Actress Lea Thompson is one of the new contestants on Dancing With the Stars. She’s 5’3” and the youngest of five siblings. She grew up in Minnesota and lived with her family in a Starlight Motel where all of the children shared the same bedroom. Her parents divorced when she was six years old. Lea was a ballet prodigy who loved to dance since she was very young. She danced in children’s roles in a number of regional ballet companies and eventually ended up in ABT II. When she was age 20 and weighed a trim 98 pounds, AD Mikhail Baryshnikov told her that she was a lovely dancer but would not be invited to join ABT because she was too stocky. Her brother, Andrew, also a ballet dancer in Minnesota was extremely thin but also stocky.
Following her professional assessment by Baryshnikov, Lea quit ballet and suddenly found herself with an acting career. It’s hardly worth mentioning the story of Lea, who is white, except that it parallels to some extent Misty Copeland’s story which some think is unique because she is not white. Lea didn’t create a public relations campaign to convince anyone of her hard times in order to land a ballet job or demand that everybody else's standards needed to change in order to accommodate her.
While Misty continues her public media campaign to get herself promoted through the use of vague, baseless accusations of racism, it has recently come to our attention that the U.S. Equal Employment Opportunity Commission (EEOC) has been considering the flip-side to Misty’s claims. Why the EEOC would be interested in alternative viewpoints of the fiction in Misty’s memoir can only be speculated, but it’s a government office that doesn’t launch investigations without being prompted by a complaint from someone claiming to be a victim of unfair treatment.
On May 30th of this year, again on June 12th, and again on August 18th, the EEOC came directly to this blog to read our review of Misty’s memoir in which we took exception to much of what she claimed. They accessed nothing else on the blog except for the entry and reader comments relating to the review of the memoir.
[click on image to enlarge and clarify]
Regardless of the outcome, a long, spun-out EEOC matter highlighted by Misty’s self-promotion in the media could be a costly distraction for ABT – a distraction that might be avoided by a negotiated agreement to give Misty a premature Swan Lake, which would entail denying more qualified, more deserving dancers the opportunity, and also help plump up her profile in the company – as if she hasn’t done enough of that herself.
These days when one views ABT’s social media, one sees nothing about Marcelo Gomes' upcoming debut in Matthew Bourne’s Swan Lake. One sees no mention of the “Stella and Tom” video which was recently featured in TimeOut New York and which was created and performed by ABT dancers. One sees no mention of the short film, On a Grass Field, which was created through a collaboration of five of ABT's dancers and is now being presented at film festivals around the area. One sees no mention of Stella Abrera's charity to help the Philippines where she is starring in Giselle. One sees no mention of young corps dancer Lauren Post’s work as an official Wilhelmina Agency model. There seems to be a complete blackout on ABT’s social media about outside accomplishments by its artists – except when it comes to Misty Copeland. Misty Copeland’s books, Misty Copeland’s interviews, Misty Copeland’s UA billboard – which by the way is only half the size of the huge double billboard that featured two Martha Graham Company dancers for GNC and which hung by the prestigious Ernst & Young building in Midtown Manhattan for several months this past year – all seem to hold great importance on ABT’s social media. Why is there a blackout of the accomplishments of so many of ABT’s dancers with a corresponding promotion of Misty Copeland’s activities?
National Public Radio is the latest media outlet to help fuel Misty’s racism campaign by publicizing her claims without any checks or balances, without any appraisal of their truth, and without any concern for accuracy.
Misty says: "I don't think every African-American or Latino have the same body type, but yes, that's been one of the excuses … saying that African-Americans are too muscular or just aren't lean enough. Usually they say, "Oh, they have flat feet so they just don't have the flexibility that it takes to create the line in a point shoe.””
NPR: [silence]
In speaking about Raven Wilkinson in the 1950s, Misty asserts with supreme authority, "She experienced a lot more severe, life-threatening racism than other minorities experienced in the ballet world at this point.”
NPR: [silence]
NPR should have asked Misty to elaborate on her personal knowledge of what “other minorities experienced in the ballet world” at that time. A good journalist would have asked.
NPR should have asked Misty who she was quoting, that is, who said African-Americans are too muscular or aren’t lean enough. A good journalist would have asked that.
NPR should have asked Misty who said, “Oh, they have flat feet so they just don’t have the flexibility that it takes to create the line in a point shoe.” A good journalist would have asked.
Who said this crap? WHO SAID IT? When? To whom? How did it negatively impact Misty’s career?
Misty is, herself, actively promoting stereotypes and racism in order to create an environment which she can then claim that she overcame. It is a hero syndrome of fueling and fanning a fire so that she can jump in as a hero and put it out. She has soared on the media’s blind willingness to allow her to make unchallenged, vague, unsubstantiated claims of racism by unnamed people. Don’t these people deserve an opportunity to admit, deny, or clarify whatever racism Misty is alluding to and using to propel her career and propel her public campaign to be promoted to principal over more qualified, more deserving colleagues?
Never mind that she’s dragging the art form through the mud; never mind that she’s dragging ABT through the mud; never mind that she’s being so disrespectful of her colleagues, some of whom are being shoved aside so that Misty can stand under the spotlight. I want what I want and I will run over whatever and whomever I want to get it seems to be her true tag line. For Misty, ballet is an individual sport where her own ranking is the priority.
Unfortunately, it’s beginning to look like it was our mistake to ever support this dancer. A couple of seasons ago during the Nutcracker coda, Misty took an unfortunate spill as she and her Nutcracker Sisters were exiting the stage. Moments later they returned to the stage for bows. We watched in horror as a visibly angry Misty turned to her colleague on stage and proceeded to trash her in front of everyone on stage and in front of a couple of thousand people in the audience in the most disgraceful, arrogant display of unprofessionalism we’d ever seen. At that time, we hoped that the aggressive behavior was just an aberration. In retrospect, we can’t help but now notice that the object of Misty’s aggression was a pretty, white, long limbed blond dancer who fits the description of those who Misty now loudly complains in her book are ballet’s race-based preference.
As Misty continues to try to advance her rank by making vague, unsubstantiated complaints about racism and attempting to take on the victimization of black artists who came before her, she dilutes the meaning and power of the word racism. Anne Benna Sims, Nora Kimball, Shelly Washington, Keith Lee, Carld Jonaissant, and Carlos Acosta are all black artists who arrived and excelled at ABT before either Misty or Kevin McKenzie arrived. That the first twenty years of McKenzie’s tenure failed to build on the progress by previous directors is not the fault of ballet, the art form.
68 responses to “observations 9/10”
Thank you for your voice of reason!!!! If Misty wants to be a principal dancer there are plenty of companies that would hire her in that capacity. I’m so sick of hearing about her “struggles”… as a former professional dancer I can attest that the majority of us have several things about our bodies that are not ideal for ballet and we all struggle to overcome that. I chose to be in a smaller company and dance principal roles instead of being limited by my bodies “imperfections” in a larger company. Did Misty work hard to get where she is today? Of course and so did EVERY other dancer who makes it their profession. She should be grateful to have made it as far as she did… Hundreds of proffesional dancers would love to have her job and casting and if it’s not enough for her at ABT she is free to audition for other companies. RANT OVER!!!! LOL
Thank you for your voice of reason!!!! If Misty wants to be a principal dancer there are plenty of companies that would hire her in that capacity. I’m so sick of hearing about her “struggles”… as a former professional dancer I can attest that the majority of us have several things about our bodies that are not ideal for ballet and we all struggle to overcome that. I chose to be in a smaller company and dance principal roles instead of being limited by my bodies “imperfections” in a larger company. Did Misty work hard to get where she is today? Of course and so did EVERY other dancer who makes it their profession. She should be grateful to have made it as far as she did… Hundreds of proffesional dancers would love to have her job and casting and if it’s not enough for her at ABT she is free to audition for other companies. RANT OVER!!!! LOL
Michaela DePrince: “Many people believe that black women shouldn’t be ballet dancers, because they think we don’t have classic ballet bodies..”
“When I was eight, I was cast to play Marie in The Nutcracker, and I prepared hard for it. But right before the show, I was told that someone else would be dancing the part because ‘people aren’t ready for a black Marie”
Precious Adams: “Adams has been left out of performances because of the color of her skin, she says, and has been told to “try and rub the black off” to make herself look more like what directors want for shows like the school’s 240th-anniversary performance earlier this month.”
A lot of high profile, black dancer’s have spoken out over decades about racism in ballet. Including Carlos Acosta and Raven Wilkinson. The former had to leave and dance in Europe because of the prejudice she experienced when dancing for Ballet Russe in America and has spoken out about it many times. Many black people learn modern instead of classical because of this stigma attached to ballet. This is very well known. I understand you dislike Misty and her speaking about her experiences because you feel she is using it for a come up and dancing roles you feel others should be dancing, but let’s not act like other black ballet dancer’s haven’t said these very same things just because a dancer you dislike is talking about it. Misty very may well have had some people say that to her. A lot of classical ballet black dancer’s, even to this day like mentioned above, have had people say things like this to them atleast once in their life.
Michaela DePrince: “Many people believe that black women shouldn’t be ballet dancers, because they think we don’t have classic ballet bodies..”
“When I was eight, I was cast to play Marie in The Nutcracker, and I prepared hard for it. But right before the show, I was told that someone else would be dancing the part because ‘people aren’t ready for a black Marie”
Precious Adams: “Adams has been left out of performances because of the color of her skin, she says, and has been told to “try and rub the black off” to make herself look more like what directors want for shows like the school’s 240th-anniversary performance earlier this month.”
A lot of high profile, black dancer’s have spoken out over decades about racism in ballet. Including Carlos Acosta and Raven Wilkinson. The former had to leave and dance in Europe because of the prejudice she experienced when dancing for Ballet Russe in America and has spoken out about it many times. Many black people learn modern instead of classical because of this stigma attached to ballet. This is very well known. I understand you dislike Misty and her speaking about her experiences because you feel she is using it for a come up and dancing roles you feel others should be dancing, but let’s not act like other black ballet dancer’s haven’t said these very same things just because a dancer you dislike is talking about it. Misty very may well have had some people say that to her. A lot of classical ballet black dancer’s, even to this day like mentioned above, have had people say things like this to them atleast once in their life.
Thanks Tiffany.
But “Many people….”? Again, who? Why didn’t Michaela name the person who made that remark that she recalls hearing as an 8-year-old?
Precious Adams and the Bolshoi would be less of a surprise, but still WHO said it?
It matters who said it, to whom it was said, the race of the person who said it, the context, and the impact on the situation. It all matters. Unless and until people are fully transparent and forthcoming with details and permit an examination to separate fact from presumption, the accusations remain baseless.
“Money was stolen from my bank account. Trust me and reimburse me. I don’t want to tell you who stole it or have you talk to them about it.”
Thanks Tiffany.
But “Many people….”? Again, who? Why didn’t Michaela name the person who made that remark that she recalls hearing as an 8-year-old?
Precious Adams and the Bolshoi would be less of a surprise, but still WHO said it?
It matters who said it, to whom it was said, the race of the person who said it, the context, and the impact on the situation. It all matters. Unless and until people are fully transparent and forthcoming with details and permit an examination to separate fact from presumption, the accusations remain baseless.
“Money was stolen from my bank account. Trust me and reimburse me. I don’t want to tell you who stole it or have you talk to them about it.”
So say they tell the names of these people to the press, the perpetrators are contacted, and (most likely) they deny that it ever happened (like in Precious Adams case). What then? We should not believe them then? So when someone is telling a personal account, regardless of racism, of what happened to them instead of sympathy it should be met with suspicion? Or is this only applicable to racism charges?
Haglund, do you believe racism doesn’t exist in ballet? Do you believe all of those dancer’s like Carlos Acosta, Raven Wilkinson, etc. are embellishing the truth and/or lying like Misty Copeland?
So say they tell the names of these people to the press, the perpetrators are contacted, and (most likely) they deny that it ever happened (like in Precious Adams case). What then? We should not believe them then? So when someone is telling a personal account, regardless of racism, of what happened to them instead of sympathy it should be met with suspicion? Or is this only applicable to racism charges?
Haglund, do you believe racism doesn’t exist in ballet? Do you believe all of those dancer’s like Carlos Acosta, Raven Wilkinson, etc. are embellishing the truth and/or lying like Misty Copeland?
Hi Tiffany.
I would not recommend that anyone try to capitalize on perceived racism or any form of discrimination in a public relations campaign unless they’re willing to be transparent and fully disclose the facts surrounding the matter.
I don’t think racism exists any more in ballet than it exists in any other aspect of our society. I can’t speak to what is happening in other societies except to observe that ballet is truly unimportant and insignificant when compared to the complete intolerance for diversity and documented ethnic slaughter that we are now observing in large parts of the world.
Hi Tiffany.
I would not recommend that anyone try to capitalize on perceived racism or any form of discrimination in a public relations campaign unless they’re willing to be transparent and fully disclose the facts surrounding the matter.
I don’t think racism exists any more in ballet than it exists in any other aspect of our society. I can’t speak to what is happening in other societies except to observe that ballet is truly unimportant and insignificant when compared to the complete intolerance for diversity and documented ethnic slaughter that we are now observing in large parts of the world.
Haglund,
So if Misty and other black dancers named names, what good would that do? Since no one has a tape recorder on hand and premonition for when these things happen, it’s basically a he said, she said battle. And legally, one could sue for defamation if specific names with no concrete proof was revealed in the press. Or they can just flat out deny it occurred like in the case of Adams.
“I don’t think racism exists any more in ballet than it exists in any other aspect of our society.”
I think this is the underlying issue of where we will not see eye to eye. I understand now why you vehemently dislike Misty talking about racism since you don’t think it exists. I have to disagree with you there.
Haglund,
So if Misty and other black dancers named names, what good would that do? Since no one has a tape recorder on hand and premonition for when these things happen, it’s basically a he said, she said battle. And legally, one could sue for defamation if specific names with no concrete proof was revealed in the press. Or they can just flat out deny it occurred like in the case of Adams.
“I don’t think racism exists any more in ballet than it exists in any other aspect of our society.”
I think this is the underlying issue of where we will not see eye to eye. I understand now why you vehemently dislike Misty talking about racism since you don’t think it exists. I have to disagree with you there.
Well, yes, Tiffany, there is that thorny issue of burden of proof. But by naming names and making details public, she would force ABT to be more transparent about its operations (which is a good thing) and explain what it has done to investigate her claims or else face the probability of a devastating drop in support. If she’s just fishing to get a big settlement by dragging the company through the mud, she should be canned. No public business would allow an employee to create a public campaign that disses its entire industry the way Misty is going after all of ballet. She would have been canned long ago. She really needs to put up or shut up.
Misty has already demonstrated a tendency to imagine what other people are thinking and define that as racism. There are examples of that in her book.
You may have misunderstand the part of my comment that you pulled out of context. I didn’t even come close to saying that I don’t think racism exists period. I said that I don’t think that it exists “any more in ballet than it exists in any other aspect of our society.” I don’t think it’s any more prevalent in ballet than anywhere else.
Well, yes, Tiffany, there is that thorny issue of burden of proof. But by naming names and making details public, she would force ABT to be more transparent about its operations (which is a good thing) and explain what it has done to investigate her claims or else face the probability of a devastating drop in support. If she’s just fishing to get a big settlement by dragging the company through the mud, she should be canned. No public business would allow an employee to create a public campaign that disses its entire industry the way Misty is going after all of ballet. She would have been canned long ago. She really needs to put up or shut up.
Misty has already demonstrated a tendency to imagine what other people are thinking and define that as racism. There are examples of that in her book.
You may have misunderstand the part of my comment that you pulled out of context. I didn’t even come close to saying that I don’t think racism exists period. I said that I don’t think that it exists “any more in ballet than it exists in any other aspect of our society.” I don’t think it’s any more prevalent in ballet than anywhere else.
Haglund,
I’m unbelievably shocked that you are being “watched” by the EEOC.
Are we still living in a free society? I don’t think so.
Haglund,
I’m unbelievably shocked that you are being “watched” by the EEOC.
Are we still living in a free society? I don’t think so.
LOL, Diana, but I’m watching them watching me. We’re all being watched by someone.
LOL, Diana, but I’m watching them watching me. We’re all being watched by someone.
I agree with a lot of what you say, Haglund, but to be fair to Copeland, her Swan Lake received glowing reviews. Also, I see no reason to speculate that there was a racial aspect to why she “trashed” her fellow dancer. It’s not like she has a reputation for being difficult to other dancers, is it? She’s probably just been watching too much pro sports!
I agree with a lot of what you say, Haglund, but to be fair to Copeland, her Swan Lake received glowing reviews. Also, I see no reason to speculate that there was a racial aspect to why she “trashed” her fellow dancer. It’s not like she has a reputation for being difficult to other dancers, is it? She’s probably just been watching too much pro sports!
Hi, Ken. Yes, she had the media’s sympathy early on with one writer declaring that she “earned” the opportunity to dance Swan Lake at ABT perhaps without really knowing much of what is going on there or aware of the better dancers who Copeland skipped over. I haven’t read any reviews that tackle the technical aspects of her performance with any detail. I don’t know whether Misty has a reputation for being especially difficult toward other dancers other than na-na-na-ing. I wouldn’t cut her slack for her onstage lapse of decorum, though.
Hi, Ken. Yes, she had the media’s sympathy early on with one writer declaring that she “earned” the opportunity to dance Swan Lake at ABT perhaps without really knowing much of what is going on there or aware of the better dancers who Copeland skipped over. I haven’t read any reviews that tackle the technical aspects of her performance with any detail. I don’t know whether Misty has a reputation for being especially difficult toward other dancers other than na-na-na-ing. I wouldn’t cut her slack for her onstage lapse of decorum, though.
Haglund,
It’s hard to know what is really going on. I am totally outside the ballet world, so I have no first-hand knowledge of the role that racism might play in promotions. We all know that racism exists. What’s unfortunate about this situation is that it’s so easy to make the larger public believe that Misty’s position is the result of unfair treatment. Ballet lovers accept that art is not a democracy; it’s a meritocracy. The process for choosing a dancer for the top rank of a world-class company is necessarily unfair. Genetic accidents like bow legs or a disproportionate body can blast the ambitions of the hardest-working young student. Sure, it’s not fair, but fairness is not the point.
Misty insists that the ballet world is biased against black dancers because of what it perceives as their unsuitable muscles or excess curves. But one of the things that seems to get lost in the discussion is that Misty has already attained a status at ABT that is the envy of tens of thousands of aspiring dancers. To be a soloist at such a company is an honor and a privilege that most would kill for. Her gifts have been recognized, and she has been elevated to a rank that demonstrates management’s belief in her. It’s hard to argue that racism has been such an obstacle for her. If the powers that be in ballet are intent on holding her back, they haven’t done a very good job.
If racism is ruining the careers of gifted young dancers, that issue must be addressed and resolved. But people need to understand that in the world of art, would-be performers face unfairness every day, and that’s inevitable. Discipline, dedication, blood, sweat, and tears won’t get you to the rank of principal, the absolute zenith of the art, if you don’t have that extra something that transforms the mortal into the divine. Maybe Misty doesn’t have it. If that is the case, blaming others and moaning about the unfairness of it all is pointless and even destructive. The millions who are listening to Misty buy her story without examining it, and ballet is being damaged. That is a shame.
Nicole
Haglund,
It’s hard to know what is really going on. I am totally outside the ballet world, so I have no first-hand knowledge of the role that racism might play in promotions. We all know that racism exists. What’s unfortunate about this situation is that it’s so easy to make the larger public believe that Misty’s position is the result of unfair treatment. Ballet lovers accept that art is not a democracy; it’s a meritocracy. The process for choosing a dancer for the top rank of a world-class company is necessarily unfair. Genetic accidents like bow legs or a disproportionate body can blast the ambitions of the hardest-working young student. Sure, it’s not fair, but fairness is not the point.
Misty insists that the ballet world is biased against black dancers because of what it perceives as their unsuitable muscles or excess curves. But one of the things that seems to get lost in the discussion is that Misty has already attained a status at ABT that is the envy of tens of thousands of aspiring dancers. To be a soloist at such a company is an honor and a privilege that most would kill for. Her gifts have been recognized, and she has been elevated to a rank that demonstrates management’s belief in her. It’s hard to argue that racism has been such an obstacle for her. If the powers that be in ballet are intent on holding her back, they haven’t done a very good job.
If racism is ruining the careers of gifted young dancers, that issue must be addressed and resolved. But people need to understand that in the world of art, would-be performers face unfairness every day, and that’s inevitable. Discipline, dedication, blood, sweat, and tears won’t get you to the rank of principal, the absolute zenith of the art, if you don’t have that extra something that transforms the mortal into the divine. Maybe Misty doesn’t have it. If that is the case, blaming others and moaning about the unfairness of it all is pointless and even destructive. The millions who are listening to Misty buy her story without examining it, and ballet is being damaged. That is a shame.
Nicole
Add Misty’s name to the list of Media Bullies who are capitalizing on the egress socila media provides to sway public opinion. THE REAL ISSUE is not racism, Misty is cleverly playing the race card to draw attention to herself. If she, or rather when she, creates enough cache around her name, it is likely that the potential earnings derived from casting Misty (in her egomaniacal drive to obtain a principal role) might make her an attractive option to Kevin McKenzie. This strategy is pathetic and you can be certain I and many others would BOYCOTT. I think she is best suited to model UnderArmor Sportswear and with her bulbous body, should be delighted ABT even let her in the door!
Add Misty’s name to the list of Media Bullies who are capitalizing on the egress socila media provides to sway public opinion. THE REAL ISSUE is not racism, Misty is cleverly playing the race card to draw attention to herself. If she, or rather when she, creates enough cache around her name, it is likely that the potential earnings derived from casting Misty (in her egomaniacal drive to obtain a principal role) might make her an attractive option to Kevin McKenzie. This strategy is pathetic and you can be certain I and many others would BOYCOTT. I think she is best suited to model UnderArmor Sportswear and with her bulbous body, should be delighted ABT even let her in the door!
Hi, Nicole.
While ABT certainly should be run as a meritocracy, it is really simply the reflection of the personal taste of one person who has been in way over his head for a long time. Entrenched and incapable is not a good combination.
Hi, Nicole.
While ABT certainly should be run as a meritocracy, it is really simply the reflection of the personal taste of one person who has been in way over his head for a long time. Entrenched and incapable is not a good combination.
Hi Minnie.
I enjoy Misty’s work in contemporary ballets. It’s the Petipa works in which she still is a complete misfire.
As for her PR cache translating into ticket sales. It’s not happening.
Hi Minnie.
I enjoy Misty’s work in contemporary ballets. It’s the Petipa works in which she still is a complete misfire.
As for her PR cache translating into ticket sales. It’s not happening.
Haglund:
FYI, Misty’s Facebook page just posted this video featuring clips of her Swan Lake performance in Australia. Hopefully more clips will appear soon to give us a better idea of what her performance looked like.
http://az32167.vo.msecnd.net/media-release-videos/ABT-Misty-Copeland-Swan-Lake-VNR-20140904.mp4
Haglund:
FYI, Misty’s Facebook page just posted this video featuring clips of her Swan Lake performance in Australia. Hopefully more clips will appear soon to give us a better idea of what her performance looked like.
http://az32167.vo.msecnd.net/media-release-videos/ABT-Misty-Copeland-Swan-Lake-VNR-20140904.mp4
Laurel,
Thank you so much for finding this clip. It appears to have been made in conjunction with a documentary for which Nelson George was fundraising on Kickstarter last year.
Unfortunately, the clip confirms what was expected, and I hope this isn’t as good as it gets. It’s interesting that the first performance footage is of Odile’s fouettes. The strange editing makes it clear that there were major problems, and how strange to see Misty begin the sequence in the upstage corner because she anticipated traveling. I’ve never seen an Odile make that compromise. Her online fans of her online image aren’t going to know that, and of course, aren’t going to buy tickets either.
I did like the final pose of the clean diagonal around 5:00. At least her arms aren’t flying around during the phrase and she maintains some classical shape although it is a very simple diagonal.
The Odette clips are dreadful, like a student performance without an ounce of poetry. The closeups of her upper body and arms have not helped her cause. She managed as well as any ABT corps member or ABT II trainee would, which is also to say that she would look fine in many regional ballet companies’ smaller productions. But the quality is a far cry from what we would expect to see from Yuriko, Sarah, Stella, Simone, and Maria or other ABT professionals. Unfortunately for Misty, it is all extremely relevant who we are being denied seeing so that she can have her opportunities.
I wish Misty would stop lying about when she became a member of ABT as she did in this clip. She keeps claiming that she joined ABT when she was 17 “after just 4 years of training” when in fact she got into the studio company, not the main company. It was another two years before she actually joined ABT. The lies and the misrepresentation just keep coming and coming.
Laurel,
Thank you so much for finding this clip. It appears to have been made in conjunction with a documentary for which Nelson George was fundraising on Kickstarter last year.
Unfortunately, the clip confirms what was expected, and I hope this isn’t as good as it gets. It’s interesting that the first performance footage is of Odile’s fouettes. The strange editing makes it clear that there were major problems, and how strange to see Misty begin the sequence in the upstage corner because she anticipated traveling. I’ve never seen an Odile make that compromise. Her online fans of her online image aren’t going to know that, and of course, aren’t going to buy tickets either.
I did like the final pose of the clean diagonal around 5:00. At least her arms aren’t flying around during the phrase and she maintains some classical shape although it is a very simple diagonal.
The Odette clips are dreadful, like a student performance without an ounce of poetry. The closeups of her upper body and arms have not helped her cause. She managed as well as any ABT corps member or ABT II trainee would, which is also to say that she would look fine in many regional ballet companies’ smaller productions. But the quality is a far cry from what we would expect to see from Yuriko, Sarah, Stella, Simone, and Maria or other ABT professionals. Unfortunately for Misty, it is all extremely relevant who we are being denied seeing so that she can have her opportunities.
I wish Misty would stop lying about when she became a member of ABT as she did in this clip. She keeps claiming that she joined ABT when she was 17 “after just 4 years of training” when in fact she got into the studio company, not the main company. It was another two years before she actually joined ABT. The lies and the misrepresentation just keep coming and coming.
I wonder how many ballet companies would bother to contact Ms. Copeland after seeing this clip. She is a pretty woman and very eloquent, but the dancing is, well, mediocre. Baryshnikov in one of his interviews on youtube speaks to the need of dancers to get exposure to a broad spectrum of books, art, theater etc., since as we know nothing comes from nothing. Somehow I doubt that Ms. Copeland’s many activities leave her time to do do that, and so when I saw her as Lescaut’s mistress to Vishneva’s Manon, all I could think of is how great that dress and wig looked on her, how well she shows off a pretty leg, and this is unfortunately what I remember as her interpretation was so superficial.
Even if Vishneva was super exalted, which is not everyone’s cup of tea, the artistry is unquestionable, and then there is the technique.
I like Ms. Copeland in modern rep well enough and this is her strong suit. In the end she may be her own worst enemy.
I also wonder what hell would break loose if a Caucasian ballerina, assuming there was one with such lack of class, would trash Ms. Copeland on stage or off for that matter. The double standard is glaring.
I wonder how many ballet companies would bother to contact Ms. Copeland after seeing this clip. She is a pretty woman and very eloquent, but the dancing is, well, mediocre. Baryshnikov in one of his interviews on youtube speaks to the need of dancers to get exposure to a broad spectrum of books, art, theater etc., since as we know nothing comes from nothing. Somehow I doubt that Ms. Copeland’s many activities leave her time to do do that, and so when I saw her as Lescaut’s mistress to Vishneva’s Manon, all I could think of is how great that dress and wig looked on her, how well she shows off a pretty leg, and this is unfortunately what I remember as her interpretation was so superficial.
Even if Vishneva was super exalted, which is not everyone’s cup of tea, the artistry is unquestionable, and then there is the technique.
I like Ms. Copeland in modern rep well enough and this is her strong suit. In the end she may be her own worst enemy.
I also wonder what hell would break loose if a Caucasian ballerina, assuming there was one with such lack of class, would trash Ms. Copeland on stage or off for that matter. The double standard is glaring.
I would love to know what the other dancers at ABT think of her claims. Misty admits she was a prodigy and that she had the attributes necessary for a ballet career. Is she now saying that those attributes need to be changed? Does she want diversity at the expense of the art form? Is her goal to change what is known as pure classical line? I fail to see where she is a victim in all of this. I am not denying her talent and she has achieved quite an bit and should be very proud.
I would love to know what the other dancers at ABT think of her claims. Misty admits she was a prodigy and that she had the attributes necessary for a ballet career. Is she now saying that those attributes need to be changed? Does she want diversity at the expense of the art form? Is her goal to change what is known as pure classical line? I fail to see where she is a victim in all of this. I am not denying her talent and she has achieved quite an bit and should be very proud.
Farmazon and Smurray, thanks much for the comments.
Smurray, Misty is trying to argue that the standards and expectations of classical ballet need to be adjusted to accommodate her, and she is trying to advance the argument that her physical shortcomings are race-based and thus should not be used to hold her back. She doesn’t mention whose fault her technical shortcomings are. Meanwhile, the most exquisite black ballerina with a perfect body and technique stronger than Misty’s sits on ABT’s backburner along with a lot of other better dancers. It’s disgusting.
Farmazon and Smurray, thanks much for the comments.
Smurray, Misty is trying to argue that the standards and expectations of classical ballet need to be adjusted to accommodate her, and she is trying to advance the argument that her physical shortcomings are race-based and thus should not be used to hold her back. She doesn’t mention whose fault her technical shortcomings are. Meanwhile, the most exquisite black ballerina with a perfect body and technique stronger than Misty’s sits on ABT’s backburner along with a lot of other better dancers. It’s disgusting.
Copeland should hook up with Rasta Thomas’ company. She would fit right in.
Copeland should hook up with Rasta Thomas’ company. She would fit right in.
Hi, dc. That’s an interesting thought.
What is sad is that after all of her hoopla and bravado, she clearly hadn’t put in the work necessary to pull off a Swan Lake at the expected technical standard. It wasn’t nerves which kept her from meeting the demands of Odile; she set up those fouettes as though she knew going into them that they weren’t going to be good. Meanwhile, the better artist and technician, Sarah Lane, who should have had a half dozen or more ABT Swan Lakes under her belt by now and should have been appointed principal long ago, has to stand there and watch another one of her debuts slip by. It’s heartbreaking to see this crap going on at ABT.
Hi, dc. That’s an interesting thought.
What is sad is that after all of her hoopla and bravado, she clearly hadn’t put in the work necessary to pull off a Swan Lake at the expected technical standard. It wasn’t nerves which kept her from meeting the demands of Odile; she set up those fouettes as though she knew going into them that they weren’t going to be good. Meanwhile, the better artist and technician, Sarah Lane, who should have had a half dozen or more ABT Swan Lakes under her belt by now and should have been appointed principal long ago, has to stand there and watch another one of her debuts slip by. It’s heartbreaking to see this crap going on at ABT.
I agree that the Swan Lake video comes to us from filmmaker Nelson George for his documentary on Misty (full disclosure: I was a donor to the film’s Kickstarter campaign). I was certain he would take this opportunity to showcase some of his footage to enhance Misty’s ongoing Swan Lake publicity campaign, and I remain hopeful that he’ll offer us a bit more footage at some point. You’re accurate in your assessment of what he’s chosen to present to us. These carefully selected clips show only some “good bits” from energetic sequences filled with lots of action, colorful costumes and movement. The haphazard way this raw footage has been edited precludes anyone with a sharp eye from seeing too much, but for online fans with little knowledge of ballet it’s exciting & attractive entertainment.
Misty’s Facebook page is a great source of propaganda for all things Misty. Two weeks ago, just prior to her Swan Lake performance, the page posted a billboard image from the Queensland Performing Arts Center displaying headshots of “Principal Dancers for Swan Lake,” with a shot of Misty cropped to appear front & center. The Facebook fans went wild, congratulating her on her well-deserved promotion (“It’s about time!”). The posting was removed soon after, however, most likely when someone pointed out just how misleading it was. I began following Misty on Facebook four years ago – I liked her and wanted to see her dance more often – but her page’s downward trajectory into an outlet for provocative photos and the struggle for equality in ballet has been extraordinary. However, if more Swan Lake clips appear, this will be the place to find them, and I’m keeping my eyes peeled.
I agree that the Swan Lake video comes to us from filmmaker Nelson George for his documentary on Misty (full disclosure: I was a donor to the film’s Kickstarter campaign). I was certain he would take this opportunity to showcase some of his footage to enhance Misty’s ongoing Swan Lake publicity campaign, and I remain hopeful that he’ll offer us a bit more footage at some point. You’re accurate in your assessment of what he’s chosen to present to us. These carefully selected clips show only some “good bits” from energetic sequences filled with lots of action, colorful costumes and movement. The haphazard way this raw footage has been edited precludes anyone with a sharp eye from seeing too much, but for online fans with little knowledge of ballet it’s exciting & attractive entertainment.
Misty’s Facebook page is a great source of propaganda for all things Misty. Two weeks ago, just prior to her Swan Lake performance, the page posted a billboard image from the Queensland Performing Arts Center displaying headshots of “Principal Dancers for Swan Lake,” with a shot of Misty cropped to appear front & center. The Facebook fans went wild, congratulating her on her well-deserved promotion (“It’s about time!”). The posting was removed soon after, however, most likely when someone pointed out just how misleading it was. I began following Misty on Facebook four years ago – I liked her and wanted to see her dance more often – but her page’s downward trajectory into an outlet for provocative photos and the struggle for equality in ballet has been extraordinary. However, if more Swan Lake clips appear, this will be the place to find them, and I’m keeping my eyes peeled.
Wow, Laurel, that’s really extraordinary that she would tamper with an official ABT photo to make herself more prominent. It looks more and more like we’re seeing someone with a real and serious narcissistic disorder, particularly in light of the increasingly provocative photos that she’s publishing for her young fans. I couldn’t imagine any company in the business world putting up with that kind of behavior.
Wow, Laurel, that’s really extraordinary that she would tamper with an official ABT photo to make herself more prominent. It looks more and more like we’re seeing someone with a real and serious narcissistic disorder, particularly in light of the increasingly provocative photos that she’s publishing for her young fans. I couldn’t imagine any company in the business world putting up with that kind of behavior.
Haglund, I don’t want you to get the wrong idea, so let me just add that, like most celebrities on Facebook, it’s quite obvious that Misty herself has nothing whatsoever to do with her Facebook page. It’s being used as a propaganda / promotional tool by her public relations / publicity people / handlers / agents or whoever else it may be that’s running her career now. Someone may have gotten themselves in trouble over that Principal Dancer headshot business, but the problem was quickly removed from the page & likely forgotten by most. You’ve previously mentioned how certain ABT dancers feel free to post lurid videos of themselves on YouTube, while others find their way onto the front page of the NY Post, so it seems that ABT has little concern regarding how their dancers present themselves to the public, and some of them do take advantage of that freedom.
Haglund, I don’t want you to get the wrong idea, so let me just add that, like most celebrities on Facebook, it’s quite obvious that Misty herself has nothing whatsoever to do with her Facebook page. It’s being used as a propaganda / promotional tool by her public relations / publicity people / handlers / agents or whoever else it may be that’s running her career now. Someone may have gotten themselves in trouble over that Principal Dancer headshot business, but the problem was quickly removed from the page & likely forgotten by most. You’ve previously mentioned how certain ABT dancers feel free to post lurid videos of themselves on YouTube, while others find their way onto the front page of the NY Post, so it seems that ABT has little concern regarding how their dancers present themselves to the public, and some of them do take advantage of that freedom.
Thanks, Laurel. I agree that it’s likely that Misty has some help in managing her FB, Twitter, Instagram, and website. But the picture-cropping incident isn’t inconsistent with her own direct efforts to be the center of attention.
Thanks, Laurel. I agree that it’s likely that Misty has some help in managing her FB, Twitter, Instagram, and website. But the picture-cropping incident isn’t inconsistent with her own direct efforts to be the center of attention.
I thought it might be interesting to see if Misty’s story has evolved over the years. I found this article from 2010, where the “adversity” in her path to becoming a ballerina appears to be limited to the financial sort (something many of us can relate to, regardless of our color). She appears to have followed a very straight path to where she is today, and in a much shorter time than most ballet dancers. Could race have played a role in that, as well? http://www.dancemagazine.com/issues/December-2010/Mistys-Magic
I’m very troubled by Misty’s focus on the race/body type issue. As Haglund has pointed out, the body type issue applies to all races, and it is equally devastating to all dancers who experience it.
I thought it might be interesting to see if Misty’s story has evolved over the years. I found this article from 2010, where the “adversity” in her path to becoming a ballerina appears to be limited to the financial sort (something many of us can relate to, regardless of our color). She appears to have followed a very straight path to where she is today, and in a much shorter time than most ballet dancers. Could race have played a role in that, as well? http://www.dancemagazine.com/issues/December-2010/Mistys-Magic
I’m very troubled by Misty’s focus on the race/body type issue. As Haglund has pointed out, the body type issue applies to all races, and it is equally devastating to all dancers who experience it.
Thanks, Ellen.
Clearly, Misty’s message is being refined continually as people take exception to her original claims, but her memoir is so full of gobbledygook that she may never be able to recover integrity.
With regard to body issues – according to her book, Misty had a several year delay in the onset of puberty for which she eventually saw a physician who prescribed medication to get it started which also started her negative body issues. By then, she was clearly on ABT’s training radar and they were investing considerable time in her. If she had hit puberty at age 11 or 12 like most girls, would ABT have given her a second look for professional training? Perhaps not.
Thanks, Ellen.
Clearly, Misty’s message is being refined continually as people take exception to her original claims, but her memoir is so full of gobbledygook that she may never be able to recover integrity.
With regard to body issues – according to her book, Misty had a several year delay in the onset of puberty for which she eventually saw a physician who prescribed medication to get it started which also started her negative body issues. By then, she was clearly on ABT’s training radar and they were investing considerable time in her. If she had hit puberty at age 11 or 12 like most girls, would ABT have given her a second look for professional training? Perhaps not.
Speaking of body stereotypes, this year POB just admitted 8 new corps de ballet (all graduated from its affiliated school). But I would like to direct your attention to one of the 2 black dancers admitted; Awa Joannais which has body slenderer than her white colleagues, blessed with long legs and beautifully arched feet. Misty probably would like to change her statement if she see her 🙂
http://33.media.tumblr.com/82b204e54a32c4f5a362e58b31bed93a/tumblr_n85xsijyA41qha0swo3_1280.jpg
Awa is also featured in POB School documentary “Seeds of stars” https://www.youtube.com/watch?v=OjevE9IGaZQ In which her school director Elisabeth Platel and coach Violette Verdy made remark on her beautiful footwork.
Speaking of body stereotypes, this year POB just admitted 8 new corps de ballet (all graduated from its affiliated school). But I would like to direct your attention to one of the 2 black dancers admitted; Awa Joannais which has body slenderer than her white colleagues, blessed with long legs and beautifully arched feet. Misty probably would like to change her statement if she see her 🙂
http://33.media.tumblr.com/82b204e54a32c4f5a362e58b31bed93a/tumblr_n85xsijyA41qha0swo3_1280.jpg
Awa is also featured in POB School documentary “Seeds of stars” https://www.youtube.com/watch?v=OjevE9IGaZQ In which her school director Elisabeth Platel and coach Violette Verdy made remark on her beautiful footwork.
Al, thank you so much for the links and information. Awa is absolutely beautiful, isn’t she? Do you happen to have a link where we can find the names of the new eight dancers accepted into POB? It doesn’t appear as though the website’s list of Quadrilles has been updated yet.
Thanks for taking the time to read H.H., Al. Are you able to occasionally get to Manila or Australia to see some ballet? Is there a local ballet company in a city close to you?
Regards,
Haglund
Al, thank you so much for the links and information. Awa is absolutely beautiful, isn’t she? Do you happen to have a link where we can find the names of the new eight dancers accepted into POB? It doesn’t appear as though the website’s list of Quadrilles has been updated yet.
Thanks for taking the time to read H.H., Al. Are you able to occasionally get to Manila or Australia to see some ballet? Is there a local ballet company in a city close to you?
Regards,
Haglund
This is the link:
http://www.dansesaveclaplume.com/actualites/concours-de-recrutement-2014-du-ballet-de-lopera-de-paris-les-resultats/ and http://www.forum-dansomanie.net/forum/viewtopic.php?t=6732
I did see Ballet Manila in 2008 performed Romeo and Juliet, although the performance was unremarkable (probably because I was not a balletomanne those days and forgot to bring my glasses)
My work doesn’t allow me many opportunities to watch ballet in other countries although I was very tempted to see POB when they toured Singapore in 2012.
This is the link:
http://www.dansesaveclaplume.com/actualites/concours-de-recrutement-2014-du-ballet-de-lopera-de-paris-les-resultats/ and http://www.forum-dansomanie.net/forum/viewtopic.php?t=6732
I did see Ballet Manila in 2008 performed Romeo and Juliet, although the performance was unremarkable (probably because I was not a balletomanne those days and forgot to bring my glasses)
My work doesn’t allow me many opportunities to watch ballet in other countries although I was very tempted to see POB when they toured Singapore in 2012.
Thanks much for the links, Al. It is all very interesting reading.
Thanks much for the links, Al. It is all very interesting reading.
Haglund,
Michaela DePrince’s book is even-handed. She mentions that she has experienced incidents of racism, both in ballet and out, and from both white people and black. She talks about her concerns that as an African girl there might not be a place for her in classical ballet because she is very visible on a stage among white dancers in the corps. But racism is not the premise of her book. It is incidental. To fail to acknowledge it would be unrealistic. Michaela’s story is about war, starvation, and loss. It is a story of hope, love and support of family, and inspiration. It is a story of being grateful and giving back. It is about sending a message of perseverance in the face of adversity. It’s a story of triumph. Why didn’t she give the names of individuals who made racist comments? It would never have gotten through Random House’s legal vetting process if she did. I know because I am her mother, co-author, and formerly a law student at Rutgers School of Law.
Best,
Elaine DePrince
Haglund,
Michaela DePrince’s book is even-handed. She mentions that she has experienced incidents of racism, both in ballet and out, and from both white people and black. She talks about her concerns that as an African girl there might not be a place for her in classical ballet because she is very visible on a stage among white dancers in the corps. But racism is not the premise of her book. It is incidental. To fail to acknowledge it would be unrealistic. Michaela’s story is about war, starvation, and loss. It is a story of hope, love and support of family, and inspiration. It is a story of being grateful and giving back. It is about sending a message of perseverance in the face of adversity. It’s a story of triumph. Why didn’t she give the names of individuals who made racist comments? It would never have gotten through Random House’s legal vetting process if she did. I know because I am her mother, co-author, and formerly a law student at Rutgers School of Law.
Best,
Elaine DePrince
Thanks much, Elaine. I look forward to reading Michaela’s book, Taking Flight, which can be purchased here beginning October 14th:
http://www.amazon.com/Taking-Flight-From-Orphan-Ballerina/dp/0385755112/ref=sr_1_1?ie=UTF8&qid=1412943639&sr=8-1&keywords=michaela+de+prince.
Her basic story is far more compelling than others we have been hearing about lately.
As you know, there is a reason why publishers would be hesitant to allow the “naming of names” in unproven claims of racism from being printed. They don’t want to be sued. Substantiated claims would likely be welcomed text.
In Misty’s book, she cites examples of racism based on her self-perceived ability to read people’s minds and know that they were thinking racist thoughts about her. She cited examples of racism based on her not feeling comfortable around people who would not make her the center of attention. She cited racism for not being accepted into NYCB’s School of American Ballet because her teacher told her that was the reason. She cast a wide net of accusation and aspersion across all of ABT and ballet with not an ounce of evidence. The hard-wired media bought it hook, line, and sinker because it was a marketable story which they then ran as news without the requisite due diligence. She has had to significantly back off her claims and continually massages her “message” as revelations of inaccuracies surface, but not before banking the profits made from her claims. She now sounds like an airhead bimbo competing in a Miss America pagent. “The ballet world is so far behind the rest of the world in terms of diversity…” When was the last time Misty picked up a newspaper to see what is actually going on in parts of the rest of the world where there is zero tolerance for any type of ethnic diversity?
While a publisher may not want to print names, that doesn’t prevent an author from subsequently revealing them unless he has an agreement not to. Not “naming names” simply protects the perpetrators, allows the behavior to continue, and also casts aspersions where they are not deserved.
When people in this country commit racism, they need to be called out on it, not protected by their victims.
Thanks much, Elaine. I look forward to reading Michaela’s book, Taking Flight, which can be purchased here beginning October 14th:
http://www.amazon.com/Taking-Flight-From-Orphan-Ballerina/dp/0385755112/ref=sr_1_1?ie=UTF8&qid=1412943639&sr=8-1&keywords=michaela+de+prince.
Her basic story is far more compelling than others we have been hearing about lately.
As you know, there is a reason why publishers would be hesitant to allow the “naming of names” in unproven claims of racism from being printed. They don’t want to be sued. Substantiated claims would likely be welcomed text.
In Misty’s book, she cites examples of racism based on her self-perceived ability to read people’s minds and know that they were thinking racist thoughts about her. She cited examples of racism based on her not feeling comfortable around people who would not make her the center of attention. She cited racism for not being accepted into NYCB’s School of American Ballet because her teacher told her that was the reason. She cast a wide net of accusation and aspersion across all of ABT and ballet with not an ounce of evidence. The hard-wired media bought it hook, line, and sinker because it was a marketable story which they then ran as news without the requisite due diligence. She has had to significantly back off her claims and continually massages her “message” as revelations of inaccuracies surface, but not before banking the profits made from her claims. She now sounds like an airhead bimbo competing in a Miss America pagent. “The ballet world is so far behind the rest of the world in terms of diversity…” When was the last time Misty picked up a newspaper to see what is actually going on in parts of the rest of the world where there is zero tolerance for any type of ethnic diversity?
While a publisher may not want to print names, that doesn’t prevent an author from subsequently revealing them unless he has an agreement not to. Not “naming names” simply protects the perpetrators, allows the behavior to continue, and also casts aspersions where they are not deserved.
When people in this country commit racism, they need to be called out on it, not protected by their victims.