I do not know what the spirit of a philosopher could more wish to be than a good dancer. For the dance is his ideal, also his fine art, finally also the only kind of piety he knows, his "divine service."
All of us kids ended up 'doing Mom.' There are four of us who've tried show business. Five if you insist on counting my sister the nun, who does liturgical dance.
And currently, there are four to five new works in the pipeline for upcoming celebrations such as the Sydney 2000 Olympics, Australian Federation, my 50th Birthday, and Sydney Dance Company's 25th Anniversary.
I wanted to give people - which is fairly bizarre considering my whole life is contemporary dance really - I wanted to give people a really fulfilling sense that they had seen a white classical ballet - in a very pure form.
Now, the instrumentation in the jazz band and the jazz dance band has gone through many evolutions. For instance, in the 'twenties the tradition was two or three saxophones.
I think I can take responsibility for that in that I was the audience. I was the voice of sanity around whom all these crazies did their dance. And I reacted in the same way that a member of the audience would have reacted.
From the beginning I thought about working with the body in movement, the space between the body and clothes. I wanted the clothes to move when people moved. The clothes are also for people to dance or laugh.
