A Quote by Sylvie Guillem
Working with a new style of choreography is always a period of adaptation.
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Fight choreography has far more in common with dance choreography than it does with actual martial arts. You learn martial arts techniques, but those are just the movements for the choreography. You're working with a partner in choreography. You're working on timing.
Most people say that Asian or female artists should be sexy in America, but I don't think that I have to be like that. I have a tomboy style. My choreography is not that way. So, I want to focus on my music style to match the choreography, which is really cool. No girls can dance those moves. I try to make them really fresh.
A style does not go out of style as long as it adapts itself to its period. When there is an incompatibility between the style and a certain state of mind, it is never the style that triumphs.
When you limit the word 'jazz' to one period of history, for the people who love that period, then maybe it can be dead because nobody plays like that anymore. But jazz is progressive music; it always has to progress, and musicians always have to find new landscapes and new ways to speak out, so of course it's always changing.
But that constant adjustment and adaptation to your new environment, all the variables are the same. There's always a promoter, there's always a rider, there's always a shower, and there's always a stage.
When working on my choreography I am not always receptive to outside suggestions or opinions. I believe that if you have something in mind in the way of a creation, such as a new dance, a sequence, or an effect, you are certain to come up with inaccurate criticism and damaging results if you go around asking for opinions.
The potential of this nation is as boundless as the imagination and drive of the American people. . . . Quality management is not just a step. It must be a new style of working. Even a new style of thinking. The dedication to quality and excellence is more than good business; it's a way of life.
Most of my work in New York has been on new musicals. And all through the preview process, they throw you new songs, new lyrics, new choreography, new scripts; you're constantly getting new material. You might get it in the morning and put it in the show at night. It happens every single day, so those muscles are pretty toned.
speaking with, uh, about the vocal choreography, one of the first groups that I worked with was a group called the Cadillacs, which was uh, an exceptionally talented group. They all moved well and they sort of established Cholly Atkins's style. In other words they basically put me on the map, and everybody would look at them and see their choreography and they wanted to know who did it, so they would tell them.
I wanted to be a professional dancer for a period of time, and I did a lot of dancing and choreography and got paid for it.
My job is called adaptation. It's always about adapting to new situations, but the core team is going to be the same.
The studio is a place where I can experiment before I'm prepared for an idea to become a body of work, or a new way of working, or a way of working that can sustain me over a period of time.
When I was living in Mexico, I started reassessing my drawing style, and plunged into a period of doing exercises and research to develop a new way to draw. The result was a style that implies more than it shows, and so, ironically, feels more "true" to the scene I want to draw than a style that is more specific. It seems to me that the reader's imagination is able to fill in the gaps more effectively than I ever could. Plus it's a lot faster and more fun to do.
I've been working with Riccardo Tisci from Givenchy.It's been a long collaboration, and I don't think it's going to stop now. It's very important to me. Riccardo is younger than me, so it's great to have someone new teaching you in everything, not just in fashion. I'm teaching him in French style, what a women's style is, but he's teaching me in all of these different styles of music.I love this new world for me. It's refreshing and nourishing to keep learning about new things.
A style does not go out of style as long as it adapts itself to its period
I have been robbed of three million dollars all told. Everyone today is playing my stuff and I don't even get credit. Kansas City style, Chicago style, New Orleans style hell, they're all Jelly Roll style.
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