Misty Copeland Takes Her Final Bow at American Ballet Theatre — and Leaps Into Her Next Chapter

She’s stepping gracefully into her next act.

Ten years ago, Misty Copeland stood before a sea of cameras and tearful admirers, her voice trembling as she made history. On that day in 2015, Copeland became the first Black woman ever promoted to principal dancer at the American Ballet Theatre (ABT) in its 75-year history — a moment that transcended the stage and became a landmark in American cultural life (The New York Times).

“This is it,” Copeland said at the time, eyes glistening with disbelief. “This has been my dream since I was 13.” What might have seemed like just another company announcement became a watershed event, challenging the racial barriers that had long defined the elite world of ballet.

Now, after a remarkable 25-year career with ABT, Copeland is preparing to take her final bow — not out of exhaustion, but out of evolution. “It’s been 25 years at ABT, and I think it’s time,” she told the Associated Press. “It’s time for me to move to the next stage.”

That “next stage” is both metaphorical and literal. On October 22, Copeland will return to the stage at New York’s David H. Koch Theater for a farewell celebration featuring film tributes, speeches, and a reprise of the “Romeo and Juliet” pas de deux with her longtime partner, Herman Cornejo. The event will be co-chaired by Caroline Kennedy and Oprah Winfrey, two women who, like Copeland, have shaped the American cultural landscape (Variety).

From Late Beginner to Ballet Icon

Born in Kansas City, Missouri, and raised in San Pedro, California, Copeland didn’t discover ballet until age 13 — a late start in a discipline where most dancers begin training as toddlers. Yet, within four years, she joined ABT’s Studio Company, astonishing teachers with her athleticism, musicality, and emotional depth.

Her early journey was anything but smooth. As The Washington Post recounts, she navigated poverty, family instability, and even a public custody battle between her mother and dance guardians. But her perseverance and rare talent prevailed. By 2001, she joined ABT’s corps de ballet, steadily rising through the ranks until her historic promotion in 2015.

“Misty’s story is one of resilience and representation,” said ABT Artistic Director Susan Jaffe. “It was so important for young children — especially children of color — to see someone like Misty and say, ‘She looks like me. Maybe I can do that too.’” (Dance Magazine).

Beyond the Stage: Author, Advocate, and Mother

Copeland’s influence extends far beyond the footlights. She’s written best-selling books, including her memoir Life in Motion: An Unlikely Ballerina and the children’s Bunheads series, which celebrate diversity and belonging in ballet (NPR). Through her Misty Copeland Foundation, launched in 2022, she’s expanded access to arts education for youth from underrepresented backgrounds, emphasizing that dance should be “a mirror, not a gate” (The Guardian).

“Ballet gave me everything — structure, discipline, self-worth,” Copeland told AP. “This farewell is my way of saying thank you to the company that made me who I am. But it’s not the end. Never say never.”

Even as she departs ABT, Copeland acknowledges that the systemic challenges she faced persist. When she leaves, the company will once again have no Black female principal dancers — a fact that troubles her deeply.

“It’s definitely concerning,” she said. “There’s only so much I can do on a stage. Representation matters, but real change means helping create pathways for the next generation.”

A Life in Balance

Now 42, Copeland’s life has expanded in new directions. As a mother to her 3-year-old son, Jackson, she describes a new rhythm — one of patience, empathy, and rediscovery. “Motherhood has given me a lighter and brighter outlook,” she said. “Ballet prepared me for this — it taught me resilience, discipline, and sensitivity. All of those qualities carry into motherhood.”

She laughs when asked if her son understands her fame. “He doesn’t understand at all! But he’s so drawn to movement and music. He just started violin lessons, and he’s always dancing around. I think he’s definitely an artist at heart.”

The Legacy Continues

Copeland’s next act is already unfolding. Through her production company, she’s developing documentaries and performance projects that center dancers of color and promote cultural inclusion in the arts. She’s also exploring ways to integrate dance into film, fashion, and public education — what she calls “meeting people where they are.”

“True diversity comes from giving people different entry points into art,” Copeland said in a recent New York Times interview. “Not everyone will go to a ballet theater, but they might connect through a book, a movie, or even social media. That’s how the art form grows.”

In an era when diversity, equity, and inclusion (DEI) efforts are being rolled back across industries, Copeland remains steadfast. “It’s a difficult time,” she told NPR. “But passion and purpose can’t be legislated away. The work continues because it has to — it’s essential for the health of our society.”

As Misty Copeland takes her final bow at American Ballet Theatre, her influence continues to ripple across generations — in classrooms, on pages, in dance studios, and in the hearts of young Black and brown children who now see themselves reflected on the world’s most prestigious stages.

Her final performance may mark the end of one era, but her movement — both literal and cultural — dances on.