I mean, when you grow up dancing, you have to become very comfortable in your own skin.
I was a dancer for fifteen years, and I think a lot of what dancing gives you crosses over so much into anything to do with fighting, martial arts, anything action.
It just seemed like all the records I have made since Creedence Clearwater Revival have all been sort of pushed off center. I felt like I was dancing around the outskirts of what is my true center. With this album, I really wanted to stay on the mark, right in the middle, right where rock 'n' roll is. I wanted this one to be easier, a lot more fun than some of the past records have been.
But it is never over; nothing ends until we want it to. Look, in shattered midnights, On black ice under silver trees, We are still dancing, dancing.
I was your typical struggling actress. I went to every audition, took a million acting, dancing and singing lessons and spent years wondering where my next meal was coming from.
The first Matrix genius, the second one, what's up with the dancing? I haven't even seen the third one.
Labor is blossoming or dancing where The body is not bruised to pleasure soul, Nor beauty born out of its own despair, Nor blear-eyed wisdom out of midnight oil. O chestnut tree, great-rooted blossomer, Are you the leaf, the blossom or the bole? O body swayed to music, O brightening glance How can we know the dancer from the dance?
Once I thought I saw you in a crowded hazy bar, Dancing on the light from star to star. Far across the moonbeam I know that's who you are, I saw your brown eyes turning once to fire. I am just a dreamer, but you are just a dream, You could have been anyone to me. Before that moment you touched my lips That perfect feeling when time just slips Away between us on our foggy trip.
Just knowing that the world is round Here I'm dancing on the ground Am I right side up or upside down? Is this real or am I dreaming?
We seek not rest but transformation. We are dancing through each other as doorways.
More than anything, rave was an intentionally designed experience. The music, lighting, and ambience were all fine-tuned to elicit and augment altered states of consciousness. The rhythm of the music was precisely 120 beats per minute, the frequency of the fetal heart rate, and the same beat believed to be used by South American shamans to bring their tribes into a trance state. Through dancing together, without prescribed movements, or even partners, rave dancers sought to reach group consciousness on a level they had never experienced before.
The dance is the mother of the arts, The dance breaks down the distinction of body & soul.
The dance lives in all mankind as a necessary motor-rhythmic expression of excess energy and the joy of living.
The peoples influenced by the animal dance have a variety of movements and dance with enthusiasm; those who do not know the animal dance have few movements and show little zest for dancing.
Rhythmic motion has become the carrier and creator of almost every ecstatic mood of any significance in human life.
In Europe we have the "loss of self" motif clearly illustrated in the whirl dances of the Russians sects of the Molokani in Armenia....All the countries that bordered the Meditteranean in ancient times, and the less remote sections of Asia as well, appear to have had whirl dances.
It removes the limitations of his body, extinguishes his consciousness, and pours the divine spirit into him. The whirl dance is the purest form of dance devotion.
Every dance is and gives ecstasy.
The superhuman power which exhiliration and hypnosis bring to a dancer is shown especially clearly in his almost inconceivable staying powers in a state of high tension. "In the dance even the weakest can do wonders."
A person can be danced. In all continents the dancers carry little children on their shoulders.
If you ask an Auin Bushman what realty happens at the puberty ceremonials, he will tell you, "We dance." In the initiation customs of all peoples the dances play an especially important part. The dance is the center of wedding festivities.
In the earliest cultures any tie between the dancers is slight. In a higher level the choral dancers almost always touch one another and thus force themselves into the same stride and the same movement. The closer the contact, the stronger is the social character of the choral.
The oldest form of the Choral Dance is the circle. Even the chimpanzees dance in a circle, and people of every continent still do it.
Although the circle dance is known throughout the entire world, the front dance is limited to the cultures of which the rectangular hut is a part.
Wherever there are four walls, consciousness of direction is far keener.
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