I'm not interested in a group of people with some sort of incredible homogeny,a group that can do the movement I want. I'm interested in people whocan take the movement somewhere.
Afro-Caribbean influences are in me as a creative being the same way Spanish influences were in Picasso's work. I think the notion of labels - "black dancer, black choreographer" -is a ploy to divide and conquer, and to limit.
Some things need to be a song. Some things need to be a play. Some things need to be a painting. Some things need to be-though I'd never be a choreographer-some things might ought to be a dance [laughs]. I've found that exploring an idea in different ways, it gives you different opportunities.
Dancing was always part of my culture growing up in Barbados. When I shot my 1st video I worked really hard with my choreographer to perfect the routines.
I'm not a good choreographer: I can't remember what I put down.
Neo-Hoodoo is the 8 basic dances of 19th century New Orleans' Place Congo- the Calinda the Bamboula the Chacta the Babouille the Conjaille the Juba the Congo and the VooDoo- modernized into the Philly Dog, the Hully Gully, the Funky Chicken, the Popcorn, the Boogaloo and the dance of great American choreographer Buddy Bradley.
We must first realize that dancing is an absolutely independent art, not merely a secondary accompanying one. I believe that it is one of the great arts. . . . The important thing in ballet is the movement itself. A ballet may contain a story, but the visual spectacle . . . is the essential element. The choreographer and the dancer must remember that they reach the audience through the eye. It's the illusion created which convinces the audience, much as it is with the work of a magician.
I get into the studio and I try to make visible what's in the choreographer's mind. Sometimes a choreographer wants you to have an idea, and sometimes you are the idea.
For most of human history, we could only watch, like bystanders, the beautiful dance of Nature. But today, we are on the cusp of an epoch-making transition, from being passive observers of Nature to being active choreographers of Nature. The Age of Discovery in science is coming to a close, opening up an Age of Mastery.
I'm a choreographer and I love watching 'The Bachelorette.'
I never danced a step in my life so naturally. My first motion picture was a musical, and Bob Fosse was the choreographer. I didn't exactly dance for Fosse, I just did the best that I could to do what he taught us to do.
It's an incredible dilemma to be an artist of color and to always be in denial about that, saying, 'I'm a choreographer first and then I'm black,' when in fact, that's not the case. I'm black first and then I'm also a choreographer.
All writers, musicians, artists, choreographers/dancers, etc., work with the stuff of their experiences. It's the translation of it, the conversion of it, the shaping of it that makes for the drama.
I worked a lot in Chicago's theater scene as a fight choreographer. And so I do have a lot of experience in stage combat and also in Kabuki dance and Kabuki theater.
There are as many types of Butoh as there are Butoh choreographers.
I have maintained a low profile throughout my career but have always done things in my own unique way, be it dancing or dressing up. On the dance floor, I had my own unique steps and often had to lead my choreographer.
Collaborations work when both or however many parties are the right people to be working together for whatever reason - whether it's two musicians or a musician and a filmmaker or a musician and a choreographer, if the combination is right, the possibility exists to make something greater than the individuals could make. But if the combination is wrong than you generally end up with a compromised piece is probably less than the individuals could make.
You get used to working with one choreographer. You kind of get stuck in that vein and you work your way out of it, picking up someone else's style, their flavor. It takes a bit of time.
I have the most respect for Zach Woodlee. He is one of my favorite - and one of the most capable - choreographers out there right now.
I'm heavily involved in the creative with choreographer Christopher Scott. I go to rehearsals with 'Glee' and then practice with LXD till about midnight.
I was a protege; by the age of 10, I was studying with ballet choreographer Anthony Tudor in a class of adults.
Every film, every fight choreographer, wants to have a different flair, have a different fight technique. So any film I've done that involved weapons has always been fascinating because everyone is different.
An action choreographer is kind of like a dance choreographer. You choreograph the moves and you let the director, cinematographer take into positioning their cameras.
It's like a dance, to choreograph a fight is like a dance. It's very specific. You have to carefully plan it out. Because if someone gets hurt, then we didn't do our job, someone screwed up. The fight choreographers and the actors involved, we messed up somewhere.
I've had a lot of fun writing percussion music. It feels quite similar to writing computer music. But I found myself in the role of choreographer in a way, worrying about physical movement and such.
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