Rhiannon Giddens Quotes

We'd love it if everybody had a Kickstarter project. I believe that everyone has some kind of creative project that they think about - whether it's something small they'd like to do over a weekend with friends, or it's the film they've always wanted to make, whatever.

Whether it be through television, or through music, or through dance, or through film, whatever it is, as long as it's the right project that makes sense, then I'm all for it.

I had two major activities as a child. I was trying to put on shows with kids in my street, or I was drawing. Actually, what I'm doing now is exactly what I was doing then. Either I'm drawing, or I'm gathering people for a common project. The only difference is that now they are paying me for that.

There are certainly some artists in New York that I would love to work with. One is Sarah Michelson.

I call myself a grasshopper. I paint, I write poetry, and I'm in a band. When it comes to movies and TV, I like to work in everything and with everyone. I wanna do it all, beyond even the screen.

If composing music is like going to the gym in the morning, acting is like an additional session of yoga. They don't need to be mutually exclusive.

There's no point pretending that all of Martha Graham's pieces are equally strong.

I would enjoy venturing into music, as I do write songs and compose music! And, of course, dance, rhythm and performance are in my blood, so eventually I see myself doing something in that area, surely!

I wanted to give people - which is fairly bizarre considering my whole life is contemporary dance really - I wanted to give people a really fulfilling sense that they had seen a white classical ballet - in a very pure form.

When I was a dancer, I was acting.

Anyone who has that weird volition to become an actor probably has a weird volition to do lots of other creative things - to write, to play music, to paint, to cook.

'River of Light,' to a dense but powerful score commissioned from Charles Wuorinen and with ravishing lighting by Mark Stanley, has depth and resonance.

I've always loved projects where I can combine acting and music.

You open a section of 'The New York Times,' and there's a review or a story on a choreographer or a dancer, and there's an informative, clear image of a dancer. This is, in my view, not an interesting photograph.

'Entity' is not about science. The process behind it may dictate the nature of the piece, but it's not like a dance about Einstein where I'm trying to convert his ideas into movement and communicate that to an audience.

'The Leaves Are Fading' had something of a vogue when Antony Tudor made it in 1975, largely because of Gelsey Kirkland's ravishing performance.

If you're a musician and an artist, you don't just stop.

I want to continue to produce film, television, and theater, and to make the most amazing music that I've made in my life.

I like dramatic ballets, particularly if they're ballets in which I have a chance to go from one extreme of style or characterization to another.

I don't want to be known as just a 'Dance Moms' competitor. I'd really like to be known for all of Sia's work, too.

The things that I have done that haven't been as successful have been things that have been largely out of the public view, which is great. It's terrible, when you're a theater writer, to have a big flop publicly.

I painted. I wanted to be a painter. I sang.

Then came the choreography... the impact of music and choreography tends to really emphasize an overall feeling of what you really want out of the program.

I frequently go to the ballet, but I don't miss it in the sense that I wish I were still dancing.

I still study dance, and it's definitely something I want to incorporate in the future. It's always been my first love.