I think, as a child, there weren't dreams. I can't recall as a child having some ultimate dream and thinking that it was possible.

I say over and over again that I am just standing on the shoulders of so many who have set this path for me, and they may not be seen or recognized or have been given an opportunity to have a voice, but I'm here representing all of those dancers. Dance Theatre of Harlem Virginia Johnson, Tai Jimenez, Lauren Anderson.

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.

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.

Every time I step onto the stage, it's not only proving to the audience that I'm capable but to myself.

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.

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.

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

I didn't care how much work it would take, and I didn't see the time invested as a waste or like I was missing out on anything. Ballet became my ultimate passion.

I want to bring awareness to the lack of diversity in ballet, and feel like that's a large part of my purpose.

I'm definitely influenced by the music. We dance to music, and you have to listen to it and phrase your dancing and movement in a certain way to compliment the music. We have to work hand in hand, the dancer and the music.

I think, as a child, there weren't dreams. I can't recall as a child having some ultimate dream and thinking that it was possible.

Before dance came into my life, I don't really remember having any major goals or dreams of wanting to be anything.

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.

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.

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.

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

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

It's hard to change someone's ideas when they might not even really consciously know that they're being racist, or have racist ideas, just because ballet has been this way for hundreds of years.

Once you become a professional, to get through a ballet like 'Swan Lake' - four acts as the lead, changing character - the perseverance is incredible. It takes a lot to make it through and keep the same energy throughout the entire performance.

I don't eat a ton of pasta or bread. But I eat dessert almost every night, and I drink. You need a bit of balance, and I've found mine.

I think most people think of ballerinas as kind of either as a fairytale, far-away thing that's really not attainable, something they can't grasp, or they think of them as European or Russian and kind of their nose up in the air. So, it's cool for me to, like, sit with them and for them to really see themselves as me.

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.

Finding ballet gave me passion for the first time in my life. I was always very shy and just wanted to fit in; I never daydreamed about what I wanted to be when I grew up. But dancing gave me a connection to my personality that made me grow.

I grew up poor in San Pedro, California, sleeping on the floor of shady motels with my five siblings and not always sure when or where I'd get my next meal.

I wake up every morning, and I go to ballet class no matter what's going on the night before. That's my priority, and that's what makes me feel sane and not removed from the realities of my world.

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.

It's going to take a while before we see a real shift in the students and the dancers that are going into professional companies because it takes so many years of training, but I do think that there's a new crop of dancers, of minority dancers that are entering into the ballet world.

I've gotten nothing but warmth from the Black community and positive feedback.

I traced the marley floor with my pointe shoes, and imagine myself on the stage, not as a member of the corps, but as a principal dancer. It felt right. It felt like a promise. Some day, somehow, it was going to happen for me.

My family didn't have very much money, so ballet wasn't even on my radar; I just found it randomly when I was 13 at a Boys & Girls Club. We were practicing in a basketball court in gym clothes with some old socks on. Even though it terrified me at first, I found that I really liked it.