A Quote by Laurieann Gibson

I am trained, and I did do 'The Nutcracker' in its right form, but at the time, they told me I was black and I'd never be in 'Swan Lake.' I went through all those prejudices in the ballet community, and I still emerged wonderfully trained and found my way to Alvin Ailey where there were familiar faces.
I'm born originally in Toronto, and I have what I call my 'Fame' story. I took a Greyhound bus and went to Alvin Ailey and received Dunham, Horton, Graham technique there, but I could never take my eyes off of Balanchine doing 'Nutcracker'; to me he's the best who ever did it.
You cannot dance an arabesque in 'Swan Lake' and 'Nutcracker' the same way.
When I was young I trained a lot. I trained my mind, I trained my eyes, trained my thinking, how to help people. And it trained me how to deal with pressure.
The fact that I am not formally trained never really bothered me. There were times I knew it could have been a brownie point, had I been trained, but it never pulled me back.
We're being trained through our incarnations--trained to seek love, trained to seek light, trained to see the grace in suffering.
I was used to dancing, but only when someone told you what to do. So in the nightclub I was all over the place, I combined everything. Street dance, modern dance, a bit of jazz and ballet, I was Twyla Tharp, I was Alvin Ailey, I was Michael Jackson. I didn't care, I was free.
'Swan Lake' can be a nightmare. To make a 'Swan Lake' that is worth it, every single movement and breath has to be perfect. When you have an idea of 'Swan Lake' that is as high as that, it's almost impossible.
Slashing its way to the finish line, Black Swan is the first ballet movie for highbrow horror fans for whom ballet itself signifies little to nothing. Those of us who know and love ballet can only look on it with a different kind of horror.
Slashing its way to the finish line, 'Black Swan' is the first ballet movie for highbrow horror fans for whom ballet itself signifies little to nothing. Those of us who know and love ballet can only look on it with a different kind of horror.
The first time the Kirov ballet was seen in America was on Sept. 11, 1961. The ballet was 'Swan Lake.' The ballerina was Inna Zubkovskaya. The place was the old Met, on what must have been one of the hottest nights of the year, and there was no air-conditioning.
What 'War and Peace' is to the novel and 'Hamlet' is to the theater, Swan Lake' is to ballet - that is, the name which to many people stands for and sums up an art form.
I wanted to be an Ailey dancer. I would watch Alvin Ailey videos over and over, and I'd picture myself doing that. I was obsessed with it.
When I came to New York, to Brooklyn, I met Alvin Ailey and Stanley Crouch and August Wilson. They were always putting things in a philosophical context. All the great jazz musicians did, too. There was always a sub-context to what they were saying about music even though they would be very down home and earthy. So I started to develop, in addition to my power and ability to simply hear, a way to place myself in a time.
Friends sometimes ask me, 'When you get the ball what are you thinking?' But you do not have time to think. You have to do it. It's not instinct; that's not the right word, but it's how you feel in this moment. You sense it. It's trained, but it's trained inside you. It makes you faster in the moment.
Once you become a professional, to get through a ballet like 'Swan Lake' - four acts as the lead, changing character - the perseverance is incredible. It takes a lot to make it through and keep the same energy throughout the entire performance.
I think it's stupid to say a guy who has trained in jiu-jitsu for as long as I have is just a stand-up fighter. I have trained with some of the best black belts in the world. I am comfortable on the ground. I can fight wherever the fight goes and not be concerned.
This site uses cookies to ensure you get the best experience. More info...
Got it!