I started as a tap dancer in Durban, which is on the coast. That was an important part of growing up, turning on the radio in the morning and hearing Zulu singing or the news in Zulu.

It was very interesting growing up in South Africa then. It was extraordinary. It was multiculturalism before it became an issue.

As far as I'm concerned, the 20th century was performance-driven, but for some reason, the critics and historians didn't know how to integrate that.

My father was a doctor. He was just a great guy, a gentle humanist, and an old-fashioned GP. He'd get up at three in the morning to see patients in different areas if they needed him.

I think what art is always doing is making us see the world so differently, and I don't mean just colors and light, but re-thinking relationships, spatial relationships, psychological relationships ... those who gravitate to the art world actually want to be puzzled.

Performance art is really about the sociology of the artist, where ideas come from, and the confluence of those ideas.

I grew up as a dancer. I did tap, classical ballet, all of that. I did Indian dancing, or Bharata Natyam, classic temple dancing from Madras, originally. My mother always had the great idea that I should learn it.