After dedicating 25 years to American Ballet Theater (A.B.T.), Misty Copeland is stepping away from the company. While her retirement marks a significant moment in the ballet world, it comes as little surprise. The 42-year-old has been absent from the Lincoln Center stage for five years, focusing on raising her son with her attorney husband, Olu Evans, and advancing her foundation’s mission to enhance diversity, equity, and inclusion within the dance community—a cause that faces increasing challenges today.
Copeland’s farewell performance with A.B.T. is scheduled for this fall, closing a career that broke barriers against considerable odds. Growing up in near poverty in Southern California, often facing homelessness alongside her mother and five siblings, she discovered dance late at age 13. Despite the late start and the systemic obstacles for dancers of color in classical ballet, she joined A.B.T. in 2001 and, after 15 years of determination, became the company’s first Black female principal dancer.
In a recent conversation, Copeland expressed a sense of personal peace with her retirement but acknowledged the complexity of leaving at a time when the principles of diversity, equity, and inclusion (D.E.I.)—which she has come to symbolize and advocate for—are politically contested. Arts institutions are increasingly navigating partisan pressures, making her reflection on her legacy and future all the more poignant.
Asked why now feels like the right moment for an official retirement, Copeland shared that she initially hoped to quietly step back. However, the impact of her journey and the stories she carries from Black dancers before her made a formal closure necessary. "This chapter at American Ballet Theater has meant everything to me," she said, noting that in 2019 she began accepting that her stage career was coming to an end and had already shifted focus to future endeavors.
Reflecting on 2019, Copeland described reaching a rare feeling of fulfillment. She recalled a memorable performance of "Swan Lake" at Wolf Trap, Virginia, where she finally let go of the critics’ doubts—many of which questioned her technical qualifications as a Black woman in ballet. That moment marked a turning point in embracing her artistry free from external judgment.
When discussing her legacy, Copeland emphasized that her role was never about personal acclaim but about broadening access and representation. She highlighted how audiences became more diverse on nights she performed, underscoring the importance of visibility for Black and brown communities who often feel excluded from classical dance spaces.
On the topic of aesthetic exclusivity in choreography, Copeland challenged traditional views. She noted that choreographers often limit their vision by not considering how movement might look on different body types, especially those of dancers of color. She urged openness to new possibilities, confronting stereotypes that have historically excluded Black dancers based on physical traits.
Despite political headwinds against D.E.I., Copeland affirmed her commitment to the work she has been doing. She stressed that her career demonstrates how diversity fosters community and engagement, inspiring young Black and brown people to see institutions like Lincoln Center as accessible and welcoming. To her, art remains a powerful bridge across divides, transcending political affiliations.
Regarding concerns about funding cuts to arts programs supporting D.E.I., Copeland expressed a pragmatic approach: staying focused on meaningful work rather than public spectacle. She highlighted ongoing efforts at Lincoln Center as examples of intentional, sustained progress.
Insights from Misty Copeland on Casting and Representation
Addressing earlier critiques about limited casting roles for performers of color at A.B.T., Copeland acknowledged her early experiences often involved stereotypical or peripheral characters. She recounted advocating for classical roles despite institutional biases that relegated Black and brown dancers to contemporary works. Over time, she has been a vocal participant in promoting more inclusive casting practices within the company.
Her approach to these conversations combined courage with grace, even when she felt isolated as the only Black woman in the company. She described early dialogues with artistic leadership as intimidating but necessary for change.
Copeland reflected on how ballet provided stability amid a chaotic childhood marked by uncertainty and hardship. The discipline and structure of dance offered her a grounding routine during times when basic needs like housing and food were uncertain, making the dance studio a sanctuary.
She also shared evolving perspectives on her relationship with her mother, gaining greater empathy over time for the challenges her mother faced, including an early motherhood and a difficult upbringing herself.
Copeland addressed the simplified narratives often attached to her story, pointing out that while her journey is sometimes framed as a straightforward rags-to-riches or racial breakthrough tale, the reality is more nuanced. She highlighted the contradictory messages she received about her body type—initially celebrated for natural talent and proportions, then later criticized as unsuitable for ballet.
Preparing for her final performance has been physically demanding, complicated by injuries both recent and longstanding. Despite medical advice to stop dancing, Copeland finds comfort in the familiar discipline of the studio, which provides a protective space away from external pressures.
She noted that aging has shifted her focus from technical prowess to artistic expression, appreciating the depth that life experience brings to performance.
In a lighter moment, Copeland recalled humorous and rebellious stickers on her longtime dance locker, reflecting the internal struggles and youthful defiance she experienced during her ascent.
Discussing her complex relationship with A.B.T., Copeland acknowledged both gratitude and frustration. She described a 15-year journey of asserting her identity and challenging expectations within an institution shaped by longstanding traditions.
On her decision to avoid public outcry amid current political challenges to D.E.I., Copeland explained that sustained, behind-the-scenes work is more effective. She emphasized the importance of continuing programs that transcend political cycles without provoking backlash that could threaten funding.
Engaging with communities post-pandemic has revealed new concerns among participants, including fears related to immigration enforcement. Copeland stressed the vital role dance plays as a safe, healing outlet and social lifeline for many.
Despite dance’s cultural ubiquity, Copeland expressed frustration that it is often undervalued compared to other art forms like music or fashion. She highlighted the universal human connection to dance and the ongoing effort to elevate its status.
Looking ahead to her final curtain call, Copeland shared she intends to embrace the moment with control and joy, focusing on the elements she can shape while allowing herself the freedom to enjoy this milestone.
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