A Quote by Laurieann Gibson
I'm born originally in Toronto, and I have what I call my 'Fame' story. I took a Greyhound bus and went to Alvin Ailey and received Dunham, Horton, Graham technique there, but I could never take my eyes off of Balanchine doing 'Nutcracker'; to me he's the best who ever did it.
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I am trained, and I did do 'The Nutcracker' in its right form, but at the time, they told me I was black and I'd never be in 'Swan Lake.' I went through all those prejudices in the ballet community, and I still emerged wonderfully trained and found my way to Alvin Ailey where there were familiar faces.
I wanted to be an Ailey dancer. I would watch Alvin Ailey videos over and over, and I'd picture myself doing that. I was obsessed with it.
People are released from prison so unprepared. They give you $200. We call it gate money. And you have to pay for a bus ticket back to L.A. You get off the Greyhound bus, downtown Skid Row, and you're supposed to make a life from that.
As a teenager, my brother's girlfriend came into my life, and I just thought she was the bomb. I followed her around, and she could just say anything, and it would influence me. She took me to my first nice restaurant, bought me my first nice handbag, and took me to my first Alvin Ailey show when I was 14, which changed my life.
DeFrantz's study...is not the first book about the protean Ailey, who was born in hardscrabble Texas in 1931 and died in 1989 after creating close to 80 works. But it is perhaps the most comprehensive, combining biography, criticism, the analysis of dance criticism, and a sort of corporate history, siting the now firmly established Alvin Ailey American Dance Theater in the international cultural landscape.
Look at where I lived! Four blocks from Lincoln Center. I used to play in the fountain. And then I started taking dance lessons. I was in 'The Nutcracker' for the N.Y. City Ballet when I was 8 and dancing in 'The Firebird' for George Balanchine when I was 9. Believe me, that's something you don't ever forget.
My dad is a director/producer and my mom is a dancer; she performed with Alvin Ailey, but I didn't even think about becoming an actress.
There was a stage when Balanchine and I didn't talk. I was trying to develop my classical technique as opposed to the fast-track technique that he was pushing. We were very quiet with each other. But after two years he saw what I was doing and sent messages through other people that, yes, this is good.
Mr. Balanchine wanted me to be myself. He didn't want me to look like anyone else. I love teaching our company dancers the Balanchine ballets. I try to give them what was passed down to me and what I learned from him. They dance it so beautifully. It also keeps me close to Mr. Balanchine. He's with me every single day.
My parents telling me that if there is a story you feel compelled to share, then you are responsible for doing that. You can't ask someone else to take on that story - or you can, but you have to deal with whatever the fallout is. If the story doesn't end up being told the way you originally heard it or that you feel it needs to be expressed, that's on you.
Graham was my father's second name, so I took Graham because Lukas Graham sounded cool.
I know this sounds weird, but getting hurt was one of the best things that ever happened to me. It really gave me a different perspective. Before, everything was going how it was supposed to be and I wasn't really appreciative of what I was doing and what it took to be there. The injury grounded me in a lot of different ways. The rehab process makes you stronger on all fronts, mentally and physically. I feel stronger and a better person for it. I would never wish it on anyone, but I don't wish I could take it back.
I danced growing up. I had two friends of mine that, actually, one of them wound up dancing with Alvin Ailey.
You learn to do your best writing on story rather than off story. Very often at the beginning of their careers, writers including me do their best dialogue writing off story - the best lines, the best observations - but they haven't got enough to do with the plot to stay in.
I was the strongest during my career, and that helped me a lot, definitely in the beginning, when I needed to race against riders who were much older than me and had the power and the experience. I could beat them with my technique. At a certain moment I not only had the technique but then the power came and the experience, and then you are on the best level that you ever can reach. But then the explosivity starts to go down, you're more afraid, and the technique goes down a bit. But it's OK, because it never goes completely down.
Toronto will be the best Pan American Games ever. As PASO’s President, I have said several times that I want to end my leading period with a legacy of the best Games ever; and I am sure we will do it in Toronto.
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