Savion Glover Quotes

The life of a dancer is tragically short. What is remarkable about the New York City Ballet is that it makes us forget that. Because it keeps the ballet alive.

As long as there are dancers around who love to dance, there will be an Alvin Ailey American Dance Company. We miss him so much, but he's alive as soon as you see a dancer hit the stage.

Every company has its own texture, vocabulary, and singular place in dance history, and I have always wanted to share my perspective of these world renowned institutions.

It's weird when you see pieces of choreography that were done for you 15 or 20 years ago and now they are being done by another dance company.

There would never have been a British Ballet without Diaghilev. He had a wonderful influence.

I'm not interested in seeing dance die. It's not to my advantage. Nor is it to our culture's advantage or anybody else's.

If age someday grounds my feet and wilts my port de bras, what vestige of the old life will be left? The signs that I was a dancer will gradually fade like stripes on a beach towel. Even my knowledge of the art form, reaped in sweat over decades, could be lost over time.

I was a dancer, and my father was a dancer, so I really grew up in that environment.

I say over and over again that I am just standing on the shoulders of so many who have set this path for me, and they may not be seen or recognized or have been given an opportunity to have a voice, but I'm here representing all of those dancers. Dance Theatre of Harlem Virginia Johnson, Tai Jimenez, Lauren Anderson.

There's no dancer alive better than those of the 1950s and 1960s. It's only the energy that changes. Every now and then, someone like me comes along, and people say, 'Oh, this guy is this new thing.' But that's not so. There is no me without them. The tradition just goes on.

I want to see movies that explore different forms and new styles of dance, and also those that revive the old.

My personal style at this point in my life is more audio; it's more driven on less visual and more musicality. But because of my upbringing, my fabulous mentors and teachers that I've had throughout my dance journey or career, I also possess a style that is of the past. It was just a matter of me reaching back.

Pure dance form is not dying.

I want the ballet world to be given the respect that it deserves and to be seen by more people - for so many to experience the beauty that I've received from the ballet world.

My family plays a big part in my role as a dancer and my sister was my first trainer. She's still my role model and inspiration until this day. She was my first trainer, she taught me my first steps.

I started learning Bharatnatyam from the age of three. I have also learnt folk dance.

I did a postgrad at Trinity Laban Conservatoire of Music and Dance.

I come from a long line of people who express themselves through the dance. I come from a long line of people who create music through their feet.

I never danced growing up.

I grew up going to see my sister dance, both at the ballet and later as a modern dancer, and have always been a big fan of the ballet. So I have had a long relationship with dance.

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.

There's a tendency to think tap's had its day, but 'Happy Feet' kept us in the race. That penguin is our Shirley Temple.

The Royal Academy of Dance is an institution that trains to a very high standard.

I was very happy with the success of 'Noise/Funk,' but of course, there is a lot more that I have to say about the dance, about the history, about the people involved with the dance and their history.

I grew up studying dance, taking ballet lessons.