NEW YORK — Ten years ago this month, Misty Copeland sat in front of a hastily arranged news conference at American Ballet Theatre, fighting back tears of pride over her new role: principal dancer.
“This is it,” she said, with emotion. “This has been my dream since I was 13.”
The occasion was highly unusual — normally, when a dancer is promoted, a brief press release is issued. But this was Copeland, a crossover star with fame far beyond the insular world of ballet. And now she was becoming the first Black female principal in the company’s 75-year history — just days after her New York debut as the lead in “Swan Lake” brought a refreshingly diverse, packed audience to the Metropolitan Opera House.
Now, a decade and many accomplishments later, Copeland is retiring from the company she joined as a teenager.
“It’s been 25 years at ABT, and I think it’s time,” Copeland, 42, told the Associated Press last week ahead of Monday’s official announcement of her move. “It’s time for me to move to the next stage.”
The company is planning a splashy farewell on Oct. 22, featuring performances by Copeland — for the first time in five years — and other dancers. There will be speeches and film clips. And Copeland, who’s been heavily involved in the planning, will get a chance to venture one more time onto that balcony in Verona; she’ll dance again in the beautiful “Romeo and Juliet” pas de deux. Honorary chairs for the evening will be Caroline Kennedy and Oprah Winfrey.
A lot has happened in a quarter-century. Copeland, whose success brought new energy to an art form that has always been overwhelmingly white, has authored a number of books, including a memoir and and several works for young people. The second installment of “Bunheads” arrives in September, and more are already planned in a series she calls “a reflection of my journey, showing the range of cultures and types of people that can be a part of the ballet world.”
Copeland has also made a short film with her production company. And her philanthropic organization, The Misty Copeland Foundation, works on increasing diversity in the dance world and giving more kids who grew up economically disadvantaged, like she did, the chance to dance.
“It was so important for children growing up and seeing somebody like Misty and saying, ‘Oh my gosh, she looks like I do,’” says Susan Jaffe, ABT’s artistic director, who is overseeing the farewell performance. “Through her books, through her lectures, even her endorsements, she has really been a trailblazer.”
Still, progress moves slowly. When Copeland exits ABT, there will no longer be a Black female principal dancer at the company — nor at many ballet companies around the globe. Copeland discussed that continued challenge in the dance world, among other topics, in the AP interview last week. Remarks have been edited for clarity and brevity.
COPELAND: You know, I’ve become the person that I am today, and have all the opportunities I have today, because of ballet, (and) because of American Ballet Theatre. I feel like this is me saying thank you to the company. So it’s a farewell. (But) it won’t be the end of me dancing. … Never say never.
COPELAND: I’ve noticed that the conversation is not something we shy away from anymore in terms of the lack of equity, the lack of diversity in this (dance) world. That’s one of the biggest shifts I’ve seen … a lot of young people that just can imagine being part of it in some way. They can imagine stepping into Lincoln Center and being at the Metropolitan Opera House.
COPELAND: It’s definitely concerning, and I think I’ve just gotten to a place in my career where there’s only so much I can do on a stage. There’s only so much that visual representation like that can do. I feel like it’s the perfect timing for me to be stepping into a new role, and hopefully still shaping and shifting the ballet world and culture.
COPELAND: I think about my partnership with (former ABT principal) Roberto Bolle and him giving me so many opportunities to travel the world with him … (Former ABT principal) Marcelo Gomes, he’s been such a such a big part of my journey, and of course Herman Cornejo. We’ve had a beautiful partnership throughout my career and I’m excited to dance with him again (at the October farewell,)
COPELAND: It’s made me even more patient. I just have a lighter and brighter outlook on life because it’s just such an incredible thing to experience and witness… I think ballet has prepared me for being a mother in so many ways. I think it’s … prepared me for life and being resilient and patient and sensitive and empathetic and strong, and all of these things.
COPELAND: He doesn’t understand at all! (laughs) He’s seen very little of me dancing. … But he’s very drawn to it. He is a mover. He’s very athletic. He is so drawn to music. He started violin on Monday. We live in the museums. He really is drawn to art. I think he’s definitely on the artist’s track.
COPELAND: It’s been pretty evenly split between all of then. I think it just depends on what’s at the forefront and what needs my focus. … But it’s exciting to be able to utilize dance in so many different mediums, and to me, that’s how you get true diversity — by giving people different entry points into learning about dance and feeling like they can be a part of it, which has been my goal. How do I bring dance to as many people as possible in a way that really works for them?
COPELAND: It’s a difficult time. And I think all we can really do is keep our heads down and keep doing the work. … we’re fortunate in that way that we’ve built great relationships and can continue to do the work right now through my foundation. There’s no way to stop the people that feel passionate about this work. We will continue doing it. It is so necessary for the well-being of our societies and communities. I think there are times to speak out and yell from the rooftops. And for me, I feel like this is a time to keep my head down and really stay focused and do the work.
