

“When I was younger, I got into a lot of trouble. Getting the opportunity to dance really got me out of that.”

Danny Tidwell (1984) American dancer

Kourlas, Gia (July 11, 2007). "So He Knows He Can Dance: A Prince Among Paupers" http://www.nytimes.com/2007/07/11/arts/dance/11tidw.html?ex=1341892800&en=c1d5f7826893ae94&ei=5124&partner=permalink&exprod=permalink The New York Times Retrieved August 17, 2007.

“The music ends. The screen grows dark. We hurry
To go our devious secret ways, forgetting
Those many lives... We loved, we laughed, we killed,
We danced in fire, we drowned in a whirl of sea-waves.
The flutes are stilled, and a thousand dreams are stilled.”

Conrad Aiken (1889–1973) American novelist and poet

The House of Dust (1916 - 1917)

Love, Secret, Dreams, Music

“Hitler made a film about "Hitler gives a camp to the Jews". And they look all shiny. And they're drawing. And they're playing volleyball. And people are dancing. And people are having a wonderful time. And everybody fell for it.”

Maurice Sendak (1928–2012) American illustrator and writer of children's books

NOW interview (2004)

People, Time, Drawing

“The congress of Vienna does not walk, but it dances.”

Charles-Joseph, 7th Prince of Ligne (1735–1814) Prince of Ligne

Le congrès ne marche pas, il danse.
Reported in the Edinburgh Review, July 1890, p. 244, which praised it as part of "[o]ne of the Prince de Ligne's speeches that will last forever".

“Dancing is an important function of music, but so is crying.”

Katie Melua (1984) British singer-songwriter

[Jasper Gerard, Me and my motors, http://driving.timesonline.co.uk/tol/life_and_style/driving/features/article522083.ece, The Sunday Times, 2005-05-19]

Music, Cry

“It's an updated version of what's being talked about or danced to today but still with my classic grit to it. Good part about it is the 1990s are back so this was da best time to do it. A lot of artist samplin' Three 6 now, our music was before its time.”

DJ Paul (1977) American rapper and record producer

Interview with DJ Paul – Stream DJ Paul Kom's 'Undergroud, Vol. 17 – For da Summa Album http://www.xxlmag.com/news/2017/09/dj-paul-underground-vol-17-for-da-summa-album/

Music, Time, Parting

“Debussy was behind me when we played L'après-midi d'un faune because he did not want anything in his score to be changed on account of the dancing. And when we came to a forte, he said 'Monteux, that is a forte, play forte'. He did not want anything shimmering. And he wanted everything exactly in time.”

Pierre Monteux (1875–1964) French conductor

Quoted in Nichols, Roger (1992). Debussy Remembered. London: Faber. , p. 186

Change, Time

“Trochu's Vianney book makes me shudder. Positively frightening - and the saint too. The first time I read it I was quite horrified…Actually he is a second Simeon Stylites - and how hard and stern he is - and not only against himself: he would excommunicate his parishioners if they even once went dancing or drinking - like the most rigorous Puritan.. For him sin involved personal, direct single combat with Satan…But there's no glove to Vianney's peasant fist. He's really gruesome.”

Ida Friederike Görres (1901–1971) Austrian writer and noble

Broken Lights Letters 1951-59.

Books, Drink, Time, Reading

“Photography has become almost as widely practiced an amusement as sex and dancing.”

Susan Sontag book On Photography

In Plato's Cave, p. 8 http://books.google.com/books?id=B8DktTyeRNkC&q=%22Photography+has+become+almost+as+widely+practiced+an+amusement+as+sex+and+dancing%22&pg=PA8#v=onepage Previously published as Photography http://www.nybooks.com/articles/archives/1973/oct/18/photography/ in The New York Review of Books, 18 October 1973 On Photography (1977)

Sex

“Let's dance for fear your grace should fall
Let's dance for fear tonight is all”

David Bowie (1947–2016) British musician, actor, record producer and arranger

Let's Dance
Song lyrics, Let's Dance (1983)

Fear

“Almost no one dances sober, unless he is insane.”
Nemo enim fere saltat sobrius, nisi forte insanit.

Marcus Tullius Cicero book Pro Murena

Pro Murena (Chapter VI, sec. 13)

“We're gonna be laughing about this
We're gonna be dancing around
It's gonna be so good now.”

Kate Bush (1958) British recording artist; singer, songwriter, musician and record producer

Song lyrics, Aerial (2005), A Sky of Honey (Disc 2)

“I am proud to be part of today's Bollywood. I love dancing and lip synching to our songs.”

Preity Zinta (1975) film actress

Famous quotes

Love, Parting

“My derring-do allows me to
Dance the rigadoon around you.
But by the time I'm close to you,
I lose my desideratum and now you.”

Fiona Apple (1977) singer-songwriter, musician

To Your Love
Song lyrics, When the Pawn… (1999)

Time

“Lighter than a cork I danced on the waves.”

Arthur Rimbaud (1854–1891) French Decadent and Symbolist poet

Plus léger qu'un bouchon j'ai dansé sur les flots. St. 4 Le Bateau Ivre http://www.mag4.net/Rimbaud/poesies/Boat.html (The Drunken Boat) (1871)

“Let's dance — put on your red shoes and dance the blues.
Let's dance — to the song they're playin' on the radio.
Let's sway — while colour lights up your face.
Let's swa —, sway through the crowd to an empty space.”

David Bowie (1947–2016) British musician, actor, record producer and arranger

Let's Dance — Video at YouTube http://www.youtube.com/watch?v=NelPivNLPZ8 Song lyrics, Let's Dance (1983)

Shoe, Light

“On Christmas night, I danced with all kinds of fellows with pimples and all kinds of sores. I suddenly felt, ‘What is this being shy? I have to give myself, I just felt I didn't want to be shy, I didn't want to draw away, but give myself, I mean, not physically, but be there. It was a great lesson also for me, this tour through Africa and Italy during the war.”

Luise Rainer (1910–2014) German-born Austrian and American film actress

Being on Ascension Island in 1944 Article in Movie Maker http://www.moviemaker.com/directing/article/luise_rainer_3324/

War, Christmas, Drawing, Night

“Such was Gods Poem, this Worlds new Essay;
So wild and rude in its first draught it lay;
Th' ungovern'd parts no Correspondence knew,
An artless war from thwarting Motions grew;
Till they to Number and fixt Rules were brought
By the eternal Minds Poetique Thought.
Water and Air he for the Tenor chose,
Earth made the Base, the Treble Flame arose,
To th' active Moon a quick brisk stroke he gave,
To Saturns string a touch more soft and grave.
The motions Strait, and Round, and Swift, and Slow,
And Short, and Long, were mixt and woven so,
Did in such artful Figures smoothly fall,
As made this decent measur'd Dance of All.”

Abraham Cowley (1618–1667) British writer

Book I, lines 451-464
Davideis (1656)

God, War, World, Art

“Hail! great incendiary poets, you Futurist friends!.. Hail! Paolo Buzzi, Federico de Maria, Enrico Cavacchioli, Corrado Govoni, Libero Altomare! Let's flee the city of Paralysis, devastate Gout, and lay the great military Railroad along the flanks of Gorisankar, summit of the world!
We left the city with firm and nimble strides, as if dancing in our desire to find everywhere obstacles to overcome. Around us, and within our hearts, the immense intoxication of the old European sun as it swayed between wine-colored clouds... That sun struck us in the face with its great torch of flaming purple, then flared out, vomiting itself into the infinite.”

Filippo Tommaso Marinetti (1876–1944) Italian poet and editor, founder of the Futurist movement

1900's, Let's Murder the Moonlight!' (1909)
Source: Poggi, Christine, and Laura Wittman, eds. Futurism: An Anthology. Yale University Press, 2009. p. 54: Lead paragraph

World, Color, Wine, Sun

“Jewish folk music has made a most powerful impression on me. I never tire of delighting in it, it's multifaceted, it can appear to be happy while it is tragic. It's almost always laughter through tears. This quality of Jewish folk music is close to my ideas of what music should be. There should always be two layers in music. Jews were tormented for so long that they learned to hide their despair. They express despair in dance music.”

Dmitri Shostakovich book Testimony

Page 156
Testimony (1979)

Happiness, Music, Idea, Tear

“The dance of the peacock attracts not only the peahen but also the human.”

Subhash Kak (1947) Indian computer scientist

The Loom of Time (2016)

“As a sunbeam quivers upon the walls of a house when flung up from water, which is just poured forth in a caldron or a pail may be; and hither and thither on the swift eddy does it dart and dance along.”

Apollonius of Rhodes book Argonautica

Source: Argonautica (3rd century BC), Book III. Jason and Medea, Lines 756–759 (tr. R. C. Seaton)

Water, Housing

“Literature, the strange entity so called,—that indeed is here. If Literature continue to be the haven of expatriated spiritualisms, and have its Johnsons, Goethes and true Archbishops of the World, to show for itself as heretofore, there may be hope in Literature. If Literature dwindle, as is probable, into mere merry-andrewism, windy twaddle, and feats of spiritual legerdemain, analogous to rope-dancing, opera-dancing, and street-fiddling with a hat carried round for halfpence, or for guineas, there will be no hope in Literature.”

Thomas Carlyle (1795–1881) Scottish philosopher, satirical writer, essayist, historian and teacher

1850s, Latter-Day Pamphlets (1850), The New Downing Street (April 15, 1850)

World, Hope, Literature

“Dolphins, unlike us, do not have manual skills, but their dances, jumps, are perhaps the equivalent of our ballet. Sounds, like music in the Orthodox Church – without musical instruments – are probably their songs, by which they are holding long discourses. It is a semantically organized signal system.”

Jerzy Vetulani (1936–2017) Polish scientist

Vetulani, Jerzy (6 December 2009): W każdym z nas tkwi mr Hyde https://nto.pl/profesor-jerzy-vetulani-w-kazdym-z-nas-tkwi-mr-hyde/ar/4135849, interview. Nowa Trybuna Opolska (in Polish).

Music

“As a poet I hold the most archaic values on earth. They go back to the upper Paleolithic: the fertility of the soil, the magic of animals, the power-vision in solitude, the terrifying initiation and rebirth, the love and ecstasy of the dance, the common work of the tribe. I try to hold both history and wilderness in mind, that my poems may approach the true measure of things and stand against the unbalance and ignorance of our times.”

Gary Snyder (1930) American poet

"Statement for the Paterson Society" (1961), as quoted in David Kherdian, Six Poets of the San Francisco Renaissance: Portraits and Checklists (1967), p. 52. Snyder repeated the first part of this quote (up to "… common work of the tribe.") in the introduction to the revised edition of Gary Snyder, Myths & Texts (1978), p. viii.

Love, History, Solitude, Time

“[While her father was a political prisoner in Cuba] I was always singing and dancing and reciting poems -- that was how I used to do my crying over my father. There were a lot of negotiations between the US and Cuban governments over the next couple of years [1961 - 1963]. [Castro proposed an exchange of prisoners for food, medicine and building machinery], and eventually my dad was released. It was wonderful to have him home -- it was probably the happiest time in my life. For once, the whole family was together, living a normal life. That was when my sister, Becky, was born [1964], and it was also when I started guitar lessons. I would lock myself away in my room for days, learning how to play. Even then I was beginning to work out that music was a way to cut throught all the BS.”

Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada

he [London] Sunday Times (November 17, 2006)
2007, 2008

Life, Family, Food, Music

“A man who wants to find out who he really is should try watching the woman he loves as she dances the tango with a maestro.”

Ernesto Sábato (1911–2011) Argentine writer, painter and physicist

Ernesto Sábato in: Clive James, Cultural Amnesia: Notes in the Margin of My Time, (2007)

Love

“It seemed that fundamental physics was stuck. The particle physicists were smashing particles into each other with ever increasing force, trying to figure out how many quarks could dance on the head of a pin. The cosmologists were working with very few facts… on what seemed to me to be mainly religious grounds. And most of physics was still focused on pushing and pulling, on the material properties… rather than on its informational properties. …those that relate to order and disorder.”

J. Doyne Farmer (1952) American physicist and entrepreneur (b.1952)

The Third Culture: Beyond the Scientific Revolution (1995)

“Ruling Yemen is hard. I always say it’s like dancing on the heads of snakes”

Ali Abdullah Saleh (1947–2017) President of North Yemen from 1978 to 1990; President of Yemen from 1990 to 2011

The Man Who Danced on the Heads of Snakes Dec 2017) https://www.nytimes.com/2017/12/07/opinion/sunday/yemen-saleh-death-legacy.html

“The initial inspiration for me to take up dancing came from seeing performances of Gauri Ammal when I was very young. If this lady had not brought the dance to such a stage of development, the combination of music and dance that I have attempted to realize would not have been possible.”

Balasaraswati (1918–1984) Indian dancer

Quoted in "Balasaraswati: Her Art and Life", pp=25-26
Quote

Music

“I can be. I do not normally try to be. In fact, there have been some reviews—which I’ve loved—that said I didn't try to sell my show on sex, that I sang my show. On the other hand, I know I'm cute. I can dance. I don't have a bad figure. I know exactly what I am. I'm certainly no great beauty. I know exactly how far I can go.”

Stevie Nicks (1948) American singer and songwriter, member of Fleetwood Mac

when asked "Do you think you're sexy?") "20 Questions", Playboy, Vol. 29, No. 7 (July 1982

Love, Beauty, Sex

“When we come before the school board, most often we do not face those interested in the education of our children, but those interested in the maintenance of power. These contests are war. Any other paradigm is an illusion. It is not a mere contest, like athletes plunging down the hill on skis for the fastest time. It is not a dance in which the most graceful will be rewarded with a medal. This is war. Once we understand that the struggle is war, we can wage war and win.
The key to winning any war is to control the war. This does not mean I seek to control my opponent.”

Gerry Spence (1929) American lawyer

Source: How to Argue and Win Every Time (1995), Ch. 12 The Unbeatable Power Argument : Delivering the Knockout p. 196

War, Children, Education, School

“Dance, in general, has become more atavistic than artistic.”

Ilana Mercer South African writer

"Hollywood: The No-Good, The Bad And The Beastly" http://www.economicpolicyjournal.com/2014/03/hollywood-no-good-bad-and-beastly.html Economic Policy Journal, March 7, 2014. 2010s, 2014

“Charlie interrupts impatiently, "Pain is where it's at for punks. Mutilation, self-hatred, slam dancing. For these kids today, ugly is beautiful. That's their way of saying what a lousy world we're giving them. No more rain forests. Toxic waste. You know the drill."”

John Updike book Rabbit at Rest

Rabbit at Rest (1990)

Pain, World, Beauty, Way

“The only thing that it has helped with when I do acting is that dance brings about a discipline. But the skills are totally different. You use your body to express to convey what you would like to communicate. Acting it is conveying a story through dialogue, the emotions are what is needed to come through.”

Femi Taylor British writer

TW talks to the beautiful and super talented Femi Taylor, Oola from Return of the Jedi http://www.thetimewarriors.co.uk/blog/?p=21797 (October 28, 2013)

Communication, Help

“Love is also disquiet, the brooding pleasures of doubt, midnights wasted by speculation, the frantic dance round the significance of the last thing she said, the need to see her to have life confirmed.”

Laurie Lee (1914–1997) British writer

Love, p. 57.
I Can't Stay Long (1975)

Love, Life, Pleasure

“I need a place where I can shout and weep. I have to be a Spanish savage at some time of the day. I record here the hysteria life causes in me. The overflow of an undisciplined extravagance. To hell with taste and art, with all contractions and polishings. Here I shout, I dance, I weep, I gnash my teeth, I go mad — all by myself, in bad English, in chaos. It will keep me sane for the world and for art.”

Anaïs Nin (1903–1977) writer of novels, short stories, and erotica

Oct. 27, 1933 (writing about her diary)
Diary entries (1914 - 1974)

Life, World, Art, Hell

“For ritual allows those who cannot will themselves out of the secular to perform the spiritual, as dancing allows the tongue-tied man a ceremony of love.”

Andre Dubus (1936–1999) Novelist, short story writer, teacher

A Father's Story.
Selected Stories (1995)

Love

“When yer lonely and you start to hear/The little voices in your head at night/You will only sniff away the tears/So you can dance until the mornings light
And in your head, do you feel what your not supposed to feel?
You need more time / 'Cos your thoughts and words won't last forevermore”

Noel Gallagher (1967) British musician

Sunday Morning Call
Standing on the Shoulder of Giants (2000)

Feeling, Tear, Light, Time

“(talking about The Lord Of The Dance) Have you seen that show? If you have, GET OUT! Get the hell out of my show right now!”

Denis Leary (1957) American actor and comedian

Standup routines, Lock 'n Load (1997)

Hell

“We are just this blessed consciousness, nothing more, nothing less. We are the light inside light that fuses into the atoms of our bodies; we are the fire that whirls across the stellar deeps and dances all things into being.”

David Zindell (1952) American writer

Source: War in Heaven (1998), p. 599
Context: The memory of all things is in all things, Danlo remembered. Nothing is ever truly lost.
"The true Elder Eddas," he said "are universal memories. The One memory is just the memory of the universe itself. The way the universe evolves in conscioiusness of itself and causes itself to be. We are just this blessed consciousness, nothing more, nothing less. We are the light inside light that fuses into the atoms of our bodies; we are the fire that whirls across the stellar deeps and dances all things into being."
"Now you are speaking mystically again, Little Fellow."
"About some things there is no other way to speak."

Light

“I think the reason dance has held such an ageless magic for the world is that it has been the symbol of the performance of living.”

Martha Graham (1894–1991) American dancer and choreographer

I Am A Dancer (1952)

World, Thinking

“I'm dancing in the shadows of life
And death is all around me tonight”

Sophie B. Hawkins (1967) American musician

Whaler (1994), Right Beside You
Context: I'm dancing in the shadows of life
And death is all around me tonight
I miss you making love to me right
Beside myself I'm holding you tight
Someone is waiting for me to rise
And drive into the ocean I cried
And I cried and I cried my baby to sleep
Beside myself my soul to keep Right beside you I see
Right beside you I stay
Right beside you I'll be
Right beside you always.

Life, Death

“And now, by a transition which he did not notice, it seemed that what had begun as speech was turned into sight, or into something that can be remembered only as if it were seeing. He thought he saw the Great Dance.”

Clive Staples Lewis book Perelandra

Perelandra (1943)
Context: And now, by a transition which he did not notice, it seemed that what had begun as speech was turned into sight, or into something that can be remembered only as if it were seeing. He thought he saw the Great Dance. It seemed to be woven out of the intertwining undulation of many cords or bands of light, leaping over and under one another and mutually embraced in arabesques and flower-like subtleties. Each figure as he looked at it became the master-figure or focus of the whole spectacle, by means of which his eye disentangled all else and brought it into unity — only to be itself entangled when he looked to what he had taken for mere marginal decorations and found that there also the same hegemony was claimed, and the claim made good, yet the former pattern thereby disposed but finding in its new subordination a significance greater than that which it had abdicated. He could see also (but the word "seeing" is now plainly inadequate) wherever the ribbons or serpents of light intersected minute corpuscles of momentary brightness: and he knew somehow that these particles were the secular generalities of which history tells — people, institutions, climates of opinion, civilizations, arts, sciences and the like — ephemeral coruscations that piped their short song and vanished. The ribbons or cords themselves, in which millions of corpuscles lived and died, were the things of some different kind. At first he could not say what. But he knew in the end that most of them were individual entities. If so, the time in which the Great Dance proceeds is very unlike time as we know it. Some of the thinner more delicate cords were the beings that we call short lived: flowers and insects, a fruit or a storm of rain, and once (he thought) a wave of the sea. Others were such things we think lasting: crystals, rivers, mountains, or even stars. Far above these in girth and luminosity and flashing with colours form beyond our spectrum were the lines of personal beings, yet as different from one another in splendour as all of them from the previous class. But not all the cords were individuals: some of them were universal truths or universal qualities. It did not surprise him then to find that these and the persons were both cords and both stood together as against the mere atoms of generality which lived and died in the clashing of their streams: But afterwards, when he came back to earth, he wondered. And by now the thing must have passed together out of the region of sight as we understand it. For he says that the whole figure of these enamored and inter-inanimate circlings was suddenly revealed as the mere superficies of a far vaster pattern in four dimensions, and that figure as the boundary of yet others in other worlds: till suddenly as the movement grew yet swifter, the interweaving yet more ecstatic, the relevance of all to all yet more intense, as dimension was added to dimension and that part of him which could reason and remember was dropped further and further behind that part of him which saw, even then, at the very zenith of complexity, complexity was eaten up and faded, as a thin white cloud fades into the hard blue burning of sky, and all simplicity beyond all comprehension, ancient and young as spring, illimitable, pellucid, drew him with cords of infinite desire into its own stillness. He went up into such a quietness, a privacy, and a freshness that at the very moment when he stood farthest from our ordinary mode of being he had the sense of stripping off encumbrances and awaking from a trance, and coming to himself. With a gesture of relaxation he looked about him…

“The single harmony produced by all the heavenly bodies singing and dancing together springs from one source and ends by achieving one purpose, and has rightly bestowed the name not of "disordered" but of "ordered universe" upon the whole.”

Aristotle book On the Universe

Pseudo-Aristotle, De Mundo, 399a https://archive.org/stream/worksofaristotle03arisuoft#page/n181/mode/2up/search/heavenly Disputed

Spring, Universe, Singing

“I danced on the Sabbath
And I cured the lame;
The holy people
Said it was a shame.”

Sydney Carter (1915–2004) British musician and poet

Lord of the Dance (1963)
Context: I danced on the Sabbath
And I cured the lame;
The holy people
Said it was a shame.
They whipped and they stripped
And they hung me on high,
And they left me there
On a Cross to die.

People

“Yesterday was an utter waste. An artist, of whatever stripe, has only so many days, to write or paint or dance or whatever, and each one wasted is that much that will never be accomplished.”

Caitlín R. Kiernan (1964) writer

20 February 2005
Unfit for Mass Consumption (blog entries), 2005

Painting

Quotes about dance and ballet page 11

Quotes about dance and ballet
page 11