Misty Copeland

It's a balance of some risk and then leaning on the things that people will definitely come and see.

Yes, it was my experience a lot when I first joined. Being the, you know, earthy character, you know, I fought so hard to be given opportunity in classical works because often the black and brown dancers were told, that's not, you know, we're using you for the more contemporary, the more modern works, but...

Yes, it was my experience a lot when I first joined. Being the, you know, earthy character, you know, I fought so hard to be given opportunity in classical works because often the black and brown dancers were told, that's not, you know, we're using you for the more contemporary, the more modern works, but...

I definitely think that I've seen a big change at American Ballet Theatre in particular in terms of the way that they view casting. I've definitely been a voice in having these tough conversations.

I definitely think that I've seen a big change at American Ballet Theatre in particular in terms of the way that they view casting. I've definitely been a voice in having these tough conversations.

I mean, I remember being in my early 20s and going into the office and speaking to my artistic director and being terrified and not knowing how to really articulate myself, but being really intentional about how I approached the conversations and

I mean, I remember being in my early 20s and going into the office and speaking to my artistic director and being terrified and not knowing how to really articulate myself, but being really intentional about how I approached the conversations and

To ask for different roles and to really express, you know, that I feel like this is happening because of X, Y, and Z. You know, I'm a Black woman. I'm the only one here. And I want to be given opportunity. And I think I'm not because I'm a Black woman. And to go in there and really be clear and be intentional, but also have grace.

To ask for different roles and to really express, you know, that I feel like this is happening because of X, Y, and Z. You know, I'm a Black woman. I'm the only one here. And I want to be given opportunity. And I think I'm not because I'm a Black woman. And to go in there and really be clear and be intentional, but also have grace.

Instead of going in there like, you know, ready to fight, though I think I was fighting in my own way. And so I think that there has been change made, but we still have a long way to go.

Instead of going in there like, you know, ready to fight, though I think I was fighting in my own way. And so I think that there has been change made, but we still have a long way to go.

Well, first of all, I truly think that ballet was this perfect missing piece in my life. You know, it helped me to develop. So I don't, it's almost like the antithesis of what most people experience when they're in dance, where I feel like a lot of people almost lose themselves in sense of identity. Yeah. And don't mature and are socially underdeveloped and all of these things.

Well, first of all, I truly think that ballet was this perfect missing piece in my life. You know, it helped me to develop. So I don't, it's almost like the antithesis of what most people experience when they're in dance, where I feel like a lot of people almost lose themselves in sense of identity. Yeah. And don't mature and are socially underdeveloped and all of these things.

And I feel like the opposite thing happened for me. I think that it opened me up and it helped me to understand myself more. And I was craving consistency. I was craving discipline. I mean, I would go from day to day, night to night, not knowing anything. where we were sleeping, not knowing if we were going to have food, not knowing how I was going to get to school, if I was going to school.

And I feel like the opposite thing happened for me. I think that it opened me up and it helped me to understand myself more. And I was craving consistency. I was craving discipline. I mean, I would go from day to day, night to night, not knowing anything. where we were sleeping, not knowing if we were going to have food, not knowing how I was going to get to school, if I was going to school.

So to be able to go into a studio every day at 3 p.m. and know I was going to do plies and tendus and degages and rond de chambre, like as a child to know what's coming, that safety is so important. And I think that it helped. I feel like I grew and developed as a person immensely in like the first three years of dance.

So to be able to go into a studio every day at 3 p.m. and know I was going to do plies and tendus and degages and rond de chambre, like as a child to know what's coming, that safety is so important. And I think that it helped. I feel like I grew and developed as a person immensely in like the first three years of dance.

I feel like it's ingrained in me now, like that structure and that discipline because of ballet, that it's helped me in how I approach everything in my life.

I feel like it's ingrained in me now, like that structure and that discipline because of ballet, that it's helped me in how I approach everything in my life.

I think it was having—being able to see her point of view and her perspective. I mean, as a young girl and, you know, not always knowing why she made certain decisions. I think those were the things I didn't understand when, you know, through my, I don't know, eight-year-old eyes, I'm like, but why do we have a home? Why don't—you know, it seemed so simple and clear. And I think—