I'm a classical ballet dancer, and at the end of the day I want to be with American Ballet Theater, performing classical ballets.
I'll never be satisfied in classical ballet. It'll never be good enough. I'll never be happy with most of my product.
So many people report to be contemporary dancers, and they're not. They are sort of jazz dancers that feel like they're throwing a bit of classical in there. I mean, a true contemporary dancer has got ballet as their base and classical ballet, and that is their base. And then they choose to extemporize on that and go into a contemporary world.
I had classical training at London's Royal Ballet School, and my first job was with the Semperoper Dresden ballet company in Germany.
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.
My Mom is a ballet director, so I had this idea in me that classical training is the best foundation for anything you do, so I wanted to get a classical background and voice.
I went to the Performing Arts School and studied classical ballet. That attitude is something that's put into your head. You are never thin enough.
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.
Whoever has the luck to be born a character can laugh even at death. Because a character will never die! A man will die, a writer, the instrument of creation: but what he has created will never die!
'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.
In the ballet studio, it was such an organized and disciplined environment, like I'd never had in my life. Seeing myself in the mirror, surrounded by the classical music, that's when I started to fall in love with dance.
Russians are very discerning about ballet. They're very opinionated about what classical ballet is.
With classical ballet you are literally injuring yourself.
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.'
If you don't feel challenged, it's because you're not doing enough. Ballet should never feel comfortable. Comfortable is lazy! If you're comfortable when you dance, you're not pushing yourself hard enough. 100 % is not enough. You have to give 200%. One tendu takes years of hard work and will never be perfect. Everything in ballet is a challenge.
The classical ballet world is so exclusive and small, and a lot of people don't know about it.