In the New Hebrides, any dancer making a mistake was assaulted, wounded, and possibly killed by bowmen posted to keep careful watch for inaccuracies in rituals.

At the root of all the varied manifestations of dancing, lies the common impulse to resort to movement to externalize emotional states which we cannot extemalize by rational means.

The story of dance in the Western world is as much an alternative vision of the events of history as is the folk history told for generations by primal people.

For Indians, images are a means of celebrating mystery and not a manner of explaining it

What outsiders discover in their adventures on the other side of the looking glass is the courage to repudiate self-contempt and recognise their “alienation” as a precious gift of freedom from arbitrary norms that they did not make and did not sanction. At the moment a person questions the validity of the rules, the victim is no longer a victim.

We often take for granted the notion that some people are insiders, while others are outsiders. But such a notion is a social contrivance, that, like virtually every public construct, is a legacy of a primordial and tribal mentality.

We've reached a point where we are not a very empathetic people, and art without empathy is art without an audience. My basic viewpoint is that without art we're alone.

Among the language of the American Indians, there is no word for 'art'... For Indians, everything is art... therefore needs no name.

White performances were always dull in comparison to the astonishing expressiveness of Black dancers. Behind the white person's inarticulate body were centuries of condemnation of dancing on religious grounds.

Some of the most popular discos in America and Europe were started as gay establishments, which began to open their doors to anyone who wanted to dance.