A Quote by Shahzia Sikander

Talking with other artists is an incredible process. You engage with the work very differently...a nd different relationships between different works start to emerge. To tap into that energy-to tap into that moment-is great for me as an exercise.
The sound of tap is not 'clickety clickety tap tap,' this monotone thing. The sound of tap has depth. We want you to hear the different highs and lows, the bass, the trebles and the melodies, if you can.
Tap dancers find it very difficult to do anything other than tap if that is all they have been trained in because, again, it's a whole different ballgame that you're constantly working on - bent legs, loose ankles - which you cannot afford to do when you're doing jumps or anything else.
I think every directing team works differently in the same manner that every director works differently. Everybody has a different personality and a different way of working, and that somehow evolves in the process.
There are many different styles of, and approaches to, tap. My own leans towards a more intellectual view: tap dancing not just for the sake of entertainment but to educate and spark emotion.
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'm a tap dancer. Once you're a tap dancer, you're always a tap dancer. In 'After Midnight,' I get to dance, but I don't do a full tap number.
I don't find the business easy. The moment you start talking about the business, you start sounding like someone in Spinal Tap.
It's all about you, Colie." She touched one finger to her temple, tap tap tap. "Believe in yourself up here and it will make you stronger than you could ever imagine." There is something infectious about confidence. And for that one moment, with my eyebrows burning and my eyes watering, I believed. "And good hair never hurt either.
I need different people to tap into different energies for different things.
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!
Different directors have different techniques in the use of films. Cronenberg is very different in the way he works with film, and how he takes the audience into his films is different than how Peter Jackson would do that or Jon Stewart. So, if you go between those artists, you shift gears and you kind of fall into the working method of that film.
On Saturday afternoons, there was a film, of course, and then we did about four shows between the films. And I would do a tap dance, a little military tap.
In the beginning, the energy involved to create came from my reaction to the work of other artists. The force behind this was aggression. The art that I saw was great, but I had to reject it, because I could not continue in the same direction. So I had to do something entirely different. It had to be so different, so extreme, that those who loved pop art, for instance, hated me. And this was my strength.
I been me from day one, I'm not 'bout to start acting different, talking different, treating people different, or looking different.
The Nicholas Brothers were the best tap-dancers. I'm not talking about their flash-dancing, I'm talking about tap-dancing. They were really saying something with their feet.
Tap's foundation is jazz, just like hip-hop, so relating tap-dancing to rap is natural for me.
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