Misty Copeland

And I remember I spent that whole year of 2019, I brought in a new teacher that was literally retraining me Because I was, like, striving to reach other people's standards of what they thought. And so that final performance, I let go, and it was an incredible last Swan Lake. I've always known that I was going to leave on my own terms.

And that I wasn't going to be, like, being pulled off by my ankles. Like, get off the stage. It's over. Yeah, the hook. I've always known that I wasn't going—that wasn't going to be my experience anymore.

And that I wasn't going to be, like, being pulled off by my ankles. Like, get off the stage. It's over. Yeah, the hook. I've always known that I wasn't going—that wasn't going to be my experience anymore.

I have this conversation often with my husband in that, you know, I think that I am a performer because it has given me the most beautiful escape and voice and sense of freedom coming from the background that I come from. You know, coming from being houseless for most of my upbringing, not always having, I don't know, I guess a sense of consistent like parental figures in my life.

I have this conversation often with my husband in that, you know, I think that I am a performer because it has given me the most beautiful escape and voice and sense of freedom coming from the background that I come from. You know, coming from being houseless for most of my upbringing, not always having, I don't know, I guess a sense of consistent like parental figures in my life.

And I never wanted to be like in the limelight. You know, I wanted to be not seen or heard. But there was something that happened when I was introduced to dance that it was the most stable thing I'd ever experienced in my life. And so, yeah, I don't think that's ever what's kind of like gotten me up every morning or gotten me on stage is this like need for like approval from the audience.

And I never wanted to be like in the limelight. You know, I wanted to be not seen or heard. But there was something that happened when I was introduced to dance that it was the most stable thing I'd ever experienced in my life. And so, yeah, I don't think that's ever what's kind of like gotten me up every morning or gotten me on stage is this like need for like approval from the audience.

It was like I needed to dance. I didn't need all the other stuff that comes with it. And the work that I feel like I should be doing now is more behind the scenes dance.

It was like I needed to dance. I didn't need all the other stuff that comes with it. And the work that I feel like I should be doing now is more behind the scenes dance.

I feel like, to me, it's never been about me, and it should never have been about me. I think it should have been about a broader understanding that people from our community, from Black and brown communities, are interested and do want to be in these spaces. They just need to see themselves. Not necessarily. They need to be introduced and feel like it's something that they're being invited into.

I feel like, to me, it's never been about me, and it should never have been about me. I think it should have been about a broader understanding that people from our community, from Black and brown communities, are interested and do want to be in these spaces. They just need to see themselves. Not necessarily. They need to be introduced and feel like it's something that they're being invited into.

And so... You know, I've never felt like I've gotten to this place and I've been given this opportunity because I am the best Black dancer to ever exist. Like, that is so far from reality. I think I was the first at American Ballet Theater to be given an opportunity.

And so... You know, I've never felt like I've gotten to this place and I've been given this opportunity because I am the best Black dancer to ever exist. Like, that is so far from reality. I think I was the first at American Ballet Theater to be given an opportunity.

And there's not enough schools, there's not enough access to communities that wouldn't otherwise, you know, be introduced to classical dance and teachers who look like them and healthy and nurturing environments for them to train in. And that, to me, is the work that needs to be done. It's there on the ground. And then it's behind the scenes in these ballet companies. It's the board of directors.

And there's not enough schools, there's not enough access to communities that wouldn't otherwise, you know, be introduced to classical dance and teachers who look like them and healthy and nurturing environments for them to train in. And that, to me, is the work that needs to be done. It's there on the ground. And then it's behind the scenes in these ballet companies. It's the board of directors.

You know, even for me to sit on the board of Lincoln Center is a huge deal.

You know, even for me to sit on the board of Lincoln Center is a huge deal.

I think often... choreographers or whoever it may be, don't even know what their movement might look like on different body types and different types of people. And so it's hard to say like, yes, this is okay, or it's just your taste. Like, do you really know? Do you even really know what the possibilities are of seeing your movement that could look

I think often... choreographers or whoever it may be, don't even know what their movement might look like on different body types and different types of people. And so it's hard to say like, yes, this is okay, or it's just your taste. Like, do you really know? Do you even really know what the possibilities are of seeing your movement that could look

even more incredible or bring a whole new idea out of you and make you go even further with, you know, choreography. But, you know, Black people have been told for generations and generations, like, you all have flat feet, so you're not going to be in pointe shoes. Your butts are too big. It's like, we don't all look this way, and that's not all bad anyways.