A Quote by Teri Garr
When I was a dancer, I would see that dancers were treated like garbage. I mean like, like extras.
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I would have young dancers come to me and ask me questions and want to know what my experiences were like: 'What's it like being a black dancer?' So I just felt like it was necessary for me to share my experiences with them.
I really developed an early love for ballet. Like most dancers, I am still 'first' a dancer. I'm very proud of it. Once you are a dancer, the physicality never leaves you, nor does the strength. Hopefully, it keeps you like an athlete.
I feel like I represent every young dancer, and even non-dancer, who felt they were not accepted by the ballet world. I'd like to think that they can see themselves in me.
The thing about that too is that we had the same extras everyday. It was such a community. It was like a microcosmic little town. We were like all little towns people with extras and a crew.
So many people report to be contemporary dancers, and they're not. They are sort of jazz dancers that feel like they're throwing a bit of classical in there. I mean, a true contemporary dancer has got ballet as their base and classical ballet, and that is their base. And then they choose to extemporize on that and go into a contemporary world.
When I first started out, they were like, 'Is there anybody that you like that you want to work with, and we'll see what we can do?' And I went, 'I like Malay,' who's Frank Ocean's producer, and they were like, 'Not going to happen.' It did seem so, like, high-in-the-sky sort of thing, do you know what I mean? It still does, that it happened.
The reality is that the nationalist community in Northern Ireland were treated almost like animals by the unionist community. They were not treated like human beings. It was like the Nazis treatment of the Jews.
I worked with guys in Japan that were champions and they came over here for six months or a year and they treated them like garbage.
That is perceptive of you, because in this country men dancers have always been viewed with suspicion. If you were an actor, a star, and a dancer, you had to be, or have a name like someone 'mainstream.'
That is perceptive of you, because in this country men dancers have always been viewed with suspicion. If you were an actor, a star, and a dancer, you had to be, or have a name like someone mainstream.
In the Royal Ballet Company, there was a Japanese principal dancer, and onstage and in ballet, they have colorblind castings - so I did see Asian dancers, and they were always my favorite. When you have someone who looks like you, it's something you can kind of grab onto, and it makes you feel better about your place in the world.
What would become of the garden if the gardener treated all the weeds and slugs and birds and trespassers as he would like to be treated, if he were in their place?
I would love for dancers to be treated better and for dancers to have support, for dancers to have managers, agents. This is the only art form that does not have a proper support system.
Think about every time you've seen someone being objectified, abused, enslaved. We see it constantly on the TV, in magazines, on the Internet. We've become numb, so we do nothing. The accumulation of passivity might make reading about that exploitation uncomfortable. And sometimes when I'm writing, I think of it like this: "People seem to like garbage, so here is what garbage smells like..."
The reason people hate America is because they don't like being treated like garbage by arrogant, pompous, hypocritical, self-righteous, duplicitous, imperialist political and bureaucratic hacks.
As a Western woman in the Middle East, I am often put in a different category. I am sort of like the third sex. I am not treated like a man. I am not treated like a woman. I am just treated like a journalist. That is usually really helpful.
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