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.

I grew up as a dancer. I did tap, classical ballet, all of that. I did Indian dancing, or Bharata Natyam, classic temple dancing from Madras, originally. My mother always had the great idea that I should learn it.

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

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.

From day one, my idea was always to use the gallery as this animated place to discover culture in a much bigger way.

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.