In October, Misty Copeland finds herself reflecting on a monumental milestone as she marks ten years since her historic promotion to principal dancer at the American Ballet Theatre (ABT). A decade ago, Copeland graced a press conference with tears of joy, embracing the realization of her lifelong dream. “This is it,” she declared, brimming with emotion. Her journey to becoming the first Black female principal dancer in the theater’s 75-year history brought forth a significant change, commemorated by a diverse and enthusiastic audience at her New York lead debut in “Swan Lake.”
Now, as Copeland prepares to bid farewell to the esteemed ballet company she joined as a teen, she reflects on her incredible 25-year journey. At 42, Copeland has decided it’s time to step into a new phase of her life following the official announcement of her departure. On October 22, ABT will host a grand farewell, showcasing a special performance from Copeland after a five-year hiatus, among other dedications, speeches, and film tributes. The evening, enriched by honorary chairs Caroline Kennedy and Oprah Winfrey, will see Copeland revisit beloved roles, once again dancing as Juliet in the revered “Romeo and Juliet” pas de deux.
Throughout her esteemed career, Copeland has revitalized an age-old art form, heavily dominated by a homogeneous presence. She’s authored numerous works targeting diverse audiences, including a memoir and books for young readers. The continuation of her “Bunheads” series, a narrative reflecting her journey and highlighting various cultures in ballet, is set to release its second installment soon. Aside from her writing achievements, Copeland’s impact extends to her production company and The Misty Copeland Foundation, both dedicated to diversifying the dance world and providing opportunities for underprivileged youth.
Susan Jaffe, ABT’s artistic director, praises Copeland for her inspiration to young dancers, particularly those who see themselves in her. “She’s been a trailblazer,” Jaffe remarked, noting how Copeland has expanded the conversation on equity and diversity within ballet. Despite Copeland’s groundbreaking success, there still remains an absence of Black female principal dancers at ABT and globally, a challenge she acknowledges and plans to address in different capacities.
In a recent interview reflecting on her departure, Copeland expressed her gratitude to ABT, sharing that the company has shaped who she is today. She assured her fans that though she’s saying goodbye to this chapter, it’s not the end of her dancing journey. Reflecting on the broader impacts of her dance career, Copeland notes the ongoing conversation about diversity and representation, highlighting the shifts she’s seen in the industry.
Copeland also shared uplifting insights into her personal life. Becoming a mother to her son Jackson three years ago, she revealed how motherhood has reshaped her perspective, making her more patient and optimistic. Ballet, she said, has equipped her with invaluable life skills, preparing her for the ups and downs of parenthood. While Jackson is yet to grasp the enormity of his mother’s legacy, he is naturally attracted to art, often immersed in music and museums.
Looking forward, Copeland will continue her work across various fields including her foundation, writing, and production company endeavors. Her commitment to leveraging dance to promote inclusivity and diversity remains unwavering. “It’s about giving people entry points to embrace dance,” she asserted, emphasizing her mission to make dance accessible on a broader scale. Despite challenges, Copeland is resolved to advance her cause, understanding the profound necessity of these efforts for the enrichment of society. Her quiet determination remains, as she continues to work toward a more inclusive cultural landscape.