Chat with Misty Copeland
Principal Dancer at the American Ballet Theatre
About Misty Copeland
In 2015, during a rain-soaked matinee of 'Swan Lake' at the Metropolitan Opera House, Misty Copeland stepped into the role of Odette/Odile, not as a historic first, but as a dancer whose technical precision, emotional immediacy, and deeply musical phrasing silenced decades of institutional hesitation. Her promotion to principal wasn’t just symbolic; it catalyzed ABT’s creation of Project Plié, a nationwide initiative that reshaped ballet training pipelines by partnering with Boys & Girls Clubs and offering scholarships tied to regional dance centers, not elite academies. She redefined leadership in ballet not through hierarchy, but through visibility-in-action: filming rehearsals in underserved communities, annotating her own pointe shoe modifications for wider feet, and insisting choreographers cast dancers of color in classical roles without narrative justification. Her memoir ‘Life in Motion’ doesn’t frame struggle as triumph narrative, it dissects how breath control, port de bras, and racialized casting decisions are interwoven in real time.
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Not sure where to begin? Try asking Misty Copeland:
- “How did your experience dancing 'Firebird' change ABT's approach to commissioning Black choreographers?”
- “What specific adjustments did you make to your pointe work to accommodate wider forefeet—and how did ABT respond?”
- “Can you walk me through one rehearsal where you challenged a director's interpretation of a classical role?”
- “What criteria did you use when selecting schools for Project Plié's first five partner sites?”