A Quote by Alvin Ailey

Choreography is mentally draining, but there's a pleasure in getting into the studio with the dancers and the music. — © Alvin Ailey
Choreography is mentally draining, but there's a pleasure in getting into the studio with the dancers and the music.
I really hate drama. It's draining; it's mentally draining. It's a waste of time.
My dancers expect me to deliver because my choreography represents their livelihood.
It's expensive to get studio space and dancers. My whole first three years, I was sneaking around in the studios and getting kicked out of them. It was kind of depressing.
In vocal choreography you had to give a lot of consideration to the fact that you were working with singers and not dancers. But you had to make singers look like they were dancers, and to make the movements as natural as possible, and there to be an association with the movement, uh, somewhat to what the lyric was saying.
My choreography suits men very well, and the women who can do it are damn hard, strong dancers.
Then came the choreography... the impact of music and choreography tends to really emphasize an overall feeling of what you really want out of the program.
Fight choreography has far more in common with dance choreography than it does with actual martial arts. You learn martial arts techniques, but those are just the movements for the choreography. You're working with a partner in choreography. You're working on timing.
If you have a sense that anyone is draining your energy, mentally cut the etheric psychic cord between you and the other person. Be willing to forgive that other person for seemingly draining you, and release the other person fully to the light, now. Completely let go of focusing on personalities of other people and ourselves, and focus, instead, on the true oneness of your spirit.
If someone confronts you about draining them it could be a "double reverse." They are draining you and accuse you instead of draining them, just to throw you off.
It's mentally draining to be on 100% of the time on both ends of the floor, especially when you're the team's undisputed shot creator.
There's always music sitting around, but when you're cultivating music, the idea of getting into a studio and compressing it to get something out on time can be really good.
I look around me and I don’t see any rock’n’roll at the moment. Instead it’s all choreography and stylists and wigs and stuff. It’s like they’re afraid to let the music breathe. No one has their own identity like the Ronettes did back in the day. We had the skirts with the slits up the side, sort of tough, sort of Spanish Harlem cool, but sweet too. We didn’t have no dancers, we didn’t have no goddamn wigs.
Acting, really, is a lot of mental fatigue, emotional fatigue, concentration... it's mentally draining.
Backup dancers are completely respectable. They're the studio musicians of dance.
Most people say that Asian or female artists should be sexy in America, but I don't think that I have to be like that. I have a tomboy style. My choreography is not that way. So, I want to focus on my music style to match the choreography, which is really cool. No girls can dance those moves. I try to make them really fresh.
There was a period when STP and I weren't making music - we weren't getting along very good at all. But I had my studio, so I was writing and recording a lot of music. But something told me not to put it out. It was all stream of consciousness; it was clever, but it didn't really have substance.
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