A Quote by Michelle Shocked

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.
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've been dancing my entire life. Jazz, hip hop, ballet. And then there's tap dancing. I love to tap.
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 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.
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 love dancing, actually. My mother taught children's dance, ballet, tap, jazz...I'm very flexible.
I was okay with singing. I always sneak a song into everything I do. Dancing, a little awkward. Little embarrassed about that. I don't move well. But I was with a frog, so it doesn't matter. I'll do anything with a frog, that's my motto. He's great with tap-dancing or flap-dancing on my head. So no one's going to be looking at me when we're doing that dance. They're going to be saying, 'There's a frog dancing'.
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 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.
At 14 I discovered girls. At that time dancing was the only way you could put your arm around the girl. Dancing was courtship. Only later did I discover that you dance joy. You dance love. You dance dreams.
I become the stars and the moon. I become the lover and the beloved. I become the victor and the vanquished. I become the master and the slave. I become the singer and the song. I become the knower and the known. I keep on dancing then, it is the eternal dance or creation. The creator and creation merge into one wholeness of joy. I keep on dancing and dancing...and dancing. Until there is only...the dance.
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 did tap dancing and stuff like that at drama school. I did ballet as well. My dance teacher and I didn't necessarily get along all that well sometimes. She's brilliant... but it's just because I don't like wearing tights that I put up a bit of a fight there, I think.
I started dancing when I was about four, and my mother put me into dancing school, and I did every type of dance there is.
If I see somebody dancing really well, it can make me want to dance. Or it could be the music. But perhaps the thing I miss the most is that when you're dancing, everyday concerns vanish. It's a unique world.
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.
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