I will say a lot of dancers do such beautiful things for their body and then they smoke a cigarette. I've never been a smoker, but I realized after taking yoga . . . in ballet you're not encouraged to do a lot of breathing. I think in a weird way, a lot of dancers find relief in actually breathing.
I had danced with Janet Jackson and P. Diddy so I had done a bunch of hip hop. Really and truly my roots are in modern and ballet but, professionally, that's not really out there any more, unfortunately, so these artists aren't really having a lot of ballet dancers behind them so I had to learn hip hop really quick.
When I was a child, I went to stage school three times a week in the evenings - singing, ballet, tap, modern and acting, and I loved it.
If we don't take that time (to be romantic), then it's karate, then it's ballet, and then there's Christmas, and then my husband is flying off to tour around the world.
Lots of people make the stage and it can seem very violent and over the top, but it's not really. It's always a kind of gentle ballet.
I thought I was going to be a ballet dancer for awhile there. I had a good teacher at Interlochen, this arts' academy in Michigan, who taught me the importance of storytelling, and I really responded to that. It seemed like a long shot, but I always play the long odds.
Ballet for a rainy day Silent film of melting miracle play Dancing out there through my window To the backdrop of a slow descending grey
Ballet is ultimately a logical technique; it favors the shortest, most efficient route from one position into another. This factor gives an aesthetic clarity to all motions.
Ballet is pure and demands that you serve something larger than yourself, whether it be beauty or art, or a combination of both. It requires discipline, taking care of yourself, taking care of your own body first. Then it allows you to give of that beauty, the beauty that you acquire by sculpting your own body all your life.
I do after-school ballet and also hip-hop and jazz.
Some people even think that I'm still just not right for it [ballet]. And I think it's shocking because they hear those words from critics saying I'm too bulky, I'm too busty. And then they meet me in person and they're like, you look like a ballerina. And I think it's just something maybe that I will never escape from, those people who are narrow-minded. But my mission, my voice, my story, my message, is not for them. And I think it's more important to think of the people that I am influencing and helping to see a broader picture of what beauty is.
I didn't really know anything about Margot Fonteyn. I'd never really been a ballet child, so I had no idea what an incredibly huge icon she was, not just in terms of a creative icon - she was also a style icon. I had no idea she was up there with Audrey Hepburn and Jackie Onassis in terms of that kind of image.
I feel like I represent every young dancer, and even non-dancer, who felt they were not accepted by the ballet world. I'd like to think that they can see themselves in me.
Ballet was exactly what I was searching for, but my environment definitely made me the dancer and the person that I am today. And the Hip-Hop culture was a big part of it.
It takes a lot of money to be a part of the ballet world. Both the training and the supplies are expensive, the shoes, the leotards and the tights.
My career came together very quickly. I only trained for four years before I became a professional, so I didn't have a lot of time to sit back and be inspired before I took my first ballet class.
There's no similarity between football and ballet, so this ain't ballet music being played on the field. I'm pumping something that's going to put me in a frame of mind to go to war, and something that's very high tempo and high beat.
Ballet is more than a profession - it is a way of life.
Ballet is a riddle of means and ends.
Ballet is like any other art form in that we all start out knowing nothing about it.
The cat crossed the street daintily, pointing his feet like a ballet dancer, lifting them high as if his feet were too good for the pavement.
Chloe Honum's brilliant first book The Tulip-Flame traces an identity forming within radically divergent but interlocking systems: a family traumatized by the mother's suicide, a failed relationship, the practice of ballet, a garden-each strict, exacting. And with 'a crow's sky-knowing mind,' Honum in every case transfigures emotion by way of elegant language and formal restraint. Chloe Honum is 'one astounding flame' of a poet, and I predict a long-lasting one.
My mum said she remembers me asking her if she'd take me to ballet lessons when I was about two and a half. She said I could barely speak, and yet was asking for ballet lessons.
I had rather be a kitten and cry mew Than one of these same metre ballet-mongers.
Just as a child, before I ever knew what ballet was, there was something in me where I was always searching for something structured, something that was bigger than me, and something so historical that I could be a part of. I didn't find that until I stepped into the ballet world, and it was overwhelming, the feeling of being a part of something that's bigger than you.
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