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Misty Copeland Quotes

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There are no taking days off. There are no distractions. If I had that, I physically wouldn't be capable of going onstage and performing live theater. It's extremely demanding. I have to be in ballet class every day.

Being in ballet class, being on the stage, being surrounded by my peers at American Ballet Theater every day, keeps me so humble and grounded. Being in ballet class, I feel, is like this meditation for me every morning.

40 years old is about the time a principal dancer would start to think about retirement, but some go on to dance a little bit longer than that.

I've always approached my career and my life, you know, one day at a time, as if this was the last day that I'm going, because you never know as an athlete and as a dancer. You never know what can happen today, tomorrow.

I wanted to open the dialogue about race in ballet and bring more people in. It's just beautiful to see the interest that has exploded for such an incredible art form that I will forever be grateful to!

All you can do is be your best self. I've always felt that I had to be that much more aware of how I present myself. I'm representing more than just me. I think every person should think that way.

Barack Obama being President of the United States doesn't mean racism has disappeared. It's all a process, and we have to be aware that the work never ends.

What you put into your body is just as important as how hard you dance. I believe with the right training and an understanding of how to take care of your body, you can mold it to be whatever you want it to be.

Ballet was so structured. I'd been craving something that could guide me.

As a child, I had been told that I was exactly what a ballerina should be.

I had some really incredible people who mentored me and gave me things I never got from my parents.

Every time I dance, I'm trying to prove myself to myself.

Whenever there was chaos in my house, whether it was arguing, being in a cramped space with all of us kids and screaming, I found an empty space where I could just put music on and move.

Ballet found me, I guess you could say. I was discovered by a teacher in middle school. I always danced my whole life. I never had any training, never was exposed to seeing dance, but I always had something inside of me. I would love to choreograph and dance around.

Finding great training, I think, is number one. I did a lot of research and found really great teachers, and it just takes - I took a year off from school and did independent studies so that I could devote all of my time to it. But I think that training is the key, definitely, and it's not a sport.

When I was younger, my feet would hurt a lot, but you build up calluses and strength, and you don't feel as much pain there. But then again, it's a give and take. The older you get, you may feel pain in your back or your hips.

To be empathetic to everyone around you, I think, is such a powerful thing to hold.

I think body-image issues are not just a dancer thing. I think we're much more in tune and aware because the body is our instrument and art, and we stare at ourselves in a mirror all day, but I feel like it's something that every woman experiences and every girl experiences.

I feel like with 'On the Town,' it was the perfect production and the perfect opportunity.

I feel like going to class every morning is so humbling. You're always working to improve, and you're always being critiqued on your next performance. It's not about what you've done. There's always room to grow.

I don't feel like my life is that of a superstar! Every day I wake up, I take the train, I go to my ballet class. My everyday life is pretty normal.

'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.

It's hard to be the one that stands out when, you know, in a ballet company, you're trying to create unison and uniform when you're in a corps de ballet.

When people meet me in person, they're usually surprised at how petite I am because there's this idea that because I'm black, I just look a certain way.

Depending on the level you're at in your company, the higher you go up in rank, usually the longer you can dance.

I think that having a platform and having a voice to be seen by people beyond the classical ballet world has really been my power, I feel.

That something that I fought so hard for throughout the beginning of my career is I didn't want to pancake my skin a lighter color to fit into the... ballet. I wanted to be myself. I didn't want to have to wear makeup that made my nose look thinner.

Being the only African American at this level in American Ballet Theater, I feel like people are looking at me, and it's my responsibility for me to do whatever I can to provide these opportunities in communities to be able to educate them.

It's a European art form, and you're used to seeing a certain type of person as a ballerina. And I don't look like a lot of the girls around me.

I love heels. I'm 5-foot-2, and I like feeling tall.

Something happens when you feel that energy and excitement from the audience. And you do, I don't know, four pirouettes. You jump higher than you ever have. And it's just this really magical thing that happens in those moments.

My first ballet class was on a basketball court. I'm in my gym clothes and my socks trying to do this thing called ballet. I didn't know anything about it.

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