Skeletal bodies, pallor, and training begun in early childhood are all stereotypical characteristics of Prima Ballerinas. It is these standards that have kept many talented ethnicities from the upper ranks in ballet companies, until now. While the dance world is steeped in traditions, important changes are occurring and at the forefront is Misty Copeland, a young African-American ballerina whose talent has broken stereotypes, opened the door for ethnic diversity, expanded interest in this art form, and changed the realm of ballet forever.
As dancers and readers of this publication may recall, Dance Magazine featured an article entitled “The Misty Copeland Effect” (Comaneci, 2015). Famed Olympic gymnast Nadia Comaneci explored the atypical rise of an African-American ballet dancer in a world held captive by unwritten rules and almost impossible physical standards for those awarded star status. It is the unlikely rise and stardom of a dancer who did not fit neatly into the mold of those before her which inspires and captivates public attention. Although Copeland’s skin color was a major deterrent, it would not be the only difficulty on her path to a well-deserved success.
A less than humble existence relegated young Misty to life in a motel room with her single mother and five siblings. In those days, there were no funds for anything other than basic necessities. (Mistycopeland.com, 2015) Thus, Ms. Copeland’s training began relatively late, at the age of 13 and unlike her peers whose classes were in studios known for the preparation and grooming of professional dancers, Misty’s first exposure to ballet was through the free classes offered at The Boy’s and Girl’s Club of America. Of her late start, she says, “Most ballerinas start to dance when they are sipping juice boxes in preschool. I was thirteen years old. Self-doubt taunted me” (Mistycopeland.com, 2015). New York Post columnist, Maureen Callahan notes, “Most ballet dancers begin at age 5, studying in schools that serve as factory lines into the world’s most prestigious companies…" (Callahan, 2013, para. 6). Callahan (2013) argues that the late discovery of Misty’s abilities resulted in only “a four-year window to complete 17 years’ worth of training” (para. 6). Surprisingly, Copeland was able to rise above the adversity of her past and secure a coveted spot in one of the world’s most influential dance companies, American Ballet Theatre.
In her soft-spoken demeanor and eloquent words, Misty strives to enlighten others. Ms. Copeland stated “I really want people to be aware and educated not just on what classical ballet is but also the lack of diversity and the way that especially black women in particular are viewed” (Brown, 2015, para.3). However, Copeland experienced racism in various forms during her tenure at ABT. In an interview with McCarthy-Brown (2011), Copeland recounts the following instance and states, “I once overheard other (company members) speaking about me, “Misty really doesn't fit into the corps of Swan Lake because of the color of her skin” (p.16). Opportunity for those not fitting neatly into the traditional image has been severely limited, but that is changing.
Beyond the significance of Copeland’s past, is the impact and influence she now holds as the first black principal dancer in the history of American Ballet Theater. It is this influence that has prompted other companies to expand upon conversations about racial diversity in dance and instigate programs designed to increase opportunities for ethnicities through partnerships with organizations, schools, and dance companies. In her discussion of the typically homogenous world of ballet and the improvements being made, Dr. Patton (2011) presents the following evidence “Even the School of American Ballet has seen the benefits of racial diversity, and through its recruiting efforts, they have been able to increase their ethnic minority population from 12 percent in 1998 to 24 percent today” (p.5). In light of Copeland’s breakthroughs, American Ballet Theatre has spearheaded a program to identify and promote the advancement of ethnic minorities in ballet. The program, “Project Plié seeks to combine training and support of ballet students from communities previously underrepresented in American ballet companies with the creation of a nationwide network of partner professional ballet companies who are committed to diversity” (American Ballet Theatre, 2015). Indeed, stereotypes are being challenged and shattered in present-day ballet. Copeland’s prestige continues well beyond this domain.
Setting Misty apart from her peers in professional ballet is her curvy and athletic physique. In the video “Misty Copeland on Changing the Face of Ballet” she states, “It’s important for me to set an example of what a healthy image is, what a ballerina can be, that she doesn’t have to be a white woman that’s rail thin, that she can look like the world” (Time, 2015, April 16). Misty’s sturdy and muscular body type challenges the industry standard.
Her athletic figure is a direct contradiction to the ideal set forth by Georges Balanchine; the man hailed as the greatest influence in American ballet. While serving as Artistic Director New York City Ballet and founder of The School of American Ballet, he was known to have an “…obsession with this impossible "structure" that is often blamed for the destructive eating and body disorders that plague the dance world” (Kiem, 2014, para.9). Further evidence of his influence on the standard by which ballerinas were held, exists in the memory of his former muse, Gelsey Kirkland. In a blog, Nutritional Guide for the Dancing Body (Amy, 2010) the author describes the shame and pressure experienced by Kirkland to live up to the rail thin body type of her predecessor, Suzanne Farrell. Kirkland, who at the time weighed less than a hundred pounds, describes the moment Balanchine stopped class to offer the following critique, “With his knuckles, he thumped my sternum and down my rib cage, clucking his tongue and remarking, ‘Must see the bones.’ He did not merely say, ‘Eat less.’ He said repeatedly, ‘Eat nothing’” (para. 7). The gaunt and waif-like appearance, long an industry standard, is now being challenged in light of the overwhelming success of Copeland. Her crossover appeal extends into areas never realized by former luminaries of ballet.
Misty has dominated many platforms across the media. Wendy Perron, the former editor of this publication, argues, “We haven't had a ballet dancer who has broken through to popular culture like this since Mikhail Baryshnikov. And she's going to bring more attention from that world to ballet” (Sanchez, 2015, para.8). Not only is Copeland a force in dance circles, but she is also a marketing goldmine, with broad audience appeal and impressive endorsement deals such as the ad for sportswear giant, Under Armor. The “Rule Yourself” ad marks the first time in the company’s history a dancer, rather than a sports figure has represented the brand. Additionally, this ad represents a departure from the heavily infused masculine element common to Under Armor. “Rule Yourself” opens with a shot of Misty in tight fifth position relevé en pointe as the voice over reads a letter of rejection with the commonly dreaded refrain, “You have the wrong body for ballet” (Mistycopeland.com). As the ad continues, Misty garners her inner strength in the face of adversity, and dances with grace, dynamism, and abandon.
Additional groundbreaking achievements for this newly minted icon include being named to Time Magazine’s list of the 100 most influential people of 2015 and her inspiring documentary entitled, “A Ballerina’s Tale”. (Misty Copeland.com, 2015) Her appearances in Broadway’s “On the Town” allowed the public to witness this “triple threat” talent, as she displayed not only her well-known skills as a dancer, but in a role that required her to sing and act. (Mistycopeland.com) Further, her website, Mistycopeland.com enables fans to interact with the star through new media with links for Facebook, Twitter, and Instagram. Included in this site are links to her other projects such books, magazines, interviews, shows, film, television, and an array of appearances.
Finally, it is in the testimonials of fellow dancers and choreographers that the hope of a new and diverse culture of dance is realized. As a choreographer, Broadway veteran, and dance instructor at U.C.L.A., Cheryl-Baxter Ratliff offers the following summation of her experience and the impact of Misty Copeland on dance. She recalls how different the film and television world was for ethnic dancers only fifteen years ago. In those days while working in television and shows such as The Academy Awards, she often witnessed the hiring of only one token African-American girl and one token Asian-American girl out of twenty or thirty female dancers. She states, “Now it’s much better, with all races being hired. But, the ballet world, they were behind in that.” Regarding the influence of Copeland she asserts, “It’s an incredible moment in history for Misty Copeland. It’s embarrassing that it’s taken this long, but she definitely has changed the face of the ballet world” (Baxter-Ratliff, 2015). Certainly, Misty Copeland is an inspiration to dancers. It is through her determination to challenge and overcome the staid traditions of ballet, that she has broken new ground for those of diverse ethnicities and body types, infused a new energy, and forever transformed the realm of dance.
References
American Ballet Theater. (2015) Project plié. Retrieved from http://www.abt.org/education/projectplie/
Amy. (2010). Nutritional guide for the dancing body. Retrieved from http://nutritionfordance.blogspot.com/2010/10/balanchine-body.html
Baxter-Ratliff, C. (2015) Dancer, choreographer, dance instructor for U.C.L.A. Personal Interview.
Brown, S. (2015) Misty Copeland talks “A ballerina’s tale”: “I will never ignore that I’m a black dancer”. Retrieved from http://www.nollywoodone.com/latest-additions/22233-misty-copeland-talks-%E2%80%98a-ballerina%E2%80%99s-tale%E2%80%99-%E2%80%98i-will-never-ignore-that-i%E2%80%99m-a-black-dancer%E2%80%99.html
Callahan, M. (2013). Dancer Misty Copeland has broken barriers to bring ballet center stage. Retrieved from http://nypost.com/2013/06/02/dancer-misty-copeland-has-broken-barriers-to-bring-ballet-center-stage/
Comaneci, N. (2015, April). Misty Copeland. Time. Retrieved from http://time.com/3823308/misty-copeland-2015-time-100/
Kiem, E. (2014) Georges Balachine: The human cost of an artistic legacy. Retrieved from http://www.huffingtonpost.com/elizabeth-kiem/post_6717_b_4640946.html
McCarthy-Brown, N. (2011). Dancing in the margins: Experiences of African American ballerinas. Journal of African American Studies, 15(3), 385-408. doi:10.1007/s12111-010-9143-0
Mistycopeland.com. (2015) Retrieved from http://mistycopeland.com/
Patton, T. O. (2011). Final I just want to get my groove on: An African American experience with race, racism, and the white aesthetic in dance. Journal of Pan African Studies, 4(6), 104-125.
Sanchez, N. (2015). Misty Copeland becomes first black American Ballet Theatre principal. Retrieved from http://www.newsmax.com/TheWire/misty-copeland-american-ballet-theatre-principal-dancer/2015/07/01/id/653012/
Time. (2015, April 15). Misty Copeland on changing the face of ballet. [Video file]. Retrieved from http://ti.me/1zjWGz9
No comments :
Post a Comment