The first and only black soloist to ever grace the stage in the American Ballet Theater’s history has come out with her mid-career autobiography, “Life in Motion: an Unlikely Ballerina.” I pre-ordered it just in time to arrive before my surgery last month and gobbled it up quickly as I lied in my hospital bed, recuperating. It turned out to be a wonderful choice–a fantastically written account of the stormy childhood that Copeland experienced, moving from one stepfather to another, from motel to motel, having hardly enough to eat, and finally stumbling into a ballet class at the age of 13 without really knowing what ballet was all about.
As fate had it, Copeland found herself plunged into the magical world of classical ballet. To her surprise, she was told that she had the natural physique and talent for this “foreign” art form. Within three weeks of training she was en pointe–and doing it well; and within a few short years she started dancing professionally for ABT, her dream company. The road from there on was not all smooth and glittery. Quite the contrary. Reading her struggles was heart-wrenching, to say the least. At the same time it gave me a great sense of encouragement. My struggles could hardly match hers, although it would be unfair to have any kind of comparison as I am not in the professional ballet world–only an amateur adult student. Still, having just had a major surgery, not knowing when my body would be back in shape again to step into the ballet studio, her perseverance through one hardship after another gave me tremendous inspiration.
In the book she has written in great length what it takes to be a true ballerina. Here is one of my favorite passages:
“It takes so many things to be a great ballerina: talent, strength, the ability to pick up choreography and then turn on an inner light when you perform. Having the right combination is the difference between being an artist who can capture the nuances of light in a watercolor and one who paints by number. I don’t think that most people realize that.”
Most of us ballet students and dancers have a rough idea of what it takes to become a professional dancer. However, I think few of us have any real idea of how much harder it is to be black in this predominantly white world of classical ballet. I thought I knew–until I read this book. Nothing prepared me for the kind of hardship Copeland had gone through.
I will leave you the reader to find out the details from her book. But let me just finish off this review with another passage that I like:
“I rarely get angry when I think about my childhood, wishing for what we could have been if we’d had more of a nurturing home environment. It made us all strong fighters, primed to push through the toughest of struggles. But I do get frustrated with people who experienced relatively ideal lives and yet don’t appreciate what they’ve had. Performing with ABT, I have sometimes overheard my dance mates complaining about going to the same vacation spot with their families, going on and on about how they’d rather be sunbathing than rehearsing, or how bad we have it at ABT versus City Ballet, or some other inconsequential thing. I would think about all that I had been through, what I had to navigate and overcome to stand on the stage at the Metropolitan Opera. What are these people fussing about?“
Even though I do not relate to her particular experience as a professional dancer, I do relate to her feeling of appreciation of having become a stronger person through pushing through a lot of tough struggles. It is here where I find the greatest resonance.
- The media is abuzz with the fact that the June/July issue of the Pointe magazine has included Misty Copeland on its cover, along with two other black ballerinas, Ebony Williams and Ashley Murphy.
- President Obama appoints Misty Copeland a member of the President’s Council on Fitness, Sports and Nutrition