A Quote by David Shields

Denied dancing and musical instruments, slaves expressed a hidden tradition of musicality and poetics by tongue and signal. — © David Shields
Denied dancing and musical instruments, slaves expressed a hidden tradition of musicality and poetics by tongue and signal.
I just want to improve as an actor, and I am also fond of dancing and learning musical instruments.
From my opinion, 'geisha' means a woman skilled in the arts. Like dancing, singing and playing musical instruments.
There is perhaps nothing that is not musical. Perhaps there's no moment in life that's not musical... All instruments, musical or not, become instruments.
For a long time in the 1970s, I was experimenting to build musical instruments and use them. I did a lot of ethnic music studies and other things, like electronic music. Making homemade musical instruments and performing was my major activity from the time.
Growing up in the Libya of the 1970s, I remember the prevalence of local bands who were as much influenced by Arabic musical traditions as by the Rolling Stones or the Beatles. But the project of 'Arabisation' soon got to them, too, and western musical instruments were declared forbidden as 'instruments of imperialism.'
Dance connects us to the musicality of life and to one another. No one should be denied such basic pleasures.
Fred Sturm has proven to be a great asset to the musical world as a teacher, composer and author. His gifts have enriched the musical life of all the people who have been fortunate enough to share his wisdom and musicality.
We are slaves in the hands of nature - slaves to a bit of bread, slaves to praise, slaves to blame, slaves to wife, to husband, to child, slaves to everything.
O friend unseen, unborn, unknown, Student of our sweet English tongue, I never indulge in poetics - Unless I am down with rheumatics.
I believe in the American tradition of separation of church and state which is expressed in the First Amendment to the Constitution. By my office - and by personal conviction - I am sworn to uphold that tradition.
Roger Bacon, a disciple of the Arabs, also insisted on the primary necessity of Mathematics, without which no other science can be known; yet by Mathematics it is clear that he meant something very different from what we mean, including under that head even dancing, singing, gesticulation, and performance on musical instruments.
I used to play a few instruments including guitar and snare drums, but I think a musical background is an important part of a career. If you start out playing instruments you create a better instinct and feeling for music.
One of the things I've always thought is that if I were to write a poetics, it would have to do with the poetics of failure, and the way in which all the things that you claim or that you try for are already based on the limits of language.
Shakespeare is rhythmic; he is musical in the sense that he likes poetry, and he's musical because he constantly refers to settings where there's singing and dancing.
In history, in most cultures, and at most points in time, if you want to find the most advanced technologies, you can look principally in two places. One is weapons and the other is musical instruments. My hypothesis is that instruments are usually ahead of weapons. In fact, I think you can find many examples of instruments being predecessors of weapons and very few in the reverse.
Here we are at the very core of the thesis we wish to defend in the present essay: reverie is under the sign of the anima. When the reverie is truly profound, the being who comes to dream within us is our anima. For a philosopher who takes his inspiration from phenomenology, a reverie on reverie is very exactly a phenomenology of the anima, and it is by coordinating reveries on reverie that he hopes to constitute a "Poetics of reverie". In other words, the poetics of reverie is a poetics of the anima.
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