Misty Copeland, the first Black female principal dancer at American Ballet Theater (ABT), retired last October but remains actively involved in the ballet world through curatorial and mentorship efforts. Copeland recently organized a festival at the Joyce Theater that highlights a diverse range of choreographers and dancers, reflecting her commitment to broadening opportunities within the dance community.
The festival showcased established artists such as Opera Ballet étoiles Guillaume Diop and Sae Eun Park performing in “Romeo and Juliet” and “Thaïs,” as well as New York City Ballet principal Taylor Stanley in contemporary solos by Kyle Abraham and Andrea Miller. Other featured presentations included excerpts from Dance Theater of Harlem’s “Firebird” and Hubbard Street Dance Chicago’s Shota Miyoshi performing Bob Fosse’s “Percussion IV.” The lineup intentionally brought together multiple generations of choreographers, combining works from recently retired dancer Ingrid Silva, Ballet Theater principal James Whiteside, and longtime figure Alonzo King.
Copeland also commissioned new works from emerging choreographers. Among them were Ilo, an Atlanta-based artist specializing in house dance, and Aleisha Walker, a current ABT company member. Copeland emphasized her desire to create platforms for younger dancers and choreographers as a central aspect of her post-retirement activities.
In addition to her work curating performances, Copeland is focusing on projects for younger audiences, including an upcoming middle-grade novel titled “Firebird Waltz.” The book is set in a performing arts academy where students discover their artistic abilities serve as a form of magical power. Copeland described this creative endeavor as part of a broader mission to connect ballet with diverse audiences and spaces, bridging traditional and contemporary expressions of the art form.
Reflecting on the festival at the Joyce Theater, Copeland framed it as an extension of her farewell performance at ABT. Rather than centering the event on her own accomplishments, she sought to envision the future of ballet by centering Black, brown, and queer artists and integrating a wide range of dance styles and perspectives. She acknowledged the challenges of coordinating dancers’ schedules and repertoire but emphasized the importance of ensuring that performers engage with works that resonate personally and artistically.
Though she has not produced a show under her own name, Copeland expressed interest in curating multidisciplinary projects that could include not only dancers but also visual artists and vocalists, while maintaining a modest personal profile. She views her role in the dance world as one of creating access and opportunity, particularly for the next generation of artists. As a member of the ABT board, Copeland also serves as host for the company’s ABTKids shows, aimed at young audiences.
Looking ahead, Copeland plans to continue leveraging her platform and connections to broaden ballet’s reach and inclusivity, building on her career-long efforts to challenge perceptions and expand the art form’s audience.