A Quote by Donald O'Connor
I`m basically a hoofer, a tap dancer. I was always very good from the waist down, moving with the feet... I became what`s known as a total dancer, using the entire body in order to express what you want to express in tap dancing and line.
Related Quotes
I'm a tap dancer. Once you're a tap dancer, you're always a tap dancer. In 'After Midnight,' I get to dance, but I don't do a full tap number.
Though I soon became typecast in Hollywood as a gangster and hoodlum, I was originally a dancer, an Irish hoofer, trained in vaudeville tap dance. I always leapt at the opportunity to dance in films later on.
My brother became so enamored with that film [West Side Story], that he started taking tap-dancing lessons, and I followed him and started tap dancing, and my mother and father started tap dancing - I was in a class with my family, tap dancing!
I taught and studied dance in college, and for over a decade, I thought that would be my career: tap dancer, ballet dancer, modern dancer. I still find myself doing some tumbling or interpretive dancing in the grocery store every now and then.
Still, I started as a group dancer and became known to the public as a dancer. So, dancing will always remain close to my heart.
I am realizing and accepting my role as a tap dancer in this world is not only to tap dance for the sake of performance, but through tap dance be able to share and spread a message and congregate with people I would not necessarily be with had it not been for dance.
I've been dancing my entire life. Jazz, hip hop, ballet. And then there's tap dancing. I love to tap.
I'm a pretty decent tap dancer. I enjoy all types of dancing, actually.
I grew up as a dancer. I did tap, classical ballet, all of that. I did Indian dancing, or Bharata Natyam, classic temple dancing from Madras, originally. My mother always had the great idea that I should learn it.
I grew up watching Gregory Hines banging out rhythms like drum beats, and Jimmy Slyde dancing these melodies, you know, bop-bah-be-do-bap, not just tap-tap-tap. Everyone else was dancing in monotone, but I could hear the hoofers in stereo, and they influenced me to have this musical approach towards tap.
I grew up in a very musical household. There was music and dance. My great-grandma was a famous tap dancer in the '40s, my mom was a dancer, she met my dad on the road when he was on tour in the '60s. Music is my heart and soul, it's my love.
I wanted to be a tap dancer when I was very young.
My favorite thing is drums. I have a very, very big memory - and I don't have many big memories - of going to see the movie Tap, with Gregory Hines. During one scene, he's in jail, and there's some water dripping down, and he starts tap dancing. I just like that feeling of: "I'm in charge, I can do whatever I want."
I think 'Tap Dogs' has lasted so long because people have a natural interest in tap dancing. This form of dancing can't be dated, it's such an intriguing form of dance because the feet are also an an instrument.
I wouldn't call myself a dancer. I would never even dance in a club - I can't move my feet! I'm terribly shy about moving. I feel comfortable in my body, but dancing is like learning another language.
In film, a dancer should always be shot from head to toe, because that way you can see the whole body and that is the art of dancing. Nowadays they shoot the nose. Left nostril. Right nostril. Hand. Foot. Bust. Derrière. The film prevents you from determining who is a good dancer and who is not.
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