A Quote by Emma Watkins

We do ballet dancing, Irish dancing, Scottish, jazz, tap - whatever country we're in or whatever culture that we'd like to present to the children. — © Emma Watkins
We do ballet dancing, Irish dancing, Scottish, jazz, tap - whatever country we're in or whatever culture that we'd like to present to the children.
I've been dancing my entire life. Jazz, hip hop, ballet. And then there's tap dancing. I love to tap.
Throughout my childhood, I did a form of Irish dancing that was kind of the precursor to 'Riverdance.' It was a mixture of ballet and Irish dancing that my teacher, Patricia Mulholland, had invented, essentially. It was Irish ballet, and she would create performances based around the myths and legends of Ireland.
I love dancing, actually. My mother taught children's dance, ballet, tap, jazz...I'm very flexible.
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 do ballet and pointe work. I also do tap, commercial jazz and technical jazz, freestyle street dancing.
I've got used to the fact -? just about -? that whatever I do is going to be compared to the other Beatles. If I took up ballet dancing, my ballet dancing would be compared with Paul (McCartney)'s bowling.
I'm the first one out on the dance floor. In college I had to take jazz, ballet and tap dancing, but, before that, it was just social.
I was in a competing company and have been dancing since I was four - ballet, tap, jazz, hip hop - so it's a huge part of my life and my music.
My grandmother had a Miss Margaret's School of Dance to teach tap and ballet to kids, but I never studied it. I was raised a Mormon and they're dancing fools. It's the only vice they have - dancing.
I was first introduced to dancing through the TV: I remember watching ballet, jazz and ballroom dancing when I was very little. But I felt no connection with it whatsoever: it was just like watching a Tom and Jerry cartoon.
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.
Tap's foundation is jazz, just like hip-hop, so relating tap-dancing to rap is natural for me.
Well hip hop is basically the whole culture of the movement. There's the rap which is a form of hip hop culture. It could be breakdancing, freestyle dancing or whatever type of dancing that's happening now in the Black, Hispanic and White community.
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.
Tap dancing is like... it's equivalent to music, not only for the African American community, but also for the world. Tap dancing is like language; it's like air: it's like everything else that we need in order to survive. I'm blessed and honored to be knowledgeable of the art form and to be a part of the art form.
I love jazz. So to me, there are two main types of jazz. There's dancing jazz, and then there's listening jazz. Listening jazz is like Thelonius Monk or John Coltrane, where it's a listening experience. So that's what I like; I like to make stuff that you listen to. It's not really meant to get you up; it's meant to get your mind focused. That's why you sit and listen to jazz. You dance to big band or whatever, but for the most part, you sit and listen to jazz. I think it comes from that aesthetic, trying to take that jazz listening experience and put it on hip-hop.
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