I work because I have issues and questions and feelings and thoughts that I want to have a look at. I'm not in need of, or wanting, particularly, to know what other folk are up to.

The content and thematic materials of dance is, of itself, like boxing. You play tennis and baseball. But boxing is not a sport you play: you stand up and do it.

It was not until I had graduated from college that I made a professional commitment to it. Frankly, I didn't think it wise. I was my own interior parental force, and it's very difficult to justify a profession as a dancer.

There's a paradox in the notion that creativity should be a habit. We think of creativity as a way of keeping everything fresh and new, while habit implies routine and repetition. That paradox intrigues me because it occupies the place where creativity and skill rub up against each other.

I was fortunate to love men, so I could put them on stage and make roles for them, and move through their bodies in a way that they enjoy doing...

The only thing I fear more than change is no change. The business of being static makes me nuts.

I think that anyone who's pushed to do the very best that they can is privileged. It's a luxury.