WSJ Article on Possible Misty Copeland Promotion

[nanushka]

Copeland could also be cast prominently because Ratmansky casts her in his ballet(s)

Has Ratmansky shown a particular interest in Copeland other than for Firebird? (Note: this question has no subtext! I am simply curious about the possible plural, because I can't think of any other examples! just trying to fill in a gap in my memory! not racist!)

[lmspear]

Milkmaid in Bright Stream

[canbelto]

She was cast this year in Florine with Gabe Stone Shayer as Bluebird.

[nanushka]

She was cast this year in Florine with Gabe Stone Shayer as Bluebird.

Ah, right. That one hadn't occurred to me as being particularly R's doing, since she was already a prominent Florine for the company. But it certainly may have been. Don't think I saw her in Bright Stream.

[volcanohunter]

Sigh. Although the AP headline states "first black female principal," many reposted versions read "Misty Copeland Becomes First Black Principal Dancer at American Ballet Theater," even though the complete version of the story specifically mentions Desmond Richardson.

[Helene]

One thing I do hope, -- because human nature* is what it is, I think it's too much to hope that there will be a day when ballet is racially diverse and race not a consideration, but people remember the history --

that some day when ballet is racially diverse and race is not a consideration, that the dancers of the time who think, "What was the big deal with Misty Copeland?" and might think

find these threads on the wayback machine and appreciate what she was up against.

*which, if we continue to need PhD's, means no end of thesis topics.

[kfw]

It's a decidedly guarded review. For once, Macaulay is afraid to offend. He takes obvious flaws and spins them as something positive. Copeland's inability to complete the required fouettes, and substituting quick single turns instead? "A smart alternative." What?! Can you imagine how he would tear through a dancer from NYCB, or any other ABT dancer, who chose not to display technical skill while making their major NY debut?

Do you think these ladies (Wilkinson and Anderson) were there because they asked to be included, or did ABT/Team Misty contact them to make it more of a historic "event".

Suffice to say the house was sold out, with people screaming and many applauding in all the wrong places. I fear this is the future of ABT.

First, canbelto you were charging racism, now when pressed you're only making the vague charge of ugly bad faith. Bad faith is of course exactly what you exhibit yourself in parsing words, taking them out of their context, and insisting on attributing bad motives to the people who wrote them when other explanations are plausible.

I didn't make any of those comments but they're all defensible.

1) A critic would risk the charge of racism for harshly criticizing Copeland's performance. A humane critic would also hate having to harshly criticize a rising African-American dancer. So most critics would be disinclined to harshly criticize Copeland.

2) There would be nothing wrong with Copeland's people inviting Wilkinson and Anderson.

3) The person who made that observation was there and you weren't, so you can't challenge them on the facts. And no one likes to have Swan Lake unnecessarily interrupted by applause.

[canbelto]

Ok I take it back. "Bad faith" AND racism. Better? And you've been one of the harshest critics in these various threads, how many Misty performances have you seen this season? (I've seen her in La Bayadere and Sleeping Beauty).

And this is from someone who immediately thought Damian Woetzel was "comped" bc he said he was "honored" to be at a Misty performance. If that's not bad faith I don't know what is.

[kfw]

AND this discussion reminds me a lot of the Arlene Croce "Discussing the Undiscussable" article. I think the outrage at that article was the perception that Arlene Croce was letting her well-known political views affect her thinking and that the non-review was really a thinly disguised rant at the gay community which happened at that time to be going through an AIDS epidemic AND prejudice that would be inconceivable to today's NY'ers.

In other words, criticizing a community that is enduring tragedy is by definition bigotry, and well-known conservatism is by definition bigotry, period.

[kfw]

Ok I take it back. "Bad faith" AND racism. Better? And you've been one of the harshest critics in these various threads, how many Misty performances have you seen this season? (I've seen her in La Bayadere and Sleeping Beauty).

And this is from someone who immediately thought Damian Woetzel was "comped" bc he said he was "honored" to be at a Misty performance.

False on both counts. I've never criticized Copeland's performances, and I've made it a point of saying that not having seen her, I have no opinion of her dancing.

Also, I will repeat, I did not say Woetzel was comped. Please go back and read what I did write, including the compliments I have given Copeland on several occasions, before you make more false charges.

ETA:

Michael Cooper in the NY Times story about Copeland's promotion writes that

If the company had not promoted Ms. Copeland, it risked being seen as perpetuating the inequalities that have left African-American dancers, particularly women, woefully underrepresented at top ballet companies.

[Helene]

Whereas Marina Harss writing for "The Guardian" chose to take a different approach:

After much conjecture and a barrage of media coverage so intense it must have turned her spring season into an unenviable gauntlet of pressure – as if debuting in Swan Lake on her home turf weren’t pressure enough – Misty Copeland has been promoted to the top rank of principal dancer at the American Ballet Theater. At the age of 32, and after 14 years in the company, she is the first African American woman in ABT’s history to achieve this. (Back in the 90s, Desmond Richardson was its first and so far only black male principal.)

As Copeland’s recent performances in Rodeo, Romeo and Juliet, and Swan Lake demonstrated, she is clearly ready to take on the added responsibilities that come with principal status.

[canbelto]

In other words, criticizing a community that is enduring tragedy is by definition bigotry, and well-known conservatism is by definition bigotry, period.

Actually if you read the content of The National Review it's not a stretch to infer that someone whose idol and mentor was William Buckley might not have the most enlightened views about the role of gay people in NYC's artistic community.

By the way I have parts of Arlene Croce reviews memorized by heart. I think she was maybe the greatest dance critic NY has ever had, doesn't make me also see that a lot of the knee jerk reactions she had against gays, "multicultural" artists, "feminist" choreography, and so on and so forth stemmed from a deeply ingrained prejudice she had against anything that smelled of the liberal agenda.

[kfw]

Whereas Marina Harss writing for "The Guardian" chose to take a different approach:

Thier “approaches”/observations aren’t mutually exclusive, but Cooper’s a reporter, not a critic, so it would have been inappropriate for him to express an opinion as Harss did.

canbelto wrote:

Actually if you read the content of The National Review it's not a stretch to infer that someone whose idol and mentor was William Buckley might not have the most enlightened views about the role of gay people in NYC's artistic community.

By the way I have parts of Arlene Croce reviews memorized by heart. I think she was maybe the greatest dance critic NY has ever had, doesn't make me also see that a lot of the knee jerk reactions she had against gays, "multicultural" artists, "feminist" choreography, and so on and so forth stemmed from a deeply ingrained prejudice she had against anything that smelled of the liberal agenda.

In other words, since it’s not a stretch, you know it’s true. I think what’s actually a stretch is that a homophobe could stand to go to the ballet for a living. Also, Croce’s aesthetic criticism stands or falls on its own merits, not what you think is her motive for it. Otherwise, your implicit defense of “the liberal agenda” would make your dismissal of Croce’s criticisms suspect in turn.

[Helene]

Thier “approaches”/observations aren’t mutually exclusive, but Cooper’s a reporter, not a critic, so it would have been inappropriate for him to express an opinion as Harss did.

He did express an opinion by selectively concluding from Macaulay's very positive review of "Romeo and Juliet" (linked in Cooper's article) that "she has work to do," which I don't read in that review. His "generally good reviews" link is to Wendy Perron, when it could have been more appropriately linked to the NYT critic's article he uses as a contrary example. When he discusses "fouette-gate," he says that critics "forgave but noted" it, when, in the linked review, Macaulay actually wrote, "The only obvious technical feature in which Ms. Copeland can improve is the notorious — and overrated — fouetté turns. She did the first half of the usual quota, though wandering across the stage; then she did a series of quick single turns — a smart alternative since they had more musical dynamics than most accounts of the fouettés." Macaulay did not "forgive" Copeland's flawed fouette turns: he made it clear he has an issue with the fouette turns themselves as "overrated", and after pointing out the deficiency in her technique concluded that the pirouettes were "smart alternative since they had more musical dynamics than most accounts of the fouettés." There was nothing to "forgive," if he didn't believe there was a sin in the first place, and I have no reason to believe that he would have said anything different had the dancer been another.

[canbelto]

False on both counts. I've never criticized Copeland's performances, and I've made it a point of saying that not having seen her, I have no opinion of her dancing.

Also, I will repeat, I did not say Woetzel was comped. Please go back and read what I did write, including the compliments I have given Copeland on several occasions, before you make more false charges.

So you've posted this many times in various threads about a dancer you've never seen? Okay. But really there's no point in talking to people who refuse to see an elephant in the room. "I don't see the elephant? Maybe just a ... big stuffed elephant."

[Helene]

So you've posted this many times in various threads about a dancer you've never seen? Okay. But really there's no point in talking to people who refuse to see an elephant in the room. "I don't see the elephant? Maybe just a ... big stuffed elephant."

And kfw's posts have been about Copeland's statements, endorsements, photographs, and press coverage, which have been highly publicized. No one here needs to have seen Copeland's dancing to talk about her projects, her statements, or her press coverage that are all on the public record.

[Amour]

A plethora of excuses for Hallberg, Seo, and a million and one explanations for why the online venom aimed at Misty is "different" and excusable.

Who is excusing Seo? I was at her Cinderella last night. She didn't mess anything up but was her usual bland self. Ditto Cory. And when did Hallberg need any excuses? Every performance I've ever seen of his has always been wonderful.

I consider today a sad day for ABT. When a dancer who can not do the choreography is promoted to principal is a sad day in my book. Last night, as a fairy, Misty danced in her usual clunky manner. Ugly arms, heavy feet (where all the other fairies looked light). Like abatt, I think McKenzie is just trying to get a new sudience into ABT; an audience that generally does not see ballet.

I am thrilled that Stella got promoted. Now I'd love to see Gorak promoted to principal. As one of the Prince's suitors, he was the best thing on stage last night.

[kfw]

He did express an opinion by selectively concluding from Macaulay's very positive review of "Romeo and Juliet" (linked in Cooper's article) that "she has work to do," which I don't read in that review. His "generally good reviews" link is to Wendy Perron, when it could have been more appropriately linked to the NYT critic's article he uses as a contrary example. When he discusses "fouette-gate," he says that critics "forgave but noted" it, when, in the linked review, Macaulay actually wrote, "The only obvious technical feature in which Ms. Copeland can improve is the notorious — and overrated — fouetté turns. She did the first half of the usual quota, though wandering across the stage; then she did a series of quick single turns — a smart alternative since they had more musical dynamics than most accounts of the fouettés." Macaulay did not "forgive" Copeland's flawed fouette turns: he made it clear he has an issue with the fouette turns themselves as "overrated", and after pointing out the deficiency in her technique concluded that the pirouettes were "smart alternative since they had more musical dynamics than most accounts of the fouettés." There was nothing to "forgive," if he didn't believe there was a sin in the first place, and I have no reason to believe that he would have said anything different had the dancer been another.

Good points.

[dirac]

And this has been the underlying issue in these Misty threads. No one wants to say it and call it for what it really is.

Oh, I don't know, Plisskin. The bit about a "segment of the audience" that "prefers to see non-white bodies in a lead role" pretty much made my day, especially "non-white bodies."

Sigh. Although the AP headline states "first black female principal," many reposted versions read "Misty Copeland Becomes First Black Principal Dancer at American Ballet Theater," even though the complete version of the story specifically mentions Desmond Richardson.

More of that to come, I'm sure. And of course to many headline writers any female ballet dancer is a "ballerina."

[vipa]

Abrera had been outstanding in principal roles for many season and had proven herself in guesting in principal roles. Copeland was a sudden rush to principal. I know some will disagree because of the number of years she's spent as soloist but there is a vast difference between soloist and principal. It is not a matter of serving one's time.

It will be interesting to see how long she is a ticket draw. Personally I am disappointed that a dancer of her caliber is a principal at ABT, supposedly a world class company. I don't thing anything special about her performances.

[kfw]

Oh, I don't know, Plisskin. The bit about a "segment of the audience" that "prefers to see non-white bodies in a lead role" pretty much made my day, especially "non-white bodies."

I’m curious, who said that? Also, what exactly do you object to in it? Does “bodies” sound objectifying, is that it? I don't like the sound of that either, although the focus on bodies sounds like an academic, i.e. like the people who are quick to see racism all over the place. Otherwise, I don’t know the context, but what you’ve quoted here sounds like another way of saying “some people prefer to see minority dancers.” Do you actually disagree that in Copeland’s case some people are coming specifically to see an African-American dancer?? And as I asked canbelto, what in the world would be wrong with that? I also found it curious that a statement you found racist made your day. That sounds like you enjoy seeing people be racist.

[canbelto]

kfw, here's the post dirac was referring to. And I don't presume to speak for dirac but I think "made my day" was said with heavy doses of sarcasm. Actually, but to be honest, it made my day too because it's always good to see a mask of false gentility come off.

The audience that McKenzie is now attempting to tap into are those who prefer to see non-white bodies on stage in a lead role. It's a segment of the population that might never have attended any ABT ballet performance but for the fact that an African American is cast in the lead. The interesting question for me is what percentage of this audience will return for the rest of the ABT shows in which Misty is not performing. Will this lead to the casting of Misty multiple times per week for as many shows as she can handle.

[vipa]

I’m curious, who said that? Also, what exactly do you object to in it? Does “bodies” sound objectifying, is that it? Otherwise, I don’t know the context, but what you’ve quoted here sounds like another way of saying “some people prefer to see minority dancers.” Do you actually disagree that in Copeland’s case some people are coming specifically to see an African-American dancer?? And as I asked canbelto, what in the world would be wrong with that? I also found it curious that a statement you found racist made your day. That sounds like you enjoy seeing people be racist.

Frankly I don't get any of this. Copeland has an amazing ballet body. I have seen bustier dancers and dancers with more muscular legs in major ballet companies. I can name them if you want. Many dancers have told me that Copeland's feet and legs are "to die for". A well known dancer said on a blog that she'd love to have Copeland's feet just to see what it felt like. It's not as if Copeland has short legs, a big belly and flat feet. What are we talking about here? I go to see the Ailey company regularly. These are dancers with long legs and flexible bodies. Just look at the Ailey ads and what they are selling. I'd say beautiful black woman with slender bodies and extreme extensions.If an African American audience is drawn to ABT because of Misty Copeland that's great, but to pretend that she breaks the mold of ballet bodies is false IMO.

[Pique Arabesque]

I consider today a sad day for ABT. When a dancer who can not do the choreography is promoted to principal is a sad day in my book. Last night, as a fairy, Misty danced in her usual clunky manner. Ugly arms, heavy feet (where all the other fairies looked light). Like abatt, I think McKenzie is just trying to get a new sudience into ABT; an audience that generally does not see ballet.

Everyone is entitled to his/her opinion, but I'd hardly call this a 'sad day.' Two beloved soloists were promoted to principal, and the large number of corps to soloist promotions have shown that KM is serious in investing in the home team. Misty's upper body is also a quality for which several professional critics have expressed admiration. Also, I don't understand the assumption that the members of her (mostly black) core fanbase are not regular ballet goers. I would not be surprised if there were a number of black professional dancers in the audience at Misty's SL, plus other black people who have studied ballet at some point in their lives. Furthermore, if the Times' pictures are any indication, many of Copeland's fans are young dancers as well.

Anyhow, I agree with many of the points that canbelto made earlier. There is an assumption - expressed with various levels of intensity by various people - that Misty peddled her sob story/experiences with racism to manipulate KM in to granting her a promotion. I think that it is uncomfortable for many fans to confront the fact that there are still institutional barriers that prevent black women from succeeding in top companies in 2015. Thus, they attack the messenger (Twerkgate, Fouettegate, etc).

It is clear that Misty has hit a nerve. If she "stayed in her place" by only dancing in contemporary ballets and told the Times that she had never encountered racism in her career, there would not be hundreds of pages written about her on this forum.

[Pique Arabesque]

Frankly I don't get any of this. Copeland has an amazing ballet body. I have seen bustier dancers and dancers with more muscular legs in major ballet companies. I can name them if you want. Many dancers have told me that Copeland's feet and legs are "to die for". A well known dancer said on a blog that she'd love to have Copeland's feet just to see what it felt like. It's not as if Copeland has short legs, a big belly and flat feet. What are we talking about here? I go to see the Ailey company regularly. These are dancers with long legs and flexible bodies. Just look at the Ailey ads and what they are selling. I'd say beautiful black woman with slender bodies and extreme extensions.If an African American audience is drawn to ABT because of Misty Copeland that's great, but to pretend that she breaks the mold of ballet bodies is false IMO.

I have read comments on this very forum where people complain about her "big calves" and overdeveloped muscles. I wonder what they are seeing...