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?
A strong experience in the present awakens in the creative writer a memory of an earlier experience (usually belonging to his childhood) from which there now proceeds a wish which finds its fulfilment in the creative work.
When you're writing with an artist or for an artist, you have to help them serve their vision. That's the cool part about writing songs. There are no rules.
The dumbing down of the country reflects itself on Broadway. The shows get dumber, and the public gets used to them.
Nonsense and beauty have close connections.
The reward of art is not fame or success but intoxication: that is why so many bad artists are unable to give it up.
You don't write because you want to say something, you write because you have something to say.
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