Quotes about dance and ballet
page 6

“The separation of men from women at the dinner was still in the mediaeval tradition. Another interesting feature of the evening is the relatively small number of people involved. Eighteen sat down to dinner, fifteen couples danced at the ball. The entertaining was ‘the finest that ever was seen’ because of the style and richness of the accompaniments, not because of its size. This was typical of the period. Feasts for several hundred people were still being given in the country, to prepare for an election or celebrate Christmas, births, weddings, and comings of age. They usually centred round dinner in the hall, and could involve all the neighbouring gentry and near-gentry, and even the tenants and local freeholders. But the entertainments which enjoyed the most prestige were small but elaborate ones for relatively few people – just as the prestigious part of the house was devoted to a few large apartments for great people coming on what amounted to a state visit. A hard line was still drawn between the inner ring of the great and smaller fry.”

Mark Girouard (1931) British architectural historian

Life in the English Country House: A Social and Architectural History (1978)

Women, Men, People, Age

“There is a fair woman in the west,
who is as bright as sunlight.
She wears a dress of the finest silk
and jewelry shines from her left, her right.
Her face is a charm, so full of grace,
lightly perfuming the breeze.
Climbing upward, she keeps watch for her loved one,
holding her sleeves, she faces the morning sun.
She hovers, she drifts through the sky,
waving her sleeves, she dances,
flies like the wind, like a cloud, in [a] trance.
Every so often, she glances at me,
but for me this beauty is out of reach.
Left alone, I lament my fate.”

Ruan Ji (210–263) One of the Seven Sages of the Bamboo Grove

Poem XIX, translated by Wu Fusheng and Graham Hartill in The Poem of Ruan Ji (2006), p. 39, as reported in Constructing Irregular Theology (2009) by Paul S. Chung, p. 13

Love, Fate, Beauty, Sun

“He is doing the show 'Dancing with the Stars' and that's how he's boxing.”

Ricky Hatton (1978) English former professional boxer

Hatton insulting Floyd Mayweather Jr before their clash on the 8th Dec. http://news2.thdo.bbc.co.uk/sport1/hi/boxing/7000159.stm Ricky on other boxers (Sourced)

Star, Box

“The Sioux had been forced to submit to a series of land grabs and to indignities that are almost unbelievable when read about today. …they were being systematically starved into submission—by the White Bureaucracy—on the little that was left of their reservation in South Dakota. …From Rosebud, the Ghost Dance spread like prairie fire to the Pine Ridge Sioux and finally to Sitting Bull's people at Standing Rock. The Sioux rebelled; the result was the death of Sitting Bull and the massacre of the Indians (despite their ghost shirts) at Wounded Knee in 1890.”

Peter Farb (1929–1980) American academic and writer

Man's Rise to Civilization (1968)

Death, People, Reading

“1948 Black Mountain College N. C. Disciplined by Albers. Learned photography. Worked hard but poorly for Albers. Made contact with music and modern dance. Felt too isolated, Sue [Weil, they married soon, then] and I moved to NYC. Went to Art Students League. Vytlacil & Kantor. Best work made at home. Wht. Painting with no.'s best example. Summer 1950, Outer Island Conn. Married Sue Weil. Christoher (son) Born July 16, 1951 in NYC. First one man show Betty Parsons's”

Robert Rauschenberg (1925–2008) American artist

Source: 1980's, Off the Wall: Robert Rauschenberg and the Art world of Our Time, 1980, pp. 55-56 : Autobiographic notes

Art, Music, Home, Mountain

“I don’t think this dance is suitable for weddings. This is not a formal dance, this is a cheesy dance! But still, I appreciate that.”

Psy (1977) South Korean singer

When told that “Gangnam Style” has become a popular wedding dance. Interview with The New York Times, 'His Style Is Gangnam, and Viral Too' http://www.nytimes.com/2012/10/14/arts/music/interview-psy-the-artist-behind-gangnam-style.html?_r=0, October 2012.

Thinking, Wedding

“They buried my body
And they thought I'd gone,
But I am the Dance,
And I still go on.”

Sydney Carter (1915–2004) British musician and poet

Lord of the Dance (1963)

“I felt I had nothing more to learn. It was the same thing wrapped up in different packaging again and again. I am not a brilliant dancer at all. But my packaging is great. You know, I have been a hippie all my life. And the dreams of the sixties that I had of living in a commune, of sharing, of never having more than I can use, of living life joyfully in nature -- that was the spirit that was inside me. And in the isolation of being a dancer I thought where is the giving, where is the sharing, with me sitting so far in a cold place? I knew I had to get back and I had to share what life had given me through dance. I was willing to give up my dance and work and beg to realise this dream. Because it would still be my dream, it would still be dance but how much joy it would give so many bodies.”

Protima Bedi (1948–1998) Indian model and dancer

After learning Odissi dance, she toured all over the world performing Odissi dance and then settled in Switzerland but came back to establish a dance school. Quoted in in "I have been a hippie all my life".

Life, Dreams, Communication, Nature

“And now they were making music from the screams of the dying. Of the dead. The were dancing to it in the low-rent clubs. What it must be like, Miller thought, to be young and soulless.
But no. That wasn’t fair. Diogo was a good kid. He was just naive. The universe would take care of that, given a little time.”

Daniel Abraham (1969) speculative fiction writer from the United States

Source: Leviathan Wakes (2011), Chapter 44 (p. 445)

Music, Universe, Time, Dead

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

Charles Reade (1814–1884) British writer

A Simpleton (1873)

“The trends that produced Schumann’s early piano works started out not so much from Weber’s refined brilliance as from Schubert’s more intimate and deeply soul-searching idiom. His creative imagination took him well beyond the harmonic sequences known until his time. He looked at the fugues and canons of earlier composers and discovered in them a Romantic principle. In the interweaving of the voices, the essence of counterpoint found its parallel in the mysterious relationships between the human psyche and exterior phenomena, which Schumann felt impelled to express. Schubert’s broad melodic lyricism has often been contrasted with Schumann’s terse, often quickly repeated motifs, and by comparison Schumann is often erroneously seen as short-winded. Yet it is precisely with these short melodic formulae that he shone his searchlight into the previously unplumbed depths of the human psyche. With them, in a complex canonic web, he wove a dense tissue of sound capable of taking in and reflecting back all the poetical character present. His actual melodies rarely have an arioso form; his harmonic system combines subtle chromatic progressions, suspensions, a rapid alternation of minor and major, and point d’orgue. The shape of Schumann’s scores is characterized by contrapuntal lines, and can at first seem opaque or confused. His music is frequently marked by martial dotted rhythms or dance-like triple time signatures. He loves to veil accented beats of the bar by teasingly intertwining two simultaneous voices in independent motion. This highly inde-pendent instrumental style is perfectly attuned to his own particular compositional idiom. After a period in which the piano had indulged in sensuous beauty of sound and brilliant coloration, in Schumann it again became a tool for conveying poetic monologues in musical terms.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

Love, Beauty, Music, Color

“On the wedding of the Antichrist, this is the ideal dance.”

Róbert Puzsér (1974) hungarian publicist

Quotes from him, Csillag születik (talent show between 2011-2012)

Wedding

“How beautiful life is! Music and dancing! The violins are sobbing. The first stopper of a bottle of champagne bangs. And now there's a mad singing and shouting. Everybody joins in and sings and shouts! Embracing, friendship, eternal friendship! How beautiful the women are! Dressed in black and red. But you are the prettiest, Hertha! … Hey, you grumblers, go to hell! Music and dancing. The violins are sobbing. Women dressed in black and red. But you are the prettiest, Hertha!”

Joseph Goebbels (1897–1945) Nazi politician and Propaganda Minister

Wie schön ist das Leben! Musik und Tanz! Die Geigen schluchzen. Der erste Sektpfropfen knallt. Und nun ein tolles Singen und Schreien. Man singt und schreit mit. Umarmung, Freundschaft, ewige Freundschaft! Welch' schöne Frauen! In schwarz und rot! Und doch bist Du die Schönste, Hertha Holk! … Heda, ihr Miesmacher, der Teufel soll euch holen! Musik und Tanz. Die Geigen schluchzen. Frauen in schwarz und rot. Und doch bist Du die Schönste, Hertha Holk!
Michael: a German fate in diary notes (1926)

Life, Women, Friendship, Beauty

“But why do they always have to be laughing and making a song-and-dance about everything? I cannot believe homosexuality is that much fun. Heterosexuality certainly is not.”

Zadie Smith book White Teeth

White Teeth (2000)

“Most companies are saddled with institutional constraints. A company's history, for example, may commit it to an industry that now offers limited opportunity. A more common problem is a shareholder constituency that pressures its manager to dance to Wall Street's tune. Many CEOs resist, but others give in and adopt operating and capital-allocation policies far different from those they would choose if left to themselves.”

Warren Buffett (1930) American business magnate, investor, and philanthropist

2003 Chairman's Letter http://www.berkshirehathaway.com/letters/2003ltr.pdf Letters to Shareholders (1957 - 2012)

History, Problem

“It's a tango." Marco maneuvered me out among the dancers. "I love tangos." "I can't dance." "You don't have to dance. I'll do that dancing." Marco hooked an arm around my waist and jerked me up against his dazzling white suit. Then he said, "Pretend you are drowning." I shut my eyes, and the music broke over me like a rainstorm. Marco's leg slid forward against mine and my leg slid back and I seemed to be riveted against him, limb for limb, moving as he moved, without any will or knowledge of my own, and after a while I thought, "It doesn't take two to dance, it only takes one," and I let myself blow and bend like a tree in the wind. "What did I tell you?”

Sylvia Plath book The Bell Jar

Marco's breath scorched my ear. "You're a perfectly respectable dancer."
Source: The Bell Jar (1963), Ch. 9

Love, Music, Jerk, Knowledge

“"You're never too old to dance, Dad… and you're never too old to dream."
"That's the stupidest thing I've ever heard you say. Were you saying that with irony or for real?"”

Douglas Coupland book JPod

JPod (2006)

Dreams

“.. when I had my imaginary friend I would look out of the small glass panes of the window and fill them with steam. Then, I would draw a little window and go out through it. Opposite our house, there was a milk store that was named Pinzon, and I would travel from the little window through the "o" in Pinzon, and from there into the center of the earth, where I had my friend, and we would dance and play... I do not remember my friend's house, and she had no name. She was like me in age. She had no face. The truth is, I do not remember if she had a face or not, and she was very lively. I could not describe her.”

Frida Kahlo (1907–1954) Mexican painter

9 September 1950
Source: 1946 - 1953, "Song of herself"; interviews by Olga Campos, Sept. 1950, Chapter 'My life', pp. 66-67

Truth, Age, Travel, Drawing

“To recreate the temple atmosphere on the urban stage, and thus to facilitate a new kind of seeing that would enable the spiritual revival of the dance.”

Rukmini Devi Arundale (1904–1986) Indian Bharatnatyam dancer

On the revival of 'sadir' dance form (which till then was the forte of the devadasis) she said on the settings of the theater for her performances quoted in "Rukmini Devi Arundale, 1904-1986: A Visionary Architect of Indian Culture and the Performing Arts", page 12

“Once fishing was a rabbit's foot--
O wind blow cold, O wind blow hot,
Let suns stay in or suns step out:
Life danced a jig on the sperm-whale's spout--
The fisher's fluent and obscene
Catches kept his conscience clean.”

Robert Lowell (1917–1977) Poet

Poem: The Drunken Fisherman http://www.english.uiuc.edu/maps/poets/g_l/lowell/onlinepoems.htm

Life, Fish, Sun

“We're adapted to the meta-reality, which means that we're adapted to that which remains constant across the longest spans of time. And that's not the same things that you see around you day to day. They're just like clouds, they're just evaporating, you know? There are things underneath that that are more fundamental realities, like the dominance hierarchy, like the tribe, like the danger outside of society, like the threat that other people pose to you, and the threat that you pose to yourself. Those are eternal realities, and we're adapted to those. That's our world, and that's why we express all those things in stories. Then you might say, well how do you adapt yourself to that world? The answer, and I believe this is a neurological answer, is that your brain can tell you when you're optimally situated between chaos and order. The way it tells you that is by producing the sense of engagement and meaning. Let's say that there's a place in the environment that you should be. So what should that place be? Well, you don't want to be terrified out of your skull. What good is that? And you don't want to be so comfortable that you might as well sleep. You want to be somewhere where you are kind of on firm ground with both of your feet, but you can take a step with one leg and test out new territory. Some of you who are exploratory and emotionally stable are going to go pretty far out there into the unexplored territory without destabilizing yourself. And some people are just going to put a toe in the chaos, and that's neuroticism basically - your sensitivity to threat that is calibrated differently in different people. And some people are more exploratory than others. That's extroversion and openness, and intelligence working together. Some people are going to tolerate more chaos in their mixture of chaos and order. Those are often liberals, by the way. They're more interested in novel chaos, and conservatives are more interested in the stabilization of the structures that already exist. Who's right? It depends on the situation. That's why liberals and conservatives have to talk to each other, because one of them isn't right and the other is wrong. Sometimes the liberals are right and sometimes the liberals are right, because the environment is unpredictable and constantly changing, so that's why you have to communicate. That's what a democracy does. It allows people of different temperamental types to communicate and to calibrate their societies. So let's say you're optimally balanced between chaos and order. What does that mean? Well, you're stable enough, but you're interested. A little novelty heightens your anxiety. It wakes you up a bit. That's the adventure part of it. But it also focuses the part of your brain that does exploratory activity, and that's associated with pleasure. That's the dopamine circuit. So if you're optimally balanced - and you know you're there if you're listening to an interesting conversation or you're engaged in one…you're saying some things that you know, and the other person is saying some things that they know - and what both of you know is changing. Music can model that. It provides you with multi-level predictable forms that can transform just the right amount. So music is a very representational art form. It says, 'this is what the universe is like.' There's a dancing element to it, repetitive, and then little variations that surprise you and produce excitement in you. In doesn't matter how nihilistic you are, music still infuses you with a sense of meaning because it models meaning. That's what it does. That's why we love it. And you can dance to it, which represents you putting yourself in harmony with these multiple layers of reality, and positioning yourself properly.”

Jordan Peterson (1962) Canadian clinical psychologist, cultural critic, and professor of psychology

"The selection pressure that women placed on men developed the entire species. There's two things that happened. The men competed for competence, since the male hierarchy is a mechanism that pushes the best men to the top. The effect of that is multiplied by the fact that women who are hypergamous peel from the top. And so the males who are the most competent are much more likely to leave offspring, which seems to have driven cortical expansion."
Concepts

Love, Women, Men, People

“Fortunately for whining snotface, the party itself goes with a bang. She enters looking every inch the cosseted flesh-waste she is, and her and her nauseating idiot scumbag friends celebrate into the night: dancing, shrieking, acting like pillocks, and generally making you feel like getting down on your knees and praying for a nuclear holocaust.”

Charlie Brooker (1971) journalist, broadcaster and writer from England

Screenwipe

Feeling, Night

“I think Sabra should have won. When they [the contestants] had a week off [over the Fourth of July], Danny brought Sabra to New York and we got to know her. People said, ‘There's no way she's only been dancing four years.' But I said, ‘She's been touched by God. God gave her the ability to understand her body.”

Sabra Johnson (1987) Dutch dancer

Denise Wall, fellow-contestant Danny Tidwell's mother and dance coach Starr Seibel, Deborah (2007-08-17). "Backstage at the So You Think You Can Dance Finale!" http://www.tvguide.com/news/dance-finale-sabra/070817-05 TVGuide.com. Retrieved 2007-08-17 About

God, People, Way, Understanding

“If people stand in a circle long enough, they'll eventually begin to dance.”

George Carlin (1937–2008) American stand-up comedian

Books, Napalm and Silly Putty (2001)

People

“Course I care. I always care. But there's no point in making a song and dance about it, like that night he stayed here. Know something? There's only one thing that'll bring 'em back, and that's indifference. The one thing you can't fake.'
'But you are faking it.'
'At the moment I might be. But as soon as it stops being faked and starts being real, he'll turn up. Rule number one of modern life.”

Helen Garner book The Children's Bach

Page 80.
The Children's Bach (1984)

Life, Night, Indifference

“Standing in a new space,
Waving at the sun…
So you probably back in darkness
To where I belong.
Just by being with you
Pictures flow out of my mind…
Have we danced before
Long ago or in another time?”

Mike Oldfield (1953) English musician, multi-instrumentalist

Song lyrics, Elements - The Best of Mike Oldfield (1986)

Time, Sun

“I only pointed out the paths that lead
The panting youth to steep Parnassus' head,
And showed the tuneful Muses from afar,
Mixed in a solemn choir and dancing there.”
Ipse viam tantum potui docuisse repertam Aonas ad montes, longeque ostendere Musas Plaudentes celsae choreas in vertice rupis.

Marco Girolamo Vida (1485–1566) Italian bishop

Book III, line 533
De Arte Poetica (1527)

Youth

“Come to the bridal chamber, Death!
Come to the mother’s, when she feels
For the first time her first-born’s breath!
Come when the blessed seals
That close the pestilence are broke,
And crowded cities wail its stroke!
Come in consumption’s ghastly form,
The earthquake shock, the ocean storm!
Come when the heart beats high and warm,
With banquet song, and dance, and wine!
And thou art terrible!—the tear,
The groan, the knell, the pall, the bier,
And all we know or dream or fear
Of agony are thine.

But to the hero, when his sword
Has won the battle for the free,
Thy voice sounds like a prophet’s word;
And in its hollow tones are heard
The thanks of millions yet to be.”

Fitz-Greene Halleck (1790–1867) American writer

Marco Bozzaris.

Death, Fear, Dreams, Art

“To keep through life the posture of the grave,
While others walk and run and dance and leap.”

Eugene Lee-Hamilton (1845–1907) English poet and translator

Sonnets of the Wingless Hours https://archive.org/details/sonnetswingless01leegoog (1894).

Life

“I suspect it is this Camelot view that leads Miss Croce to be rather unfair to Gene Kelly…I should say the difference starts with their bodies. If you compare Kelly to Astaire, accepting Astaire's debonair style as perfection then, of course, Kelly looks bad. But in popular dance forms, in which movement is not rigidly codified, as it is in ballet, perfection is a romantic myth or a figure of speech, nothing more. Kelly isn't a winged dancer; he's a hoofer and more earthbound. But he has warmth and range as an actor…Astaire's grasshopper lightness was his limitation as an actor - confining him to perennial gosh-oh-gee adolescence;; he was always and only a light comedian and could function only in fairytale vehicles.”

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

Pauline Kael, responding to Croce in her review of Croce's The Fred Astaire and Ginger Rogers Book, writing in The New Yorker, November 25, 1972, as reproduced in Kael, Pauline. Reeling: Film Writings 1972-1975, Marion Boyars, London - New York, pp. 58-59. ISBN 0-7145-2582-0.

Fairytale, Light, Perfection

“I ache for the touch of your lips, dear,
But much more for the touch of your whips, dear.
You can raise welts
Like nobody else,
As we dance to the Masochism Tango.”

Tom Lehrer (1928) American singer-songwriter and mathematician

"The Masochism Tango"
An Evening (Wasted) With Tom Lehrer (1959)

“Modern physics has thus revealed that every subatomic particle not only performs an energy dance, but also is an energy dance; a pulsating process of creation and destruction. The dance of Shiva is the dancing universe, the ceaseless flow of energy going through an infinite variety of patterns that melt into one another’’. For the modern physicists, then Shiva’s dance is the dance of subatomic matter. As in Hindu mythology, it is a continual dance of creation and destruction involving the whole cosmos; the basis of all existence and of all natural phenomenon. Hundreds of years ago, Indian artists created visual images of dancing Shivas in a beautiful series of bronzes. In our times, physicists have used the most advanced technology to portray the patterns of the cosmic dance.”

Fritjof Capra book The Tao of Physics

Source: The Tao of Physics (1975), p. 244.

Beauty, Nature, Universe, Time

““his Netraabhinaya is simply incomparable"
- Kapila Vatsyayan (leading scholar of classical Indian dance), 1990”

Mani Madhava Chakyar (1899–1990) Indian actor

Abhinaya and Netrābhinaya
Source: Kapila Vatsyayan, Gurupuja, Mathrubhumi weekly, February (11-17) 1990, p. 7.

“I saw quite a bit of the Great Calcutta Killing of August 16-17, 1946 with my own eyes. There were a large number of dead bodies lying on the streets. There were many more floating down the Hooghly. I saw an extensive destruction of private and public property by fire as well as by mob fury. The death and desolation all around moved me to despair about human nature itself. But I did not try to find the causes of this holocaust or to fix its responsibility on the political movement which had provoked it. Instead, I wrote a long article, The Devil Dance In Calcutta, in which I held both Hindus and Muslims equally responsible for this meaningless massacre.”

Sita Ram Goel (1921–2003) Indian activist

How I became a Hindu (1982)

Death, Lying, Nature, Despair

“Either the camera will dance, or I will.”

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

Fred Astaire in Winge, John. "How Astaire Works." Film and Theatre Today, January 1950, pp. 7-9. (M).

“The mazurka provided him with a repertoire of motifs, rhythms, and sonorities outside the main Italian, French, and German traditions of European music: he used it to create a series of works within this tradition which are absolutely personal—marginal works which challenge the center.
They are the most eccentric and original of Chopin's works. We shall never know exactly what and how much Chopin took directly from the popular folk tradition and how much he invented, but it does not matter: his originality is revealed as much in what he selected as in what he imagined. The folk dances gave him the possibility of exploring new harmonies, of exploiting the emotional effect of obsessive repetition, and of developing a new form of rubato.”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 7 : Chopin: From the Miniature Genre to the Sublime Style

Music, Imagination, Personality

“Stamping around, waiting, I cursed England aloud, hands dug deep into pockets, dancing to the wind that knocked in vain at the Sunday shops. Cigarette-packets, football fixtures, bus-tickets sailed by in dust-ghosts of Saturday. A woman with a puce face and a blancmange-coloured prayer-book was waiting also for The Priest and Pig, and she looked puce disapproval at me. Twenty minutes late, the bus yawned in from town, near-empty, and it swallowed us in a gape of Sunday ennui. So we sundayed along, rattling and creaking in Sunday hollowness, I upstairs, tearing my elevenpenny ticket while I read the prospectus of Winter Commercial Classes stuck on the window.”

Anthony Burgess (1917–1993) English writer

Fiction, The Right to an Answer (1960)

Books, Tear, Winter, Waiting

“Mama, come here quick,
Bring me that lickin' stick.
Mama, come here quick,
Bring me that lickin' stick.
People standin',
Standin' in a trance.
Sister out in the backyard
Doin' the outside dance.”

James Brown (1933–2006) American singer, songwriter, musician, and recording artist

Licking Stick – Licking Stick, written with Bobby Byrd and Alfred "Pee Wee" Ellis (1968)
Song lyrics

People, Sister

“Bob Wills taught me how to be a bandleader and how to be a star. […] There was no time wasted between songs. I learned from him to keep the people moving and dancing. […] The more you keep the music going, the smoother the evening will be. Another thing he taught me was people came and paid their money to hear what they wanted to hear. Even if Bob had a mediocre band that night, the people knew his records and his radio shows and they heard what they thought Bob Wills sounded like. Whether he had a good night or a bad night, every night was a good night.”

Willie Nelson (1933) American country music singer-songwriter.

[Nelson, Willie; Bud Shrake; Edwin Shrake, 2000, Willie: An Autobiography, Cooper Square Press, 67]

Money, People, Music, Star

“If anyone samples this for a hardcore techno dance track I shall expect a royalty.”

Richard Bartle (1960) British writer

From Richard Bartle's website http://mud.co.uk/richard/rabartle.wav.

“I said you know what, I thought my transformation was that I needed to transform into Erika Jayne, but my true transformation took place when Erika Jayne showed me that Erika Girardi was just fine the whole time. It was just a truer, shinier version of myself. And you can be fluent in both of your personas, both your personalities. We all have them, whether you’re on a reality television show or not, whether you’re 47 years old and you’re out there singing and dancing. You’re not the same person at home as you are at work, or with other people, so there are performance personas whether you acknowledge them or not. And transformation is individual. This is my story, my experiences, doing this stuff. Maybe yours is something different, but they’re equally important.”

Erika Jayne (1969) American singer, actress and television personality

Erika Jayne interview to Detroit News https://eu.detroitnews.com/story/entertainment/music/2018/10/23/tv-bravo-real-housewives-beverly-hills-erika-jayne-singer-billboard-chart-club-music/38252769/ (2018)

People, Home, Reality, Singing

“I think I can pinpoint the one moment when the American style of dressing first appeared. It was in an appalling 1933 movie called Dancing Lady during an otherwise forgettable dance number. It also just happened to be Fred Astaire's first on-camera dance. But don't look at the steps. Look at the outfit: Astaire is wearing a single-breasted, soft flannel suit with two-tone spectator shoes and a turtleneck. You wish you could look that stylish! Later that year, in Flying Down to Rio, we get the full Astaire impact. The muted plaid suit is not all that striking, but Fred is wearing it with a soft button-down shirt, a pale woven tie, silk pocket square, bright horizontally striped hose and white bucks. Whoa! Now that's different. This melange of the classic and the sporty was an American innovation. As we approach the impeccable Astaire's 100th birthday on May 10, it's worth remembering that he remains the greatest exemplar of that style.”

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

G. Bruce Boyer in "Shall We Dress?" Forbes, May 3rd, 1999.

Shoe, Birthday, Thinking, Appearance

“But if you want to think about something really funny, consider how the titles of tyrants change. We shall suffer no more Emperors, Kings, Czars, Shahs, or Caesars, to lop off our limbs and burn our homes, kiddo, defile our women and bugger our boys; the masses make such appointments now; the masses love tyranny; they demand it; they dance to it; they feel that their hand is forming the First Citizen's Fist; so we shall murder more modestly in future: beneath the banners of Il Duce, Der Führer, the General Secretary or the Party Chairman, the CEO of something. I suspect that the first dictator of this country will be called Coach.”

William H. Gass book The Tunnel

Source: The Tunnel (1995), p.155

Love, Women, Feeling, Home

“You can't start a fire, sitting 'round crying over a broken heart.
This gun's for hire,
Even if we're just dancing in the dark.
You can't start a fire, worrying about your little world falling apart.
This gun's for hire,
Even if we're just dancing in the dark.”

Bruce Springsteen (1949) American singer and songwriter

"Dancing in the Dark"
Song lyrics, Born in the U.S.A. (1984)

World, Heart, Cry

“Sher Shah Sur’s name is associated in our textbooks with the Grand Trunk Road from Peshawar to Dacca, with caravanserais, and several other schemes of public welfare. It is true that he was not a habitual persecutor of Hindus before he became the emperor at Delhi. But he did not betray Islam when he became the supreme ruler. The test came at Raisen in 1543 AD. Shaykh Nurul Haq records in Zubdat-ul-Tawarikh as follows: “In the year 950 H., Puranmal held occupation of the fort of Raisen… He had 1000 women in his harem… and amongst them several Musulmanis whom he made to dance before him. Sher Khan with Musulman indignation resolved to conquer the fort. After he had been some time engaged in investing it, an accommodation was proposed and it was finally agreed that Puranmal with his family and children and 4000 Rajputs of note should be allowed to leave the fort unmolested. Several men learned in the law (of Islam) gave it as their opinion that they should all be slain, notwithstanding the solemn engagement which had been entered into. Consequently, the whole army, with the elephants, surrounded Puranmal’s encampment. The Rajputs fought with desperate bravery and after killing their women and children and burning them, they rushed to battle and were annihilated to a man.””

Sher Shah Suri (1486–1545) founder of Sur Empire in Northern India

Zubdat-ul-Tawarikh quoted in Goel, Sita Ram (2001). The story of Islamic imperialism in India. Chapter 7 ISBN 9788185990231

Women, Men, Children, Family

“Beauty is a simple passion,
but, oh my friends, in the end
you will dance the fire dance in iron shoes.”

Anne Sexton (1928–1974) poet from the United States

"Snow White and the Seven Dwarfs"
Transformations (1971)

Beauty, Shoe, Passion

“A new day. Calm as seldom the beginning of such a one. Did I dream? No! Dream and contented pure was the night... It is the sure certainty of having found unity with nature, this calm causes one of the strongest experiences.
Man, air, trees, world are laid bare and are one!
Contented sleep releases the limbs. We await full moon. Await the dance!”

Emil Nolde (1867–1956) German artist

c. 1918; in Aus dem Palau-Tagebuch, 'Das Kunstblatt 2', no. 6, p. 179; as quoted in 'The Revival of Printmaking in Germany', I. K. Rigby; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 43
1900 - 1920

World, Dreams, Nature, Sleep

“And the music came back with the carnival, the music you've heard as far back as you can remember, ever since you were little, that's always playing somewhere, in some corner of the city, in little country towns, wherever poor people go and sit at the end of the week to figure out what's become of them, sometimes here, sometimes there, from season to season, it tinkles and grinds out the tunes that rich people danced to the year before. It's the mechanical music that floats down from the wooden horses, from the cars that aren't cars anymore, from the railways that aren't at all scenic, from the platform under the wrestler who hasn't any muscles and doesn't come from Marseille, from the beardless lady, the magician who's a butter-fingered jerk, the organ that's not made of gold, the shooting gallery with the empty eggs. It's the carnival made to delude the weekend crowd. We go in and drink the beer with no head on it. But under the cardboard trees the stink of the waiter's breath is real. And the change he gives you has several peculiar coins in it, so peculiar that you go on examining them for weeks and weeks and finally, with considerable difficulty, palm them off on some beggar. What do you expect at the carnival? Gotta have what fun you can between hunger and jail, and take things as they come. No sense complaining, we're sitting down aren't we? Which ain't to be sneezed at. I saw the same old Gallery of the Nations, the one Lola caught sight of years and years ago on that avenue in the park of Saint-Cloud. You always see things again at carnivals, they revive the joy of past carnivals. Over the years the crowds must have come back time and again to stroll on the main avenue of the park of Saint-Cloud…taking it easy. The war had been over long ago. And say I wonder if that shooting gallery still belonged to the same owner? Had he come back alive from the war? I take an interest in everything. Those are the same targets, but in addition, they're shooting at airplanes now. Novelty. Progress. Fashion. The wedding was still there, the soldier too, and the town hall with its flag. Plus a few more things to shoot at than before.”

Louis-ferdinand Céline book Journey to the End of the Night

27
Journey to the End of the Night (1932)

Hunger, War, People, Music

“On Steve's dancing ability- er, it's just like a bit of weird art”

Karl Pilkington (1972) English television personality, social commentator, actor, author and former radio producer

Podcast Series 3 Episode 4
On Stephen Merchant

Art

“A Spring o'erhung with many a flow'r,
The grey sand dancing in its bed,
Embank'd beneath a Hawthorn bower,
Sent forth its waters near my head:
A rosy Lass approach'd my view;
I caught her blue eye's modest beam:
The stranger nodded 'How d'ye do!”

Robert Bloomfield (1766–1823) British writer

And leap'd across the infant stream.
Rosy Hannah, stanza 1, from Rural Tales, Ballads, and Songs (1802)

Spring, Water

“I think it's quite enough to simply be sarcastic about something. I like to do that quite a lot, and it's one of my favorite things to look at. That's why I think there's a thin line between melodrama and satire, and I like to dance across that line sometimes. I like the story to take a very funny turn or have a character who is much more of a cartoon.”

Frank Miller (1957) American writer, artist, film director

Source: Eisner/Miller (2005), p. 95

Thinking

“It was a dramatization of total chaos, a functional definition of confusion, an unchoreographed dance of sad violence. It was war.”

Dan Simmons book The Fall of Hyperion

Source: The Fall of Hyperion (1990), Chapter 7 (p. 51)

War, Sadness

“Our anti-Communism came to us neither as the fruit of a special wisdom nor as a humiliating awakening from a prolonged deception, but as a natural event, the product of chance and propinquity. One thing followed another, and the will had little to say about it. For my part, during that year, I realized, with a certain wistfulness, that it was too late for me to become any kind of Marxist. Marxism, I saw, from the learned young man I listened to at Committee meetings, was something you had to take up young, like ballet dancing.”

Mary McCarthy (1912–1989) American writer

"My Confession", p. 102
On the Contrary: Articles of Belief 1946–1961 (1961)

Wisdom, Communication, Nature, Learning

“They went on playing quietly and waiting for Sam (who had gone back to the bedroom to seek Tommy) and for their turns to see Mother. Bonnie meanwhile, with a rueful expression, was leaning out the front window, and presently she could not help interrupting them, 'Why is my name Mrs Cabbage, why not Mrs Garlic or Mrs Horse Manure?' They did not hear her, so intent were they, visiting each other and inquiring after the health of their respective new babies. They did not hear her complaining to Louie that, instead of being Mrs Grand Piano or Mrs Stair Carpet, they called her Garbage, 'Greta Garbage, Toni Toilet,' said she laughing sadly, 'because they always see me out there with the garbage can and the wet mop; association in children's naïve innocent minds you see!'
'Oh no, it isn't that, protested Louie, Garbage is just a funny word: they associate you with singing and dancing and all those costumes you have in your trunk!”

Christina Stead book The Man Who Loved Children

'Do you think so?' Bonnie was tempted to believe. 'Mrs Strip Tease?'
The Man Who Loved Children (1940)

Children, Health, Thinking, Singing

“Cubism, Futurism, Expressionism, abstract painting, are only names given to a change which our artistic thinking wants to make and is thinking. Nobody has ever painted fallen raindrops suspended in the air, they've always been depicted as streaks (even the cave-men drew herds of reindeer in the same way). Now people are painting cabs rattling, lights flickering, people dancing, all-in the same way (this is how we all see movement). That is thew whole frightfully simple secret of Futurism. Its very easy to prove its artistic feasibility, for all the philosophizing that has been raised against it. Space, surface and time are different things, which ought not to be mixed together, is the continuous cry. If only it were possible to separate them. I can't do it.”

August Macke (1887–1914) German painter of the expressionist group Der Blaue Reiter

in a letter to philosopher de:Eberhard Grisebach, March 1913; as quoted by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, pp. 144-45

Men, People, Secret, Way

“Under its first two Indian editors [The Illustrated Weekly] became a vehicle of Indian culture devoting most of its pages to art, sculpture, classical dance and pretty pictures of flowers, birds, and dencing belles. It did not touch controversial subjects, was strictly apolitical and asexual (save occasional blurred reproductions of Khajuraho or Konarak). It earned a well-deserved reputation for dull respectability. I changed all that. What was a four-wheeled victoria taking well-draped ladies out to eat the Indian air I made a noisy rumbustious, jet-propelled vehicle of information, controversy and amusement. I tore up the unwritten norms of gentility, both visual and linguistic…. And slowly the circulation built up, till the Illustrated did become a weekly habit of the English-reading pseudo-elite of the country. It became the most widely read journal in Asia (barring Japan) because it reflected all the contending points of view on every conceivable subject: politics, economics, religion, and the arts.”

Khushwant Singh (1915–2014) Indian novelist and journalist

In Khushwant Singh's editor's page http://books.google.co.in/books?id=sNBOAAAAMAAJ, IBH Pub. Co., 1981, p. 4

Religion, Art, Flowers, Bird

“It has been a mystery ever since it was discovered more than fifty years ago, and all good theoretical physicists put this number up on their wall and worry about it. Immediately you would like to know where this number for a coupling comes from: is it related to π, or perhaps to the base of natural logarithms? Nobody knows. It's one of the greatest damn mysteries of physics: a magic number that comes to us with no understanding by man. You might say the "hand of God" wrote that number, and "we don't know how He pushed his pencil." We know what kind of a dance to do experimentally to measure this number very accurately, but we don't know what kind of dance to do on the computer to make this number come out — without putting it in secretly!”

Richard Feynman book QED: The Strange Theory of Light and Matter

On the numerical value of α, the fine-structure constant, p. 129
QED: The Strange Theory of Light and Matter (1985)

God, Understanding, Nature

“Women: you never know which side they want to dance on.”

John Updike book Rabbit at Rest

Rabbit at Rest (1990)

Women

“We were only together for a part of my career, and for every film we did, I did another three on my own. The studio was working me too hard. Fred would rush off for a holiday and call me and say: "Hey, ready to do another?" And I didn't have the sense to say that I was too tired. Those times were murder for me. Oh, I adored Mr. A but all the hard work… the 5 a. m. calls, the months of non-stop dancing, singing and acting. We just worked it out and had a lot of fun and got very exhausted. And Mr A was quite divine.”

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

Ginger Rogers quoted in Satchell, Tim. Astaire, The Biography. Hutchinson, London. 1987. . p. 132.

Sense, Singing, Time, Holiday

“My men, like satyrs grazing on the lawns,
Shall with their goat feet dance the antic hay.”

Christopher Marlowe (1564–1593) English dramatist, poet and translator

Gaveston, Act I, scene i, lines 57–58
Edward II (c. 1592)

Men

“I am committed to using technology in my dances but not for the purpose of making a comment on technology, but rather to use it as a tool to express the human condition. I think that there are many disadvantages to using technology, it is expensive, difficult to set up and can steal the show by drawing too much attention away from the dance. I love the beauty and the simplicity of a warm body moving without frills, but I think technology is part of our common language now and to not create a relationship with it in dance seems like ignoring a vital tool for connection.”

Tami Stronach (1972) American choreographer

Interview in the Greenpoint Gazette.

Love, Beauty, Thinking, Parting

“Naturally, the little wars were dressed up in ritual and significance. War spear challenge was followed by war dance, and invocation of demons, the one-eyed snake and diverse totems. I bowed to none of these, having seen early the vulgarity and impotence of the tribal pantheon. Generally men create gods in their own image.”

Tanith Lee book Vazkor, Son of Vazkor

Book One, Part I “The Krarl”, Chapter 4 (p. 31)
Vazkor, Son of Vazkor (1978)

Men, God, War, Nature

“The fact that Fred and I were in no way similar - nor were we the best male dancers around never occurred to the public or the journalists who wrote about us…Fred and I got the cream of the publicity and naturally we were compared. And while I personally was proud of the comparison, because there was no-one to touch Fred when it came to "popular" dance, we felt that people, especially film critics at the time, should have made an attempt to differentiate between our two styles. Fred and I both got a bit edgy after our names were mentioned in the same breath. I was the Marlon Brando of dancers, and he the Cary Grant. My approach was completely different from his, and we wanted the world to realise this, and not lump us together like peas in a pod. If there was any resentment on our behalf, it certainly wasn't with each other, but with people who talked about two highly individual dancers as if they were one person. For a start, the sort of wardrobe I wore - blue jeans, sweatshirt, sneakers - Fred wouldn't have been caught dead in. Fred always looked immaculate in rehearsals, I was always in an old shirt. Fred's steps were small, neat, graceful and intimate - mine were ballet-oriented and very athletic. The two of us couldn't have been more different, yet the public insisted on thinking of us as rivals…I persuaded him to put on his dancing shoes again, and replace me in Easter Parade after I'd broken my ankle. If we'd been rivals, I certainly wouldn't have encouraged him to make a comeback.”

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

Gene Kelly interviewed in Hirschhorn, Clive. Gene Kelly, A Biography. W.H Allen, London, 1984. p. 117. ISBN 0491031823.

People, World, Shoe, Way

“Dance was really the art of the temple and that her temple theater was built with that purpose in mind. It has many features of the temple, and we have adopted as much as possible all the ideals enshrined in Natyashastra.”

Rukmini Devi Arundale (1904–1986) Indian Bharatnatyam dancer

On her "Kootahmabalam temple theater" set up in her hundred acre Kalakshetra, quoted in "Rukmini Devi Arundale, 1904-1986: A Visionary Architect of Indian Culture and the Performing Arts", page 14

Art

“I'll be the boy in the corduroy pants.
You be the girl at the high school dance.”

Tom Petty (1950–2017) American musician

You Wreck Me, written with Mike Campbell
Lyrics, Wildflowers (1994)

School, Girl, Boy

“Although she was blind by that time, she was the best critique of my dance. If there is any one I would like to known, I would like to be remembered as Danam’s granddaughter.”

Balasaraswati (1918–1984) Indian dancer

Her observation on her grandmother Danammal’s influence on her in dance and music quoted in "Balasaraswati: Her Art and Life", page=39
Quote

Time

“You talk for talking’s sake,' she hissed. I asked if that was bad. 'I mean it,' the girl replied. 'You talk for talking’s sake.' I had heard her the first time and had understood the words but not the contempt with which they were charged. 'Would you be equally annoyed,' I asked, 'if I danced for dancing’s sake? […] I should have said, 'Would you hate me if I lived for living’s sake?' This would have been the total question — the one to which a full reply could have saved the world.”

Quentin Crisp (1908–1999) writer, Actor

How to Have a Life-Style

Hate, World, Girl, Question

“Since 1939, however, there have been no bonfires on the village greens. No fireworks gleam in the blackened parks and the streets are dark and silent. But this darkness will not last forever. There will some day come a Fifth of November — or another date, it doesn't matter — when fires will burn in a chain of brightness from Land's End to John O' Groats. The children will dance and leap about them as they did in the times before. They will take each other by the hand and watch the rockets breaking, and afterwards they will go home singing to the houses full of light…”

P. L. Travers book Mary Poppins Opens the Door

NOTE (on Guy Fawkes' Day, during World War II)
Mary Poppins Opens the Door (1943)

Children, Home, Light, Singing

“Now, with the glamour of the past upon them we are inclined to look back on old world festivities with regret and consider present day dances as a poor substitute for the old. From an artistic point of view, they maybe, but in individual freedom and independence of spirit they mark a stage upward.”

Flora Thompson (1876–1947) English author and poet

August Chapter The Peverel Papers - A yearbook of the countryside ed Julian Shuckburgh Century Hutchinson 1986
The Peverel Papers

World, Freedom, Past

“One great part of the joculator's profession was the teaching of bears, apes, horses, dogs, and other animals, to imitate the actions of men, to tumble, to dance, and to perform a variety of tricks, contrary to their nature; and sometimes he learned himself to counterfeit the gestures and articulations of the brutes.”

Joseph Strutt (1749–1802) British engraver, artist, antiquary and writer

pg. 239
The Sports and Pastimes of the People of England (1801), Public entertainment

Men, Dogs, Nature, Learning

““The intent of the Goddess is neither known nor knowable. She makes us dance, male and female, in ever-converging gyres that bring us ultimately each to our own destiny, and that destiny is always the same and never escapable. She does not tell us why.”
“You said there were no outside forces ordering our lives. That there was nothing but chance and random occurrence.”
He shrugged.
“You did!”
“The Goddess is unknowable and her aims unfathomable, unpredictable, and ineluctable. They might as well be random. We live our brief lives in ignorance and then we die. That’s all.””

Michael Swanwick book The Iron Dragon's Daughter

Source: The Iron Dragon's Daughter (1993), Chapter 7 (p. 101)

Chance

“People call me the painter of dancing girls. It has never occurred to them that my chief interest in dancers lies in rendering movement and painting pretty clothes.”

Edgar Degas (1834–1917) French artist

"As He Grows Old" (p. 87)
posthumous quotes, Degas: An Intimate Portrait' (1927)

People, Girl, Painting, Clothes

“Sweet is the melody, so hard to come by,
It's so hard to make every note bend just right.
You lay down the hours and leave not one trace
But a tune for the dancing is there in it's place.”

Iris DeMent (1961) American singer and songwriter

Sweet is the Melody
Song lyrics, My Life (1994)

“Yeah, so I'm short. But wait'll you see me dance.”

Lois McMaster Bujold Vorkosigan Saga

Vorkosigan Saga, The Mountains of Mourning (1989)

“I'm here with the cause, I'm holding the torch
In the corner of your room- can you hear me?
And when you're dancing and laughing, and finally living,
Hear my voice in your head and think of me kindly.”

Morrissey (1959) English singer

From the song "Rubber Ring"
From songs

Thinking

“How could this be, the land of the free, home of the brave.. indigenous holocaust and the home of the slaves. Corporate America dancing offbeat to the rhythm. You really think this country never sponsored terrorism? Human rights violations we continue the saga, El Salvador and the Contras in Nicaragua. And on top of that you still want to take me to prison, just cause I won't trade humanity for patriotism.”

Immortal Technique (1978) American rapper and activist

The 4th Branch
Albums, Revolutionary Vol. 2 (2003)

Home, Thinking, Country

“Flaming torches arching from hand to hand, the silken rolling of flesh on flesh, tautened wire vibrating to the human word, ideogrammatic gestures of fear, love, and rage, the mathematical grace of bodies moving through space—all seemed revealed as shadows on the void, the pauvre panoply of man’s attempt to transcend the universe of space and time through the transmaterial purity of abstract form.
Yet beyond this noble dance of human art, the highest expression of our spirit’s striving to transcend the realm of time and form, lay that which could not be encompassed by the artifice of man. From nothing are we born, to nothing do we go; the universe we know is but the void looped back upon itself, and form is but illusion’s final veil.
We touch that which lies beyond only in those fleeting rare moments when the reality of form dissolves—through molecule and charge, the perfection of the meditative trance, orgasmic ego-loss, transcendent peaks of art, mayhap the instant of our death.
Vraiment, is not the history of man from pigments smeared on the walls of caves to our present starflung age, our sciences and arts, our religions and our philosophies, our cultures and our noble dreams, our heroics and our darkest deeds, but the dance of spirit round this central void, the striving to transcend, and the deadly fear of same?”

Norman Spinrad book The Void Captain's Tale

Source: The Void Captain's Tale (1983), Chapter 10 (p. 117)

Love, Death, Age, Fear

“And we danced;
Out there on that empty hardwood floor.
The chairs up and the lights turned way down low
The music played, we held each other close.
And we danced.Like no one else had ever danced before.
I can't explain what happened on that floor.
But the music played,
We held each other close,
And we danced.
Yeah, we danced.”

Brad Paisley (1972) American country music singer

We Danced, written by Brad Paisley and Chris DuBois.
Song lyrics, Who Needs Pictures (1999)

Music, Way, Light

“Let's go all
The way tonight.
No regrets, just love.
We can dance, until we die,
You and I,
We'll be young forever.You make me
Feel like I'm living a
Teenage dream.
The way you turn me on,
I can't sleep.
Let's run away and
Don't ever look back,
Don't ever look back.”

Katy Perry (1984) American singer, songwriter and actress

Teenage Dream, written by Katy Perry, Lukasz Gottwald, Max Martin, Benjamin Levin, and Bonnie McKee
Song lyrics, Teenage Dream (2010)

Love, Dreams, Way, Feeling

“Then in chat, or at play, with a dance, or a song,
Let the night, like the day, pass with pleasure along.
All cares, but of love, banish far from your mind;
And those you may end, when you please to be kind.”

Philip Stanhope, 4th Earl of Chesterfield (1694–1773) British statesman and man of letters

"Advice to a Lady in Autumn", published in A Collection of Poems in Six Volumes. By Several Hands. Vol. I. (1763), printed by J. Hughs, for R. and J. Dodsley

Love, Pleasure, Night

“Tell mankind Jehovah reigns;
He shall bind the world in chains,
So as it shall never slide,
And with sacred justice guide.
Let the smiling heavens rejoice,
Joyful earth exalt her voice;
Let the dancing billows roar,
Echoes answer from the shore,
Fields their flowery mantles shake;
All shall in their joy partake;
While the wood-musicians sing
To the ever-youthful spring.
Fill His courts with sacred mirth;
Lo! He comes to judge the earth:
Justly He the world shall sway,
And His truth to men display.”

Henry More (1614–1687) British philosopher

"A Hymn of Praise" (1668)

Men, Truth, Youth, World

“I would much rather sit, dimmed by inattention, and study the atmosphere and the silence and dance between people, but often times I’m not offered this privilege. The necessity for isolation, and the striving for attention is the only contradiction I find in being a writer and an actress.”

Masiela Lusha (1985) Albanian actress, writer, author

On her role as an actress and a writer http://reelladies.wordpress.com/2008/09/01/reel-lady-masiela-lusha/

People, Study, Silence, Time

“Where is yesterday? … And where is the fiddler and where is the dance?”

Cormac McCarthy book Blood Meridian

Blood Meridian (1985)

“I made a serial called Nupur in which I danced for one particular shloka of Soundarya Lahari. The show was mostly about dance. It is then that I started learning to chant Soundarya Lahari. …People only know me as an actor and a dancer but recently I thought about doing this album.”

Hema Malini (1948) Indian actress, dancer and politician

On the release of her first singing album “Soundarya Lahairi” Hema Malini goes spiritual with first music album, 2 November 2013, 6 December 2013, The Hindu http://www.thehindu.com/todays-paper/tp-miscellaneous/tp-others/hema-malini-goes-spiritual-with-first-music-album/article5307409.ece, MOTHER MAIDEN MISTRESS

People, Learning

“You can't make a sculpture, in my opinion, without involving your body. You move and you feel and you breathe and you touch. The spectator is the same. His body is involved too. If it's a sculpture he has to first of all sense gravity. He's got two feet. Then he must walk and move and use his eyes and this is a great involvement. Then if a form goes in like that – what are those holes for? One is physically involved and this is sculpture. It's not architecture. It's rhythm and dance and everything. It's do with swimming and movement and air and sea and all our well-being. Sculpture is involved in the body living in the spirit or the spirit living in the body, whichever way you like to put it.”

Barbara Hepworth (1903–1975) English sculptor

Source: 1961 - 1975, Art Talk, conversations with 15 woman artists', (1975), p. 21

Way, Feeling, Sense, Sea

“The producer orders a certain title.
The musical director orders a certain rhythm.
The dance director orders a certain number of bars.
And the composer orders a certain number… of aspirin.”

Frank Loesser (1910–1969) American songwriter

on working in Hollywood
Reported by musician Michael Feinstein, transcript of * Fresh Air Celebrates Frank Loesser's 100th Birthday
http://www.npr.org/2010/06/29/128169934/fresh-air-celebrates-frank-loesser-s-100th-birthday
Fresh Air
http://www.npr.org/programs/fresh-air/
Host: Terry Gross, Guest: Michael Feinstein
NPR
WHYY
Philadelphia
2009-06-29
2:34
http://www.npr.org/templates/transcript/transcript.php?storyId=128169934

Music

“We don't ideologically believe in the separation of spirit and matter, but in practice, we still tend to think that things that are too material, too real-life, are somehow not as spiritual. So a trance to Faery is perceived as "spiritual," whereas a trance to a Brazilian favela slum is not. We can argue about the reality of Faery, but the favela is undeniably real. If we truly believe that our spirituality is about deep interconnectedness, maybe it's more important for us to grapple internally with the reality of the favela than to dance with the faeries.”

Starhawk (1951) American author, activist and Neopagan

Toward an Activist Spirituality (2003)

Life, Thinking, Reality

“We celebrated a little early at the White House this year, on quatro de Mayo, with a fiesta on the South Lawn. With the mariachi music, folklorika dancing and an ample supply of Mexican food. For a little while, it was just like being in Texas again.”

George W. Bush (1946) 43rd President of the United States

2000s, 2001, Radio address (May 2001)

Food, Music, Housing

“There would be dreamers of dreams and seers of visions and hearers of voices; readers of the entrails of beasts and interpreters of the flight of birds; there would be burning bushes and stone tablets on mountain-tops, and inspired words dictated to aged disciples on lonely islands. There would arise special castes of men and women, learned in these sacred matters; and these priestly castes would naturally emphasize the importance of their calling, would hold themselves aloof from the common herd, endowed with special powers and entitled to special privileges. They would interpret the oracles in ways favorable to themselves and their order; they would proclaim themselves friends and confidants of the god, walking with him in the night-time, receiving his messengers and angels, acting as his deputies in forgiving offenses, in dealing punishments and in receiving gifts. They would become makers of laws and moral codes. They would wear special costumes to distinguish them, they would go through elaborate ceremonies to impress their followers, employing all sensuous effects, architecture and sculpture and painting, music and poetry and dancing, candles and incense and bells and gongs.”

Upton Sinclair book The Profits of Religion

Book One : The Church of the Conquerors, "The Priestly Lie"
The Profits of Religion (1918)

Women, Men, God, Age

“I left school at 16 and went to Berlin and danced […] West Berlin, 1976. It was amazing. I wish they hadn't taken the wall down. Now it's full of east Germans wearing Versace shirts.”

Tracey Ullman (1959) English-born actress, comedian, singer, dancer, screenwriter, producer, director, author and businesswoman

"Q&A: Tracey Ullman" http://www.newsweek.com/newsmakers-127011 (Newsweek, 19 September 2004)

School

“Long long ago, before the days of Islam, Sikander e Aazem came to India. The Two Horned one whom you British people call Alexander the Great. He conquered the world, and was a very great man, brave and dauntless and generous to his followers. When he left to go back to Greece, some of his men did not wish to go back with him but preferred to stay here. Their leader was a general called Shalakash (Seleucus). With some of his officers and men, he came to these valleys and they settled here and took local women, and here they stayed. We, the Kalash, the Black Kafir of the Hindu Kush, are the descendants of their children. Still some of our words are the same as theirs, our music and our dances, too; we worship the same gods. This is why we believe the Greeks are our first ancestors…”

Michael Wood (1948) English historian and broadcaster

Statement made by a Kalash named Kazi Khushnawaz, "Footsteps of Alexander the Great p. 8
i.e.: Seleucus was one of the Generals of Alexander the Great. He was born in 358 or 354 BC in the town of Europos, Macedonia and died in August/September 281 BC near Lysimathia, Thrace.

Women, Men, God, Children

“Where was the beauty that the Lord gave man when first he towered in pride?
But one came by me at whose word the bitter condemnation died.
His brows were crowned with thorns of light: his eyes were bright as one who sees
The starry palaces shine o'er the sparkle of the heavenly seas.
'Is it not beautiful?' he cried. Our Faery Land of Hearts' Desire
Is mingled through the mire and mist, yet stainless keeps its lovely fire.
The pearly phantoms with blown hair are dancing where the drunkards reel:
The cloud frail daffodils shine out where filth is splashing from the heel.
O sweet, and sweet, and sweet to hear, the melodies in rivers run:
The rapture of their crowded notes is yet the myriad voice of One.”

George William Russell (1867–1935) Irish writer, editor, critic, poet, and artistic painter

By Still Waters (1906)

Love, Beauty, Light, Heart

“Good judgement is through good drawing – from the nervous system to the sensory of the brain it is the combination of eurythmics, euphony and poetry, and when the good draughtsman draws, the muses come to dance. Then the imagination is given full play, and design happens. They then become the Muses.”

David Bomberg (1890–1957) painter

"The Bomberg Papers", An Anthology From X (Oxford University Press, 1988), p. 90.

Imagination, Drawing

“On State Street, that great street, I just want to say
They do things they don't do on Broadway
They have the time, the time of their life
I saw a man, he danced with his wife
In Chicago, Chicago my home town.”

Fred Fisher (1875–1942) American songwriter

Song Chicago (1922)

Life, Home, Time

“As on the crystal surface of a lake
The trembling shafts of sunlight mirrored are,
Leaping to roof-top, and, at random glancing,
Sparkle and gleam, in all directions dancing.”

Ludovico Ariosto book Orlando Furioso

Qual d'acqua chiara il tremolante lume,
Dal sol percossa o da' notturni rai,
Per gli ampli tetti va con lungo salto
A destra et a sinistra, e basso et alto.
Canto VIII, stanza 71 (tr. B. Reynolds)
Orlando Furioso (1532)

“I had seen … the mistreatment and abuse of these elephants … and I was brought to tears. When you look at something like the circus and everyone's laughing and there's color and there's music and everything seems so great, but when you go right behind that door and they're in these crates all day long and then they're getting shocked and beat just so they can get up and dance around on a ball — it was just so sickening. … Stop going to the circus, don’t buy real fur, don’t buy a dog, go rescue a dog. You can’t keep supporting people who are doing this to helpless animals, at all.”

Olivia Munn (1980) American actress, comedian, model, television personality and author

“Olivia Munn's Exclusive Interview for PETA,” video on PETA's YouTube channel (27 April 2010) https://www.youtube.com/watch?v=v9Qcq2j2tKA.

People, Dogs, Music, Color

“I don’t even know if I’ll ever feel what I did when he finished dancing his solo on Wednesday night’s [2007-08-15] show. When he left the ballet world, he was losing his love of dance, and to me, watching that solo, he came full circle. He came back.”

Danny Tidwell (1984) American dancer

Denise Wall, Tidwell's mother, the morning before the final results show. In her mind "he had already won" regardless of the outcome Rutherford, Laine M. (August 17, 2007). "Beach's Tidwell is voted America's second-favorite dancer" http://content.hamptonroads.com/story.cfm?story=130465&ran=89902 HamptonRoads.com. Retrieved August 17, 2007. About

Love, World, Feeling, Night

“Surely all God's people, however serious and savage, great or small, like to play. Whales and elephants, dancing, humming gnats, and invisibly small mischievous microbes, — all are warm with divine radium and must have lots of fun in them.”

John Muir (1838–1914) Scottish-born American naturalist and author

The Story of My Boyhood and Youth http://www.sierraclub.org/john_muir_exhibit/writings/the_story_of_my_boyhood_and_youth/ (1913), chapter 5: Young Hunters 1910s

God, People

“In 1830… Joseph Smith… prophesied that a New Jerusalem would arise in the wilds… The Mormons sent emissaries to the Indians, whom he renamed the Lamanites, inviting them to join the Mormon colonies and to be baptized. Joseph Smith was also to have prophesied in 1843 that if he… lived until 1890—the messiah would appear in human form. …It was in 1890 that… Wovoka appeared and began teaching the [revitalized] Ghost Dance religion.”

Peter Farb (1929–1980) American academic and writer

Man's Rise to Civilization (1968)

Religion, Appearance

“The main point of Flying Down to Rio is the screen promise of Fred Astaire…. He's assuredly a bet after this one, for he's distinctly likeable on the screen, the mike is kind to his voice and as a dancer he remains in a class by himself. The latter observation will be no news to the professsion, which has long admitted that Astaire starts dancing where the others stop hoofing.”

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

Variety. Flying Down to Rio, December 26, 1933. (M).

Flying

Quotes about dance and ballet page 6

Quotes about dance and ballet
page 6