What dance achieves, what play and sex achieve are the same thing that poetry achieves. They transform the ordinary into the extraordinary.

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.

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.

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.

What dance achieves, what play and sex achieve are the same thing that poetry achieves. They transform the ordinary into the extraordinary.

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.