A Quote by Damian Woetzel

The last time I had to make a career decision, I was 17. I could have gone to Ballet Theatre or National Ballet of Canada. There were options. But as I became exposed to the Robbins repertoire, I realized that there was a living genius in the house.
It's very difficult for me to do fund raising for my own organization if I'm working for other companies because sponsors will say, 'Well, hey, man, if she's doing a ballet for Ballet Theatre, we'll give money to Ballet Theatre.'
I knew I wanted to be a ballet dancer, but what kind, I wasn't sure. My two dream companies had been New York City Ballet and American Ballet Theater.
'The Firebird' just symbolizes a lot for me and my career. It was one of the first really big principal roles that I was ever given an opportunity to dance with American Ballet Theatre, and it was a huge step for the African-American community, I think, within the classical ballet world.
At 35 years of age, I realized that my ballet career wasn't going to last for ever. As a parent of three young children, I had to start to plan my future after dance even though I dreaded about.
Being one of the few African American women to make it to this level in a classical ballet company, the level of American Ballet Theatre, takes a lot of perseverance.
I think American Ballet Theatre is setting that standard now for classical ballet, that you can dream big, and it doesn't matter what you look like, where you come from, what your background is.
I was probably around 14 or 15 when I became really conscious of those girls who were going on to the Royal Ballet school, and that I was not Royal Ballet school material, not by a long stretch.
People often say to me - how clever you are! How brilliant to be able to go from ballet to theatre as you do. I answer that it is not clever at all. It is the gift of looking at oneself coolly, of calculating the future objectively. I could see the danger signals as far as ballet was concerned before anyone else did, that's all.
I had been a ballet dancer and never could make a living, and just being so excited that I got to, all of a sudden, live as an actor.
For a long time everyone had a stereotype of ballet that it was easy and that we were just prancing around. But thanks to the Internet, and being able to share live performances and broadcast them to the world so that everyone can experience the ballet, I think it's inspiring people we wouldn't normally be able to reach.
I originally wanted to be a ballet dancer and trained for years, but when I was around 18, I realized I wasn't going to be as good a ballet dancer as I'd hoped I'd be and decided to become an actress instead.
My parents were passionate about the ballet. They always played ballet music at home.
Ballet became this escape for me. I feel like I was on my own a lot. I was searching for stability, so I was going off on my own and imagining what I thought stability was. Ballet became a way for me to cope.
When I was 8, I began to study ballet. In seventh grade, my mother took me into New York to study at the School of American Ballet. I loved ballet - its precision, the escape from uncertainty, and the music.
The minute we don't finance the arts, the accountants, attorneys and politicians keep taking the cream of money off the top and it doesn't trickle down unless all of society understands that we must support the arts, whether it's ballet, opera, fashion. Fashion is like opera, is like ballet, is like theatre. It's a visual theatre.
When I was 3 years old, my parents put me in ballet and I really thought I was gonna be a ballet dancer for a long time.
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