The story of dance in the Western world is as much an alternative vision of the events of history as is the folk history told for generations by primal people.

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.

For the Indian,dance is a personal form of prayer. When the Eagle Dancer puts on his costume,when he begins to dance to the music,he doesn't simply perform it; he actually becomes the eagle itself. The dancer is virtually inseparable from the dance.

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.

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.

The nobility danced for the sake of social grace, to exhibit their finery...peasants danced to make themselves happy, to escape the routine of their life, and to meet their future wives and husbands.

At the root of all the varied manifestations of dancing, lies the common impulse to resort to movement to externalize emotional states which we cannot extemalize by rational means.