A Quote by Shakti Mohan
I feel the way India has loved and supported dancers is incredible.
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Dancers are working their bodies just like a marathon runner would, and you have to eat to make it through a three-hour performance. Dancers put their bodies through incredible strain.
At bed-time I went into my room and put out the light. I didn't get undressed. I lay on my bed and looked out of the window at the stars. I read in a book that the stars can take you anywhere. I've never wanted to be an astronaut because of the helmets. If I were up there on the moon, or by the Milky Way, I'd want to feel the stars round my head. I'd want them in my hair the way they are in paintings of the gods. I'd want my whole body to feel the space, the empty space and points of light. That's how dancers must feel, dancers and acrobats, just for a second, that freedom.
I came to NBC on 'Friday Night Lights' and they have supported that show and found ways - unprecedented ways - to keep it on the air for a long time. And when I came to them with the idea of doing 'Parenthood,' they not only supported me in doing it but also got behind it in such a way that we were able to put together this incredible cast.
Nobody supports me at the expense of his own adventure. Then I get bitter: I am not loved enough to be supported. That I am not a burden has to compensate for the sad envy when I look at women loved enough to be supported. Even now China wraps double binds around my feet.
I'm still trying to change the way people see black dancers that we can become delicate dancers, that we can be a ballerina.
I loved the Faroe Islands, that was incredible. It was like Scotland and they made me feel at home.
I would love for dancers to be treated better and for dancers to have support, for dancers to have managers, agents. This is the only art form that does not have a proper support system.
Every woman wants to feel great about themselves. It's just nice to feel supported in that way, and it's what my live shows are about - just making women feel stronger, and better, and celebrating. You get to see people's flaws and everyone comes together in their own way. But it's also nice to celebrate who they are.
It was around the age of 18 when I started to feel like I had learned everything I could learn from being a model - modeling is a really incredible form of expression, but I got into modeling because I loved fashion so much and I really loved photography.
India's way is not Europe's. India is not Calcutta and Bombay. India lives in her seven hundred thousand villages.
We keep calling for accountability and reinvestment and a push for all of us to imagine a world where black people are not policed but instead supported and loved and cared for. Where our families can feel safe and inspired and protected.
It's going to take a while before we see a real shift in the students and the dancers that are going into professional companies because it takes so many years of training, but I do think that there's a new crop of dancers, of minority dancers that are entering into the ballet world.
If you write a lovely story about India, you're criticized for selling an exotic version of India. And if you write critically about India, you're seen as portraying it in a negative light - it also seems to be a popular way to present India, sort of mangoes and beggars.
The Royal Ballet is the best paid company, but the dancers get nothing. The stage crew get paid three times more than the dancers, and they have a job for life - dancers only have 10 years.
It is the pride to play for India that keeps me going. Not many get a chance to play for India and I feel very fortunate to be still playing. The will to do well for India is a big motivation.
My first intellectual challenge was to try to understand this incredible city of Banaras (also called Varanasi) in India and its meaning for Hindus. That was the place I lived for the first year I was in India and I've been back many times. It's a kind of home to me.
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