The Impact of Generational Trauma on Black Ballerinas: Insights from Misty Copeland

Misty Copeland is no stranger to being in the spotlight on center stage.

Back in 2015, she made history by becoming the first African American woman to be named a principal dancer with the prestigious American Ballet Theatre, solidifying her place among the highest ranks in the world of dance.

During a recent interview with CNN's Chris Wallace on Max's "Who's Talking to Chris Wallace," Copeland shared that she spent the first ten years of her professional career at American Ballet Theatre. In a company of nearly 100 dancers, she was the only Black woman, facing unique challenges and experiences. This was a familiar position for Copeland, as she often found herself as one of the few Black dancers in the room or on stage throughout her dance career.

As a Black woman in the ballet world, I faced challenges standing out in the corps de ballet where everyone should look uniform. We all wore pink tights, meant to match our skin tone, but that wasn't always the reality.

Despite facing discrimination, Copeland didn't let it push her away from her passion for dance.

Shot of ballerinas performing their routine in a theater.

Shot of ballerinas performing their routine in a theater.

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Ballerinas of color are advocating for pointe shoes in a variety of shades. Misty Copeland shared how she was sometimes not cast in certain roles because her skin color stood out too much and didn't fit the aesthetic, especially during performances that were being filmed.

In the fall of 2014, almost a year before becoming a principal dancer, Copeland made history as the first Black ballerina to perform the lead role of “Odette/Odile” in American Ballet Theatre’s “Swan Lake.”

The role is highly sought after by dancers in one of the most popular classical ballets worldwide. However, Copeland, being a Black ballerina, felt a mix of emotions when she was cast for the role.

She expressed concerns about the generational trauma experienced by Black dancers in relation to certain roles. Throughout many years and generations, there has been a belief that roles like the swan should only be portrayed by white dancers, excluding Black or brown women from these opportunities.

The pressure of meeting artistic standards weighed heavily on her. She feared that if her performance did not meet expectations, it could impact future opportunities for other Black women at American Ballet Theatre.

But despite the challenges, the performance was a huge success. The New York Times review of Copeland's portrayal of Odette in Swan Lake commended her for the "moments of bravery and elegance" she displayed.

In an interview with Wallace, Copeland shared her perspective on approaching roles. She emphasized the importance of personalizing the characters and making them your own. For her, this was particularly true for Swan Lake, where she felt she truly made the role her own.

Misty Copeland and James Whiteside perform in "Swan Lake" at Lincoln Center in New York, June 24, 2015.

Misty Copeland and James Whiteside perform in "Swan Lake" at Lincoln Center in New York, June 24, 2015.

During her rapid ascent in the world of dance, Copeland revealed that she continued to face discussions about her skin color and was even asked about lightening her skin for performances. She acknowledged that this struggle is not new and has been endured by many Black and brown dancers in the realm of classical ballet.

Using makeup to lighten your skin is a common practice in ballet. Misty Copeland has had serious discussions about this with ABT's artistic staff and the hair and makeup department over the years.

"I asked, 'Why does that have to be associated with white?' The conversation has evolved to redefine its meaning."

Similar to another trailblazing figure who was a pioneer in their industry, Copeland has been dubbed the "Jackie Robinson of ballet." She admitted that the comparison adds pressure, but she also sees her role in ballet as something bigger than just herself or any individual.

"It's not just about being the first for me," she told Wallace, "there have been many Black women who have made significant contributions to the ballet community but haven't received recognition."

After her iconic performance in Swan Lake, Copeland has leveraged her influence to bring attention to Black women and promote diversity in dance, challenging the traditional idea of who can become a ballerina.

You shouldn't be required to fit a certain body type, have a specific skin color, or be a particular age in order to achieve success. With the right dedication, commitment, and support, anyone should be able to reach their goals.

Misty Copeland dances with Daniil Simkin in American Ballet Theatre's "The Nutcracker" in December 2017.

Misty Copeland dances with Daniil Simkin in American Ballet Theatre's "The Nutcracker" in December 2017.

Kevin Sullivan/Orange County Register/Getty Images

In 2015, Copeland established "Life in Motion Productions" with the goal of showcasing a wider variety of artists in both traditional and new media platforms.

Over the past two years, Copeland has taken on the roles of producer and lead actor in the short film "Flower" and also served as an executive producer for "Don't Touch My Hair!"

She also teaches ballet classes to the Boys & Girls Clubs of America through the Misty Copeland Foundation. It's a full circle moment for her, as the Club is where she first discovered ballet.

"I hope that this hour is the best and brightest part of their day," she expressed. "There are so many things happening in children's lives, especially in the lives of these children."

Copeland's mission and goal have stayed consistent throughout her various pursuits, whether in production or philanthropy. She aims to make ballet more accessible to a wider audience, allowing people to enjoy dance in a positive and uplifting manner, and to simply revel in the joy it brings.

You can catch Wallace's full conversation with Copeland currently airing on Max.

Editor's P/S:

Misty Copeland's journey as a Black woman in ballet is a testament to both her unwavering passion and the systemic challenges she has faced. Her appointment as the first African American principal dancer with the American Ballet Theatre was a groundbreaking moment, yet it also highlighted the underrepresentation of Black ballerinas in the highest ranks of the art form. Copeland's experiences, including being asked to lighten her skin for performances, expose the deep-rooted prejudices that persist within ballet.

Copeland's determination to use her platform to promote diversity and accessibility in ballet is inspiring. Her production company, Life in Motion Productions, and her work with the Boys & Girls Clubs of America demonstrate her commitment to making ballet more inclusive and representative of the diverse society we live in. By sharing her story and advocating for change, Copeland is paving the way for future generations of dancers, regardless of their race or background. Her legacy extends beyond her own performances, becoming a symbol of the transformative power of representation and the importance of breaking down barriers in the pursuit of artistic excellence.