A Quote by Zeena Parkins
I was a dancer. I was really seriously into dancing.
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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.
Still, I started as a group dancer and became known to the public as a dancer. So, dancing will always remain close to my heart.
If I am expected to play a dancer, I will learn dancing but won't do the random, meaningless dancing.
The only dancing I did was at the discotheques. I was a very good disco dancer. I say that I learned disco dancing at the wrong places.
Dancing is a very living art. It is essentially of the moment, although a very old art. A dancer's art is lived while he is dancing. Nothing is left of his art except the pictures and the memories--when his dancing days are over.
Solo dancing does not exist: the dancer dances with the floor: add another dancer and you have a quartet: each dance with the other and each with the floor.
I`m basically a hoofer, a tap dancer. I was always very good from the waist down, moving with the feet... I became what`s known as a total dancer, using the entire body in order to express what you want to express in tap dancing and line.
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.
If I were born in other generation, I would be a singer rapper, dancing is also...I was famous as a good dancer. My dancing skill was just hided by other members better skill.
Dancing is being trusted with other people's guts; choreographing is trusting other people with yours. When I choreograph I'm giving a dancer something to do and trusting the dancer to do it and build on it.
As an ice dancer, we take our on-ice relationships so seriously, and that's really the way we like to go about it.
As a dancer, you really try to stay true to whatever the choreographer/artistic director is giving you. So, now the shoe is on the other foot and I have to trust everyone else - I have to trust the dancer. As I was trusted as a dancer, I trust my dancers.
In film, a dancer should always be shot from head to toe, because that way you can see the whole body and that is the art of dancing. Nowadays they shoot the nose. Left nostril. Right nostril. Hand. Foot. Bust. Derrière. The film prevents you from determining who is a good dancer and who is not.
You know Marques Houston, you know I'm a dancer, I'm a singer, but I wouldn't want to do a movie that I'm a dancer and a singer in. I want to do movies that people can take me more seriously in as an actor, because when you're making that transition, it is tough.
Dancing is my passion. I started as a dancer.
I actually was a ballet dancer - I studied ballet from three until 13 - but like very seriously, that's what I wanted to do. I wanted to be a contemporary ballet dancer. I wanted to go to Juilliard.
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