The aboriginal women leaders of Papunya - the Papunya Artists - performed a dance for me: the Honey Ant dance. They'd never done it for anyone else. They honoured me with a ceremonial stick that signifies the story of the land.
I am humble Abraham Lincoln. I have been solicited by my friends to become a candidate for the Legislature. My politics are short and sweet, like the old woman's dance.
In liberal democracy and anxious anarchy, the traditional classic dance, compact of aristocratic authority and absolute freedom in a necessity of order, has never been so promising as an independent expression as it is today.
Movement is expressive. I've never denied that. I don't think there's such a thing as abstract dance.
Fine arts education in public schools is really abysmal. The same emphasis should be put on music, theater, dance - anything creative - that's put on math and science.
Boston was a great city to grow up in, and it probably still is. We were surrounded by two very important elements: academia and the arts. I was surrounded by theater, music, dance, museums. And I learned how to sail on the Charles River. So I had a great childhood in Boston. It was wonderful.
I do martial arts mostly. But if I am bored, or my body is aching, I swim or go the gym. I can sometimes be doing cardio on the treadmill, kick boxing, stretching, dance, whatever I feel like. I just make sure I have something to do every day but no particular set routine.
Storytelling is a very old human skill that gives us an evolutionary advantage. If you can tell young people how you kill an emu, acted out in song or dance, or that Uncle George was eaten by a croc over there, don't go there to swim, then those young people don't have to find out by trial and error.
You're being cast for your acting ability. It's not based on the way your body functions. If you're playing a lead in a movie, it's for that character and they'll tailor it to you. In a dance company, you have to fit in a definite mold.
I always wanted to be an actor, so I began to prepare myself for a career in acting. I did a course at Kishore Namit Kapoor's acting school. I was with Shiamak Davar's dance school and also did theatre with Nadira Babbar.
It's all choreographed; it's a routine. So I told everyone I really wanted to try fighting in action films. I had no stunt experience, but I had the dance background, and I was very agile and coordinated. And the best thing about being a newcomer to acting is you can afford to try new things.
Adaptability is crucial to working on Glee because every day is adapting to something. Because we're doing a different genre of music, doing a different type of scene with a different scene partner, recording and dance rehearsals... no day is like another.
The dance can reveal everything mysterious that is hidden in music, and it has the additional merit of being human and palpable. Dancing is poetry with arms and legs.
I have late onset ADHD. I take on too much and end up spinning plates, but it's entertaining, and it helps you make quick connections if you're a comedian, if you have a brain that can dance around too much.
I had to learn to dance for 'The Adjustment Bureau' and it was nearly impossible. I turned up with my knees knocking in my leotard and went home and cried my eyes out.
I come from a school of people, folk singers, and the tradition there is troubadours, and you're carrying a message. Now admittedly, our job is partly just to make you boogie, just make you want to dance. Part of our job is to take you on a little voyage, tell you a story.
I dance around my living room to cheesy '80s aerobics music until I'm sweating really hard!
If you want a dancer's body, dance. Dance aerobics is my favourite cardio. It's very frustrating if people think you have to become a dancer to do it - you don't.
I tried to dance in my earlier films, but it was more like struggling to stay afloat once you are thrown into the water.
'The Firebird' just symbolizes a lot for me and my career. It was one of the first really big principal roles that I was ever given an opportunity to dance with American Ballet Theatre, and it was a huge step for the African-American community, I think, within the classical ballet world.