Adam Garcia Quotes

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.

When I was a kid, toe dancing and toe shoes had a meaning in our culture as a serious kind of art.

I find the songs and dances in Hindi films fascinating, and I know I will do justice to them, as I am a trained dancer.

I've always been excited by the strangeness of ballet, but I can't bear it when people just come forward and do a turn in the air for no reason.

Their way of Dancing, is nothing but a sort of stamping Motion, much like the treading upon Founders Bellows.

There's no point pretending that all of Martha Graham's pieces are equally strong.

I'm the first one out on the dance floor. In college I had to take jazz, ballet and tap dancing, but, before that, it was just social.

Pure dance form is not dying.

Partner dancing is a cultured act.

Among my classical dances, I loved my 'Mrig Trishna' dance. People should try that on stage. I don't know why they don't. It's beautifully written.

I am different because I have better schooling, better understanding of the line, gesture, how feet working, positions. They taught me modern things... and I wanted to give what I had: my schooling.

The ballet embodies the notes of music. And sometimes you almost feel like you can see the notes dance up there on the stage.

I love working with Alicia Keys, because it's not just the ability to do the dance to me; I think it's the ability to interpret it that excites me the most.

Dancers, many dancers today can do so much technically. You can give them steps that are complicated, then more complicated, pyrotechnical - and they can execute these steps to perfection. But to do simple steps with a pure classical line, that is truly difficult.

It's one of my strongest dance pieces - having just done Play Without Words which was veering away from a lot of dance - I thought it would be nice to go back to something with almost the most dance I'd done.

Obviously I always wanted to do a contemporary piece.

I was a dancer first, which made me realize how much I loved performing.

Tolstoy may be right about happy and unhappy families, but in ballet, it works the opposite way: All good ballets are different from each other and all bad ones are alike, at least in one crucial respect - they're all empty.

I would describe my dancing talents as incredibly deep.

I was a late bloomer, but I had a career as a contemporary dancer before that, so I had some kind of connection to this world. But I was always a little more in love with the drama of dancing than the aesthetics, so I thought, 'Why don't you give it a chance if you think you can do it a little different?'

I'm a pretty decent tap dancer. I enjoy all types of dancing, actually.

If you like being battered, the work of Savion Glover - one-time child prodigy - should be up your alley. I don't, and it isn't up mine.

Choreographers, historically, are born, not made - their talents drive them to it.

When I was a dancer, I was acting.

You open a section of 'The New York Times,' and there's a review or a story on a choreographer or a dancer, and there's an informative, clear image of a dancer. This is, in my view, not an interesting photograph.