Post by : Meena Ariff

Misty Copeland graced the stage for the final time on Wednesday, dazzling the audience as she retired from the American Ballet Theatre (ABT) amidst showers of glitter and flowers. Her groundbreaking journey has made her an emblem of diversity in a traditionally homogeneous field.

The gala, hosted at Lincoln Center's David H. Koch Theater, celebrated both ABT's 85th anniversary and Copeland's illustrious career. Notable guests like Oprah Winfrey and Debbie Allen took the stage to honor her influence, with Winfrey noting, “Misty didn’t just perform ballet. She changed it. She redefined who belongs, who gets to be seen, and who gets to lead.”

For Copeland, the evening was significant, representing both a comeback and a farewell—it was her inaugural performance with ABT in five years, during which she devoted her time to raising her young son, Jackson, who charmingly joined her onstage in a tuxedo.

In addition to her ballet career, she has ventured into literature with the second volume of her Bunheads series released this September. Copeland also continues to advocate for diversity through her Misty Copeland Foundation, inspiring young children of color to explore ballet and the arts through initiatives like Be Bold.

Her last performances featured her beloved role of Juliet in Romeo and Juliet alongside Calvin Royal III, ABT’s first Black male principal dancer in 20 years. She also embarked on a modern duet in Kyle Abraham’s Wrecka Stow and concluded the evening with Twyla Tharp’s Sinatra Suite, partnered with another favorite, Herman Cornejo.

The curated evening included tributes, career highlights on film, and ballet excerpts performed by her colleagues. As glittery confetti filled the air, friends, family, and fellow dancers showered her with appreciation, creating a memorable send-off.

Reflecting on her 25-year journey with ABT, she expressed in June, “It’s time for me to move to the next stage. 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.” On the red carpet, she added, “I feel good. I feel ready to take this next step,” underlining her commitment to enhancing diversity in ballet.

Debbie Allen commended her impact, emphasizing, “She’s inspired millions worldwide, and let’s hope American Ballet Theatre doesn’t wait another 50 years for their next beautiful Black principal dancer.”

Born in Kansas City, Missouri, and raised in San Pedro, California, Copeland triumphed over adversity, including challenges of poverty and homelessness alongside her single mother and five siblings. Beginning ballet at age 13, she later attended the San Francisco Ballet School and ABT on scholarships. She joined ABT’s corps de ballet in 2001, achieved soloist status in 2007, and became the first Black female principal dancer in the company’s 75-year history in 2015.

Despite her groundbreaking role, Copeland voiced concerns about the continuing challenges for diversity, equity, and inclusion in ballet, stating, “It’s definitely concerning. There’s only so much that visual representation can do. I hope to continue shaping the ballet world and culture.” Her undeterred passion for this cause shone through: “There’s no way to stop the people that feel passionate about this work. We will continue doing it.”

As Copeland exits the ABT stage, her legacy is indelibly marked as a pioneering ballerina, broadening the definitions of inclusivity in ballet and motivating future generations of dancers to reach for their dreams.