2 at UCLA’s Royce Hall, Royce at UCLA’s Chocolate Nutcracker Nutcracker Chocolate “As dancers, we’re constantly pushing pushing constantly we’re dancers, “As

know that you will never you that achieve perfection.” know ourselves to be perfect. It’s great to be able to beto to able great beourselves It’s to perfect. push yourself and aim for something, but also aim for something, and yourself push

performing arts Spotlight Award from the Music Center in Los Angeles, Angeles, in Los the Music Center from Award Spotlight arts performing danced in Debbie Allen’s American for program the Summer Intensive into accepted and was Theatre. Ballet performed, she’s ballets storybook the fanciful may sound like life Misty’s hard work to she continues 37, Now it that way. think of but she does not speak publicly about to artistically, grow to technique, her ballet improve to African American dancers other to mentor in her field, and diversity racial her community. back to and give young as two. Her ballet teacher at the time immediately recognized recognized at the time immediately teacher Her ballet as two. young the distinguished had won Misty years, a few Within just talent. Misty’s isty Copeland made headlines in 2015, when she was promoted to principal to promoted when she was Copelandisty made headlines in 2015, to be woman African American the first Theatre, dancer at American Ballet

ballet lessons when she was 13—far later than most girls, who often begin training as begin training who often girls, than most later 13—far lessons when she was ballet an Estée Lauder fragrance campaign, posed for this year’s Pirelli calendar, and been the calendar, Pirelli this year’s campaign, posed for fragrance Lauder an Estée her of sight lost and magazine articles. But she has never newspaper countless of subject movement. through stories telling much she enjoys how true passion—ballet—and taking and started California, in San Pedro, family broken up in an unstable, grew Misty She had struggled for years—both personally and professionally—to be recognized as be recognized and professionally—to personally years—both for She had struggled she had finally arrived. And, now, someone who has a voice. only has she Not than ever. more has been in the spotlight Misty Since that moment, but she has danced in a Disney the world, around in classical ballets roles lead performed of face as the appeared Armour, line with Under apparel film, launched a signature feature named to that position at what is arguably the country’s most prestigious ballet company. company. ballet prestigious most the country’s arguably that position at what is named to Owning Your Power Power Your Owning Introduction: Introduction: M

about all things ballet. com to meet Misty’s other com to meet Misty’s own your students, share tips, and ask questions training MEET YOUR FELLOW FELLOW MEET YOUR ENTHUSIASTS DANCE Head to community.masterclass.

TOUR EN L’AIR MISTY COPELAND 3

2 0 1 5

2 0 0 0

a u g u s t to Promoted 2 0 0 1

s e p t e m b e r Joined ABT Studio Company Studio Joined ABT a p r i l Joined the corps de ballet

1 9 9 9 – 2 0 in the Participated 0 0 Program Summer Intensive MILESTONES MISTY’S ABT MasterClass. Copeland’s Misty to Welcome She has turned the negative comments she’s received during her career into “fuel” to to “fuel” into during career her received she’s comments the negative turned She has classical ballet. of succeed in the world to determination, with greater her forward, propel again. Every over starting constantly “We’re she says. changing, is always body A dancer’s your I think, own just so, And be reborn. chance to another just that’s dance, time you voice.” and your power 2 0 0 7

Promoted to soloist to Promoted a u g u s t BALLET TERMINOLOGY

For pronunciations of the French ballet terms, see ’s online dictionary.

à l a s e c o n d e é c a r t é p i q u é e n a r a b e s q u e “To the second.” The placement of the foot A position in which the dancer faces one A movement in which the right foot is in in second position or moving one’s body of the two front corners of the room. The front in fifth position, then the dancer demi- to second position in the air, as in plié à leg nearer the audience is pointed in the pliés and dégagés the right leg to step onto la seconde or grand battement à la second position or raised to the second the point of the right foot, extending the left seconde. position in the air. The arm on the same leg in arabesque. side as the extended leg is raised, with the a r a b e s q u e head turned up toward it and looking into p i q u é t u r n A pose in which the dancer is supported on the palm of the hand, while the other arm is A pirouette where the dancer steps onto one leg, either straight or demi-plié, while in demi-seconde position. pointe or demi-pointe and raises the other the other leg is extended straight behind leg in any position. Also known as piqué and at a right angle. The shoulders are e n s e c o n d e tour. square and the arms are held in various “In second.” A movement in the second positions to create a long line from position p i r o u e t t e fingertips to toes. A complete turn of the body on one foot, f o u e t t é either turning inward or outward, with the a t t i t u d e A whipping movement. It can refer to one body centered over the supporting leg, the A pose in which the dancer stands straight foot whipping in front of or behind the other arms propelling the turn but remaining on one leg, with the other leg lifted in back foot, or when the body whips around from stationary during the turn, and the eyes or front and bent at 90 degrees. The arm one direction to another. “spotting” a fixed point while the head on the side of the raised leg is curved over quickly turns. the head, and the other arm is held to the g r a n d b a t t e m e n t side. Lifting one leg in the air from the hip, with p l i é the knee straight and the standing leg Bending the knees in either a grand plié b a t t u straight, and bringing the working leg down (full bending of the knees) or a demi-plié A step in which one foot is beaten against again without bending the knee. (half bending of the knees), with the legs the other foot or leg. turned out from the hips and the knees g r a n d j e t é open and over the toes. c a b r i o l e d e v a n t A high jump in which the legs are extended A movement in which the dancer’s legs to 90 degrees. It is preceded by a prelimi- p o r t d e b r a s beat in front of the body in the air, then the nary movement, like a glissade (a gliding The passage of the arms from one position legs change and beat again, and again, step). to another. before the dancer lands on the leg he or she jumped from, leaving the other one p a s d e d e u x r e l e v é extended in the air. Also known as pistolet A dance for two in classical ballet. A movement in which the dancer rises up to pointe or demi-pointe, on one foot or both d é g a g é p a s s é feet. Each ballet method/school of thought Pointing the foot in any direction with a fully A passing movement, in which one foot uses a different technique to bring the arched instep while the dancer’s weight passes in back or in front of the knee of the dancer to this raised position. remains on the straight supporting leg. supporting leg or one leg passes the other in the air. r e n v e r s é d é v e l o p p é The bending of the body during a turn, Moving one leg up to the knee of the p e n c h é / p e n c h é e such as a pirouette, which shifts the standing leg and slowly extending it in the Leaning or inclining, as in arabesque dancer’s normal balance but not his or her air, holding the position as the hips are penchée, in which the dancer’s body leans equilibrium. The body bends from the waist, kept square according to the direction the far forward, with the forward arm and head sideways and backward, with the head dancer is facing. low and the foot of the raised leg behind following the movement of the body. high in the air.

MISTY COPELAND 4 r o n d d e j a m b e t e m p s l i é t e n d u A circular movement of the leg, either “Connected movement.” A combination “Stretched,” as in battement tendu. One clockwise or counterclockwise and with the of steps and arm placement based on foot slides across the floor with the toes not working leg either in the air or with a foot the fourth, fifth, and second positions. It lifting from the floor, both legs are straight, touching the floor. prepares the dancer to maintain balance and then the extended leg returns to the and control while shifting his or her weight position from which it was extended. s i s s o n e from one position to another. Jumping from both feet onto one foot, v a r i a t i o n except for sissone fermée, sissone tombée, A solo in classical ballet. and sissone fondue, which land on both feet.

p o s i t i o n s b a l l e t ’ s r a n k s

1 . f i r s t 1 . p r i n c i p a l d a n c e r s The heels are kept together, and the feet are turned outward in a Those who perform the leading roles, including pas de deuxs. straight line. These are the stars of the company.

2 . s e c o n d The feet are separated by a distance of one foot, and they are turned 2 . s o l o i s t s outward in a straight line. Dancers who are promoted from the corps de ballet and given more complicated roles, performing solos on stage and venturing into 3 . t h i r d partnering work. The feet are turned outward, and the heels are placed together, one in front of the other. 3 . c o r p s d e b a l l e t Members of the company who perform on stage together as a 4 . f o u r t h group. This is the level at which dancers enter the company as The feet are separated by a distance of one foot, and they are turned professionals. outward with one foot in front of the other, parallel to each other, so that if you drew a line from the heel of one foot to the toe of the other, 4 . apprentices they would form the sides of a square. Dancers who train and rehearse with the company but who are not yet members of the corps de ballet. Think of them as interns. 5 . f i f t h The feet are turned outward, one foot is placed directly in front of the other, and the first joint of the big toe extends past each heel.

For more on the five basic ballet positions, go to masterclass.com/articles.

MISTY COPELAND 5 MISTY COPELAND 6

Now she’s she’s Now

) ) the technical repertoire.” technical the

r u s s i a n “If you have the right training, training, right the have you “If ( i ta l i a n you can accomplish everything accomplish can you in ( m e t h o d THE BALLET METHODS THE BALLET m et h o d

Developed by: Enrico Cecchetti (1850–1928) Enrico Cecchetti by: Developed positions basic ballet using the five routines exercise Emphasis: strict Lifar Serge Nijinsky, Vaslav Anna Pavlova, students: Star Developed by: Agrippina Vaganova (1879–1951) Vaganova Agrippina by: Developed underneath but with a softness movements precise Emphasis: strong, Mikhail Baryshnikov , Makarova, Natalia students: Star • • • Learn More: when it comes to thought, or schools of methods, the six standard These are training: ballet v a g a n o v a • • • c e c c h et t i

- Herman Cornejo, Principal Dancer, American Ballet Theatre Dancer, Herman Cornejo, Principal

ecently, Misty began training her body in a new way—she’s studied with many with many studied way—she’s her body in a new began training Misty ecently, move to learned how have she may not but she believes the years, over teachers

Chapter 5: Barre Technique: Temps Lié, and Chapter 6: Barre Technique: Ronds de Jambe to to de Jambe Ronds Technique: 6: Barre and Chapter Lié, Temps Technique: 5: Barre Chapter routine. training Misty’s crucial to become most that have the exercises a sense of get correctly. She feels that flawed training combined with her hypermobility—not to be confused to be confused hypermobility—not combined with her training that flawed She feels correctly. injuriesof her during her career. to many contributed have with flexibility—may Pliés and Tendus, Warm-Up: 4: Barre See Chapter approach. simple training a new, following Transformation Misty’s Technical Technical Misty’s R

do whatever it is I want it to.” it do whatever muscle has made her legs straighter, straighter, legs her made has muscle no longer as hypermobile. and she’s the ability to strengthen “I do have get it to Misty says, “and body,” my around her knees for the first time, her knees for the first time, around lower glutes, her made has which Gaining that back, and hips stronger. cially a joint, beyond the range of of the range beyond a joint, cially of her new normal motion. As a result Misty has built up muscle training, HYPEREXTENSION HYPEREXTENSION AND HYPERMOBILITY part,body a of extension The espe

GRAND JETÉ MISTY COPELAND 7

-

became, in a sense, the Nureyev a sense, the Nureyev became, in and Isabelle Guerin. work, a reflection of Nureyev’s own of Nureyev’s a reflection work, Paris Opera Ballet as director in in Ballet as director Opera Paris Hilaire, Manuel Legris, Laurent school. He emphasized quick foot school. He emphasized included students star His style. the 1980s, the French school school French the 1980s, the When Rudolf Nureyev joined the the joined Rudolf Nureyev When Swan Swan

Since Legnani’s Since Legnani’s ) Cinderella. Cinderella. ) k i n g d o m f r e n c h , u n i t e d ) ) , ’s 32 fouettés have always been part of the ballet. the ballet. been part of always have fouettés 32 ’s r a d ( da n i s h f r a n ç a i s e

( a m e r i c a n ( da n c e Swan

é c o l e ( o f

m et h o d

SWAN LAKE SWAN m et h o d

debuted in 1877 at the Imperial Bolshoi Theatre in Moscow and was re-created re-created and was in Moscow at the Imperial Bolshoi Theatre in 1877 debuted s c h o o l

ac a d e m y

debut with ABT in Australia, Misty was unable to complete all 32 fouettés during fouettés all 32 complete to unable was Misty in Australia, debut with ABT Developed by: (1904–1983) George by: Developed neoclassic style athleticism, pliés, deep high jumps, speed, long lines, Emphasis: extreme McBride Patricia Kent, Allegra Farrell, Suzanne students: Star Emphasis: attention to detail, slow progression of lessons in order to master master to lessons in order of progression slow detail, to Emphasis: attention Sutaria Tara Höfling, Ana Paula Mary Day, students: Star Star students: , Johan Kobborg, Nikolaj Hübbe Nikolaj Erik Bruhn, Johan Kobborg, students: Star Bedells, Phyllis Karsavina, Platonovna Tamara Genée, Dame Adeline by: Developed Developed in: the 17th-century court ceremonies of French royalty French of court in: the 17th-century ceremonies Developed movements soft, graceful Emphasis: serious, elegant, (1805–1879) Bournonville August by: Developed held in arms lightness, mime, expressive movement, Emphasis: dramatic basic techniques front of the body of front in London in 1920 and Philip Richardson Espinosa, Édouard An evil sorcerer has put a spell on Princess Odette, leaving her a woman by night and a night by leaving her a woman has put a spell on Princess Odette, sorcerer An evil Learn More: Lake Swan with The second version, in St. at the Mariinsky Petersburg. in 1895 Theatre and revived with in 2000, premiere ABT’s inspired Ivanov, and Lev Marius Petipa by choreography is based on a German legend: The ballet McKenzie. Kevin director artistic by choreography incompletion of the fouettés culminated in a social media post that questioned her worth her worth that questioned in a social media post culminated the fouettés of incompletion a into experience initially a disappointing a a ballerina. has since turned what was Misty noting placed on artists, expectations and the unfair discussion on bullying in ballet larger talented. or strong a ballerina is of whether indicative that finishing the turns is not and Maya Plisetskaya have avoided the fouetté sequence altogether, replacing it with replacing sequence altogether, the fouetté avoided have Plisetskaya and Maya a strong Despite whirlwind movement. sort the same of create still that steps alternate turns during the 32 her performed successfully and having foundation technical Lake Misty’s the criticism of a result, As York. in New as Odette/Odile her debut performance Most people think that Most for an Italian the sequence specifically inserted Marius Petipa choreographer In reality, Odette/Odile of the role into stepping who before ballerina named Pierina Legnani, of staging in an 1893 fouettés 32 performed had previously Alicia Markova, Danilova, Alexandra Anna Pavlova, legendary ballerinas like performance, • • • LEARNING CRITICISM FROM • • b a l a n c h i n e • roya l • • • bournonville • • f r e n c h MISTY COPELAND 8 Konstantin Sergeyev Konstantin Balanchine George Rudolf Nureyev Rudolf Nureyev Dowell Sir Anthony Grigorovich Yuri Ratmansky Alexei choreographer THROUGH THE YEARS THROUGH Paris Opera Ballet Opera Paris Ballet Royal Zurich Ballet and La Scala Ballet c o m p a n y Ballet Kirov/Mariinsky City Ballet York New Wiener Staatsopernballett

perform as Odette/Odile when she was still a soloist. still when she was as Odette/Odile perform swan by day. Prince Siegfried falls in love with her, and there is hope that the spell will be that the spell will is hope there and her, with love in Prince Siegfried falls day. by swan who’s Odile, daughter, sorcerer’s evil with the in love falling into But he is tricked broken. into themselves and the prince throw Odette In desperation, as Odette. been disguised accomplished only the most Generally afterlife. in the be reunited to lake, the swan’s to asked was Misty but Odile, and Odette of roles the coveted given principal ballerinas are 1987 2001 2016 1951 1964 1984 d a t e 1950 These are some of the most well-known 20th-century productions of the ballet: the of productions 20th-century well-known the most some of These are SWAN LAKE SWAN MISTY COPELAND 9 Misty Misty , Romeo Romeo . Initially finishes in a plié in then Swan Lake Swan things that have scared me before.” me scared have that things

“I want to be able to feel confident in confident feel be to to able “I want CONQUERING THE BLACK SWAN CONQUERING THE BLACK 3 of in Act appears variation The Black Swan a step: first very challenging, beginning with the the choreography found an attitude turn that goes into double pirouette better always Misty moment. in that first is no storytelling There attitude. being told. is a story when there a ballet of the steps to connects through mime and emotion rather than intense technical steps. It also steps. technical than intense rather mime and emotion through a quieter for shoes allow and softer run and on stage, walk her to requires articulation. foot , Misty likes to use a hard pointe shoe for maximum support. For maximum support. For shoe for pointe use a hard to likes , Misty - , she prefers a softer pointe shoe because the role of Juliet is performed is performed Juliet of shoe because the role pointe softer a , she prefers Swan Lake Swan not only in “European pink.” pink.” only in “European not For and Juliet Misty doesn’t use pads in her pointe shoes, as many dancers do. She was trained not to to not trained was She do. dancers as many shoes, use pads in her pointe doesn’t Misty control more and the shoes so that she can have her feet come between anything have check with shoes, who uses pointe student a ballet (If you’re articulating toes. her over also been coloring Misty’s you.) for should be approach on what the best instructor your determined dancing. She’s started she first since her skin color, match to shoes, her pointe and and black dancers brown shades for shoes will come in varying pointe that one day, PREPARING FOR PERFORMANCE FOR PREPARING Pointe on a sharp knife. relies a chef A shoes like on her pointe ballerina relies professional a dancer to allows them beforehand Preparing her performance. to essential shoes are and successfully. safely perform Black Swan Variation Black Swan Performance: Performance:

of a dancer’s feet. of a dancer’s important to be attentive to more serious to more important to be attentive issues such as corns that can occur at the bottom or sides points on pressure a dancer’s feet resilient. Misty recom feet resilient. a dancer’s mends the minimal maintenance of it’s toenails trimmed, however, keeping basic since she has spent years strength strength basic since she has spent years calluses her feet. She views training and bunions as the armor that makes FOOT CARE FOOT her foot care to keep Misty prefers

RONDS DE JAMBE MISTY COPELAND 10 - and a 1941 a 1941

, starring , starring , Misty , Misty The York The New Black Swan probably dates to to dates probably , along with SWAN LAKE SWAN Swan Lake Swan wear a black costume as Odile so costume a black wear Nowhere else do the classic ballets of of else do the classic ballets Nowhere Life in Motion: An Unlikely Ballerina An Unlikely in Motion: Life . In late-19th-century and early-20th-century produc early-20th-century and . In late-19th-century Tamara Toumanova Toumanova Tamara The Black Swan tradition made its way around the world the world around way made its tradition The Black Swan summed it up this way: “ way: summed it up this Swan Lake Swan at the House. According to to According House. Opera at the Metropolitan he tradition of calling Odile the Black Swan Odile calling the Black Swan of he tradition T , are among them. These ballets feature otherworldly characters who characters otherworldly feature among them. These ballets , are MISTY’S ROLE AS ODETTE/ODILE IN IN ODETTE/ODILE MISTY’S AS ROLE WHO IS THE BLACK SWAN? BLACK IS THE WHO Swan Lake Swan found its way to Hollywood: The 2010 Darren Aronofsky film Aronofsky Darren The 2010 Hollywood: to way its found The New York Times York The New review of that performance, “As Odette, the Swan Queen, Ms. Copeland has Queen, Ms. the Swan Odette, “As that performance, of review La Bayadère La the principal dancer to look the same. Misty broke through these barriers because of her because of these barriers through broke Misty look the same. the principal dancer to she was debut as Odette/Odile, her after months two just 2015, in August skin color—and woman in the African American becoming the first principal dancer at ABT, to promoted that title. achieve to history company’s for an African American woman at ABT: There was no African American principal no African was There at ABT: American woman an African for In her memoir, at the time. ranks ballerina in its ballets.” as “white known is a genre that there explains and and the corps de ballet for procedure standard it is considered and white, usually wear space; she raises her arms with the epic sweep of mighty wings.” She had danced the wings.” mighty of her arms with the epic sweep she raises space; fouettés. 32 the traditional completed if she had not ballet—even in world epic role most (See the class video all the turns. to make acclaimed ballerina not the first And she wasn’t Transformation.) Technical 2: Misty’s Chapter for moment a historic this was sequence, challenge in the fouetté that one technical Despite In June 2015, Misty made her New York debut as Odette/Odile in American Ballet Theatre’s Theatre’s in American Ballet debut as Odette/Odile York made her New Misty In June 2015, of production Times Tchaikovsky’s scale of the heroic feel when you and grandeur courage of moments vast to accustomed a creature like the stage She runs boldly around drama. celebrated Natalie Portman and Mila Kunis, is a psychological thriller that explores the dark facets of of the dark facets thriller that explores is a psychological and Mila Kunis, Portman Natalie persona. the Black Swan’s Learn More: who is strong and passionate yet cautious. Essentially, they are two halves of the same of halves two are they Essentially, cautious. yet and passionate who is strong being. they else do nowhere here; be found to depth the psychological achieve the 19th century heights.” such tragic achieve eventually The choreographer had ballerina The choreographer not was Toumanova white. who wore Odette, her from distinguish that audiences could in set staging this particular but this distinction, to make black wear to dancer the first the Black Swan. of the idea motion in comparison with Odette, extroverted and is alluring, fiery, the Black Swan character, a As Odile is the Black Swan in Odile the Black Swan is wear and she did not Black Swan as the known not Odilewas however, the ballet, tions of who had sorcerer the evil of daughter simply the she was with feathers; a black costume on Odette. put a spell York. House in New Opera Carlothe Metropolitan at de Monte Russe the Ballet by staging Learn More: Learn Swan Lake choreography by Kevin McKenzie, after Marius Petipa and Lev Ivanov and Lev after Marius Petipa McKenzie, by Kevin choreography Swan Lake MISTY COPELAND 11

more qualitymore work.”

“Less is more. Less“Less repetition, is more.

rtistry and stage presence came to Misty very naturally. As she has gotten older, older, has gotten she As naturally. very Misty came to presence rtistry and stage her the idea that if she moves embrace to her thinking and training she has shifted Fully straighten your legs after each demi-plié without lifting them from the floor. each demi-plié without lifting legs after them from your straighten Fully Engage your hips to make them strong. make hips to Engage your knees. your Straighten them open. and keep shoulders in your Lock for the demi-pliés. the floor heels without lifting them from your through Push down Start in second position and engage your core. in second position and engage your Start Don’t put the weight on the balls of your feet. your on the balls of the weight put Don’t

• In 30 imperceptible. almost that they’re so small and controlled are movements Misty’s in doing interested and more in repetition less interested She’s up. warmed she’s seconds, how and being mindful of her body continuously quality considering each part work, of another. her body influences one part of • • • • perform and to maintain her strength as a professional ballet dancer. ballet as a professional her strength maintain to and perform DEMI-PLIÉS • body less by refining her technique, she will conserve energy and have more stamina when stamina more and have energy she will conserve technique, her refining body less by that concept. reflects work barre Her warm-up stage. on performing and she does much movement, focused minimal, highly very of consists routine Her barre to herself prepare to in order she says, This is her “meditation,” the barre. it while facing of Pliés and Tendus Pliés and Barre Warm Up: Up: Warm Barre A

TOUR EN L’AIR MISTY COPELAND 12

The standing leg is straight. The standing Glutes are engaged. are Glutes forward. Hips stay Back, hips, and thighs are tightened. Back, are and thighs hips, is pulled in and up. Core pushed back. and down are Shoulders up and out. lifted is slightly Chest is straight. Middle back

O O O O O O O O c h e c k l i st

means “half bend,” with the heels never lifting from lifting from with the heels never means “half bend,” DEMI-PLIÉS demi-plié a l i g n m e n t

c h e c k l i st

Lower back should not back should not Lower Knees are pushed back. pushed are Knees be not Hips should be arched. tucked.

set her up for sissones and développés while she stays aligned and while she stays sissones and développés her up for set symmetrical. O Learn More: The word feet. of the positions of the five be done in any Demi-pliés can the floor. the thighs, of and the muscles the tendons and develop strengthen They or full plié, a grand for the dancer prepare They feet. and ankles, calves, will the dancer movements the jumping for the foundation and are plié, the demi-pliés how demonstrates Misty the floor. of center in the execute yo u r O O a l i g n m e n t

Shoulders are down. are Shoulders up and out. lifted is slightly Chest splayed. in and not Ribs are straight. Knees are Slide your foot back to first position without bending your knees or lifting your working leg your liftingyour knees or position without bending first back to foot Slide your side. side to shift Don’t from stationary. Stay Keep your body as straight and aligned as possible. body as straight your Keep straight. legs to second position with both the floor across Glide one foot your and finally point foot, your leg, then the ball of working your the heel of Push through If your joints are hyperextended, like Misty’s, start in first position with your knees your knees position with in first start Misty’s, like hyperextended, are joints If your off the floor. off and your heels touching. and your seconds. few a and hold the position for toes touching and your heels open. Otherwise, start in first position with your knees touching your knees position with in first start heels open. Otherwise, and your touching

(Grand Central Central (Grand Do several tendus slowly on each side and then speed them up. Stretch or shake out or shake Stretch on each side and then speed them up. slowly tendus Do several Remember legs. in your the tension release need to if you each set legs between your breath. hold your and not breathe to yo u r O O O O • • out her rib or hip). sticks if she incorrectly (say, small adjustments makes Misty • • • Misty prefers to wear socks, not ballet slippers, for her barre work, which allows her to feel feel her to which allows work, her barre for slippers, ballet not socks, wear to prefers Misty toes. or in her tension in her insteps hold and not foot the floor with her entire • The plié is such a fundamental ballet step that Agrippina Vaganova, who inspired what who inspired Vaganova, that Agrippina step ballet The plié is such a fundamental technique, classical Russian ballet of method as the Vaganova be known has come to plasticity.” of and devoid coarse, is dry, her performance plié, said, “If a dancer lacks TENDUS by Agrippina Vaganova Vaganova Agrippina by

Ballerina Body: Dancing and

. in 1934, then translated into English in in English into translated then 1934, in 1946 Vaganova method, which teaches the the method, which teaches Vaganova know we style ballet classical Russian was first published in Russian It today. Basic Principles of Classical Ballet: Russian Ballet: Classical of Principles Basic Technique Ballet text of the 2018) is the standard (Dover, ballet exercises—like demi-plié and demi-plié and ballet exercises—like plans that battement tendu—and meal help maintain her physique. Eating Your Way to a Leaner, Stronger, Stronger, to a Leaner, Way Your Eating You Graceful More and the 2017), Misty shares Life & Style, FURTHER READING FURTHER her book In MISTY COPELAND 13 by Gail Grant (Dover, (Dover, by Gail Grant

by Lincoln Kirstein and Kirstein and by Lincoln ballet exercises—at the barre, in the in the the barre, ballet exercises—at FURTHER READING FURTHER & Ballet: Basic Technique The Classic Terminology 2016) Muriel Stuart A. Knopf, (Alfred range of the entire overview an provides of and on pointe—accompanied center, established New Kirstein by illustrations. Balanchine. City Ballet with George York Manual and Dictionaryof Technical Ballet Classical alphabetical comprehensive a is 2018) ballet to abstract list of terms, from student ballet for the position, wrapped and teacher. means “stretched.” Tendu is a step that’s seen, for example, in battement in battement example, for seen, that’s is a step Tendu means “stretched.” TENDUS means “beating,” in which the leg is extended and then returns to the position to and then returns in which the leg is extended means “beating,” tendu Agrippina Vaganova called battement tendu “the foundation of the entire technique.” technique.” the entire of “the foundation tendu called battement Vaganova Agrippina from which it was extended. The foot slides from the first or fifth position to the second fifth or position first the slides from The foot extended. which it was from en croix, performed often and it’s the floor, from position without lifting the toes or fourth the second position, to position front, the fourth to a cross: which means in the shape of vice versa). (or position back the fourth and to Learn More: The word insteps. and develop out the legs and feet, turn legs, the dancer’s strengthen to tendu Battement MISTY COPELAND 14 Thighs are engaged. Thighs are squeezed. are Glutes on the bar. placed lightly Hands are the bar. to square Hips are during plié. outward pointed Knees are The core is in and up. The core tightened. are Glutes straight. are Legs is engaged. Core up and out. is lifted Chest straight. Knees are

O O O O O O O O O O O prepare you for pirouettes.” you prepare “This will that is exercise an

c h e c k l i st c h e c k l i st

a l i g n m e n t a l i g n m e n t emps lié allows you to adjust your weight from one foot to the other in a seemingly other the to one foot from weight your adjust to you emps lié allows remain you helps facing the barre while exercise this Practicing way. effortless

Back is straight. down. are Shoulders Keep both legs fully straight as legs fully straight both Keep the standing the heel of Push through Shoulders are down. are Shoulders Middle back is engaged. Knees are pushed back as they bend pushed back as they Knees are you lift your leg. lift your you side, the front, to tendu leg as you or back. in demi-plié.

O O O O her standing leg to better show you how temps lié is a setup for pirouettes. Practice this Practice pirouettes. for lié is a setup temps how you show better leg to her standing one side. favoring to avoid other in order working leg and then the with one first exercise breathe. to forget and don’t Go slowly, yo u r O O TEMPS LIÉ VARIATIONS on stationary remaining while développé one leg into extends Misty In this sequence, utilizes both the demi-plié and tendu exercises Misty taught in the previous chapter. See chapter. in the previous taught Misty exercises the demi-plié and tendu both utilizes Pliés and Tendus. Up: Warm 4: Barre Chapter yo u r O you can transition to larger moves in the center of the floor. Temps lié is preparation for Temps lié is preparation the floor. of in the center moves larger to can transition you and développés. arabesques, pirouettes, on one leg, trying your weight up with your legs and end on two start you pirouettes, For lié temps Here, the side. to weight shift your and not motion in an upward move to best stable as you shift your weight. Once you’ve mastered a sense of control and balance, and balance, control a sense of mastered you’ve Once weight. shift your as you stable

Barre Technique: Temps Lié Temps Technique: Barre T

GRAND JETÉ MISTY COPELAND 15 means “connected movement.” It’s an exercise most commonly seen most an exercise It’s movement.” means “connected TEMPS LIÉ temps lié temps Temps lié applies to movement that’s done forward, backward, in the air, in pointe shoes, shoes, in pointe in the air, backward, done forward, that’s movement lié applies to Temps or while turning. of steps and arm movements based on the fourth, fifth, and second positions, temps lié temps fifth, and second positions, fourth, based on the and arm movements steps of when changing positions while maintaining smoothly shift weight their to dancers trains in this exercise teaches method The Vaganova and muscle control. posture correct way that the same in difficulty—in increase and the lessons gradually classes, beginners’ demi-pliés (going through on the ground feet with both starting first by demonstrates Misty développé). to tendu from and then lifting (transitioning one leg in the air and tendus) Learn More: The term a series Through at the barre. be practiced it can how shows though Misty work, in center MISTY COPELAND 16 Shoulders are down. are Shoulders Back is engaged. turned out. are Feet

O O O “We’ll focus on maintaining proper alignment proper alignment focus on maintaining “We’ll while adding motion in preparation for turns.” for motion in preparation adding while means “round of the leg,” or a circular movement of the leg. of movement or a circular the leg,” of means “round c h e c k l i s t

rond de jambe rond a l i g n m e n t

he term he term The leg turns either the floor. of or in the center done at the barre an exercise It’s Hips remain stationary and square to to and square stationary Hips remain tightened. are Thighs and glutes hips. aligned over Ribs stay the barre.

O O O complete a circular pattern. As you rotate your body and one leg out, away from the bar, the bar, from body and one leg out, away your rotate you As pattern. a circular complete in back, hips, and legs move shoulders, that your be sure and one hand on the barre leave unison. No one part leads the other. y o u r Here Misty demonstrates how rond de jambe is the setup for fouetté. for is the setup de jambe rond how demonstrates Misty Here with toes forward, Glide one foot hands on the barre. both with the barre, facing by Start the side leg to Then glide the working legs straight. turned out, and both the foot pointed, to again forward it you move position as first leg through the back, passing your and to clockwise or counterclockwise, with the working foot touching the ground or pointed in the or pointed the ground touching foot with the working clockwise counterclockwise, or leg in relevé. can be done with the standing The movement air. it helps example, For movement. classical ballet every in almost de jambe appears Rond or piqué turn. piqué en arabesque a for prepare position and to a tendu turn out of you Ronds de Jambe de Ronds Barre Technique: Technique: Barre T

RONDS DE JAMBE MISTY COPELAND 17 , Agrippina , Agrippina Hips stay forward and the working knee working and the forward Hips stay forward. upper body your pitching Avoid stays back as you battu. back as you stays

O O c h e c k l i st

ROND DE JAMBE ROND Basic Principles of Classical Ballet: Russian Ballet Technique Russian Ballet Classical Ballet: Basic Principles of a l i g n m e n t

Push through your standing heel. standing your Push through the side. to leg straight Lift your Maintain your posture in a straight line. in a straight posture your Maintain

benefit from this exercise.” this from benefit for fouetté turns. fouetté for In her book playing a serious movement important very is “a de jambe en l’air said that rond Vaganova It should be done in a particularly the body. of part in the further classical development the full get it will not otherwise in the knee joint, the leg shake let Never manner. precise Rond de jambe is essentially a rotary movement of the legs from the hips, which creates which creates the hips, the legs from of movement a rotary de jambe is essentially Rond rond de jambe is done When well as in the ankles and insteps. in the hips as flexibility or 90 at 45 degrees leg extended with the working de jambe en l’air), in the air (ronds of range and greater control, better strength, leg develop entire and the torso degrees, pliable becomes more especially the toe the knee to the leg from The part of movement. O O Learn More: Misty recommends that you do these ronds de jambe exercises quickly in order to find your find to quickly in order de jambe exercises do these ronds that you recommends Misty breathing. keep and sides, them on both Repeat and pace. rhythm own yo u r O FOUETTÉ PREP WITH DE JAMBE RONDS Swan the Black is used at the beginning of the fouetté how explains Misty In this exercise, Variation). Black Swan 3: Performance: (see Chapter variation MISTY COPELAND 18 .

développé , notice how the how , notice

Swan Lake Swan . . grand jeté grand . renversé you have to be an athlete, you have to be to have you be to an athlete, have you able to adapt and be present and selfless.” be and adapt and present to able “What makes dancers“Whatso special you is makes that . have to be so many things. You have to be to have an You be things. to sohave many incredible actress, you have to be a technician, be to a technician, have you actress, incredible dégagé sissone is preparation for a for is preparation is preparation for for is preparation

is preparation for arabesque, which then transitions to to which then transitions arabesque, for is preparation lié

is preparation for a for is preparation

builds strength for for builds strength s Misty performs the Black Swan Variation from from Variation the Black Swan performs s Misty elevate used to de jambe are and rond lié, temps plié, of techniques basic ballet tendu battement grand rond de jambe rond plié temps A A A A A

and overwhelming. technique. Don’t worry about your artistry yet. By learning the ballet basics at the barre, at the barre, basics By learning the ballet artistry yet. about your worry Don’t technique. build. on which to foundation a strong develop you’ll You artistry. of can add on layers you understood, lessons are Once those fundamental own. your it that makes step to a or add a flourish in a ballet can become a character the artistry can appear disjointed says, Misty foundation, technical Without a strong Two more examples: more Two • • on learning should focus you says Misty career, ballet your of at the beginning If you’re • with each step is straightforward, technique ballet us that the classical reminds Misty step. up another setting her artistry: • • Black Swan Variation Variation Black Swan artistry informs technique How Performance Breakdown: Breakdown: Performance A

TOUR EN L’AIR MISTY COPELAND 19

as an example of storytelling through body through storytelling of as an example Don Quixote , she sees it as a defining moment when she found her “voice.” She found her “voice.” when she moment , she sees it as a defining is based on the novel of the same name by Miguel de Cervantes, Cervantes, Miguel de the same name by of is based on the novel spirited young woman who’s in love with one man but promised to another another to with one man but promised in love who’s woman young spirited based in staging, its premiered ABT help. for Don Quixote and appeals to how about talks Misty York. in New in 1995 choreography, part on Petipa’s and forward with her elbows Kitri’s hands on her hips, of the placement emblematic It’s role. this character of move back,shoulders is a trademark her quick footwork by which is also represented Kitri’s sass, spunk and of named Dulcinea. It was published in two parts, first in 1605 and then in in 1605 first parts, published in two named Dulcinea.It was in premiered Hilverding, Franz Austria’s by choreographed The ballet, 1615. one Marius Petipa, before followed adaptations in Vienna. Numerous 1740 of the 19th century, choreographers ballet classical influential the most of in Moscow. at the Imperial Bolshoi Theatre in 1869 his production debuted Kitri, a of on the character focuses today know we ballet the of The version DON QUIXOTE

Don Quixote is an online Clara in Clara to ease she attributes a character—an embodying on stage, performing comfortable felt life. in her young she experienced emotions of the range discussing it here. She recalls that she had many stepfathers; she lived in many cities, in cities, in many she lived stepfathers; that she had many She recalls discussing it here. as a child and quiet shy extremely She was dingy motel. in a even town, of parts poorer life. about her complicated know no one to and wanted of role in the lead student, ballet as a 13-year-old performance In looking back at her first Misty won a Spotlight Award from the Music Center in Los Angeles for performing the same performing Angeles for in Los the Music Center from Award a Spotlight won Misty forward. her dance career 15, helped drive just when she was That early success, role. EXPERIENCES OWN YOUR FROM DRAWING from away shy and she doesn’t difficult childhood has long been public knowledge, Misty’s and explosive jumps. Misty’s debut as Kitri for ABT in 2017 was a full-circle moment. In 1997, In 1997, moment. a full-circle was in 2017 ABT debut as Kitri for Misty’s jumps. and explosive which tells the story of an aging knight who sets off on an adventure with his squire, with his squire, on an adventure off who sets knight an aging of the story which tells a woman with a vision of in love and falling novels romance reading after Sancho Panza, her hands on her hips. her hands on her Learn More: The ballet what the people, setting, culture, and society were like at the time. All of this helps paint this helps paint All of at the time. like were and society culture, setting, what the people, in successful more she’s internally, the ballet her mind. When she “feels” in a picture when on stage. the steps executing the ballet to refers Misty she places and how elbows Kitri’s of the heroine the position language—specifically, “Dancing is storytelling,” Misty says. This has been her guiding principle been her guiding This has she since says. Misty “Dancing is storytelling,” to meaning story helps more bring finding a For her, lessons. ballet taking started first the steps. understand as she can to much research she does as a role, for is preparing When Misty STORYTELLING THROUGH MOVEMENT THROUGH STORYTELLING Life in Motion: An Unlikely

(Touchstone, 2014), Misty Misty 2014), (Touchstone, to the role. Ballerina describes her Kitri performance at age she “just felt a connection” 15 and how of the famous choreographer and his and his of the famous choreographer work. In her memoir, The Marius Petipa Society The Marius Petipa that offers survey archive a thorough FURTHER READING FURTHER MISTY COPELAND 20 ork City Ballet who was George George who was York City Ballet fit in. find a place where you find a place where Balanchine’s protégé. But Misty stayed put, determined to succeed at American Ballet Balanchine’s protégé. But Misty stayed Theatre and prove herself as an artist. , Misty recounts how she considered leaving American Ballet Theatre in Theatre leaving American Ballet she considered how recounts , Misty in Motion In Life corps de ballet ABT’s of a member . She was of and joining Dance Theatre 2004 by be surrounded be easier to it might a soloist. She thought even yet at the time—not Arthur by co-founded was The company accepted. and feel American dancers African New American dancer for the legendary African Mitchell, Find a ballet studio where you’re going to thrive, not where you are the focus of taunts or taunts of the focus are you where not thrive, going to you’re where studio Find a ballet In other gender or age). your that matter, for skin (or, your the color of criticism because of words, MISTY’S CHILDHOOD HARDSHIPS MISTY’SHARDSHIPS CHILDHOOD More: Learn An Motion: in Life autobiography, childhood in her her difficult openly about speaks Misty seek to her urged at one point teacher Ballerina . In her book, her ballet says Misty Unlikely an be declared to the court system petition situation: her family escape to a legal remedy about and decisions mother, with her live no longer would Then, Misty minor. emancipated battle became The custody instead. teacher her ballet be made by would her well-being on it. reported that the local media in 1998 so fierce of in the care remained with emancipation, and she through went never Misty Ultimately, excelling. classes—and kept her ballet she continued all the drama, Despite her mother. WORTH YOUR KNOWING Swan Lake choreography by Kevin McKenzie, after Marius Petipa and Lev Ivanov and Lev after Marius Petipa McKenzie, by Kevin choreography Swan Lake MISTY COPELAND 21 , .

—a rare —a rare . In January Swan Lake Swan with Calvin Romeo and Juliet Romeo

Harlequinade Swan Lake Swan The Sleeping Beauty , and Fancy Free Fancy ,

“In partnering, the number one thing is trust.” is trust.” number the partnering, one thing “In Cinderella , etipa and Lev Ivanov etipa and Lev

Don Quixote

, CALVIN ROYAL III ROYAL CALVIN isty demonstrates the White Swan Pas de Deux from de Deux from Pas Swan White the demonstrates isty Swan; the White is Odette, She with ABT. American soloist African III, an Royal

oreography after Marius P oreography

performed roles in some of the most popular classical ballets, including popular classical ballets, the most in some of roles performed The Nutcracker the ballet for made their debut in leading roles he and Misty 2019, at ABT. for two moment and significant Calvin Royal III took his first ballet class at age 14—like Misty, he got what is considered what is considered he got Misty, class at age 14—like ballet his first III took Calvin Royal He joined undeniable. was His talent matter. But it didn’t world. ballet in the start a late including and danced leading roles, II) in 2007 (then called ABT Company Studio ABT’s pas de deux from Swan Swan/Black Prince Siegfried the White in of the role He has in 2017. soloist to promoted and was in 2010 company the main ABT He entered the love interest. From a technical standpoint, he is the anchor and support: He is there to to support: he is the anchor and He is there standpoint, a technical From interest. the love or arabesque, into and goes as she pirouettes instance, for waist, dancer’s hold the female midair. splits he lifts her as she jumps into Learn More: he is Prince Siegfried. the male dancer serves Traditionally, ballet. in classical two A pas de deux is a dance for and the hero he is often in the ballet, a character As dancer. the female as the partner for White Swan Pas de Deux Pas Swan White workshop Partner Performance: Performance:

Courtesy Shelby Productions of Nel ch Swan Lake M

GRAND JETÉ MISTY COPELAND 22

true and honest to what they’retrue what honest and to doing.” “Stage presence is honesty…. I think the the I think presence is honesty…. “Stage audience can really read when someone when is read really audience can

dancer often doesn’t have control over the various aspects of a performance—whether it’s it’s a performance—whether of aspects the various over control have doesn’t dancer often playing the orchestra a miscue, a misstep, fitting poorly, the costume nerves, because of

connect with an audience. See Chapter 15: Style Evolution With Prince. Style 15: Evolution See Chapter with an audience. connect professional challenges, and she is open about how she’s still improving herself. improving still she’s and she is open about how challenges, professional be to there She’s an audience will react. about how expectations any have she doesn’t She says in the ballet. as the character “live” and the process and enjoy in the moment others her how shown have Theatre American Ballet of outside collaborations artistic Misty’s CONNECTING WITH YOUR AUDIENCE WITH YOUR CONNECTING their energy. off she has fed and career, her entire audiences throughout over has won Misty and personal both with: She has overcome can identify see in her someone they they Perhaps in yourself and finding confidence. and finding in yourself yourself. about you will learn more confidence, of level in your ups and downs By experiencing dealing constantly “You’re says. Misty a dancer,” of and career life one-note this easy, just not “It’s feel and not struggles, your face yourself, reassess to better It’s at you.” is coming with whatever depth. with more will perform an artist. becoming In the end, you to journey in your complacent RECOVERING FROM MISTAKES ON STAGE MISTAKES FROM RECOVERING of be moments going to are and there brilliance on stage, of be moments going to are There and believing resilience your to is a testament moments those low from recover you But how failure. too fast or too slow. So Misty recommends that you depend on your body knowing exactly what it what it exactly knowing body depend on your that you recommends So Misty slow. or too fast too says. Misty on yourself, be hard Don’t professionally. cleanly and perform to do in order needs to go with the flow. Just Performances Creating Powerful Powerful Creating A

RONDS DE JAMBE MISTY COPELAND 23

Ash for Misty, which she performed in October 2019 2019 October in which she performed Misty, for “It is so beneficial to iswell-rounded.” sobe beneficial “It Ash Use a journal to write down the steps and the techniques you’re learning so you can learning so you you’re and the techniques the steps down write Use a journal to replay it. you can go back and so allowed), you’re yourself (if film Use video to his or her you tell to the choreographer Ask a story. of as elements the steps Think of Break down the piece by sections. You’ll memorize the movement more easily if you easily if you more the movement memorize You’ll sections. the piece by down Break visualize the narrative and then the sequence of steps that tell the story. tell that steps and then the sequence of the narrative visualize refer to them later as you practice on your own. own. on your practice as you them later to refer can you That way, own. your of a story then create one, isn’t If there the story. of version think of it in terms of individual parts, with each part linking together to form one form to with each part parts, individual linking together of it in terms think of whole. cohesive

• • • FOUR TECHNIQUES THAT WILL HELP YOU YOU WILL HELP THAT TECHNIQUES FOUR LEARN NEW CHOREOGRAPHY • Abraham’s movements, but she needed more of a storyline from him—like the idea of the idea of him—like from a storyline of but she needed more movements, Abraham’s modern dance. of the steps with connect to order on her clavicle—in falling a raindrop it and for me physically motivates that really is “something she says, Having a storyline, and authentic.” organic more look just to Misty takes us into the studio for a rehearsal with contemporary choreographer Kyle Kyle choreographer with contemporary a rehearsal for studio the us into takes Misty classical ballet. of the realm beyond she learns movement us how show to Abraham the solo choreographed Abraham program. Dance” for “Fall City Center’s York at New mimic She would challenging.” “very was the choreography understanding says Misty Choreography Workshop: Workshop: Choreography Abraham’s Kyle Performance and Performance

TOUR EN L’AIR MISTY COPELAND 24 - , a Restless Restless Courtesy of Devin Yalkin Courtesy of Devin The Runaway solo for Misty, he choreographed he choreographed Misty, solo for Ash KYLE ABRAHAM project. project. Creature visual arts. In addition to his recent his recent In addition to visual arts. American choreogra African the few of one (he’s City Ballet York New for program 2018 modern and piece blends both 30-minute The NYCB). for a work created have to phers In and Nico Muhly. James Blake, West, Kanye Jay-Z, of the music to classical dance set Whelan on her Wendy star City Ballet York New with former he collaborated 2013, Learn More: A.I.M. 2013 a and company dance contemporary the of director artistic the is Abraham Kyle and the classical music, hip-hop, of the worlds from inspiration He draws Fellow. MacArthur MISTY COPELAND 25 - - , and (now called (now Scandal , Jane the Virgin , The Chocolate Nutcracker The Chocolate ). Misty was 14 at the time and so shy that she shy 14 at the time and so was ). Misty approach of being a blank canvas.” a blank being of approach

Grey’s Anatomy Grey’s , to take on challenges…. Come the in with on challenges…. take to “Go in completely open-minded. Be willing open-minded. “Go in completely

Fame

five NAACP Image awards, and a star on the Hollywood Walk of Fame. Her TV directing Her TV directing Fame. of Walk on the Hollywood star and a Image awards, NAACP five include credits and producing her strength and encouragement. She just always made me feel like I was capable of capable of I was like made me feel always just She and encouragement. her strength doing anything.” as a choreogra career DuringAllen has become a household name: her three-decade a Golden Globe, awards, Emmy three received she’s and director, actress, dancer, pher, and yet she had a small speaking role on stage with Allen during her performance in the with Allen during her performance on stage she had a small speaking role and yet Clara). on the traditional twist (a Clare of lead role much “So Misty. says me,” a second mom to like felt with Debbie—she always “Working effort how and confident “how back, Looking is amazed Misty and so much fun.” energy and warmth been [Allen’s] have It must on the stage…. me when I was for less things were Misty had been dancing for only about a year and a half when Debbie Allen approached and a half when Debbie Allen approached only about a year had been dancing for Misty of production in Allen’s her about performing Nutcracker Chocolate Hot Debbie Allen’s voice— about speaking in school, about using her terrified was She called “Mouse.” was based on discussions with the dancers about what feels best. Misty has experienced both both best. has experienced Misty about what feels based on discussions with the dancers and challenge yourself to you She encourages career. during her professional approaches with choreographers. work when you may be capable of see what you NUTCRACKER CHOCOLATE YEARS: DEBBIE ALLEN’S FORMATIVE INFLUENTIAL CHOREOGRAPHERS THROUGHOUT MISTY’S CAREER THROUGHOUT CHOREOGRAPHERS INFLUENTIAL know do—they to the dancers want what they exactly know Some choreographers their vision. Other and convey the steps execute to the dancers want they how precisely the steps adjust They’ll with the dancer. a true collaboration welcome choreographers Choreographers Working With Working The American Ballet Theatre footage is included through the footage is included through The American Ballet Theatre courtesyAmerican Guild of Musical Artists, of The AFL-CIO

GRAND JETÉ MISTY COPELAND 26

The Nutcracker , giving the world, , giving the world, by E.T.A Hoffmann. Hoffmann. E.T.A by when she was a soloist (her first (her first a soloist when she was The Nutcracker and the Four Realms and the Four The Nutcracker is among the most popular of the classical ballets, ballets, the classical popular of is among the most The Nutcracker and the Mouse King and the Mouse The Nutcracker

The Nutcracker principal role in a full-length classical ballet). The production, which was which was The production, a full-length classical ballet). in principal role fame, international to Stravinsky success and catapulted an immediate quiet moments and small steps (the “linking steps”) with larger steps (“big (“big steps with larger (the “linking steps”) and small steps moments quiet as the is as important she says, jumps and big turns”). The “stillness,” motion.” “constant Diaghilev Serge of in the title role Misty also choreographed Ratmanksy and Igor Stravinsky’s THE NUTCRACKER ’s world premiere took place in 1892 at the Mariinsky Theatre in St. at the Mariinsky place in 1892 Theatre took premiere world ’s

Firebird Firebird . Since 2001, her Debbie Allen Dance Academy in Los Angeles has offered dance dance offered has Angeles Los in Debbie her Allen Dance Academy 2001, . Since (Touchstone, (Touchstone, Life in Motion: Motion: in Life

the Firebird, whose magical feathers represent both beauty and protection. The Firebird The Firebird beauty and protection. both represent whose magical feathers the Firebird, to and the prince is then able evil sorcerer, an to defeat helps the prince in his efforts later and marry the princess he loves. rescue is based on a Russian folk legend: A prince saves the life of a powerful spirit known as spirit known a powerful of the life legend: A prince saves is based on a Russian folk performance more visually appealing than if she were isolated to one part of the stage. the stage. one part of to isolated were visually appealing than if she more performance together weaving by a production enhances choreography effective She describes how Ballet. These days he’s more well-known for his vision and talent as a choreographer. He as a choreographer. his vision and talent for well-known more he’s These days Ballet. of version for his ABT Adult Clara of role in the Misty choreographed first a telling dance because I’m pieces to favorite my one of a soloist. “It’s when she was “whimsical freedom the ballet’s She appreciates says. Misty movement,” through story making her stage, the entire her across takes the choreography artistry” and how of ABT SOLOIST: ALEXEI RATMANSKY SOLOIST: ABT landing in but before in Residence, Artist Theatre’s Ratmansky is American Ballet Alexei as a principal and performed School in Moscow at the Bolshoi Ballet he trained York, New Danish and the Royal Winnipeg Ballet, Royal the National Ballet, dancer with the Ukrainian with a beautiful score. It’s the production in which most ballet students (including Misty) students ballet most in which the production It’s with a beautiful score. Countless time. the first schools for ballet with their on stage performing their start, get and screen. stage both for the years over been created have the ballet of reimaginings in the film appeared Misty In 2018, ballerina princess.” brown “a she says, The Nutcracker based on the story Petersburg, and the the press, by criticized were and the costumes scenery, the The choreography, particularly was the Sugar Plum Fairy of the ballerinarole who danced the of performance But today disliked. and theater arts instruction to young students. Consider the list of celebrity names on of Considerlist the students. young to instruction arts theater and Denzel Rashad, Phylicia Jones, Quincy reach: its understand to directors of board its Shonda Rhimes. Washington, Learn More: Empire Interview with Twyla Tharp Featuring Deuce Coupe Tharp Featuring Interview with Twyla The Wencks by We Produced 2014), Misty describes her ABT ABT her describes Misty 2014), performance it pushed her to and how the brink of injury. In her autobiography, autobiography, her In Ballerina An Unlikely FURTHER READING FURTHER MISTY COPELAND 27

, and D.H. Lawrence’s Lawrence’s , and D.H. Lolita , based on the novel by Charlotte Charlotte by , based on the novel . Her choreography has been performed has been performed . Her choreography Jane Eyre , Vladimir Nabokov’s , Vladimir Nabokov’s with ABT in May 2019. The production premiered premiered The production 2019. in May with ABT Jane Eyre Ghosts Deuce Coupe , in addition to , in addition to Courtesy Ballet Joffrey of The equal, not his inferior, and finds love and happiness. and happiness. and finds love his inferior, equal, not the woman’s presents ballet Marston’s perspective, the male from are ballets Though most gender parity. for in which Jane strives storyline and a feminist voice Rochester, is a dark, intimidating, and mysterious character, and Jane senses secrets senses secrets and Jane character, and mysterious is a dark, intimidating, Rochester, but his wife marriage, of his proposal she accepts Eventually lurking within his home. to She is compelled heartbroken. and Jane flees the home, the ceremony before appears has killed her and wife Rochester’s by set she finds that a fire and there however, return, becomes Rochester’s she and in doing so, marry, that they him blind. Jane proposes left Lady Chatterley’s Lover Chatterley’s Lady companies worldwide. by ballet in Marston’s the title role performed Misty who is orphaned Jane, of the story tells The production with ABT. in June 2019 Brontë, Edward Hall. Her employer, at Thornfield becomes a governess girl and later as a young Cathy Marston is another female choreographer Misty has worked with and admires. Her and admires. with has worked Misty choreographer female is another Marston Cathy her English-teacher to thanks literature, for had a love always She’s is storytelling: strength based ballets created she’s years, than 20 more spanned that’s During a career parents. Henrik Ibsen’s of on interpretations other dancers to make it fresh and relevant to today. It’s incredible, says Misty, “when a Misty, says incredible, It’s today. to and relevant it fresh make to dancers other to you while trusting own” your something make to the freedom you gives choreographer the original piece. of the intent keep APPROACH A FEMINIST backdrop of graffiti art behind her, a ballerina carefully performs traditional ballet steps, in steps, traditional ballet performs a ballerina carefully art behind her, graffiti of backdrop around move dancers as other voyagé, de pigeon through ailes from order alphabetical between juxtaposition an outstanding It’s and hips swaying. her with arms swinging dance. classical and contemporary and the Misty she allowed early ’70s, the piece in the Though Tharp originally created Misty performed Tharp’s Tharp’s performed Misty own and her Ballet companies: the Joffrey two of the talents merging in Chicago, in 1973 was dance styles—and classical and modern both It also merged Tharp Dance. Twyla With a It Be Nice”). “Wouldn’t Says,” (“Mama Beach the Boys the playful music of to set while weaving in wit and a street-smart aesthetic. aesthetic. in wit and a street-smart while weaving was 16 and latter with—the worked Misty choreographers first the Tharp is one of and will” in the “fire Tharp’s admires Misty program. Summer Intensive ABT’s attending Tharp represents Misty, all. And for it their give to dancers encourages energy her studio; and perspective. voice a woman’s Twyla Tharp is one of the most highly sought after choreographers in the world. She in the world. choreographers after sought highly most the is one of Tharp Twyla since works nearly 200 has choreographed and she Tharp Dance in 1965, Twyla founded Ballet, Paris Opera the Ballet, including the Joffrey and others, her company both then for City Ballet, York New Dance Chicago, Street Hubbard Dance Company, Martha Graham and modern dance boxing, jazz, pieces blend ballet, Her Theatre. and American Ballet ABT PRINCIPAL DANCER: TWYLA DANCER: THARP PRINCIPAL ABT MISTY COPELAND 28

you can expose to.” can yourself you

explore every explore that dance of genre “It’s extremely important for you to to you for important extremely “It’s

isty believes that ballet is the foundation for every style of dance and that by dance and that by of style every for is the foundation that ballet believes isty potential. fullest its body to use your you’ll dance, of forms other experiencing

the first time she felt a sense of freedom and relief that she hadn’t known before while before known that she hadn’t relief and of freedom felt a sense time she the first and immediately ABT her to back with knowledge that newfound dancing. She took there. confident more felt This was at a time when Misty was a soloist with ABT and unsure whether she would she would whether and unsure with ABT a soloist was at a time when Misty This was In since 2007. been a soloist She’d principal dancer. to that rank beyond advance her that “being unique is good.” that Prince taught acknowledges Misty retrospect, and for audience, a live to as he performed on stage improvise her to He encouraged France, performing in large outdoor venues. At the end of 2010, he kicked off his off he kicked 2010, the end of At venues. outdoor in large performing France, at Madison in concerts and center front featured with Misty 2 America tour, Welcome around Prince worked Angeles. in Los City and at the Forum York in New Garden Square in leaps “I grew living an unusual double life. a time she was and for schedule, ABT Misty’s says. Misty different,” something to exposed being by and bounds just from him,” she says, “was beyond anything I ever imagined.” She now realizes that Prince that realizes She now imagined.” I ever anything beyond “was she says, him,” from and to artist be a black to “what it was and he knew in her as a performer, saw potential voice.” for a be fighting and Clover,” “Crimson of his remake music video for 2009 in Prince’s appeared Misty with him through She also toured James and the Shondells. Tommy song by the 1968 FINDING YOUR VOICE: MISTY AND PRINCE VOICE: FINDING YOUR with him, she didn’t collaborate asking her to in 2009, Misty out to When Prince reached “But what I learned and gained together. in performing interested he was why understand She’s learned more about ballet, she says, by doing contemporary dance, African dance, dance, African dance, doing contemporary by says, she about ballet, learned more She’s to her her body and inspired “tested” have genres dancing. These different and ballroom ways. in new move With Prince Style Evolution Style Evolution M

RONDS DE JAMBE MISTY COPELAND 29 - and the , when she Coppélia Les Sylphides Les “To be able to find support, to find to find support, find be to able “To mentorship—I think it’s really about really it’s think mentorship—I . She left the company in 1961, however, after experi after however, in 1961, the company . She left accepting and being ready to take that in.” that take to ready being and accepting The Nutcracker

hen Misty was younger, she wasn’t mature enough to notice when someone notice enough to mature she wasn’t younger, was hen Misty older, that she’s Now her. for been a mentor have her path who might crossed

appeared in numerous ensemble roles as well as a waltz solo in as a waltz as well ensemble roles in numerous appeared dance in Chinese Tea the South. of tours during the group’s incidents racial encing a series of Wilkinson was born in 1935 in New York and attended her first ballet, ballet, her first and attended York in New born in 1935 Wilkinson was she company the Carlo, Russe de Monte by the Ballet was performed old. It years five was But she student. as a ballet later by—years be rejected audition for—and go on to would becoming the company, into accepted she was in 1955, try, and on her fourth persisted, Wilkinson troupe. with a major ballet to perform African American dancers the first one of from the former dancer. It turned out that Wilkinson had been following Misty’s journey as journey Misty’s It turned out that Wilkinson had been following dancer. the former from and friends, became fast The two became a professional. Misty before even a dancer, had “And Misty. says support “That I think is so vital,” type of Wilkinson became a mentor. I don’t her, from mentorship this sense of felt and had I not out about her story, found I not be.” I would where know Misty wasn’t aware of African American classical dancers when she was starting out as a starting when she was American classical dancers African of aware wasn’t Misty Carlo and Russe de Monte on the Ballet a documentary watching But after dancer. young intrigued. she was Wilkinson on the screen, American ballerina Raven seeing the African living only a block away she was City discovered when Misty York in New connected They she recognizes that it’s important to have a support system and a community of people people and a community of a support system have to important that it’s she recognizes a approach to be afraid don’t she says, mentorship, explore to ready If you’re you. around dancer. or another teacher WILKINSON RAVEN THE MENTOR:

The Value of Mentorship of The Value W

TOUR EN L’AIR MISTY COPELAND 30

Don , in the 1950s. Carmen The Sleeping Beauty and , among many other works. By works. other , among many Aida Swan Lake Swan , among other classical ballets. , among other the first African American ballerina to join American Ballet Theatre, in Theatre, Americanto join Ballet African American ballerina the first the first African American woman to become a principal dancer at woman African American the first a member of the New York Negro Ballet in the 1950s who trained trained who in the 1950s Ballet Negro York the New a member of feels it’s her mission to continue to tell Wilkinson’s story and “give the next the next and “give story Wilkinson’s tell to continue her mission to it’s feels through.” see themselves dancer to one brown than just more generation dancing and then acting as a supernumerary until 2011. until as a supernumerary and then acting dancing before call Misty Wilkinson so close that would Wilkinson and Misty grew the answer couldn’t if Misty voicemail a and leave performance every ” Misty back,’ at your me be the wind ‘Let say, always would “She phone. with her Misty inspired in 2018, 83 Wilkinson, who died at the age of recalls. while touring racism extreme She had experienced perseverance. of stories was “never but she the South in the 1950s, through Russe with the Ballet those ugly experiences she turned Instead, Misty. ” says is me,’ woe ‘Oh, like, being open toward by her life she lived and learning experiences, into Misty Today she met. whomever and embracing others, accepting others, Wilkinson’s ballet career picked up again in 1967, when she was invited invited she was when in 1967, up again picked career ballet Wilkinson’s she performed There the Netherlands. in Ballet National Dutch join the to and the Balanchine repertoire City Opera, York the New and joined York New to returned she the 1970s, the first African American female dancer to join George Balanchine’s New New Balanchine’s to join George female dancer African American the first the first African American prima ballerina with the Metropolitan Opera, Opera, African American prima ballerina with the Metropolitan the first Cleopatra 5 OTHER BALLERINAS WHO BROKE BARRIERS WHO BROKE BALLERINAS 5 OTHER

- , and Trailblazer: Trailblazer: Janet Collins: Janet Anne Benna Sims: Debra Austin: Debra Browne: Delores : Lauren Philadelphia. like in productions lead roles she performed where the 1970s. York City Ballet. In 1982, she became the first African American woman to be hired as a to be hired woman African American In 1982, she became the first City Ballet. York Ballet. when she joined Pennsylvania company a major ballet principal by dancer in American students African dance education for a pioneer of with Marion Cuyjet, Ballet, in 1990, where she performed lead roles in lead roles she performed where in 1990, Ballet, Houston Quixote to work with her, to make history with her, to break down barriers with her,” he says. “It just “It just he says. with her,” barriers down break to with her, history make to with her, work to means so much.” become an advocate of his—even when pursuing projects outside the company. Misty Misty the company. outside projects when pursuing his—even of become an advocate and functions and other or appear with her at fundraisers perform Calvin to has tapped this all of He knows calendar. company tire Pirelli the 2019 for together be photographed to No matter their game.” of the top “at American dancers African two is groundbreaking: being able out a hand. “I love reaching is still Calvin says has achieved, the success Misty MISTY AS A MENTOR: CALVIN ROYAL III ROYAL CALVIN A MENTOR: MISTY AS joined the company. and he had just with ABT was a soloist she Misty, met When Calvin first lonely. her if he was to him he could talk telling her as kind and helpful, He remembers Since then, she’s he says. out a hand,” reach sort of to that person always was “She • • • • Learn More: • is an online archive, is an online archive, Black Ballerina. women) through oral histories and mini oral through women) documentaries. Theresa Ruth Howard, that preserves that preserves Ruth Howard, Theresa African of the stories of hundreds men andAmerican ballet dancers (both word by Misty (Little Bee Books, 2018). word MoBBallet.org by former dancer and curated created The children’s picture book picture children’s The The Story Wilkinson Ballerina Raven of is written by Leda Schubert, with a fore Wilkinson was featured in the 2016 the 2016 in was featured Wilkinson documentary FURTHER VIEWING VIEWING FURTHER READING AND MISTY COPELAND 31 in terms of what’s possible or what’s next.” possible or what’s what’s of in terms path, and so I’ve never really limited myself myself so limited I’ve neverpath, and really “My life has always followed this unpredictable unpredictable this followed always has “My life

uring her career, Misty has allowed herself to be open to new opportunities. And new be open to to herself has allowed Misty uring her career, artistically. grow eager to always challenges, a multiplicity of she has embraced

American—preceded them in this profession and succeeded. them in this profession American—preceded in going about diversity the conversation help keep to her responsibility it’s feels Misty community is my back to give be able to and then to power in a place of be “To ballet: for.” a lifetime worked what I’ve on stage and to the stagehands. stagehands. the and to on stage Aspiring schools. in ballet starts way in a tangible that diversity achieving believes Misty must communities, lower-income particularly those from all backgrounds, of students also the craft, learn they need opportunities to only do they Not ballet: access to have Native American, Latino, backgrounds—African diverse from learn that dancers need to another way.” She’s considered producing her own films or TV shows in order to introduce to introduce in order films or TV shows her own producing considered She’s way.” another Those media platforms audience. a broader to niche art form”) (which she calls “a ballet as well. in ballet about diversity can open up conversations and others of America, she says. the diversity reflect dance companies that America’s important It’s the dancers to and extend management, with the executive the top, from This can start Now, at 37, she’s interested in making her own decisions about what roles she performs on she performs decisions about what roles in making her own interested she’s at 37, Now, them. enjoy to wants she just stage—and people in more to bring ballet to “I want she says, where, in her career also at a point She’s

Diversity and Inclusion in Ballet and Inclusion Diversity D

GRAND JETÉ