New Interview
Randall GoosbyEmerging Masters

Randall Goosby: “It’s not just notes on a page”

August 10, 2022
 Listen to Audio Excerpt Listen to Audio Excerpt

Randall, you first picked up a violin at age seven and have played it every day since. Can you imagine what your life would be like without music?

I can imagine it, but none of the imagined scenarios seem very realistic! I guess if I’d gone a different route, I think I probably would have had something to do with sports, you know, I started getting into playing basketball with my friends. So who knows, I might have ended up a washed-up wannabe NBA player working a desk job somewhere… With the violin, though, it was love at first sight. Instead of coming home and watching cartoons or going to play outside, I just played my violin. I don't even call it practice, I just played for hours and hours. I don't actually remember putting the violin away — I imagine there were times when I even fell asleep with it! (Laughs)

So practice never felt like work to you?

Well, of course, I started to understand that I do have to practice three hours a day, it’s a requirement! So then it started to become a little bit more… I won't say it became a chore. But my mom and I we started to butt heads a little more. I would want to go play basketball with my friends, and she'd say, “You can do those things, but you have to get your work done first. There's a difference between work and play.” So I'm really fortunate to have a career at this age, and a lot of times it doesn't feel like work.

Life
Life
World Guide

Explore the world and get inspired

Explore
Last week’s Interview
Ohad Naharin

Ohad Naharin: “What is this something else?”

August 3, 2022
 Listen to Audio Excerpt Listen to Audio Excerpt

Mr. Naharin, in your opinion as a dance choreographer, can everyone and anyone dance?

Everyone and anyone can dance, because dancing is not only about performing. Dance is not even about being together, you can dance alone. Dance is not about dancing to music, you can dance in silence. So of course everybody can dance — and not only can, should. There was a time before I had come up with my movement language, Gaga, when I was starting to discover things that really connect to what I’m looking for, which is the quality of movement, the flow of energy, the use of gravity, lightness, silliness. I don't think I even thought about form!

The kind of dance you teach seems almost uninterested in precise form or perfect technique.

Right, we are creating very in a very free way, finding groove, being in the moment. So it has a kind of meditative quality, but you also sweat while doing it. With dance technique, there is no such thing as perfect. That's a mistake; many times dancers look for perfection, instead of admitting that we're far from being perfect. We can still be magnificent, you know, you don't need to be perfect to be magnificent, and you can be so-called perfect and be very boring, especially when you come to ballet. You can see two dancers doing the same movement, and one of them turns you on, and one of them you're bored with. So it’s not the technique. There's something else there. And that's what I'm interested in, what is this something else?