Pique Arabesque

Copeland aside (I'm one who only enjoys her dancing in certain things such as Tharp ballets). In terms of race and the paucity of black dancers in major companies - I really don't thing that a company director looks at a dancer and says - I'd love to hire her, but she's black so I can't or won't. Graff not getting into NYCB doesn't surprise me because they hire out of their school.

It seems to me that the problem is exposure (black audiences seeing ballet), the cost and availability of quality training if a child is interested, and just plain numbers. If you looked at all of the little girls who begin ballet training in any year, the chances of any one of them getting into a major company in 12 or 15 years is really, really small.

When DTH was resurrecting, even Virginia Johnson was disappointed by the small number of qualified black dancers who auditioned.

Maybe, I'm talking chicken and egg but there can't be a large number of wonderful black dancers rising to the top until there are scads of black dancers students.

My view of Copeland is that her publicity and self promotion is getting her roles that others should have. Whether it is ultimately for the best depends on your point of view. BTW Alicia Graff's interview on Ballet Initiative is worth a listen. Funny, when Virginia Johnson's picture was on her wall as a kid (Along with Judith Jameson, Cynthia Gregory, and many others) she thought Johnson was white!!

The Graf story has always made me a little sad. It's sad when a career is derailed that way. And I do agree with your second and fourth paragraphs. Lauren Anderson (I mentioned her in a previous post) is working an Outreach Associate for Houston Ballet, and I think that Project Plie is a step in the right direction for ABT. Maybe they can make a difference.

I am happy to see Misty tackling more classical roles. Her "self-promotion" did not stop Isabella Boylston from getting promoted to principal, and I don't think it's interfering with any other dancer's career trajectory. If McKenzie wanted to promote Abrera or Lane, he would do it - regardless of what Misty is doing in her spare time.

I will have to check out the AGM interview!

I maintain that if ABT had a serious issue with Misty's comments in to the media, they would have shut her down by now.

Imagine the bad publicity _that_ would bring them. That would be pretty dumb, don’t you think? They have no way of responding without drawing scrutiny from a wider audience, and as this thread demonstrates, an awful lot of people are inclined to accept her story without evidence it’s true. On the other hand . . .

And as for her "insinuations": I believe that she doesn't name dates/people because because she isn't seeking retribution. Her intended audience isn't older, white fans who comment on boards like BA. It's the young, black girls who have been told that they don't have the "right look" (here's the institutional racism) for ballet. She is telling them - "Hey! I've been through this, and now I'm a soloist with ABT. Hang in there!"

. . . it’s highly doubtful that she could get anyone fired or disciplined with claims – and could she substantiate them? – made years after the fact. If retribution was what she was after, she’s had it the only way she could. But I don’t presume she was. I’m sure she wants to encourage black kids (and make a buck and become a celebrity - her right). Teaching them nuanced and charitable thinking – ‘Although I want to change the tradition, I can see it’s not designed to keep you and me out’ – would have been a real service.

Also, as someone who has been a soloist for 7 years - and is likely nearing the end of her career - she paid her dues (she was well received in Firebird and Coppelia), and deserves an opportunity to tackle more challenging roles (hence the O/O). Giving Misty more opportunities will not compromise the career trajectory of other female soloists. don't think it's just PR. And what's wrong with attracting new audiences? If ballet is to remain a vital art form, we need "new audiences."

Attracting new audiences is great, and I’m sure most soloists think they can do principal roles, but one doesn’t just put in X years as a soloist and deserve Swan Lake. I don't know how ABT works, but it shouldn't work that way.

ABT could have easily released a statement that said: "We embrace dancers of all colors, and have given Misty many opportunities to shine" (or something to that effect). Management could have also taken her aside and politely told her to reduce her number of media appearances. I think both of those approaches would have been wrong, but I'm also an anti-racist person. I also am unnerved by the insinuation that Misty is lying about a problem that numerous black female dancers have identified over the years:

If she had lied in her autobiography, I feel like someone would have called her out on it. In this era of social media, most people who lie in memoirs are eventually called out for it (thinking of James Frey here).

In 2014, I don't think there is a smoke filled room at every ballet company where ADs deliberately hatch plans to keep black women away from their ranks. But I recall Aesha Ash (I believe she had a bit of a following on these boards) mentioning that she left NYCB because Peter Martins was no longer interested in developing her. Yet, he is interested in developing dancers like Chase Finlay (who probably reminds Martins of a young version of himself). Likewise, the "potential" that the Mariinsky saw in Oxana Skorik and Alina Somova was probably largely based on their similarity to the classical ideal. While we like to think that the cream automatically rises to the crop, I think that ADs make personnel/promotion decisions based on instincts and hunches, and a lifetime of socialization that white/slender = ballerina/danseur. A better message might be: "Ballet is not deliberately designed to keep us out, but you will find yourself fighting twice as hard and needing to be twice as good to get the same opportunities and respect that your white peers receive."

I feel like Misty's O/O hasn't just come out of nowhere. She has tackled other classical roles, and received good reviews for them (people on this very board had nice things to say about her Coppelia). Also, none of the Misty critics have even seen her perform O/O, and it has been well received in Australia. The amount of outrage that this casting has generated would be hilarious if it wasn't so offensive. If she is tackling O/O for the first time, an out of country tour is the place to do it.

Also, mods: Misty's last name is misspelled in the thread title. It's Copeland, not Copland.

[Added by Helene: Thank you -- I've fixed the title.]

Misty insinuates that she has been discriminated against, but never gives specifics regarding time, place, person, role, and so on. Insinuation without factual detail is debilitating to the reputation of a major organization. Of course she hasn't brought suit. She gets a lot further with mere insinuation. Maybe the specifics will be revealed in some future book. ABT is now embracing Misty because it will put an end to critics who allege that she is denied roles based on race. They are also embracing her in the hope of attracting "new audiences."

Most of the soloists at ABT are overlooked for principal roles, except those who prove to be extraordinarily talented and skilled. ABT is, and always has been, a place where guest artists occupy a significant portion of the roster for the plum roles and performances. Like it or not, that's how it is at ABT. So is it racism at ABT that is the factor that has held Misty back, or is it just the way things are at ABT for almost all soloists. Does anyone who attends ABT performances regularly think that Misty is more talented, has better technique and stronger abilities than the other female soloists?

I maintain that if ABT had a serious issue with Misty's comments in to the media, they would have shut her down by now. And as for her "insinuations": I believe that she doesn't name dates/people because because she isn't seeking retribution. Her intended audience isn't older, white fans who comment on boards like BA. It's the young, black girls who have been told that they don't have the "right look" (here's the institutional racism) for ballet. She is telling them - "Hey! I've been through this, and now I'm a soloist with ABT. Hang in there!"

Also, as someone who has been a soloist for 7 years - and is likely nearing the end of her career - she paid her dues (she was well received in Firebird and Coppelia), and deserves an opportunity to tackle more challenging roles (hence the O/O). Giving Misty more opportunities will not compromise the career trajectory of other female soloists. don't think it's just PR. And what's wrong with attracting new audiences? If ballet is to remain a vital art form, we need "new audiences."

Regarding AGM, I wonder if she contacted any ballet companies outside of NYC?

Robbie Fairchild will probably miss the entire season. As noted above, whether Tiler Peck misses the entire 2014-15 season will depend on the reviews for her show. As of right now, no other theater is putting on Little Dancer after the KC. A future life for the show, if any, will depend on the reviews. There are plenty of shows that die out after the KC initial run, but I'm sure they are hoping for a Broadway run if the critics are kind.

As for who might be the beneficiary of Tiler's absence and Megan's absence, I have a feeling we will see Lauren Lovette debut in some important roles. Also, if Scheller is back, she will probably get some of these roles.

Most interesting, with Robbie apparently out of the picture, who besides Chase Finlay will dance Apollo? Will Martins give it to a newbie like Russell Janzen, or will he use a principal?

On a tangent, will we see a Mearns debut in Mozartiana or T&V?

I am sure we will see a lot of Lauren Lovette this season. Her promotion to principal seems imminent.

I think that Adrian Danchig-Waring may have danced Apollo on the Japan tour. It might also be interesting to see Amar Ramsar or Taylor Stanley in the role.

Not commenting on anything else here, but I don't think you have to assume C.

Rather consider the possibility that she was being very gracious, is indeed happy working where she is working, and does not want to alienate or insult anyone there. That doesn't mean that ideally she might not have preferred a position at ABT or NYCB if one had been offered (ok so its perhaps potentially a bit of a fib, but an understandable and justified one--the kind anyone would say to please an employer)

I basically agree with aurora. AGM would probably prefer to be with a ballet company, but I'm sure she was happy to find a position with a prestigious modern company like Ailey.

I think that Virginia Johnson is also correct, though. I would have liked to see ABT or NYCB take a flier on AGM, and I would also to see more ADs become personally invested in mentoring black dancers. Lauren Anderson would have not become a Houston Ballet principal if she had not been personally cultivated by Ben Stevenson (Houston Ballet's founding director).

Embedding didn't work - here's the link to Lauren Anderson's interview -

I think that many regular posters on BA are critical of Misty not because of her dancing, but because she has the courage to admit that institutional racism in ballet companies is still an issue.

I really don't see evidence of that (i.e. your claim, not hers), and in fact most people critical of Misty's dancing on here have mentioned that they do indeed think that institutional racism in ballet is a problem and would like to see more non-white dancers rise through the ranks.

It's one thing to say that those who disagree with you are wrong, but to make unsubstantiated claims that they're not even being honest about what they think or why doesn't really get us anywhere.

There are certainly a number of BA posters who admit that institutional racism in ballet is an issue. I think that's commendable. That being said, I think that there are also a number of vocal posters who think that Misty is too big for her britches, does not deserve to have the ear of the general public, and think that talking about institutional racism openly is a distraction. Misty's outspokenness is not an issue for me, as I don't think that a dancer needs to be a principal in order to advocate for the art form.

If Misty had a lower public profile, I feel like the criticism of her dancing would be more muted. I have read plenty of criticism of Chase Finlay on these boards, for example, but no one has called him the "Justin Bieber of ballet," (someone earlier in the thread compared Misty to Kim Kardashian) or implied that he's a hack and a "disaster" (someone said that Misty's SL had the potential to be a "disaster"). People have even questioned her motives for telling her - very inspirational - personal story. For some reason, Misty seems to generate a disproportionate amount of outrage on these boards, and I feel as though not all of it is directly related to her dancing.

I think that many regular posters on BA are critical of Misty not because of her dancing, but because she has the courage to admit that institutional racism in ballet companies is still an issue.

Copeland hasn't admitted anything. She's made an accusation, and an accusation that was guaranteed to gain her widespread sympathy and support. Naming names would have taken a lot of courage. Letting her dancing do the talking would eventually have garnered her the widespread acclaim she deserves as a groundbreaking dancer.Or she could have written her book without crying "racism." Instead she tarred a whole ballet company (Who are the supposed racists who supposedly didn't want to see her rise? She is taken at her word that she encountered them, but fans are left to speculate who she's talking about, while the purported racists - everyone there is now under suspicion - can't even defend themselves).

I don't want to be too hard on Copeland. She's young, and she lives in a culture that has encouraged her to do this. But in the end, I'm not sure it's honorable.

If racism has been a part of her lived experience, then she has a right to discuss it. Even if it offends some ballet fans. Even principal dancers are not immune from it.

ABT has not been "tarred" - it will always be a prestigious company. If anything, Misty has brought a lot of positive attention to ABT (I believe that Prince donated $250,000 to the company after working with her), and ABT seems to be very supportive of her efforts. Also, Misty is not suing anyone - there is no need for anyone to "defend themselves."

Also, re the 'race card': that term is offensive because it assumes that black people enjoy recounting stories of racism and discrimination to elicit sympathy, when those stories are often very painful to share, and rarely elicit sympathy. This thread is a good example of that!

When Dance Theater of Harlem shut down, Alicia took class with ABT and submitted some of her reviews to both ABT and City Ballet in hopes that she could secure a job with a New York ballet company. ABT told her she was too tall and City Ballet said "Thanks, but no thanks."

Sources?

"Ms. Graf, in her quest for a job, took an open class at Ballet Theater (she said she was told that at 5 feet 10 inches she was too tall) and sent a package of photographs and reviews to City Ballet. “I got a response saying that there weren’t any open positions,” she said of City Ballet. Then she auditioned for Ailey. “It wasn’t all that devastating,” she said. “I wanted to work with one of the top companies, and Ailey worked out. That was the best thing that could have ever happened to me.”"

Here's the link: http://www.nytimes.com/2007/05/06/arts/dance/06kour.html?pagewanted=all%3E&_r=0

Any reports on her debut?

Someone posted a review earlier in the thread - she was very well received.

Bravo Misty Copeland!

I would like to second this! I am glad to see that Misty's dancing has been well received in Australia, and I think she is an excellent ambassador for ballet (and one doesn't have to be a leading principal dancer to spread the word about ballet).

I think that many regular posters on BA are critical of Misty not because of her dancing, but because she has the courage to admit that institutional racism in ballet companies is still an issue. If she didn't speak openly about race, she would be regarded as a leading soloist with an affinity for contemporary work (not as the overrated soloist who is taking Stella's parts!). I also think that Misty is genuinely trying to create a space for black women in classical ballet, and not just sell her books. As Tapfan has pointed out, one SL in 7 years is hardly PR/favoritism, etc.

Canbelto has made some interesting points re ABT's mission. That being said, I think that ABT is still a very powerful brand (I think that a lot of young dancers may even be more familiar with ABT than they are with NYCB), and it has the potential to transform into a great artistic institution.

I've always thought of ABT as America's premier "classical" company. Maybe a move to Washington, DC should be considered? The Kennedy Center could serve as a permanent, year-round home, which would strengthen the pipeline between the JKO School and ABT, The JKO School could also focus on teaching a particular 'company' style. Provide better quality coaching to corps dancers and soloists, and actually promote dancers from within the ranks. Reduce the number of international guest artists/ the frequency of their appearances, and require them to mentor the JKO students in some capacity. Restage some of the old warhorses, update the costumes, and also establish develop relationships with young choreographers who are creating quality story ballets.

Obviously, all of this is not feasible, but it could be a step in the right direction.

Is there any information on casting? I am in the process of deciding which performance to see.

I've been lurking in the NYCB subforum for about a month or so, and finally got to see the company live this past Thursday (10/10, "Contemporary Choreographers").

I think I am probably the only commenter here who actually enjoyed Spectral Evidence. I found it very musical and percussive, and especially enjoyed the PDD with Tiler Peck and Robbie Fairchild and also the opening (where the women manipulate the arms of the men in silence). However, I could see how it would be jarring to an audience that is used to classical/neoclassical ballets. (I also come from a theater background as well).

Soiree Musicale was fun and charming (I loved the Tango and PDD sections). I'm glad that the corps and soloists had a piece of their own, but as I've heard, that's pretty standard with NYCB.

I really enjoyed watching the principal women shine in Nanouma. Even though Sara Mearns narrowly avoided a fall onstage, I understand why people are so enamored with her dancing. She is so bold and explosive, and really creates a character onstage. It would be interesting to see her tackle a traditional story ballet. Ashley Bouder was also wonderful as the "cigarette girl."

I'm sad that the fall season ends today!