Adam Garcia Quotes

But through experience I learned to control my body and locate the ball.

I've found that most people who studied when they were little, even if they never took another tap class, it's percussive, so it stays in your body, the muscle memory of it.

I took tap classes growing up.

There are many different styles of, and approaches to, tap. My own leans towards a more intellectual view: tap dancing not just for the sake of entertainment but to educate and spark emotion.

Anything you train can be improved upon. If you do it over and over again, your body is going to remember these moves and not be surprised in the game.

It's actually a privilege to actually learn how to really dance.

I grew up watching Gregory Hines banging out rhythms like drum beats, and Jimmy Slyde dancing these melodies, you know, bop-bah-be-do-bap, not just tap-tap-tap. Everyone else was dancing in monotone, but I could hear the hoofers in stereo, and they influenced me to have this musical approach towards tap.

Sometimes it's harder to untrain somebody with dance experience than it is to teach somebody with a new skill.

As I'm studying magic, juggling is mentioned repeatedly as a great way to acquire dexterity and coordination. Now, I had long admired how fast and fluidly jugglers make objects fly. So that's it. I'm 14; I'm becoming a juggler.

I've aways been good at picking up certain things, like sports and dancing.

I dazzle you with that footwork.

Through improvisation, jazz teaches you about yourself. And through swing, it teaches you that other people are individuals too. It teaches you how to coordinate with them.

Tim Tebow cannot dance, I know that. Tebow can do a lot of things, but he can not dance.

Obviously, the difference between a game and actual training is you're using your whole body, so in that sense, maybe not, although maybe something to do with reaction, the speed of reaction, maybe that was of use during the training.

In group lesson number six I think we learned how to turn backwards and then just kind of wiggle. That wasn't really skating backward, but I guess I was going in the right direction.

I look at it somewhat as a way - when you learn juggling, what you learn is how to feel with your eyes and see with your hands because you're not looking at your hands, you're looking at where the balls are, or you're looking at the audience.

I wasn't a ballet baby. My first dance class was in an outdoor pavilion when I was three. It was called 'creative movement.' The teacher gave us chiffon scarves in beautiful colors. She turned on some music and said, 'Now go dance.' So for me, dance has always been about self-expression.

You can learn steps, but you cannot learn how to boogie.

Mastering music is more than learning technical skills. Practicing is about quality, not quantity. Some days I practice for hours; other days it will be just a few minutes.

There's something in human performance that is very smooth and very fluid, and at the same time it can be very precise, and that can take a lot of time, trial and error.

You start chasing a ball and your brain immediately commands your body to 'Run forward, bend, scoop up the ball, peg it to the infield,' then your body says, 'Who me?'

If I just simply let go, and allow my hand, my arm, to be more of a support system, suddenly - I have more dynamic with less effort. Much more, and I just feel, at last, one with the stick, and one with the drum.

I guess by taking lessons early on, and really trying to play all the rudimentary stuff, and try to have it sound as good as my teacher. It took a lot of practice, which I enjoyed, and still do.

Practice puts brains in your muscles.

I started with ballet and then my cousin Sarah introduced me to her tap teachers.