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misty copeland retired from american ballet Theatre, a pioneer’s finale livelihood which established him as a decisive ambassador Diversity Within a predominantly white art form. His final performance on Wednesday was greeted with golden glitter and bouquets.
A decade ago, Copeland made history as the first black female principal dancer company75 years of existence. His departure was celebrated at a star-studded fall ceremony at Lincoln Center in Manhattan, attended by many celebrities Oprah Winfrey and Debbie Allen, who gave a speech in his honor.
Winfrey underlined the deep impact young people of color had on watching Copland perform in the prestigious balletSwan Lake,
“Misty didn’t just perform ballet,” Winfrey said, acknowledging the ballerina’s unique crossover appeal. “He changed it. He redefined who was included, who was to be watched and who had to lead.”
In a way, the ceremony was both a return and a departure for Copeland, 43. She was dancing with the company for the first time in five years. During that time, Copeland was raising a son, Jackson, with her husband. The 3-year-old boy came on stage wearing a tuxedo to hug his mother during the curtain call.
Copeland also continues his career as a writer – his second volume bunheads The series premiered in September – and is working to increase diversity dance The world with his namesake foundation, which also includes “Be Bold”, an afterschool program designed for young children of color.
But she decided to get rid of the pointe shoes so she could act on the ABT stage one last time – including the role of Juliet, one of the most emotional roles in ballet and her personal favourite. Copeland’s Romeo in the balcony pas de deux was Calvin Royal III, who in 2020 became ABT’s first black male principal dancer in two decades.
The pair later reunited for another duet in “Reka Sto”, written by Kyle Abraham, this time it was a modern duet. For Copland’s final performance of the night, she performed Twyla Tharp’s “Sinatra Suite” with another favorite partner of hers, Herman Cornejo.
The night, which also celebrated ABT’s 85th anniversary and was largely moderated by Copeland himself, included speeches and film clips about his career. And his fellow dancers performed excerpts from the ballet in his honor. At the end, a smiling Copeland was given a quintessential ballet farewell, as colleagues, teachers, friends and family came out one by one to hug her and give her bouquets, while glittering confetti poured from the ceiling.
on to the next step
Although Copeland hasn’t completely closed the door on dance, it’s clear that an era is ending.
“It’s been 25 years at ABT, and I think it’s time,” he told The Associated Press in an interview in June, when he announced his retirement. “It’s time for me to move on to the next step.”
She continued, “You know, I have become what I am today and 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) this will not be the end of my dancing. – Never say never.”
“I’m feeling good. I feel ready to take this next step,” she said on the carpet Wednesday before her performance. She said she would continue her work to promote diversity: “There’s a lot of work and effort that has to continue.”
Allen told reporters that Copeland “has helped redefine the face of ballet. She has inspired millions around the world and hopefully American Ballet Theater won’t have to wait 50 years before it has another beautiful black principal dancer.”
The evening from Lincoln Center’s David H. Koch Theater was streamed live from Alice Tully Hall adjacent to the Plaza, with free public attendance – another sign of Copeland’s unique brand of fame in the dance world.
Copeland was born in Kansas City, Missouri, and raised in San Pedro, California, where she lived in near poverty and endured periods of homelessness as her single mother struggled to support her and five siblings.
For a future professional dancer, she came to ballet relatively late – at age 13 – but soon excelled and went on to study at the San Francisco Ballet School and ABT on scholarship opportunities. After a stint in the junior company, Copeland joined ABT as a member of the corps de ballet in April 2001, becoming soloist six years later.
In June 2015, Copeland was promoted to principal dancer. Unlike other promotions, which are announced quietly, Copeland’s was announced at a press conference – a testament to her fame. Just a few days earlier, she had made her triumphant New York debut in “Swan Lake” in the lead role of Odette/Odile, attracting a diverse and enthusiastic crowd at the Metropolitan Opera House.
Timing of Effort for DEI Efforts
In the AP interview, Copeland acknowledged that it was surprising that when she left ABT, there would be no black female principal dancers at the company.
“It’s definitely concerning,” Copeland said. “I think I’ve just reached a place in my career where there’s only so much I can do on a stage. There’s only so much I can do – a visual representation. I think it’s the right time for me to step into a new role, and hopefully still be shaping the ballet world and culture and making a difference.”
She also said this is a particularly trying moment for anyone working in the field of diversity, equity and inclusion.
“It’s a difficult time,” she said. “And I think we can really just keep our heads down and keep working. There’s no way to stop people who are passionate about this work. We’re going to keep doing it.”