appConfigEntityId

bodyType

customContents

entityId

entityUuid

isVideo

articlePageQuery

article

articleSchemaContent

content

hooksArticlePageAdvertisementConfigArticle

hooksArticlePageFloatingButtonConfigArticle

appConfig

filter

json

liveArticle

Associated Press

Ten years ago this month, Misty Copeland sat in front of a hastily arranged news conference fighting back tears of pride over her new role: principal dancer for New York’s American Ballet Theatre (ABT) company.
“This is it,” she said, with emotion. “This has been my dream since I was 13.”
The occasion was highly unusual. Normally, when a dancer is promoted, a brief press release is issued. But this was Copeland, a crossover star with fame beyond the insular world of ballet. And now she was becoming the first black female principal in the company’s history – just days after her New York debut as the lead in Swan Lake brought a refreshingly diverse, packed audience to the Metropolitan Opera House.
Now, a decade and many accomplishments later, Copeland is retiring from the company she joined as a teenager.
“It’s been 25 years at ABT, and I think it’s time,” said Copeland, 42, last week. “It’s time for me to move to the next stage.”

The company is planning a splashy farewell on October 22, featuring performances by Copeland at New York’s Lincoln Centre – for the first time in five years – and other dancers. There will be speeches and film clips.
Copeland, who has been heavily involved in the planning, will get a chance to venture one more time onto that balcony in Verona: she will dance again in the beautiful Romeo and Juliet pas de deux. Honorary chairs for the evening will be Caroline Kennedy and Oprah Winfrey.
A lot has happened in 25 years. Copeland, whose success brought new energy to an art form that has always been overwhelmingly white, has authored a number of books, including a memoir and several works for young people.
The second instalment of her book Bunheads arrives in September, and more are already planned in a series she calls “a reflection of my journey, showing the range of cultures and types of people that can be a part of the ballet world”.
Copeland has also made a short film with her production company. Her philanthropic organisation, The Misty Copeland Foundation, works on increasing diversity in the dance world and giving more kids who grew up economically disadvantaged, like she did, the chance to dance.
“It was so important for children growing up and seeing somebody like Misty and saying, ‘Oh my gosh, she looks like I do,’” says Susan Jaffe, ABT’s artistic director, who is overseeing the farewell performance. “Through her books, through her lectures, even her endorsements, she has really been a trailblazer.”

Still, progress moves slowly. When Copeland exits ABT, there will no longer be a black female principal dancer at the company – nor at many ballet companies around the globe.
Here, Copeland discusses that continued challenge in the dance world.
What does this moment mean? Is ballet a chapter that’s now ending for you?
You know, I’ve become the person that I am today, and have all the opportunities I have today, because of ballet, and because of American Ballet Theatre. I feel like this is me saying thank you to the company. So it’s a farewell. But it won’t be the end of me dancing … Never say never.
You’ve told your story over the years, in multiple ways, of how you rose from difficult circumstances to this position in dance. What changes have you seen?
I’ve noticed that the conversation is not something we shy away from any more in terms of the lack of equity, the lack of diversity in this [dance] world. That’s one of the biggest shifts I’ve seen … a lot of young people who can imagine being part of it in some way. They can imagine stepping into Lincoln Centre and being at the Metropolitan Opera House.

You became the first black female principal at ABT in 2015. But there haven’t been any more named since then. Does it concern you that progress has maybe been slow in that area?
It’s definitely concerning, and I think I’ve just got to a place in my career where there’s only so much I can do on a stage. There’s only so much that visual representation like that can do. I feel like it’s the perfect time for me to be stepping into a new role, and hopefully still shaping and shifting the ballet world and culture.
Who are some of the partners you’ve most enjoyed working with?
I think about my partnership with [former ABT principal] Roberto Bolle and him giving me so many opportunities to travel the world with him … [Former ABT principal] Marcelo Gomes, he’s been such a big part of my journey, and of course Herman Cornejo. We’ve had a beautiful partnership throughout my career and I’m excited to dance with him again [at the October farewell].

Three years ago you became a parent. How has that changed your perspective?
It’s made me even more patient. I just have a lighter and brighter outlook on life because it’s just such an incredible thing to experience and witness … I think ballet has prepared me for being a mother in so many ways.
I think it’s … prepared me for life and being resilient and patient and sensitive and empathetic and strong, and all of these things.
You’ve always spoken about, and acted on, the importance of diversity, equity and inclusion, and initiatives that promote that. Are you concerned that this is getting more difficult?
It’s a difficult time. And I think all we can really do is keep our heads down and keep doing the work … we’re fortunate in that we’ve built great relationships and can continue to do the work right now through my foundation.
There’s no way to stop the people that feel passionate about this work. We will continue doing it. It is so necessary for the well-being of our societies and communities.
I think there are times to speak out and yell from the rooftops. And for me, I feel like this is a time to keep my head down and really stay focused and do the work.


Metal meets Mongolian throat singing and instruments in Uuhai’s Hong Kong debut

Hong Kong Ballet to move to city’s first dedicated dance venue in 2027

The inspiring story of Hong Kong dancer and filmmaker who began at 48 after leaving Apple

Protesters surround Kennedy Centre over Trump demolition fears

World of performing arts

Pioneering ballet dancer Misty Copeland on diversity and what’s next for her

Misty Copeland, the first black principal dancer at American Ballet Theatre, pictured in Hong Kong in 2015. Photo: Xiaomei Chen

Misty Copeland (right) and Craig Salstein dance at the Metropolitan Opera House in New York, in 2015. Copeland is retiring after 25 years at American Ballet Theatre. Photo: Getty Images

Misty Copeland, who spent 25 years at American Ballet Theatre, is retiring from the company. Photo: Taylor Jewell/Invision/AP

Copeland in Hong Kong in 2018. Photo: Xiaomei Chen

The cover of Bunheads by Misty Copeland. Photo: SCMP

Copeland attends American Ballet Theatre’s Spring Gala, on May 28, 2025, in New York. Photo: CJ Rivera/Invision/AP

Hong Kong Ballet’s Giselle a lavish spectacle and company’s dancers shine when called upon

Marianela Nuñez and Matthew Ball in the premiere of Hong Kong Ballet’s Giselle. Photo: Conrad Dy-Liacco, courtesy of Hong Kong Ballet

Guest star Marianela Nuñez as Giselle during the premiere of Hong Kong Ballet’s Giselle at the Hong Kong Cultural Centre. Photo: Tony Luk, courtesy of Hong Kong Ballet

The final scene of Act 1 in Hong Kong Ballet’s new production of Giselle. Photo: Tony Luk, courtesy of Hong Kong Ballet

Guest star Matthew Ball as Albrecht in the premiere of Hong Kong Ballet’s Giselle at the Hong Kong Cultural Centre. Photo: Tony Luk, courtesy of Hong Kong Ballet

Wang Qingxin (centre) as Myrthe, with the Wilis who she commands in a scene from Act 2 of Giselle. Photo: Tony Luk, courtesy of Hong Kong Ballet

Hong Kong Ballet’s Giselle features stunning new sets and costumes by Jérôme Kaplan. Photo: Tony Luk, courtesy of Hong Kong Ballet

Ye Feifei and Ryo Kato perform as Giselle and Albrecht in Hong Kong Ballet’s Giselle. Photo: Conrad Dy-Liacco, courtesy of Hong Kong Ballet

(From left) Yonen Takano, Ye Feifei and Ryo Kato in Hong Kong Ballet’s Giselle. Photo: Conrad Dy-Liacco, courtesy of Hong Kong Ballet

Ukraine’s ‘ballet in a basement’ sends a message from the war’s front lines

Ballerina Olena Shliahina, 38, poses for a picture after practising for the revival of Chopiniana, the first full performance of a classical ballet in the city of Kharkiv since Russia’s full-scale invasion of Ukraine in 2022, in the underground area of Kharkiv’s National Academic Opera and Ballet Theatre, on April 27, 2025. Photo: Reuters

Ballet dancers practise for the revival of Chopiniana in the underground area of Kharkiv’s National Academic Opera and Ballet Theatre. Photo: Reuters

A pianist plays as ballerinas practise for the revival of Chopiniana. Photo: Reuters

Ballerinas practise for the revival of Chopiniana. Photo: Reuters

The seats upstairs at Kharkiv’s National Academic Opera and Ballet Theatre lie empty as the war rages just kilometres away. Photo: Reuters

Ballerinas prepare for practising the revival of Chopiniana. Photo: Reuters

A firefighter works amid ruins caused by a Russian drone strike in an industrial area of Kharkiv on March 27, 2025. Photo: Reuters

Ballet director Svitlana Kolyvanova Popesku, 85, watches as ballerinas practise for the revival of Chopiniana. Photo: Reuters

A ballerina prepares to practise for the revival of Chopiniana. Photo: Reuters

A ballerina practises for the revival of Chopiniana. Photo: Reuters

A ballet mistress helps ballerinas practise for the revival of Chopiniana. Photo: Reuters

Titanic-like sweep of Hong Kong Dance Awards and a sinking feeling about dance’s standing

Hong Kong Ballet’s Ricky Hu Songwei (second from left), Ma Jingwen (centre) and Septime Webre (second from right) receive the 2025 Hong Kong Dance Awards prize for best choreography from Olivia Yan and Tang Shu-wing, one of six the company took home. Photo: Hong Kong Dance Alliance 

Recipients of prizes in the 26th Hong Kong Dance Awards and other members of the dance community at the awards presentation ceremony at the Hong Kong Fringe Club. Photo: Hong Kong Dance Alliance

Kenny Leung, founder of the Hong Kong dance group Common Ground, accepts the Hong Kong Dance Award for Outstanding Small Venue Production. Photo: Hong Kong Dance Alliance

What killed Bruce Lee? 4 leading theories medical and martial arts experts proposed after his shock death 50 years ago in July, 1973

Bruce Lee on the set of “The Big Boss”. Lee died two years after the movie’s 1971 release, and in the years since, competing theories have been posited as to what exactly killed the martial arts star.  Photo: Yau Leung

Bruce Lee in a still from “Fist of Fury” (1972).

Lee with Taiwanese actress Betty Ting Pei. The two spent time together soon before Lee’s death.

Bruce Lee in a still from “Enter the Dragon” (1973). Photo: TNS

 Lee circa 1970. He had “chronic fluid intake” by virtue of his alcohol- and juice-based diet. Photo: Getty Images

Lifestyle

Arts

As she retires from American Ballet Theatre, where she was its first black principal dancer, Misty Copeland talks about ongoing challenges


As she retires from American Ballet Theatre, where she was its first black principal dancer, Misty Copeland talks about ongoing challenges.


Ballet

Pioneering ballet dancer Misty Copeland on diversity and what’s next for her

.css-1c6uqr6{color:inherit;font-weight:inherit;font-size:inherit;font-family:inherit;line-height:inherit;overflow-wrap:break-word;}As she retires from American Ballet Theatre, where she was its first black principal dancer, Misty Copeland talks about ongoing challenges

As she retires from American Ballet Theatre, where she was its first black principal dancer, Misty Copeland talks about ongoing challenges