"By the end of it, you never know how it's going to turn out. Hopefully if I pick the right songs and put the right melodies on it and all the collaboration works out. it's a win-win situation"
About this Quote
A dancer talking like a producer gives the game away: Paul Taylor is smuggling choreography into the language of songwriting to demystify what audiences often treat as genius. The line is disarmingly casual, but the intent is clear: creativity is not revelation, its assembly. “You never know how it’s going to turn out” isn’t coy modesty; it’s a statement about process in an art form that only fully exists under pressure - bodies, time, risk, a live room. Dance is notoriously unforgiving to fixed plans. A phrase that looks inevitable in performance can be the result of weeks of trial, injury, ego, and revision.
The subtext sits in the repeated “right”: right songs, right melodies, right collaboration. Taylor isn’t claiming control; he’s naming the variables he can nudge. Music selection in modern dance is more than soundtrack - it’s the spine that dictates pacing, mood, and even how movement reads culturally. By borrowing musical terms, he signals that choreography is a kind of composition, and also that dancers are not instruments so much as co-authors.
Then there’s the managerial phrase “win-win situation,” which sounds almost comically corporate for a dancer. That’s the point. Taylor frames collaboration as mutual benefit, not romantic communion. In the late-20th-century dance world he helped shape, authorship was shifting from solitary auteur to messy collective practice. His pragmatism is a quiet ethic: if the piece works, everyone’s labor becomes legible; if it doesn’t, no amount of intention will save it.
The subtext sits in the repeated “right”: right songs, right melodies, right collaboration. Taylor isn’t claiming control; he’s naming the variables he can nudge. Music selection in modern dance is more than soundtrack - it’s the spine that dictates pacing, mood, and even how movement reads culturally. By borrowing musical terms, he signals that choreography is a kind of composition, and also that dancers are not instruments so much as co-authors.
Then there’s the managerial phrase “win-win situation,” which sounds almost comically corporate for a dancer. That’s the point. Taylor frames collaboration as mutual benefit, not romantic communion. In the late-20th-century dance world he helped shape, authorship was shifting from solitary auteur to messy collective practice. His pragmatism is a quiet ethic: if the piece works, everyone’s labor becomes legible; if it doesn’t, no amount of intention will save it.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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