I'm definitely influenced by the music. We dance to music, and you have to listen to it and phrase your dancing and movement in a certain way to compliment the music. We have to work hand in hand, the dancer and the music.
There comes a pause, for human strength will not endure to dance without cessation; and everyone must reach the point at length of absolute prostration.
I admit that when challenging times first surface, it's not first instinct to do a happy dance. But when you take time to pause and add insight to injury, you will immediately start to feel empowered to make those majorly needed life shifts.
One day, the dance charts will be the biggest chart in the music world. Because we all need to dance. This planet will be a fun planet when the judges in court will end the day with a dance!
Every dance is a kind of fever chart, a graph of the heart.
I never thought I would go into the dance charts.
I like a spirituality with a God that knows how to drive a car, that knows how to take his girl to the dance club, dance all night, have a little drink, kiss the kid when they come back in and go to sleep. God doesn't need a chauffeur - he needs to drive himself.
It is a special, weird thing being a cheerleader. You need to want to yell and perform, dance, and wear a cute little costume. It's a thing you're kind of born with or without.
When I was a teeny little girl, I was in dancing school, and I sang. We had to put a dance to a song, so I went to the 10-cent store one day and looked at all the sheet music. It was all laid out, and I picked 'Life Is Just a Bowl of Cherries.'
I wasn't like a Hollywood child actor - 'I'm five! I can sing, I can dance, I can act! I wanna be a star!'
My main inspirations come from early '90s Trance, the French electro movement round '06, then a bunch of artists like Flying Lotus, J Dilla, Moby, The Prodigy. So I'd say it's some kind of experimental electronica with a strong hip hop influence. It's chilled, but people can still get super crazy and dance to it.
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.
Catalysts are the conductors who choreograph the chemical dance that results in the formation of new structures.
There's an innate feeling when I choreograph in juxtaposition to how I feel as a dancer. When I choreograph, I never really look into the mirror. But as dancers, we always check ourselves in the mirror. I do feel that when I choreograph, I am making a dance on my own body. Much of it is my own response to the music.
I got to choreograph a halftime dance with the cheerleading squad, which was all-female, at my high school. And I was the only boy, at the time. We did this whole routine to 'Maria Maria' by Santana, and 'Thong Song' by Sisqo - it was a mix.
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.
Basically it starts with four months of training, just basic stretching, kicking and punching. Then you come to the choreography and getting ready to put the dance together.
I kind of lost interest in the classical dance. I was very much interested in the modern choreography.
I have always loved contemporary dance, but it has always been a bit of a mystery to me. But choreography is very much like what I do when you are putting characters in frame on the page. It's so impressive what they do with their bodies. It's like painting: an abstraction.
I'm no dancer. I got rhythm, I can dance if I need to, but I'm not Chris Brown. He's an amazing dancer. If I'm not going to be amazing at it, I'm not gon' do it. I'm gonna do what works for me, and you're going to feel it 'cause it's me.