Well, I'm proud of my gender. I think, you know, and I've said this to my Berkeley colleagues this morning, but my feeling is that I think among women and girls that, you know, sometimes there's a sense that no matter what they do that their work will not be recognised the way it would be if they were a man. And I just … I hope that this prize and this recognition changes that at least a little bit, and that it's encouraging to other women who are in science, or even in other fields, to realise that, you know, their work can be honoured and that their work can have a real impact.

Perhaps we should give athletes the right to take a mental break from media scrutiny on a rare occasion without being subject to strict sanctions. In any other line of work, you would be forgiven for taking a personal day here and there, so long as it's not habitual.

Today, in my opinion, people are more interested in the number of papers and the way of judging people has become much more statistical. Pupils are already doing this right from the beginning. Also, very few people go into basic science, there’s a big thing about making money e.g. biotech. Some people view education as a tool for making money or at least for making a good life, rather than understanding and digging down into something, which was my motivation.

Most people think that culture is something that happens to them, but what is important is that you take responsibility for culture — after all it's just a reflection of all of us, our every behavior and every action of ours.

My dance heroes include Kitty Lunn, one of my first teachers, Marc Brew, current Artistic Director of AXIS Dance Company, Judy Smith founding member and Artistic Director Emerita of AXIS, and Jawole Willa Jo Zollar the founder of Urban Bush Women. They are all innovators and activists in their own way.

I’m reading an odd collection of books that should not go together, but of course they do. Georgina Kleege: What Blindness Brings To Art; Fred Moten: Black and Blur; Theri Pickens: Black Madness :: Mad Blackness.

I understand my definition does not meet most people’s definition of disability.

Obviously, it’s different for everyone. And actually there is a difference for each thing I do. But one way it happens is to just move. [ laughs ] I mean, obviously, you don’t just sort of randomly throw yourself around the room. You move with these ideas and sometimes I find that I’ve already got images in my head that I imagine my body in, or sometimes I have sequences in my head. I think a lot of time I’m listening to what comes next because sometimes the body will tell you that. Often I don’t document it too early in the process because sometimes if you forget stuff it’s worth knowing that the things that you forget maybe weren’t worth keeping. The things that have settled are the things that need to be kept because they seem most urgent. I don’t know. I mean, sometimes it’s about going to the studio and nothing happens for a long time and you just sit there and you’re not feeling it. That’s awful. It’s like when you’re writing and sometimes you go to the coffee shop and you’re like, “So, we’ll just see what happens.” And you end up on Facebook. I think the answer to this is… I really think the answer to this is I don’t know. [ laughs ]

When stuck, go to someone else’s show—in a different discipline

Laurel and I collaborated with director Katherine Helen Fisher and other talented artists on the dance film REVEL IN YOUR BODY and that continues to screen all over the world