Dance in this century has remained primarily a personal ritual operating, like most avant-garde art, as an idiosyncratic form rather than a tribal expression of religious powers or a corporate expression of societal values.

Dance has been transformed from an involuntary motor discharge, a ceremonial rite, into a work of art, conscious of, intended for, observation.

We've reached a point where we are not a very empathetic people, and art without empathy is art without an audience. My basic viewpoint is that without art we're alone.

What outsiders discover in their adventures on the other side of the looking glass is the courage to repudiate self-contempt and recognise their “alienation” as a precious gift of freedom from arbitrary norms that they did not make and did not sanction. At the moment a person questions the validity of the rules, the victim is no longer a victim.

White performances were always dull in comparison to the astonishing expressiveness of Black dancers. Behind the white person's inarticulate body were centuries of condemnation of dancing on religious grounds.

Some of the most popular discos in America and Europe were started as gay establishments, which began to open their doors to anyone who wanted to dance.

For Indians, images are a means of celebrating mystery and not a manner of explaining it