Tap was against everything I had learned to do. I was pulled up as a ballet dancer, and I wasn't used to pounding the floor with bent knees.
I'm a bad walker but I can dance tango. You know why? Put your hand up. Push on my fingertips and just hold it. In tango, your feet are free but the top of your body pushes, so if I feel like I'm gonna fall, my partner can catch me. So I walk with a stick but I can totally dance the tango. It's a romantic kind of thing.
I grew up going to see my sister dance, both at the ballet and later as a modern dancer, and have always been a big fan of the ballet. So I have had a long relationship with dance.
I always knew I wanted to dance and when I was eight, I started ballet lessons at a church hall. They all wore pink ballet shoes but I wore green, as they were cheap, and I remember everyone staring at me.
I was a very rotund child with short hair, and for some reason, I always had black ballet shoes. I was like the Wednesday Addams of ballet.
The tango is a very interior dance. It's not an exterior - it's not flashy and all over the floor. It's a very interior dance when you see the old guys dance in the clubs. I learned everything from the old guys in the clubs.
I didn't study dance. I had some ballet lessons because I needed it for posture and for my arms, mostly. My skating coach said I really needed it, from the belly button up, as opposed to the footwork. In skating, the shoes don't move.
My baby she'll take a chance, my baby got a brand new dance, Wango Tango, Wango Tango.
The worst thing about me is my toes. I've thick joints from wearing pointe ballet shoes - I went to a dance school from the age of 11 and danced every day.
My body's weird and bent in different ways, but it's handy for the tango!
Do you know what I've learned? That although ecstasy is the ability to stand outside yourself, dance is a way of rising up into space, of discovering new dimensions while still remaining in touch with your body. When you dance, the spiritual world and the real world manage to coexist quite happily. I think classical ballet dancers dance on pointe because they're simultaneously touching the earth and reaching up to the skies.
The important thing is to know why we want to dance. We dance a solitude that we have inside us and cannot occupy with anything. This gap, that emptiness to which we put movement is the TANGO.
I have ballet class every other day for two hours. And for "Six Feet Under", last week there was a sequence where I had to do a whole choreographed dance number, so I had four hours of dance practice every day.
I have ballet class every other day for two hours. And for 'Six Feet Under', last week there was a sequence where I had to do a whole choreographed dance number, so I had four hours of dance practice every day.
It's nice for me to have a ballet as a kind of platform for creativity, because unlike modern dance or contemporary dance or downtown dance, ballet is formalized, and there's something orthodox about it that I like. I like that there's less emphasis on subversion and innovation. I actually think that my musical vernacular or my musical voice is also less inclined toward innovation and subversion. I think I'm a traditionalist.
My dance shoes - ballroom shoes, tap shoes, ballerinas - are my life.