Post by : Meena
Hassan
On Wednesday, Misty Copeland gracefully exited the stage of American Ballet Theatre (ABT), ending a remarkable chapter in her career. Surrounded by glitter and flowers, she took her final bow while embodying a powerful symbol of diversity in ballet.
The gala, hosted at Lincoln Center’s David H. Koch Theater, marked both ABT’s 85th anniversary and celebrated Copeland’s outstanding legacy. Notable figures like Oprah Winfrey and Debbie Allen delivered heartfelt tributes, with Winfrey stating, “Misty didn’t merely perform ballet—she transformed it. She redefined who is seen and who leads in this field.”
This event was not only a farewell but also a return for Copeland, who reprised her first ABT performance in five years. During that time, she dedicated herself to raising her son, Jackson, who captured hearts by joining her on stage in a tuxedo.
Beyond her achievements on stage, Copeland continues her literary pursuits, having launched the second part of her Bunheads series and furthering her mission for diversity through the Misty Copeland Foundation. Her initiatives like Be Bold aim to empower young children of color to engage in ballet and the arts.
Among her final roles, Copeland took the stage as Juliet in Romeo and Juliet, alongside Calvin Royal III, ABT’s first Black male principal dancer in twenty years. She also showcased her artistry in Kyle Abraham’s Wrecka Stow, wrapping up with a performance of Twyla Tharp’s Sinatra Suite with renowned partner Herman Cornejo.
The night was crafted partially by Copeland herself, featuring speeches, video highlights of her career, and performances from her colleagues. As confetti rained down, friends and family embraced her, marking a heartfelt ballet send-off.
Reflecting on her two-and-a-half decades with ABT, Copeland expressed readiness for her next chapter, stating, “This is me saying ‘thank you’ to the company. It’s a farewell, but it’s not the end of my dancing.” She later emphasized her ongoing commitment to enhancing diversity in ballet, affirming she feels prepared to make this transition.
Debbie Allen lauded Copeland’s influence, asserting, “She’s inspired millions and I hope we won’t have to wait another 50 years for another beautiful Black principal dancer at ABT.”
Raised in difficult circumstances in San Pedro, California, Copeland overcame challenges such as near-poverty and homelessness. Starting ballet at the age of 13, she eventually attended the San Francisco Ballet School and ABT on scholarships, rising through the ranks to become the first Black female principal dancer in the company’s 75-year history.
Though she acknowledges ongoing challenges for diversity and inclusion in ballet, Copeland remains hopeful, stating, “It’s concerning, but visual representation can ignite change. I’m committed to this cause.” As she departs from ABT, her legacy endures, setting a path for aspiring dancers to embrace their dreams.
English
