Misty Copeland opens up about the ‘generational trauma’ of black ballet dancers

Ten years after Misty Copeland made history as the first black woman to perform Odette, the lead role in the classic ballet “Swan Lake,” she recalls the immense self-doubt leading up to the historic feat.

“I think about the kind of generational trauma for black dancers that comes with this role,” she said CNN’s Chris Wallace during a recent interview. “For many decades and generations, we have been told that swans should be white and that this is not a role that a black or brown woman can play.”

Copeland added that she worries that if her “artistic excellence” doesn’t meet another person’s standards, “maybe there won’t be another Black woman at American Ballet Theater who will get this opportunity.”

This, she shared with Wallace, was only one of many difficult experiences she had during her classical ballet profession, which included becoming the first Black female principal dancer at American Ballet Theater in 2015.

“I had a hard time being a black woman and standing out,” she said.

She continued, “There were times I wasn’t cast in certain roles because I would stand out too much and kind of ruin the aesthetic, especially if it was a filmed performance.”

One of the principal traditions of classical ballet that Copeland has been vocal about is the application of mattifying white powder to the skin.

“They make you lighten your skin,” she explained. “Over the years while doing this, I had serious conversations with the ABT artistic staff and our hair and makeup department. I asked, “Well, why does it have to mean white?” And that is something that the conversation has evolved to kind of change the meaning of the word.

Copeland also played a key role in getting firms to start out producing ballet flats, tights and leotards in a more diverse range of skin tones. Before 2020, if a black or brown dancer wanted her flats and tights to have a nude effect, she would must “pancake” or smudge the makeup on her shoes and tights.

From energizing conversations difficult traditional ballet makeup and hairstyle to lobbying for diverse emojis in ballet shoes, Copeland’s experiences have inspired her to tirelessly advocate for Black and Brown dancers in the classical art form.

“You shouldn’t have a certain body type. You haven’t got to be a certain skin color or age. If you could have the right commitment, commitment and support, I feel everyone should have the opportunity to deal with it,” she emphasized.

Over the years, Copeland’s growth and mission to extend representation and variety in her industry have been criticized by others. Nevertheless, she told Wallace that she continued her studies because of what dance meant to her.

“I had a transformative experience that changed my life as ballet, art and live music became a part of my life,” she said.

She also rejected being considered a “first.”

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“For me, it’s not just about being the first – there have been so many black women who have done amazing things for the ballet community, the ballet world, but have not been recognized,” she told Wallace.

One such dance pioneer was Raven Wilkenson, the first black woman to ever dance in a serious national ballet company and Copeland’s mentor.

The ballet dancer is grateful to her “amazing” mentors who helped her “understand that being an artist means being yourself. It’s about committing to these items, these roles, and making them your individual.