She’s stepping into her next act!
Ten years ago, Misty Copeland sat before a room full of cameras and reporters, her voice trembling with emotion as she made history as the first Black female principal dancer in American Ballet Theatre’s (ABT) 75-year history.
“This is it,” she said at the time. “This has been my dream since I was 13.” That historic moment was far from a routine promotion; it was a cultural shift that reverberated far beyond the world of ballet.
Now, after a quarter-century with ABT, Copeland is taking her final bow with the company that shaped her, and that she, in turn, transformed. “It’s been 25 years at ABT, and I think it’s time,” she told the Associated Press. “It’s time for me to move to the next stage.”
That next stage, fittingly, is both symbolic and literal. On October 22nd, Copeland will return to the spotlight one last time for a farewell performance featuring speeches, film tributes, and the iconic “Romeo and Juliet” pas de deux, danced alongside longtime partner Herman Cornejo. The evening will be co-chaired by none other than Caroline Kennedy and Oprah Winfrey, a fitting tribute for a woman whose artistry inspired generations.
Born into humble beginnings and discovering ballet at the age of 13, Copeland’s journey to the top was not only improbable but also revolutionary. Her very presence onstage challenged centuries-old norms in an art form that had long been defined by exclusivity and Eurocentric ideals. But Copeland didn’t stop at representation; she redefined the image of a ballerina and opened doors for countless others to follow.
“It was so important for children growing up and seeing somebody like Misty and saying, ‘Oh my gosh, she looks like I do,’” said ABT artistic director Susan Jaffe. “Through her books, through her lectures, even her endorsements, she has really been a trailblazer.”
Copeland’s impact is impossible to measure in curtain calls alone. She’s authored books for adults and children, including the Bunheads series, which 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.” She’s produced a short film, launched her own production company, and established The Misty Copeland Foundation to help young dancers from underrepresented communities find their footing on the stage.
“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,” Copeland said. “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.”
Still, the challenges Copeland has faced are not yet history. When she departs, ABT will once again have no Black female principal dancer, something Copeland isn’t taking lightly.
“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,” she said. “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.”
As a mother to 3-year-old Jackson, Copeland sees life with new clarity and a deeper sense of purpose. “It’s made me even more patient. I just have a lighter and brighter outlook on life,” she shared. “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.”
Of her son, she adds with a laugh: “He doesn’t understand at all! … 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’s next act includes continuing her work across multiple platforms — through her foundation, writing, and production company, each a conduit for bringing dance to more people in new and inclusive ways. “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.”
At a time when DEI efforts face headwinds, Copeland remains committed to the work, even when the spotlight dims. “It’s a difficult time. And I think all we can really do is keep our heads down and keep doing the work. … 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.”
Misty Copeland may be leaving the stage at ABT, but her legacy pirouettes forward, in books, in ballet studios, in boardrooms, in Black and brown children watching from the wings, knowing for the first time that they belong there, too.
Cover photo: Ballet Icon Misty Copeland Announces Retirement After 25 Groundbreaking Years/Photo credit: Taylor Jewell/Invision/Associated Press