A Quote by Dana Tai Soon Burgess
A young choreographer often gets hung up on thinking they have to have all the answers. As a choreographer ages, they realize that they're more of a steward to movement. We mold movement and curate and form it into plausible and understandable stories.
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In less than a century we experienced great movement. The youth movement! The labor movement! The civil rights movement! The peace movement! The solidarity movement! The women's movement! The disability movement! The disarmament movement! The gay rights movement! The environmental movement! Movement! Transformation! Is there any reason to believe we are done?
An action choreographer is kind of like a dance choreographer. You choreograph the moves and you let the director, cinematographer take into positioning their cameras.
You are not a female or a male - you are a dancer. And when I started going into choreography I became part of a team of people making movies. I wasn't a woman choreographer. I was a choreographer.
The gay rights movement of recent years has been an inspiring victory for humanity and it is in the tradition of the civil rights movement when I was a young boy in the South, the women's suffrage movement when my mother was a young woman in Tennessee, the abolition movement much farther back, and the anti-apartheid movement when I was in the House of Representatives. All of these movements have one thing in common: the opposition to progress was rooted in an outdated understanding of morality.
Action choreographer is like talking. When you talk, you have a rhythm. When you act, you have a rhythm. When you're moving your body, you have a rhythm. So as an actor, as a choreographer, the objective is trying to blend everything in - into - ultimately back into that character.
When I became a choreographer, I was not assisting any choreographer. I was assisting the director Mansoor Ali Khan for 'Jo Jeeta Wohi Sikandar.' I was the fourth assistant director.
Hip is to know, it's a form of intelligence. To be hip is to be update and relevant. Hop is a form of movement, you can't just observe a hop, you gotta hop up and do it. Hip and hop is more than music
Hip is the Knowledge, hop is the Movement. Hip and Hop is Intelligent movement
I get into the studio and I try to make visible what's in the choreographer's mind. Sometimes a choreographer wants you to have an idea, and sometimes you are the idea.
A good choreographer is one that's going to collaborate, teach, guide - everything. The wonderful thing on 'Brotherhood of the Wolf' was that we had Philip Kwok - he choreographed John Woo's 'Hard Boiled,' and in the '70s, he was a martial arts actor, stunt man, fighter, choreographer in Hong Kong.
We must first realize that dancing is an absolutely independent art, not merely a secondary accompanying one. I believe that it is one of the great arts. . . . The important thing in ballet is the movement itself. A ballet may contain a story, but the visual spectacle . . . is the essential element. The choreographer and the dancer must remember that they reach the audience through the eye. It's the illusion created which convinces the audience, much as it is with the work of a magician.
I've had a lot of fun writing percussion music. It feels quite similar to writing computer music. But I found myself in the role of choreographer in a way, worrying about physical movement and such.
It's an incredible dilemma to be an artist of color and to always be in denial about that, saying, 'I'm a choreographer first and then I'm black,' when in fact, that's not the case. I'm black first and then I'm also a choreographer.
I work as a dancer, but I also work as a choreographer with couples that have a lot of tension between them, and as dancer and as a choreographer, being in this situation is very difficult. You see the energy doesn't flow, and it's very tense.
A choreographer deals with the movement that you create, and with a creative director it's about the story, the stage, the lighting, the costuming, executing someone's idea, choosing how far to go or how little to go, and blending it so that you feel it, you're emotionally effected.
I go to places and I see all these people working on peace education and on a culture of nonviolence and non-killing. You look at all these different movements going on: the environment movement, the interfaith movement, the human rights movement, the youth movement, and the arts movement.
The blind spot for the in the Southern Progressive Movement - as for that matter in the national [progressive] movement - was the Negro, for the whole movement in the South coincided paradoxically with the crest of the wave of racism. Still more important to the association of the two movements was the fact that their leaders were often identical. In fact, the typical Progressive reformer rode to power in the South on a disenfranchising or white-supremacy movement.
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