You can grow up with literally nothing and you don’t suffer if you know you’re loved and valued.
Esperanza SpaldingRead
I don't think it's about playing and singing, to be honest. That seems like old news, you know? I wasn't thinking about that. I just think that's in my body now. Dancers don't think about their legs moving one way and their arms moving another. Over time, you incorporate that into your instrument.
Interpretation
The quote emphasizes the naturalness and instinctive quality of performance rather than a conscious effort.
Esperanza Spalding reflects on the art of performance, suggesting that true mastery comes from a deep integration of movement and expression into one's being. Unlike a mechanical or overly conscious approach to creating music or dance, she argues for an organic, instinctual flow where the artist embodies their craft seamlessly, much like dancers whose movements are innate rather than forced.
In practice
Using this quote in a dance workshop to inspire dancers to connect with their movements intuitively.
You can grow up with literally nothing and you don’t suffer if you know you’re loved and valued.
I always say that the problem with jazz accessibility is not the content of the music, it's people's ability to access it.
There's nothing wrong with struggle. Anytime I look back at a difficult phase of my life and see what grew out of it - the creative survival tactics - I think that the good is way better than the bad.
It's a pity that if someone who has a really profoundly potent art to share chooses not to or doesn't fit into this very thin slice of what's desirable and marketable, chances are the public will never get a chance to hear what they're doing.
I just think music is so intrinsically linked with images in the culture that we live in that you'll be hard-pressed to have an experience with the music without a preconceived notion.
When something in art or music piques my interest, I tend to go check it out, and most things I check out, I'm not very good at. But a few things I've gone to check out have given me back as much love as I gave them, usually much more.
I put down the camera long ago, you know? I was here in London, aged 19, and I was obsessed with my camera, shooting everything I could. Then someone stole it. It helped me to see things for the first time.
Write as you like, use the rhythms that come out, try different instruments, sit at the piano, destroy the metric, shout instead of singing, blow your guitar and ring the horn. Hate mathematics, and love eddies. Creation is a bird without a flight plan, that will never fly in a straight line.
Much of life becomes background, but it is the province of art to throw buckets of light into the shadows and make life new again.
The obsession with performance left no room for the development of the intuitive or spiritual impact of space and form other than the aesthetic of the machine itself.
I've never gotten over what they call stagefright. I go through it every show. I'm pretty concerned, I'm pretty much thinking about the show. I never get completely comfortable with it, and I don't let the people around me get comfortable with it, in that I remind them that it's a new crowd out there, it's a new audience, and they haven't seen us before. So it's got to be like the first time we go on.
Oh Beautiful for smoggy skies, insecticided grain, _x000D_ For strip-mined mountain's majesty above the asphalt plain. _x000D_ America, America, man sheds his waste on thee, _x000D_ And hides the pines with billboard signs, from sea to oily sea.
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