People don't remember me for how high my legs went, even though they went up very high, and how many pirouettes I did. They don't remember me for that. They remember me and any other dancer because something touched them inside. It's an indelible memory on the heart and in the mind.
Interpretation
People are remembered for the emotions they evoke rather than their technical skills.
Judith Jamison emphasizes that the true impact of a dancer transcends physical prowess, such as the height of leg movements or the number of pirouettes. Instead, it is the emotional connection and the lasting impression left on the audience that etches a dancer's memory into the hearts and minds of people, signifying the importance of art as a means of emotional expression.
In practice
In a speech at a dance school graduation, this quote can inspire future dancers to focus on emotional expression.
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.
It's never too early to teach your children about the tool of money. Teach them how to work for it and they learn pride and self-respect. Teach them how to save it and they learn security and self-worth. Teach them how to be generous with it and they learn love.
We can go on talking about racism and who treated whom badly, but what are you going to do about it? Are you going to wallow in that or are you going to create your own agenda?
I've always felt that complement of opposites: body and soul, solitude and companionship, and in the dance studio, contraction and release, rise and fall.
You wake up white, and you think about certain things every day. You wake up black, and you think about certain things. You wake up Chinese, and you think certain things - but those things aren't major. What's major is that you are good at your craft.
You don't enter a dance studio and say "I can't do that." If you do, then why are you in the studio in the first place?
My introduction to art history was like everybody else's. You see an art history book that has works by Rembrandt and Leonardo da Vinci and Michelangelo. Yes, these things are great. But I don't see a reflection of myself in any of these things I'm looking at.
Acting has to do with saying it as if you meant it, so for me the words are always very important. It's very important for me to know my lines, know them so well that I don't have to think about them.
I was saying as a joke the other day that I love film editing, I know how to cut a picture, I think I know how to shoot it, but I don't know how to light it. And I realize it's because I didn't grow up with light. I grew up in tenements.
I think the fact that I grew up in show business had a real effect on my personality. If you were born in New York during the golden age of television, and you grew up on Broadway, that marks you.
If you were to ask me, 'What the hell does a musician have in common with a restaurant?' I would say a huge amount. It's show time every day, it's a team of people, like, running a circus, which is running a rock-and-roll band.
The beauty of the band was you never knew what was going to come out next.
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