American - Dancer | September 10, 1982 -
I had some really incredible people who mentored me and gave me things I never got from my parents.
Misty Copeland
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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.
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Though I have tremendous support from lots of people, there are so many others waiting to tear me down.
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It's all so surreal, and I'm living my dream. And you know, principal or not, I'm getting to dance all the roles that I've dreamed of doing.
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I was the first person in my family who was ever interested in dance, or fine art of any kind for that matter - I came from a very humble beginning in San Pedro, California.
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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.
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There are hundreds of stories I've heard from black women from my generation, generations before me, and the next, that have never been given an opportunity to fulfill their dreams.
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I didn't want to be the best at anything; I just wanted to blend in. And that was kind of my existence throughout my family experiences at home of just kind of blending in in the background through my other siblings, which was easy to do.
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I was definitely a late bloomer and didn't really come into my own until I was probably in my 20s.
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When I was a little girl, I was incredibly shy. My hope was to blend in, to fit in, to not be noticed in any significant way. I was deeply insecure and unsure of myself.
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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.
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I think all dancers are control freaks a bit. We just want to be in control of ourselves and our bodies. That's just what the ballet structure, I think, kind of puts inside of you.
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