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.

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

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.

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.

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.