We have our own history, our own language, our own culture. But our destiny is also tied up with the destinies of other people - history has made us all South Africans.
Heroes are necessary in order to enable the citizens to find their own ideals, courage and wisdom in the society. The hero carries our hopes, our aspirations, our ideals, our beliefs. In the deepest sense the hero is created by us; he or she is born collectively as our own myth. This is what makes heroism so important: it reflects our own sense of identity and from this our own heroism is molded.
My interest has always been in an architecture which reflects the modernity of our epoch as opposed to the rethinking of historical references. My work deals with what is happening now—our techniques and materials, what we are capable of doing today.
There's a level of shame attached to our history, and we need to replace that shame with pride and own our history. These are our superheroes. These are our people, and I would love to see us own this side of our history with pride.
A government of our own is our natural right; and when a man seriously reflects on the precariousness of human affairs, he will become convinced, that it is infinitely wiser and safer, to form a constitution of our own in a cool deliberate manner, while we have it in our power, than to trust such an interesting event to time and chance.
Our ignorance of history causes us to slander our own times.
What we hold in our heads - our memory, our feelings, our thoughts, our sense of our own history - is the sum of our humanity.
We as Black people have to tell our own stories. We have to document our history. When we allow someone else to document our history the history becomes twisted and we get written out. We get our noses blown off.
If we, as individuals, want to keep control of our democracy - rather than have a government paid for by corporate interest checks - then we have to fight back now and make sure our system reflects the belief that people, not corporations, control our democracy.
I think a lot of times when people hear the word dance, they think 'oh, that's something that I can't do.' But dance really lives in our bodies and the thing that I've come to learn, embrace and lift up is that we have history in our bodies that's living and breathing. We have our own individual history but we also have our heritage. Each one of us has our movement language and it's about tapping into that and pulling that out. That's the thing that I try to encourage everybody because it's not about dance, it's about the movement and the gesture and how we honor it.
Our ignorance of history causes us to slander our own times. The ordinary person today lives better than a king did a century ago but is ungrateful!
Creative capitalism takes this interest in the fortunes of others and ties it to our interest in our own fortunes in ways that help advance both. This hybrid engine of self-interest and concern for others can serve a much wider circle of people than can be reached by self-interest or caring alone.
The history of jazz lets us know that this period in our history is not the only period we've come through together. If we truly understood the history of our national arts, we'd know that we have mutual aspirations, a shared history, in good times and bad.
The Washington black community was able to succeed beyond his wildest dreams. I mean, we had our own newspapers, our own restaurants, our own theaters, our own small shops, our own clubs, our own Masonic lodges.
You have to find a sound that reflects what our souls feel like inside, how our bodies actually feel. That's why we made our own beats. We couldn't find a producer who could give us the feeling to match our lyrics.
I'm always looking for a cover subject that reflects the magazine, an interest in fashion, in culture, in society. We're trying to bring the world into the pages of 'Vogue.' We do that by tapping into the zeitgeists with our cover subjects.