After 25 years with the company, Misty Copeland is retiring from the American Ballet Theater.
Her departure from the company she joined as a teenager, where she became ballet’s most prominent crossover star, is a significant moment, but it isn’t completely surprising. At 42 years old, she has spent the last five years away from the Lincoln Center platform, dedicating her time to raising her son with her husband, Olu Evans, and working with her foundation.
This foundation focuses on promoting diversity, equity and inclusion in dance, an especially challenging mission right now.
Copeland will give her final performance with ABT on October 22nd, and the company is organizing a splashy farewell celebration. It will feature speeches and film clips, and Copeland, who has played a key role in the planning, will have the opportunity to dance one last time, performing the exquisite pas de deux from Romeo and Juliet. Caroline Kennedy and Oprah Winfrey will serve as honorary chairs for the evening.
The event will commemorate the conclusion of an extraordinary and unexpected career.
Copeland faced many challenges growing up in Southern California, often dealing with homelessness as her mother struggled to provide for her and her five siblings. She eventually found solace and stability through dance, although she began her serious training at age 13, which is considered late for aspiring ballerinas.
Despite the historical obstacles faced by people of color in the traditional world of classical dance – ballet, introduced to the French court in the late 17th century, largely remained unchanged from its elite European origins, and Black dancers were often excluded from top training and professional opportunities until the mid-20th century —in 2001, Copeland joined ABT, and after 15 years of dedication and hard work, she made history as the first Black woman to become a principal dancer with the company.
“It’s been 25 years at ABT., and I think it’s time,” Copeland told the Associated Press last week ahead of Monday’s official announcement of her transition. “It’s time for me to move to the next stage.”
Much has happened over the last 25 years of Copeland’s successful career, and her achievements have brought fresh energy to the art form. She has authored several books, including a memoir and various titles aimed at younger readers. The second installment of her Bunheads series is set to launch in September, with additional works planned to highlight the diverse cultures and individuals within the ballet community while mirroring her own experiences.
Copeland has also created a short film through her production company. Her charity, The Misty Copeland Foundation, focuses on promoting diversity in dance. It also provides opportunities for children from low-income backgrounds, similar to her own experiences, so they can pursue dance.
Susan Jaffe, the artistic director of ABT, shared with the AP how crucial it was for children to see someone like Misty and think, “Oh my gosh, she looks like I do.” Jaffe, who is in charge of the farewell performance, also emphasized, “Through her books, through her lectures, even her endorsements, she has really been a trailblazer.”
In an interview with The New York Times, Copeland expressed that she feels a sense of peace about her decision, though she recognizes that she is leaving during a difficult period for the arts. The principles of D.E.I., which she champions and actively promotes, are under political attack, and arts organizations are grappling with growing partisan hostility against its framework in Washington. She believes in the positive effects of diversity and representation and is determined to continue working with her foundation to promote these values and make a difference.
“My whole career is proof that when you have diversity, people come together and want to understand each other and want to be a community together,” she told The Times. “So many young Black and brown people didn’t even know Lincoln Center was a place they could step foot in. When they see my poster on the front, they feel like it opens their minds up to a whole new world. And it’s not just about coming to see me. It sparks their interest to want to participate and to want to learn more about the art form. Art is the most incredible way to build bridges, no matter what political party you’re in.”
The main initiative at Copeland’s foundation is BE BOLD, a free after-school program for kids aged 5 to 12, which operates at Boys & Girls Club of America sites in both the Bronx and Harlem. It offers a fun and affordable way for young children of color to learn ballet, including health and wellness education, music lessons, tutoring and mentoring.
As she reflects on the future of the organization and her legacy, Copeland has much to consider. But she says it’s precisely what motivates her to remain committed to creating a more welcoming and inclusive environment in ballet, as well as to advocate for social justice through arts activism.
“In all honesty, I’ve wanted to fade away into the background, which is not really possible. The legacy of what I’ve created, the way that I’m carrying so many stories of Black dancers who have come before me—I can’t just disappear.”
She continued: “My time with ABT has shaped me not just as a dancer, but as a person, and given me the platform to reach back and make space for others.”
“This moment isn’t a farewell, it’s a celebration of everything we’ve built together, and a step toward all the work that’s still ahead.”
