Musicality is a learned awareness, just as dancing is a learned awareness.

I have a rhythm when I walk, I have a rhythm when I speak, I have a rhythm standing next to somebody when I’m about to interact with them. It’s a kind of inner clock.

In most classical dance classes, the rhythmic work is very often directly linked to the music, whereas I recently realized that most of my dance classes are hardly ever counted at all.

I suppose that movement is originated first by muscular rhythm: how long does it take to do a specific move. The point is: do you want a slow arabesque… or a fast arabesque?

One should always choregraph to silence and add the music, or sound -if there is any- after. If a dance cannot stand on its own silence, with its own internal phrasing and its own dynamic build, external sound is never going to help it.

When you are doing a physical move with your entire body, it’s like a clock chiming somewhere inside you, just pick up on the rhythm, and you know if it is just that bit faster or not.
This also involves reading dance’s (an music’s) visuality in relation to its silence…