Twyla Tharp

In the case of the classical technique, I think it's actually the body that feels that it could get a little higher if only its rotation were a little more open.

So it urges that...

I don't think brain is going, well, you know what?

If you actually could open that leg out, you'd go higher and you're going, brain, I don't know about that.

What does that mean?

You don't know what it means.

The body knows what that means.

There are certain sophisticated movements, rhythms and so forth.

I mean, for example, a great composer is a great mathematician, right?

And the indications and the divisions of time

I would accept is coming, you know, particularly because of how you see the notation and how the note can be subdivided.

It's a very visual thing.

Once you're into the eye, you're into the brain.

I mean, you know, it's like, do you know what I'm saying?

This is more about the body.

And this, how the toes are going about its business down here, are very much involved about the body.

For sure.

When you talk about the brain developing in different areas to different degrees, I sometimes wonder about, and I mean to be neither naive nor romantic here, the morality of the body.

And if the people who run our governments and who design our social systems

had a sense on a daily basis of preserving and protecting and honoring their physical bodies, if their brain would be allowed to concoct some of the schemata that then tell bodies everywhere what they're going to be doing.