We in the Western world suffer from too many categories and classes; we've forgotten that we all still have diapers on. We've separated music from life.
Ornette ColemanRead
It's just someone has labelled us as having a different label to do what you do. I find that labels are the worst thing in the world for artistic expression.
Interpretation
Labels can restrict and limit artistic expression, hindering creativity.
Ornette Coleman's quote conveys the idea that societal labels can confine individuals to certain roles or expectations, particularly in the realm of artistic expression. He suggests that these labels can be detrimental, as they inhibit true creativity and freedom, leading to a reduced ability to express oneself authentically. By resisting such labels, artists can explore and convey their unique visions without limitations.
In practice
In a talk about creative processes in art classes.
We in the Western world suffer from too many categories and classes; we've forgotten that we all still have diapers on. We've separated music from life.
You don't have to worry about being a number one, number two, or number three. Numbers don't have anything to do with placement. Numbers only have something to do with repetition.
You've got to realize. In the western world, regardless of what color you are, what title the music is, it's all played by the same notes.
So, for instance, if you came to me, I'd ask, 'Do you want to write? Do you want to improvise? Why do you want to play this instrument? What do you want to do?'
That's what I was trying to say when we were talking about sound. I think that every person, whether they play music or don't play music, has a sound - their own sound, that thing that you're talking about.
I decided, if I'm going to be poor and black and all, the least thing I'm going to do is to try and find out who I am. I created everything about me.
As ballerinas, we don't use our voices. Our voice is the body and the movement quality.
What we're doing with Band of Brothers is trying to put it into human terms, so it is not just a flickering, black and white myth on a screen, it is a resonant story. I want the audience to recognize themselves in these men. They're not just mythic heroes.
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.
When talented people write badly, it's generally for one of two reasons: Either they're blinded by an idea they feel compelled to prove of they're driven by an emotion they must express. When talented people write well, it is generally for this reason: They're moved by a desire to touch the audience.
She's got those big black eyes with plenty shiny white in them that makes them shine like brand new money and she knows what God gave women eyelashes for, too. Her hair is not what you might call straight. It's negro hair, but it's got a kind of white flavor. Like the piece of string out of a ham. It's not ham at all, but it's been around ham and got the flavor.
My feeling is that for years now it has taken a much too big part in how women are being visually defined today. Heartless retouching should not be the chosen tool to represent women in the beginning of this century.
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