Misty Danielle Copeland (born September 10, 1982) is an American ballet dancer for the American Ballet Theater (ABT), one of the top three classical ballet companies in the United States. On June 30, 2015 Copeland became the first African American woman to be promoted to major dancer in the 75-year history of ABT.
Copeland is considered a prodigy who rose to stardom despite not having started ballet until the age of 13 years. Two years later, in 1998, her ballet teachers, who served as her guardian, and her mother, fought to defend her. Meanwhile, Copeland, who is already an award winning dancer, is lowering his professional offer. Legal issues include the filing of Copeland's emancipation and the order of detention by his mother. Both sides rejected the legal process, and Copeland moved home to begin studying under a new teacher, who was a former member of ABT.
In 1997, Copeland won the Los Angeles Music Center Spotlight Award as the best dancer in Southern California. After two summer workshops with ABT, he became a member of ABT's Studio Company in 2000 and de ballet corps in 2001, and became an ABT soloist in 2007. As a soloist from 2007 to mid-2015, he was described as having matured into a dancer who more contemporary and sophisticated.
In addition to his dance career, Copeland has been a public speaker, celebrity spokesperson and stage performer. He has written two autobiographical books and narrated a documentary about his career challenge, A Ballerina's Tale . By 2015, he was named one of the 100 most influential people in the world by Time magazine, appearing on the cover. She appeared on Broadway in On the Town , toured as a top dancer for Prince and appeared on reality television shows A Day in the Life and So You Think You Can Dance . He has endorsed products and companies such as T-Mobile, Coach, Inc., Dr. Pepper, Seiko, The Dannon Company, and Under Armor.
Video Misty Copeland
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Copeland was born in Kansas City, Missouri, but grew up in the San Pedro community of Los Angeles, California. Copeland's father, Doug Copeland, was German American and African American, while his mother, Sylvia DelaCerna, was Italian American and African American and was adopted by African American parents. Misty Copeland is the youngest of four siblings of her mother's second marriage and has two younger step brothers, each from her third and fourth marriage. Copeland did not see his father between the ages of two and twenty-two. His mother, a former Kansas City Head cheerleader, has learned to dance. She is a trained medical assistant, but mostly works in sales.
Between the ages of three and seven, Copeland lives in Bellflower, California, with his mother and her mother's third husband, Harold Brown, a Santa Fe Railroad sales executive. The family moved to San Pedro, where Sylvia eventually married her fourth husband, radiologist Robert DelaCerna, and where Misty attended Primary School Point Fermin. When he was seven years old, Copeland saw the movie Nadia on television and his subject Nadia Com? Neci became her new role model. Copeland never studied ballet or gymnastics formally until his teenage years, but in his youth he enjoyed reversing choreography and dancing moves to Mariah Carey's songs. Following in the footsteps of his elder sister Erica, who once starred in the High School Funds drill team that won the competition across the state, Copeland became the captain of the Fund drill team. His leadership is only part of his responsibility; he was also the sixth-grade treasurer and the hall monitor that year. Copeland's natural majesty became the concern of his classic Dana's drill team coach, Elizabeth Cantine, in San Pedro.
In 1994, Copeland's mother had parted ways with Robert. After staying with friends and girlfriends, DelaCerna moved with all her children into two small rooms at the Sunset Inn in Gardena, California. In early 1996, Cantine convinced Copeland to attend a ballet class at Boys & amp; Girls Club. Cynthia Bradley, a friend from Cantine's, teaches a free ballet class at the club once a week. Copeland attended several classes as a spectator before participating. DelaCerna allows Copeland to go to the club after school until the end of the day. Bradley invited Copeland to attend classes at his small ballet school, San Pedro Dance Center. Copeland initially refused the offer, because his mother did not have a car, worked 12-14 hours a day, and Erica's elder sister worked two jobs. Copeland began his ballet study at the age of 13 at the San Pedro Dance Center when Cynthia Bradley began to pick him up from school. After three months of study, Copeland en pointe.
His mother told Copeland that he must hand over the ballet, but Bradley wants Copeland to continue and offers to host. DelaCerna approves of this, and Copeland moves with Bradley and his family. Finally, Copeland and DelaCerna signed a management contract and a life story contract with Bradley. Copeland spends his days with Bradley near the beach and weekend at home with his mother, which is two hours away by bus. Copeland will spend most of the next three years with Bradley. At the age of fourteen, Copeland was the winner of the national ballet contest and won his first solo role. Bradley introduced Copeland to books and videos about ballet. When he saw Paloma Herrera, a major ballerina with ABT, performing at Dorothy Chandler Pavilion, Copeland began to idolize him just as he did Mariah Carey. The media first saw him when he attracted 2,000 subscribers per show when he appeared as Clara at The Nutcracker at San Pedro High School after just eight months of study. He played a larger role as Kitri at Don Quixote at the San Pedro Dance Center and later performed with LA Academy of Fine Arts in the lead role on The Chocolate Nutcracker, an African Version American from a fairy tale, narrated by Debbie Allen. The latter was presented at UCLA's Royce Hall. Copeland's role was modified primarily for him, and included ethnic dances.
During this period, Copeland received a much more personal attention from the Bradley family than his mother could give each of his six children. Raised in a Christian household, when Copeland lived with the Bradley family, he attended their synagogue and celebrated Shabbat with them, enjoying their family's closeness. In addition to Bradley's intensive ballet training, her husband, a modern dance teacher, serves as a pascal de-deux instructor and partner Copeland. Summer before his fifteenth birthday, Bradley started the Copeland homeschool for grade 10 to free up more time for dancing. At the age of fifteen, Copeland won first place at the Los Angeles Music Center Spotlight Awards at Chandler Pavilion in March 1998. Copeland says this is the first time he has fought anxiety. The winners receive scholarships between $ 500 and $ 2500. Copeland's victory in the 10th annual contest among gifted high school students in Southern California guarantees his recognition by the Los Angeles Times as the best young dancer in the Greater Los Area Angeles.
Copeland attended a summer workshop at the San Francisco Ballet School in 1998. He and Bradley chose workshops on offer from Joffrey Ballet, ABT and Dance Theater of Harlem, among others. Of the programs he participated in, only New York City Ballet rejected his offer. San Francisco Ballet, ABT and New York City Ballet are considered the top three classical ballet companies in the US. During a six-week workshop in San Francisco, Copeland is placed in the most advanced class and under full tuition fees plus scholarship fees. At the end of the workshop, he received one of several offers to continue as a full-time student at school. He refused the offer because of encouragement from his mother to return home, the prospect of continuing personal training from the Bradley family and the next summer's dream with ABT.
Maps Misty Copeland
Custody battle
Copeland returns to his mother's house and often fights. Her mother had long hated the influence of Bradley and immediately decided that Copeland would stop studying with Bradley. Copeland felt desperate for fear that he would not be able to dance. He had heard the term emancipation while in San Francisco; this procedure is common among young players to ensure their financial independence and housing. Bradley introduced Copeland to Steven Bartell, a lawyer explaining the process of petition for emancipation. The Bradley family encouraged him not to be at home when an emancipation petition was sent to his mother. Copeland escaped from home for three days and stayed with a friend, while Bartell filed emancipation papers. After his mother reported missing Copeland, he was told about the plea for emancipation. Three days after the escape, Copeland was returned to his mother by police. DelaCerna involves Gloria Allred's lawyer and filed a series of detention orders, including five-year-old Bradley boy, who is Copeland's roommate, and Bartell. The order was partly intended to impede contact between Bradley and Copeland, but it had no proper legal basis, as there was no stalking and no harassment.
The custody controversy was highly publicized in the media (especially the Los Angeles Times and Extra ), beginning in August and September 1998. The press coverage section spilled over into article op-eds. The case was heard in Torrance, at the Los Angeles County Superior Court. DelaCerna claims that Bradleys has brainwashed Copeland into filing a lawsuit for emancipation from his mother, Allred claiming that Bradley has turned Copeland against his mother by underestimating DelaCerna's intelligence. The Bradleys noted that the management contract gave them authority over his career, but they claimed that they would wait until Copeland became eighteen before seeking twenty percent of Copeland's revenue.
After DelaCerna declared that he would always ensure Copeland could dance, both the emancipation paper and the arrest order were dropped. Copeland, who claims he does not understand the term emancipation, withdraws the petition after telling the judge that the allegation no longer represents his wish. However, DelaCerna wants Bradley out of her daughter's life. Copeland re-enrolled at San Pedro High School for the first year (1998-99), at a pace to graduate with his original class in 2000. DelaCerna asked Cantine's suggestion to find a new ballet school. Copeland began a ballet study at the Lauridsen Ballet Center with former ABT dancer Diane Lauridsen, although his dance is now limited in the afternoon to honor his school. At the end of 1998, all parties appeared on talk show Leeza Gibbons, Leeza , where Copeland sat silent as adults "quarreling unabashedly". As a student, Copeland has a 3.8/4.0 GPA through its first year of high school. In 2000, DelaCerna stated that Copeland's income from ballet is set aside in a savings account and is used only as needed.
American Ballet Theater
Early ABT career
Copeland auditioned for several dance programs in 1999, and each made an offer to enroll in his summer program. He performed with ABT as part of the Summer Intensive program in 1999 and 2000. At the end of the first summer, he was asked to join ABT Studio Company. His mother insisted that he finish high school, and Copeland returned to California for his final year, although ABT arranged to pay for his appearance, residential accommodation and academic arrangements. He studied at the Intensive Summer Program with a full scholarship for both summers and was declared the ABT National Coca-Cola Scholar in 2000. In the Summer Intensive Program of 2000, he danced the role of Kitri at Don Quixote. The strongest Copeland memory of the summer worked with Tharp on Push Comes to Shove. "Of 150 dancers in the Summer Intensive Program of 2000, he was one of the six selected to join the junior dance troupe.
In September 2000, he joined ABT Studio Company, the second ABT company, and became a member of the corps de ballet in 2001. As part of the Studio Company, he performed Pas de Deux at Tchaikovsky's The Sleeping Beauty Eight months after joining the company, he was sidelined for almost a year by a lumbar stress fracture. When Copeland joined the company, he weighed 108 pounds (49.0 kg) (5 feet 2 inches high (1.57 m)). At age 19, her puberty is delayed, a common situation for ballet dancers. After a lumbar fracture, the doctor tells him that pushing puberty will help strengthen his bones, and he prescribes birth control pills. Copeland recalled that in one month he got 10 pounds, and his small breasts swelled to double the size of D-cup: "Strong clothes should be changed for me... to cover my cleavage, for example I hate this sign that I am different from that I became so aware that, for the first time in my life, I could not dance strongly, I was too busy trying to hide my breasts. "Management took notice and called him to talk about his body. Professional pressure to adapt to conventional ballet aesthetics results in body image struggle and party eating disorders. Copeland said that, over the next year, a new friendship outside ABT, including with Victoria Rowell and her boyfriend, Olu Evans, helped her to regain trust in her body. He explained, "The curves of my body become an integral part of who I am as a dancer, not something I need to lose to become one I started to dance with confidence and joy, and soon the staff at ABT started giving me more positive feedback. thought I changed everyone's minds about how a perfect dancer should look. "For years in the corps, as the only black woman in the company, Copeland also felt his ethnic burden in many ways and pondered career choices. Realizing that the isolation and self-doubt of Copeland stood in the way of his talent, ABT's artistic director, Kevin McKenzie, asked writer and artist Susan Fales-Hill, then vice chairman of the Board of Directors of ABT, to guide Copeland. Fales-Hill introduced Copeland to the Black women trailblazers who encouraged Copeland and helped him gain perspective.
Early career reviews mentioned Copeland more radiant than the higher ranking dancer, and he was named the 2003 magazine's "Dance Watch". In 2003, he was well looked after for his role as a member of the corps at La BayadÃÆ'¨re and the work of William Forsythee . Recognition continued in 2004 for roles in ballet such as Raymonda , work in work , Amazed in Burning Dream Sechs TÃÆ'¤nze ," Pillar of Fire "," Pretty Good Year "," VIII "and" Sinfonietta, where he "stands in pas de trois - whether he is gliding on the floor or in a full lift, he creates illusion of subtlety. "She also danced Hungarian Princess at Tchaikovsky's Swan Lake The 2004 season was regarded as her breakthrough season She was included in 2004 drawing book by former ABT dancer Rosalie O 'Connor entitled Nearly: Perspective Dancers.Also in 2004, she met her real father for the first time and regretted that she did not do it sooner.
In 2005, her most notable appearance was at George Balanchine Tarantella . she also danced Lead Polovtsian Girl in "Polovtsian Dances" from Prince Igor . In 2006, she was recognized for her classic style of performances in Giselle and created a role in Jorma Elo's Glow-Stop . Elo said: "" Often with me in my creative moments - they are very fast, and I can not repeat myself. Misty has the ability to absorb something very quickly and then reproduce it appropriately, and he gives clarity to the material. If I were going to create my own company, he would be the first one I call. "That year, he also returned to Southern California to perform at the Orange County Performing Arts Center and dance one of the cygnet and reprise his Hungarian role at Swan Lake in New York. 2007, Copeland danced Blossom's role in James Kudelka Cinderella . "Copeland's long-standing performance continued to compliment her in 2007. In 2007, she danced Fairy of Valor at The Sleeping Beauty. i> Other roles Copeland played before he was appointed as a soloist by ABT including the role of Twyla Tharp in The Upper Room and Sinatra Suite as well as the role of Mark Morris Gong The Dance Magazine feature states that "Copeland's sublime relationship with her partner at... Sinatra Suite has earned her the honor of dancing with a male superstar company."
Soloist
Copeland was appointed soloist at ABT in August 2007, one of the youngest ABT dancers promoted to soloists. Although, he was described by his early accounts as the first African American woman to be promoted to a soloist for ABT, Anne Benna Sims, and Nora Kimball was a soloist with ABT in the 1980s. Joel Keith Lee also preceded him. In 2008, Copeland was the only African-American woman in a dance company during his career at ABT. The only African-American man in the company during his career, Danny Tidwell, left in 2005. In an international ballet community with a lack of diversity, he is extremely unusual as an African American ballerina, that he experiences cultural isolation. He is portrayed in the press as Jackie Robinson of classical ballet.
Copeland stands out among his peers. In his first season as a soloist at the New York City Center, where the avant-garde race was performed, he received good notice at The New York Times for Balanchine Ballo della Regina > role. Also in 2007, he created a lead role in C. to C. (Close to Chuck) , choreographed by Jorma Elo to Chuck Close Music Portal , ÃÆ' â € ° tudes 2, 9 & amp; 10, by Philip Glass. His appearance from Tharp's work in the same season is recognized, and he is described as more sophisticated and contemporary as a soloist than he is a corps dancer. Its season performance at the 2008 Summer Metropolitan Opera (Met) in Don Quixote and Sleeping Beauty was also well received.
During the 2008-09 season, Copeland was praised for his performances at Twyla Tharp's Baker's Dozen and Paul Taylor's Company B . During the Spring Spring 2009 season in Met, Copeland performs Gulnare on Le Corsaire and the lead role in Taylor Airs and Balanchine Pas de Deux from < i> Swan Lake . His 2008-09 Annenberg Fellowship includes training for Pas de Deux . Later that year, she appeared on ABT's first trip to Beijing at the new National Center for Performing Arts. In 2009, Copeland created a role in Aszure Barton's One of Three .
In 2010, after recovering from a stress fracture, Copeland appeared on Birthday Offering at the Met and at the Guggenheim Museum dancing to David Lang music. He also created the Spanish Dance in a new version of ABT artist-in-residence Alexei Ratmansky of The Nutcracker , aired at the Brooklyn Music Academy. In early 2011, he was well received at the Kennedy Center as Milkmaid at Ratmansky The Bright Stream , a banned comic ballet remake. In Black History Month in 2011, Copeland was selected by Essence as one of 37 black ladies in entertainment limit. That same month, she toured with Company B , which was performed at Wells Sadler Theater in London. In May, he created a role in Ratmansky Dumbarton, dancing to the concerto of Stravinsky's room, Dumbarton Oaks. Alastair Macaulay of The New York Times found the piece too intimate for Met Methane, but he noted: "Misty Copeland gives a hint of a sudden need and emotional gloom in the duet... too much is happening. to explain himself to one view, but at the same time I know I am emotionally and structurally gripped. "His 2011 Summer ABT series includes the peasants of de deux at Giselle and, on Ratmansky The Bright Stream in Met in June, his reprise of Milkmaid is called "luminous, seductive sensual". She changed the role of Bright Stream again in July at Dorothy Chandler Pavilion in Los Angeles with performances described as "devious". As a flower girl, she is depicted glittering at Don Quixote . In August, he performed at the Vail International Dance Festival at Gerald Ford Amphitheater in Vail, Colorado. In November, she danced on Taylor Black Tuesday.
In 2012, Copeland began to achieve a solo role in a full-length ballet of full standard of treasury rather than works that were mostly relatively modern pieces. A 2012 feature at Dance Magazine states that Copeland's "classical repertoire" has deepened the art with every season. In the peasant pas de deux of Giselle he, eager and refreshingly lyrical, and his luxurious jump in Swan Lake ' s pas de trois is a joy. Like the Fairy of Valor at Sleeping Beauty, he softens his piercing fingers and daggers like pas de chats by lifting his body with splendor and, yes, courage. "He starred in The Firebird, with choreography by Ratmansky at Segerstrom Center for the Arts in Costa Mesa, Calif. It aired on March 29, 2012. The show was praised by Laura Bleiberg at Los Angeles Times as one of the best dance performances of the year.That year Copeland was recognized by The Council of Urban Professionals as the winner of their Breakthrough Leadership Award and also danced the role of Gamzatti at La BayadÃÆ'¨re in Met for praised from Alastair Macaulay of The New York Times, which recorded "mature complexity and worldly appeal." The Firebird re-appeared in Met in June 2012, with Copeland set to take turns in lead.It was Copeland's leading role in ABT. Backstage described it as "the most prestigious part" to date.After only one New York performance in the role, Copeland withdrew from the entire season of ABT because of the six stress fractures in tibia. He was sidelined for seven months after the October surgery.
Upon returning to the stage, she danced Queen Dryad at Don Quixote in May 2013. Nelson George began recording a documentary film utilizing the opportunity to showcase his comeback. Copeland replicated his role as Gulnare in June 2013 in a pirate themed Le Corsaire . He also plays Odalisque in the same ballet. Later that year, she danced in Tharp's choreography of Bach Partita for Violin No 2 in D minor for solo violin, and as Columbine in the ABT revival of Ratmansky Nutcracker at the Academy of Music Brooklyn.
In May 2014, Copeland performed the lead role of Swanilda at Coppà © lia at Met. According to Los Angeles Times author Jevon Phillips, he is the first African American woman to dance the role. In the same month, he was praised in the double roles of Queen of the Dryads and Mercedes at Don Quixote by Brian Seibert of The New York Times , though Jerry Hochman of Critical Dance felt that he was not as impressive in his previous role as the last one. Then in May, Met held a one-acting ballet program consisting of Themes and Variations , Duo Concertant and GaÃÆ'®tÃÆ'  © Parisienne , featuring Copeland in all three. Siebert praised his work as a leader in Balanchine choreography from Igor Stravinsky's Duo Concertant for violin and piano performed by Benjamin Bowman and Emily Wong. Her Flower Girl at GaÃÆ'®tÃÆ'  © Parisienne , Apollinaire Scherr from The Financial Times writes that she "tips such as the abundant water cans into the bouquet that she holds up to her. ". Copeland is a flawless "demi-soloist" under Themes and Variations, according to Colleen Boresta of Critical Dance.
In June 2014 at Met, she danced Fairy Autumn in Frederick Ashton Cinderella, cited for her energy excitement in the role of Hochman, who missed "the varied textures and nuances that made her more appealing" at the hands of ABT Christine Shevchenko. That month, she plays Mrs Lescaut in the Manon where Marjorie Liebert's BroadwayWorld.com role describes it as "seductive and alienating." Also in June, he performed the role of Gamzatti in La BayadÃÆ'¨re. Copeland played the double role of Odile/Odile at Swan Lake in September when the company toured in Brisbane, Australia. The rise to a more prominent role occurred when three main dancers of ABT (Paloma Herrera, Julie Kent and Xiomara Reyes) entered their final season before retiring. In early October, Copeland performed several parts including a leading role at Tharp's Bach Partita at the Chicago Auditorium Theater. In October, Copeland made his New York debut in one of six major roles at Tharp's Bach Partita and created a role in Liam Scarlett With Rain Opportunity . In December, when ABT revived Ratmansky Nutcracker at the Brooklyn Music Academy, Copeland played the role of Clara, the Princess. In the same month, at the Kennedy Center Honors, he was described as "sublime" in Tchaikovsky Pas de Deux by CBS News New York City affiliates.
In March 2015, Copeland danced Princess Florine's role in The Sleeping Beauty at Segerstrom Center for the Arts in Costa Mesa, California. She made her American debut as Odette/Odile at Swan Lake with The Washington Ballet, across from Brooklyn Mack as Prince Siegfried, in April at Eisenhower Theater at the John F. Kennedy Center for Performing Arts. This show was the company's first presentation of Swan Lake in 70 years of history. In May 2015, he played Cowgirl on Rodeo, Bianca at Othello and Zulma at Giselle. He was selected for the 2015 Time 100. As a result, Copeland appeared on the cover of Time, making him the first dancer on the cover since Bill T. Jones in 1994. In June, Copeland created a small role of Fairy Fleur de farine (Flower wheat) in Ratmansky The Sleeping Beauty . That same month, he made his debut on Romeo and Juliet within a few days of his scheduled debut on June 20th. Later in June, Copeland made his New York debut in the Odette/Odile double role of Swan Lake described by Macauley as "the most epic role in the ballet of the world". His appearance on the Met is considered a success. His appearance in the role has been anticipated as a "stunning achievement" in various media and by a wide spectrum of fans and supporters. The pioneering dancers, Raven Wilkinson and Lauren Anderson, are ready to present a wreath on stage. Some people see this show as a sign that his promotion to the principal already exists.
Main dancer
On June 30, 2015, Copeland became the first African-American woman to be promoted to the main ballerina in the 75-year history of ABT. The achievement of Copeland is remarkable, because there are very few African-American ballerinas in big companies. Debra Austin became headmaster at Pennsylvania Ballet in 1982, and Lauren Anderson became headmaster at the Houston Ballet in 1990, the first major ballerina of major American corporations. According to the 2015 documentary on Copeland, A Ballerina's Tale , to Copeland, "there was never a black female lead dancer in a major international company".
Copeland subsequently accepted the role of Ivy Smith at Broadway awakening On The Town , which he played for two weeks from 25 August to 6 September. Her debut on Broadway got good reviews on The New York Times, The Washington Post, and other media.
In October in New York, Copeland appeared in the re-awakening of Tharp's choreography of the Brahms-Haydn Variations, in Frederick Ashton's Monotones I, and "brought a blend that blends the fineness and appeal of sex to 'Rum and Coca - Cola '"in Paul Taylor's B company. In the same month, he created his Loss role in AfterEffect by Marcelo Gomes, dancing to Tchaikovsky's Souvenir de Florence , at Lincoln Center. When ABT took Ratmansky Nutcracker to Segerstrom Center for the Arts in December 2015, Copeland imitated Clara's role.
In January 2016, Copeland modeled on Princess Florine's role in The Sleeping Beauty at the Kennedy Center, which was choreographed by Ratmansky. His spring 2016 schedule also includes leads in ABT production from The Firebird, La Fille Mal Gardee, Le Corsaire, The Golden Cockerel, Swan Lake and Romeo and Juliet. In 2017, he appeared as a guest artist with La Scala Theater Ballet when visiting Southern California.
Other appearance, modeling, writing and effort
Stage, television and other movie appearances
In March 2009, Copeland filmed a music video with Prince for the cover of "Crimson and Clover", the first single from his 2009 Lotusflower album. The Prince asked him to dance along with the song in an improvised ballet movement. He describes his instructions as "Be you, feel the music, just move", and upon request for further instruction, "Keep doing what you do". He also began taking acting lessons in 2009. During the New York City and New Jersey sections of the 2nd US Prince's tour, Copeland did a de point en for the song "The Beautiful Ones", the opening number at Izod Center and Madison Square Garden. Prince had previously invited him to the stage at a concert in Nice, France. In April 2011, she performed with Prince at the Lopez Tonight show, dancing for "The Beautiful Ones."
In 2011, she is featured in Season 1, episode 5 of the upcoming A Day in the Life web series. Copeland is the guest judge for the 11th season of FOX So You Think You Can Dance . New Line Cinema has chosen its memoirs, Life in Motion, for screen adaptations, and the Oxygen network has expressed interest in producing reality documentation about Copeland guiding the Teacher Class from aspiring young dancers.
A Ballerina's Tale, a documentary about Copeland, debuted at the Tribeca Film Festival in April 2015 and was released in theaters in October 2015. It was then aired in February 2016 as part of the PBS ' Independent Lens . Dawn Heinecken, a professor of women's studies at the University of Louisville, described the film as "part of a calculated media campaign designed to launch Copeland into a major celebrity," but notes that the film "directly challenges the white supremacist ideology that underlies the world of ballet classic. "
In May 2015, Copeland was featured in 60 Minutes in the segment with correspondent Bill Whitaker. The following month, she served as a presenter at the 69th Tony Awards. In July 2015, a black and white book, Misty Copeland: Power and Grace , was released by photographer Richard Corman, with an introduction by Cindy Bradley. The book contains photographs of Copeland dance at sunrise above and around a large baby piano stranded under the Brooklyn Bridge. Copeland is included in the 2015 best-dressed International List, published by Vanity Fair . In October 2015, she appeared on The Late Show with Stephen Colbert accompanied by cellist Yo-Yo Ma, who played "Courante" from Bach's Cello Suite No. 2.
In February 2016, Copeland and President Barack Obama were interviewed together in the first part of the three-part video series with Time magazine and Essence on the topic of race, gender, achievement and opportunity creation for young people. That same month, he walked the runway at New York Fashion Week to support the American Heart Association's "Go Red for Women" campaign to raise awareness of the dangers of heart disease for women. She appeared in the March issue of Harper's Bazaar that re-created Edgar Degas's ballerina pose in a photo in front of an exhibition of the Museum of Modern Art: "Edgar Degas: Strange New Beauty". This feature is favored by some media, but Sebastian Smee from The Boston Globe argues that contemporary ballet players consider Degas-themed ballet work too serious.
Copeland has been instrumental in dancing to the main role of ballerina in the upcoming Disney movie, The Nutcracker and the Four Realms, based on the 1816 story "The Nutcracker and the Mouse King". She is also set to voice herself in the 2016 episode of the animated TV series, Peg Cat . In 2017, he appears as guest judge at World of Dance .
Ventures and write
In 2011, he launched a dancewear line, called M by Misty, which he designed. He has also produced celebrity calendars. In 2014, Copeland released a memoir, Life in Motion: An Unlikely Ballerina , co-written by Charisse Jones. The 2014 children's picture book, titled Firebird , with illustrator Christopher Myers, has a message of empowerment for colored young people. In 2017, Copeland released a third book, Ballerina Body , a health and fitness guide.
Modify and valid
Copeland featured in T-Mobile ads for BlackBerry in 2010 and advertisements for Dr. Pepper in 2013. In 2013, it represents Coach, Inc. and became the spokesperson for Project PliÃÆ'Â ©, a national initiative to expand the pipeline of leadership in ballet. He also became a brand ambassador for Seiko in 2015. In 2016, Mattel created the Misty Copeland Barbie doll. Later that year, the Dannon Company hired Copeland as the spokesperson for the Oikos brand.
In 2014, Copeland became a sponsored athlete for Under Armor, who paid him more than his ballet career. Her Under Armor-focused ad campaign was widely publicized, resulting in her being named the ABC World News Person this week. This ad campaign is recognized by Adweek as one of 10 Best Ads of 2014 and as "The best campaign of the year targeting women". Copeland, along with Steph Curry and Jordan Spieth, is credited with increasing demand for Under Armor products. In February 2017, Copeland debuted its own activewear collection for Under Armor. Shortly after, he criticized the statement by founder of Under Armor and CEO Kevin Plank who praised Donald Trump, stressing that his sponsor should believe in "the importance of diversity and inclusion". Plank responded in an open letter to Baltimore Sun to declare that he supported "a diverse and inclusive America". In July 2017, Under Armour launched a digital advertising campaign featuring Copeland, and at the end of that month he became the spokesperson for Perà © cè Lauder Lauder perfume. W calls her Està ©  © e Lauder's campaign as a breakthrough because cosmetics companies rarely use spokesmen other than models.
Awards
In 2008, Copeland won the Leonore Annenberg Fellowship in the Arts, which funded the study with teachers and trainers outside ABT. This two-year scholarship is a recognition of "young artists with extraordinary talents with the goal of giving them additional resources to fully realize their potential". In 2013, he was named the National Youth Ambassador of the Year by Boys & amp; Girls Clubs of America. In 2014, Copeland was appointed to the Presidential Council for Fitness, Sports, and Nutrition and received an honorary doctorate from Hartford University for his contribution to classical ballet and helped diversify his art form. Copeland is a Dance Magazine Awards 2014 honoree. After promotion as a main dancer, Copeland was crowned as one of Glamor Women of the Year for 2015; one of the ESPN 2015 impacts of athletes and influencers that have made the greatest impact for women in sports; and, by Barbara Walters, one of the 10 "most exciting people" of 2015. By 2016, Copeland won a Short Prize for Best in Dance in Social Media.
Personal life
Copeland and her husband, lawyer Olu Evans, live on the Upper West Side of Manhattan. The couple were introduced to each other sometime around 2004 by Evans cousin, Taye Diggs, and revealed their involvement in the 2015 cover story in Essence magazine. They married in California on July 31, 2016. Copeland loves cooking and prefers to avoid crowded places.
Works published
Copycat, Misty (with Charisse Jones) (2014). Life in Motion: An Unlikely Ballerina . Simon & amp; Schuster. ISBN: 978-1-4767-3798-0.
References
External links
- Official website
- Misty Copeland on IMDb
- Copeland dancing in In The City on Broadway (2015)
- "Cupcakes & Conversations with Misty Copeland, Soloist, American Ballet Theater". Ballet News . April 11, 2011 . Retrieved July 8 2017 .
- Archive of Copeland at Los Angeles Times
- A Day In Life With Misty Copeland
- The 55 minute version of A Ballerina's Tale , PBS (2016)
Source of the article : Wikipedia
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