As far as I'm concerned, the 20th century was performance-driven, but for some reason, the critics and historians didn't know how to integrate that.

Performance art is really about the sociology of the artist, where ideas come from, and the confluence of those ideas.

It was very interesting growing up in South Africa then. It was extraordinary. It was multiculturalism before it became an issue.

There's a moment when you say, "Okay, I'm not going to become a dancer. I'm not going to become a painter." So in a sense, I ended up writing about those big conflicts that I felt.

I was often the only white girl in the Indian dance class. That felt funny, but doing Indian dance was great.

I started as a tap dancer in Durban, which is on the coast. That was an important part of growing up, turning on the radio in the morning and hearing Zulu singing or the news in Zulu.

My art history papers were really politics. They were about the manifestation of culture through the eye of political events. So there was always that refusal to settle in one place, or one discipline or medium.