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.

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.

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

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

We often take for granted the notion that some people are insiders, while others are outsiders. But such a notion is a social contrivance, that, like virtually every public construct, is a legacy of a primordial and tribal mentality.