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The eternal and uneasy relationship between ballet and modern dance endures, but radically altered in tone and intensity.
If nobody comes to your shows, then it's modern dance. If everybody comes to your shows and no one likes it, is that ballet? I don't know.
I would have to challenge the term, modern dance. I don't really use that term in relation to my work. I simply think of it as dancing. I think of it as moving.
When I look at the people who are the guiding figures in modern dance, I think, 'This does not look to me like the way I want to spend my days.'
A lot of people insisted on a wall between modern dance and ballet. I'm beginning to think that walls are very unhealthy things.
The early giants of modern dance - Isadora Duncan, Ruth St. Denis - barely left traces of their art.
What we want from modern dance is courage and audacity.
I had art as a major, along with English, French and History. I had dance, modern dance. In English I was allowed to write my own poetry, which I eventually got published.
I attended Professional Children's School in Manhattan because my ballet and modern dance schedules were intensive and had started to interfere with regular school hours.
I never studied dance, but if you look at 'Wild At Heart,' my mother saw that movie and said, 'You are a dancer. Look at how you're moving: all that strange energy is like modern dance.'
