September 10, 1982 |
Kansas City, Missouri, United States
|Residence||New York City, New York, United States|
|Education||San Pedro High School|
|Home town||Los Angeles, California, United States|
|Current group||American Ballet Theatre|
Misty Copeland (born September 10, 1982) is an American ballet dancer, described by many accounts as the first African-American female soloist for the American Ballet Theatre (ABT), one of the three leading classical ballet companies in the United States (along with New York City Ballet and San Francisco Ballet). However, Anne Benna Sims and Nora Kimball, who were with the ABT in the early and mid-1980s respectively, preceded her. In this role as the third African-American soloist and first in two decades with ABT, she has endured the cultural pressure associated with it.
Copeland is considered a prodigy who rose to stardom despite not starting ballet until the age of 13. By the time she was aged 15, a battle over custody of her was being fought between her mother and her ballet teachers, who were serving as Copeland's custodial guardians. Meanwhile, Copeland, who was already an award-winning dancer, was fielding professional offers. The 1998 legal proceedings involved filings for emancipation by Copeland and restraining orders by her mother. Both sides dropped legal proceedings, and Copeland moved home to begin studying under a new teacher who was a former ABT member.
In 1997, Copeland won the Los Angeles Music Center Spotlight Award as the best dancer in Southern California. After two summer workshops with the ABT, she became a member of the Studio Company in 2000, a member of the corps de ballet in 2001, and a soloist in 2007. Stylistically, she is considered a classical ballet dancer. As a soloist since the autumn of 2007, she has been described as having matured into a more contemporary and sophisticated dancer.
Copeland was born in Kansas City, Missouri, and raised in the San Pedro community of Los Angeles, California. She is of African-American, German and Italian descent. Copeland is the youngest of Sylvia DelaCerna's four children from her second marriage. Her siblings from that marriage are Erica Stephanie Copeland, Douglas Copeland Jr., and Christopher Ryan Copeland. She also has two younger half-siblings, Lindsey Monique Brown (a former track star at Chico State University) and Cameron Koa DelaCerna, one each from her mother's third and fourth marriage. Sylvia DelaCerna, a former Kansas City Chiefs cheerleader, had studied dance.
At age eleven, she found her first creative outlet at a Boys & Girls Club wood shop class. Copeland never studied ballet or gymnastics formally until her teenage years. However, she did enjoy choreographing flips and dance moves to Mariah Carey songs in her youth. Copeland's natural presence and skill came to the attention of her drill team coach, Liz Cantine, at Dana Middle School in San Pedro. She was first introduced to ballet in classes at her local Boys & Girls Club. DelaCerna allowed Copeland to go to the club after school until the workday ended and Cynthia Bradley, a former working dancer with companies in San Diego, Virginia and Kentucky, taught a free ballet class there once a week. Bradley invited Copeland to attend classes at the small local ballet school, San Pedro Dance Center. However, Copeland initially declined the offer because her mother did not have a car, and her oldest sister Erica was working two jobs. Copeland began her ballet studies at the age of 13 at the San Pedro Dance Center when Cynthia Bradley began picking her up from school. Soon after she and her mother moved to a motel in Gardena, California, they signed a management contract as well as a life-story contract, and Copeland moved in with Bradley. She spent the weekdays with the Bradleys near the coast and the weekends at home with her mother, a two-hour bus ride away. By the age of 14, Copeland was the winner of a national ballet contest and won her first solo role.
The Bradleys introduced Copeland to books and videos about ballet. When she got to see Paloma Herrera perform at the Dorothy Chandler Pavilion, Copeland began to idolize her as much as she did Mariah Carey. After three months of study Copeland was en pointe. The media first noticed Copeland when she drew 2,000 patrons per show as she performed as Clara in the The Nutcracker after only eight months of study. A larger role in Don Quixote and a featured role in The Chocolate Nutcracker, an African-American version of the tale that was narrated by Debbie Allen, soon followed.
When she was fifteen years old, Copeland won first place in the Los Angeles Music Center Spotlight Awards and subsequently began her studies with Diane Lauridsen of Torrance's South Bay Ballet at the Lauridsen Ballet Center. The competition was held at the Chandler Pavilion on March 24, 1998, and Copeland said it was the first time she ever battled nervousness. The winners received scholarships between $500 and $2500. Copeland's victory in the 10th annual contest among gifted high school students in Southern California secured her recognition by the Los Angeles Times as the best young dancer in the Greater Los Angeles Area.
Copeland studied at the San Francisco Ballet School after winning the Spotlight award. While training with Bradley she selected the workshop with the San Francisco Ballet over offers from the Joffrey Ballet, Dance Theater of Harlem and three other companies. As a student, Copeland had a 3.8/4.0 GPA through her junior year of high school.
Copeland lived and trained with Cynthia and Patrick Bradley for nearly three years, ending in 1998. During that time she pursued independent study for tenth grade. After Copeland returned from her summer 1998 San Francisco Ballet experience, her mother informed her that she would be staying with her and not resuming her study with the Bradleys. Copeland was distraught with fear that she would not be able to dance. She had heard the term emancipation while in San Francisco; the procedure was common among young performers. The Bradleys introduced Copeland to Steven Bartell, a lawyer who explained the emancipation petition process. Copeland says she understood the process as a way to make everything better. The Bradleys encouraged her to be absent when the emancipation petition was delivered to her mother. Copeland ran away from home for three days and stayed with a friend.
After her mother reported Copeland missing, she was told about the emancipation petition. Three days after running away, Copeland was taken to the police station by Bartell, who filed emancipation papers. Copeland's mother subsequently applied for a restraining order, which included the Bradleys' five-year old son who had been Copeland's roommate. The order was partly intended to preclude contact between the Bradleys and Copeland, but it did not have proper legal basis, since there had been no stalking and no harassment.
In late 1998, a custody controversy occurred involving Copeland. The case was highly publicized in the press (especially Los Angeles Times and Extra), starting in August and September 1998. Parts of the press coverage spilled over into op-ed articles. In the case, which was heard in Torrance in the Superior Court of Los Angeles County, DelaCerna claimed that the Bradleys had brainwashed Copeland into filing suit for emancipation from her mother, and DelaCerna, who was represented by Gloria Allred, filed a series of restraining orders against Bartell, the lawyer who filed the emancipation charges on behalf of her daughter. Allred claimed that the Bradleys had turned Copeland against her mother by belittling DelaCerna's intelligence. The Bradleys were not intimidated by the suits and said they were willing to enforce the management contract, which gave them authority and rights to twenty percent of Copeland's earnings until she became eighteen, via the legal system.
After DelaCerna stated that she would always make sure Copeland could dance, the emancipation papers and restraining orders were dropped. Even though she had dropped the temporary restraining order request, DelaCerna wanted the Bradleys out of her daughter's life. Later in 1998, Copeland, who claimed she did not even understand the term emancipation, withdrew the request after informing the judge that such charges no longer represented her wishes. Eventually, Copeland re-enrolled at San Pedro High School on pace to be a part of her original class of 2000 and began ballet study with Lauridsen Ballet Centre, although it was now restricted to afternoons in deference to her schooling. Afterward, all parties appeared on Leeza Gibbons' Leeza show. In 2000, DelaCerna stated that Copeland's earnings from ballet were set aside in a savings account and only used as needed.
American Ballet Theatre
As of 2008, Copeland has been the only African-American woman in the dance company for her entire American Ballet Theatre career, nor is there a male African American since the departure of Danny Tidwell in 2005. In an international ballet community with a lack of diversity, she is a rare African-American ballerina, and although she has been shielded from several issues, she endures the difficulties of cultural isolation as the second African-American ABT soloist ballet dancer. Since she is often credited as the first African-American ABT soloist ballet dancer in the press, some describe her as the Jackie Robinson of classical ballet. Copeland also feels that since the female dancer is the focus of the ballet, her role as a trail-blazing performer and role model has extra significance. She is included in the 2004 picture book by former ABT dancer Rosalie O'Connor that is entitled Getting Closer: A Dancer's Perspective (ISBN 0-8130-2768-3). Copeland's performances with American Ballet Theatre are sponsored by Susan Fales-Hill.
Early ABT career
Copeland auditioned for several dance programs in 1999, and each made her an offer to enroll in its summer program. Copeland performed with the ABT as part of its 1999 and 2000 Summer Intensive programs. During the summer of 1999, the topic of whether Copeland would stay if invited came up, and she responded affirmatively, although her mother insisted finishing high school was important. During that summer, she was told that she would likely be invited to stay after she graduated in 2000 and by the end of the summer she was asked to skip her senior year and join the studio company. Copeland returned to California for her senior year, even though the ABT arranged to pay for her performances, housing accommodations and academic arrangements.
She studied at the Summer Intensive Program on full scholarship for both summers and was declared ABT’s National Coca-Cola Scholar in 2000. In the 2000 Summer Intensive Program, she danced the role of Kitri in Don Quixote. Of the 150 dancers in the 2000 Summer Intensive Program, she was one of six selected to join the junior dance troupe. She joined the ABT Studio Company in September 2000, and became a member of its corps de ballet in 2001. As part of the Studio Company, which is the ABT's second company, she performed a duet in Tchaikovsky's Sleeping Beauty.
Corps de ballet
Early career reviews mentioned her as more radiant than higher ranking dancers. She was named to the 2003 class of Dance Magazine's "25 to Watch". As a corps dancer she had the opportunity to dance alongside her longtime idol Paloma Herrera. Starting in 2003, she began to be favorably reviewed for her roles as a member of the corps in La Bayadère and William Forsythe's workwithinwork. Recognition continued in 2004 for roles in ballets such as Raymonda and workwithinwork, and the 2004 season is regarded as her breakthrough season. In 2005, her most notable performance was in George Balanchine's Tarantella. In 2006, she received a notable mention for her role in Cinderella, and she was acknowledged for her meticulous classical performance style in Giselle. That year, she also returned to Southern California to perform at Orange County Performing Arts Center. Copeland's "old-style" performance continued to earn her praise until her promotion to soloist in 2007.
Copeland was appointed soloist in August 2007, which was announced in July 2007. Standing at 5 feet 2 inches (1.57 m), she is one of the youngest ABT soloists, and she has been a standout among her peers. In the early fall 2007 New York City Center season, in which avant-garde ballets works were performed, she presented a Balanchine Ballo Della Regina role. Her solo in this work was highly regarded although, as one of Balanchine's later works, Ballo Della Regina is not regarded as one of his best productions. Her performances of Twyla Tharp works in the same City Center season were recognized, and she was described as more sophisticated and contemporary as a soloist than she had been as a corps dancer. As a corps member she had been recognized for prior performances of Tharp's work. Her summer 2008 Metropolitan Opera House season performances in Don Quixote and Sleeping Beauty were well received.
In 2008, Copeland won the Leonore Annenberg Fellowship in the Arts, which funds study with master teachers and trainers outside of the American Ballet Theatre. The two-year fellowships are in recognition of "young artists of extraordinary talent with the goal of providing them with additional resources in order to fully realise their potential". During the 2008–09 season, she received publicity for roles in Twyla Tharp's Baker's Dozen and Paul Taylor's Company B.
In March 2009, Copeland spent two days in Los Angeles filming a music video with Prince, for the first single from his 2009 studio album Lotusflower, which was a cover of the "Crimson and Clover". Prince caught her by surprise with a next-day invitation to participate in unchoreographed movements. She described his instructions as "Be you, feel the music, just move" and upon request for instruction "Keep doing what you’re doing". During the summer, her Annenberg Fellowship resulted in training for her performance in Balanchine's Tschaikovsky Pas de Deux adaptation of Pyotr Ilyich Tchaikovsky's Swan Lake "Pas de Deux". She also began taking acting lessons. That fall, she performed in the ABT's first trip to Beijing November 12–15. The six-performance engagement was the first by an American ballet company at the new National Center for the Performing Arts.
In October 2010, she performed at the Guggenheim Museum to David Lang's music. During the New York City and New Jersey portions of Prince's Welcome 2 America tour, Copeland took a few nights off from her 2010 role in The Nutcracker at Brooklyn Academy of Music and performed a pas de deux en pointe to "The Beautiful Ones" as the opening number at the Izod Center and Madison Square Garden. Prince had previously invited her onstage at a concert in Nice, France. Copeland was also featured in T-Mobile's ads for the BlackBerry in 2010. In February 2011, in honor of Black History Month, Copeland was selected by Essence as one of its 37 Boundary-breaking black women in entertainment. That same month, she toured with Company B, which performed at Sadler's Wells Theatre in London. On April 13, 2011, she performed alongside Prince on the Lopez Tonight show, dancing to the song "The Beautiful Ones." Her Summer 2011 ABT performances were part of a new Alexei Ratmansky ballet as well as a reprisal of Giselle pas de deux. In the Ratmansky piece, Copeland earned praise for her May and June Metropolitan Opera House performances: "Misty Copeland was a luminous, teasingly sensual milkmaid. I’ll never look at her the same way again," She performed Ratmansky to a Metropolitan Opera audience that included Black Swan star Natalie Portman. She reprised the role in July at the Dorothy Chandler Pavilion in Los Angeles with a performance described as "sly". As a flower girl, she was described as glittering in Don Quixote. In August, she performed at the Vail International Dance Festival in the Gerald Ford Amphitheater in Vail, Colorado.
While aspiring to be a principal dancer, Copeland has numerous goals as a dancer, in terms of leading roles. She aspires to perform lead roles in Giselle, Nikiya and Gamzatti in La Bayadère, Juliet in Romeo and Juliet as well as Odette/Odile in Swan Lake. In September 2011, she was featured in the Season 1, episode 5 of the Hulu web series A Day in the Life. In December, she unveiled a line of dancewear that she designed. On April 5, 2012, Copeland was recognized by The Council of Urban Professionals as the Council's Breakthrough Leadership Award winner at its 5th Anniversary Leadership Gala.
In 2011, Copeland marketed dancewear line M by Misty. She has also produced celebrity calendars. By late 2012, she was seeking publication of two books: a memoir and an illustrated youth book. Copeland starred in The Firebird (marketed as Firebird), with choreography by Alexei Ratmansky at the Segerstrom Center for the Arts in Costa Mesa, California. It premiered on March 29, 2012. The performance was hailed by the Los Angeles Times′ Laura Bleiberg as one of the year's best dance performances. In January 2013, Dr. Pepper began airing an ad campaign featuring unique individuals such as Copeland. Later that month, she announced that she was working on two books: a memoir under the Simon & Schuster Touchstone Books imprint and a picture book for the G. P. Putnam's Sons for Young Readers impint. In September 2013, Copeland became a spokesperson for Project Plié, a national initiative with the goal of broadening the pipeline of leadership within ballet. Copeland was interviewed in the November 2013 Vogue Italia.
- McCrary, Crystal (Fall 2008). "A Tale of Two Swans". Uptown (Chicago) (Miller Publishing Group) (17): 100–103.
- Farber, Jim (2008-03-27). "This Swan is More than Coping". LA.com. Retrieved 2011-01-17.
- "She's on Point: After seven years, ABT ballerina Misty Copeland becomes a soloist". Sixaholic. 2007. Retrieved 2008-08-26.
- Jennings, Luke (2007-02-18). "One step closer to perfection: The best of Balanchine lights up London – but Stravinsky in Birmingham must not be missed". The Observer (Guardian News and Media Limited). Retrieved 2008-08-26.
- Jet, March 19, 1981, p. 64
- Kisselgoff, Anna (1985-09-13). "Ballet Theater: Harvey in 'Giselle'". The New York Times (The New York Times Company). Retrieved 2008-09-24.
- Anderson, Jack (1987-06-06). "Dance: Tudoe's 'Dark Elegies,' By Ballet Theater". The New York Times. Retrieved 2008-09-24.
- Harper, Francesca (2000-07-30). "Dance; To Europe and Back, A Dancer's Odyssey Of Self-Discovery". The New York Times. Retrieved 2008-09-24.
- "Custody Hearing for Ballerina Rescheduled". Los Angeles Times. 1998-08-28. Retrieved 2008-08-24.
- Hastings, Deborah (1998-11-01). "Teen dancer stumbles in adults' tug-of-war". SouthCoast Today. The Standard-Times. Retrieved 2008-08-25.
- "Misty Copeland". Ballet Theatre Foundation, Inc. Retrieved 2008-08-24.
- Kisselgoff, Anna (2004-11-04). "Dance Review – American Ballet Theater: Out of an Ensemble Emerge Two Individual Spirits". The New York Times. Retrieved 2008-08-26.
- Dunning, Jennifer (2007-05-19). "For Ballet’s Shifting Casts, a Big Question: Who Will Lift It to the Realm of Poetry?". The New York Times. Retrieved 2008-08-26.
- Adato, Allison (1999-12-05). "Solo in the City". Los Angeles Times. Retrieved 2008-08-24.
- "Misty Copeland". Boys & Girls Clubs of America. Retrieved 2011-10-21.
- Winter, Jessica (2010-06-17). "5 Things Misty Copeland Knows for Sure". O: The Oprah Magazine. Retrieved 2011-01-22.
- Sims, Caitlin (December 1998). "Battle Over Misty Copeland Draws Media – young ballet student center of controversy as to whether her parents or another family should direct her life". Dance Magazine (CNET Networks, Inc.). Retrieved 2008-08-24.
- Jerome, Richard, Christina Cheakalos and Susan Horsburgh (2003-02-17). "Prodigies Grow Up". People. Time Inc. Retrieved 2008-08-24.
- "Misty Copeland: Should She Stay or Should She Go?". Los Angeles Times. 2000-01-16. Retrieved 2011-01-17.
- Haithman, Diane (1998-03-21). "Giving Young Performers a Chance to Earn the Spotlight". Los Angeles Times. Retrieved 2011-01-17.
- Cardenas, Jose (1998-03-23). "Spotlight to Fall on Teenage Performers; Arts: Dorothy Chandler Pavilion will host the annual awards, which will feature 12 finalists competing for $2,500 and $500 scholarships". Los Angeles Times. Retrieved 2011-01-17.
- Glionna, John M. (1998-09-01). "Ballet Prodigy's Life Undergoes More Twists; Courts: Mother drops request for restraining order against teachers. Girl withdraws emancipation plea". Los Angeles Times. Retrieved 2011-01-17.
- Glionna, John M. (1998-08-23). "Trapped in a Dispiriting Dance of Wills; Ballet: Prodigy's mother and former teacher are locked in legal duel over her". Los Angeles Times. Retrieved 2011-01-17.
- "News in Brief: A summary of developments across Los Angeles County; Community News File / Torrance; Custody Hearing for Ballerina Rescheduled". Los Angeles Times. 1998-08-28. Retrieved 2011-01-17.
- La Rocco, Claudia (2007-09-21). "TV Viewers Discover Dance, and the Debate Is Joined". The New York Times. Retrieved 2008-08-27.
- MacKrell, Judith (2008-04-10). "Where are our black ballerinas? Britain's ballet companies must start to look further than the white middle classes for their talent". The Guardian (London). Retrieved 2010-04-17.
- Kourlas, Gia (2007-05-07). "In ballet, blacks are still chasing a dream of diversity". International Herald Tribune. Retrieved 2008-08-25. domestic version with alternate images: Kourlas, Gia (2007-05-06). "Where Are All the Black Swans?". The New York Times. Retrieved 2008-08-26.
- "Ballet Book Review Page". www.balletbooks.com and James White. Retrieved 2008-08-26.
- Dunning, Jennifer (1999-08-02). "Dance Review; A Study In Ballet Both Clean And Lively". The New York Times. Retrieved 2008-08-26.
- Dunning, Jennifer (2000-08-08). "Dance Review; Ballet Theater Shows Off a Nation's Students". The New York Times. Retrieved 2008-08-26.
- "Spotlight Awards: The Spotlight Awards benefit from a variety of wonderful judges and presenters who mentor the young students through the Spotlight Awards process". The Music Center / Performing Arts Center. 2008. Archived from the original on July 22, 2008. Retrieved 2008-08-26.
- Anderson, Jack (2000-12-19). "Dance Review; A Classic Pas de Deux in the Hands of Talented Novices". The New York Times. Retrieved 2008-08-26.
- Ossola, Cheryl (January 2003). "25 to watch – dancers". Dance Magazine. Retrieved 2008-08-25.
- Kaufman, Sarah (2007-01-11). "American Ballet Theatre Successfully Returns to Its Roots". The Washington Post. Retrieved 2008-08-26.
- Kisselgoff, Anna (2003-05-13). "Ballet Theater Review; Jealousy and Betrayal In an Oriental Temple". The New York Times. Retrieved 2008-08-26.
- Kisselgoff, Anna (2003-10-28). "Ballet Theater Review; Choreographer Unfurls His Devotion To Process". The New York Times. Retrieved 2008-08-26.
- Kisselgoff, Anna (2004-05-12). "Ballet Theater Review; Meaty Excerpts And Novelties Open a Season". The New York Times. Retrieved 2008-08-26.
- Dunning, Jennifer (2004-06-05). "Ballet Review; Giving a Classic a Jolt of Youthful Vigor". The New York Times. Retrieved 2008-08-26.
- Anderson, Jack (2005-04-23). "Dance Review – A.B.T. Studio Company: Showcase Night for a Troupe of Performers-in-Progress". The New York Times. Retrieved 2008-08-26.
- Rockwell, John (2006-06-05). "This Cinderella Finds Jazz, New Toeshoes and Happiness". The New York Times. Retrieved 2008-08-26.
- Dunning, Jennifer (2006-06-17). "American Ballet Theater Presents 'Giselle' With Four Casts". The New York Times. Retrieved 2008-08-26.
- Segal, Lewis (2006-05-04). "Stylized swings from head to toe: American Ballet Theatre brings a bag of banging, nodding tricks to Orange County.". Los Angeles Times. Retrieved 2011-01-23.
- Gilmore, Seth (2007-07-06). "Arts, Briefly; Footnote". The New York Times. Retrieved 2008-08-24.
- Pinto-Duschinsky, Nendie (March 2011). "Misty Copeland". The Cut Newspaper. Retrieved 2011-03-24.
- Howard, Rachel (2007-11-12). "Choreographer of moment struts multidisciplinary stuff". San Francisco Chronicle. Retrieved 2008-08-24.
- Macaulay, Alastair (2007-10-25). "Looking Behind, and a Little Bit Ahead". The New York Times. Retrieved 2008-08-24.
- Macaulay, Alastair (2007-10-30). "Watching as Venerable Choreographers Stretch". The New York Times. Retrieved 2008-08-24.
- Dunning, Jennifer (2007-10-31). "All Sorts of Steps, Strutted for a Cause". The New York Times. Retrieved 2008-08-27.
- Macaulay, Alastair (2007-11-01). "Swinging Into Comedy (and Along With Sinatra)". The New York Times. Retrieved 2008-08-27.
- Sulcas, Roslyn (2007-11-06). "Odes to an Ax Murderer From New England and a Singer From Hoboken". The New York Times. Retrieved 2008-08-27.
- Newman, Barbara (2007-03-07). "Letters from London: American Ballet Theatre and English National Opera". Voice of Dance. Retrieved 2008-08-27.
- van Aerde, Marike (2007-03-20). "American Ballet Theatre". Ballet.co Magazine. Bruce Marriott. Retrieved 2008-08-27.
- Sulcas, Roslyn (2008-06-11). "Flashing Capes and Other Spanish Flourishes". The New York Times. Retrieved 2008-08-27.
- Lobenthal, Joel (2008-06-19). "'The Sleeping Beauty,' Served Straight Up". The New York Sun. The New York Sun, One, SL, LLC. Retrieved 2008-08-27.
- "ABT's Copeland, Lane Win Annenberg Fellowships". The New York Sun. 2008-07-15. Retrieved 2008-08-25.
- "News". Dancing Times.
- Macaulay, Alastair (2008-10-22). "A Season Opener Equipped With the Greatest Generation". The New York Times. Retrieved 2010-04-16.
- Macaulay, Alastair (2008-10-29). "One-Acts Infused With Fresh Blood Reawaken a Seasoned Company". The New York Times. Retrieved 2010-04-16.
- Haithman, Diane (2009-05-02). "Prince and pointe shoes: ABT soloist dishes about video". Los Angeles Times. Retrieved 2010-04-16.
- "Play Misty for me: An ABT soloist finds her Prince". Time Out. May 14–20, 2009. Archived from the original on 2010-02-11. Retrieved 2010-04-16.
- Milzoff, Rebecca (2011-05-08). "The Muse: An ABT ballerina becomes an inspiration for Prince.". New York. Retrieved 2011-06-27.
- "The Listings". The New York Times. 2010-05-15. Retrieved 2010-04-16.
- Bloom, Julie (2009-08-25). "Arts, Briefly; American Ballet Theater To Go To Beijing". The New York Times. Retrieved 2010-04-16.
- La Rocca, Claudia (2010-09-10). "Arabesques and Pirouettes on Parade". The New York Times. Retrieved 2011-01-22.
- La Rocca, Claudia (2010-10-05). "Catching Choreographers in the Act: Two Creations for a Percussive Beat". The New York Times. Retrieved 2011-01-22.
- Cohen, Stefanie (2010-12-26). "Prince finds a ballet muse". New York Post. Retrieved 2011-01-22.
- "Close to Misty". California Chronicle. Retrieved 2011-01-22.
- "This is Why She Rocks". OliveCoco. 2010-12-20. Retrieved 2011-01-22.
- Sangweni, Yolanda (2011-02-01). "BHM: Boundary-Breaking Black Women in Entertainment". Essence. Retrieved 2011-02-02.
- "American Ballet Theatre – Programme Two, Sadlers Wells". Ballet News. 2011-02-03. Retrieved 2011-02-03.
- "Prince Plays the Classics & Debuts a New Song!". Turner Broadcasting System, Inc. 2011-04-14. Retrieved 2011-04-16.
- Harss, Marina (2011-06-11). "Having Fun at the Ballet". The Faster Times. Retrieved 2011-06-27.
- Macaulay, Alastair (2011-05-25). "A Big House, Big Names, New Twists". The New York Times. Retrieved 2011-06-27.
- "Dance review: American Ballet Theatre dances 'The Bright Stream' at the Dorothy Chandler Pavilion". Los Angeles Times. 2011-07-15. Retrieved 2011-08-15.
- "Dance Review: With the Matadors, Capes, Gypsies and Dancing, Who Needs a Plot?". The New York Times. 2011-05-18. Retrieved 2011-06-27.
- Hermanson, Maggie (July 2011). "Misty Copeland's First Vail Adventure". ClubPointe. Pointe Magazine. Retrieved 2011-08-15.
- Gross, Rebecca (2011-06-08). "Art Talk with Ballerina Misty Copeland". Art Works. National Endowment for the Arts. Retrieved 2011-08-15.
- "Misty Copeland On 'A Day In The Life' (VIDEO)". Hulu. Retrieved 2011-09-08.
- "Morgan Spurlock 'A Day In The Life': Original Series Premieres On Hulu (VIDEO)". The Huffington Post. 2011-08-17. Retrieved 2011-09-08.
- "Misty Copeland Targets an Untapped Market with New Line M By Misty". Jones. 2011-12-12. Retrieved 2011-12-13.
- "5th Anniversary Gala". Council of Urban Professionals. April 2012. Retrieved 2012-04-14.
- "5th Anniversary Gala". Council of Urban Professionals. 2012-03-22. Retrieved 2012-04-14.
- Wilson, Julee (2012-11-13). "Misty Copeland, American Ballet Theatre Ballerina, Creates Stunning 2013 Calendar (PHOTOS)". The Huffington Post. Retrieved 2012-11-15.
- "Ballet dancer Misty Copeland to pen memoir". New York Post. 2012-11-28. Retrieved 2012-11-29.
- Bleiberg, Laura. "Best in dance for 2012". Los Angeles Times. Retrieved 2013-01-12.
- Pathak, Shareen Pathak (2012-12-28). "See the Spot: Dr Pepper Highlights Individuals with Unique Stories". Advertising Age. Retrieved 2013-01-12.
- "Ballet dancer Misty Copeland has 2-book deal". Yahoo! News. 2013-01-30. Retrieved 2013-02-04.
- Catton, Pia (2013-09-12). "Dancing Toward Diversity: Misty Copeland To Be Face of Project Plié". The Wall Street Journal. Retrieved 2013-09-14.
- Price, Robyn Carolyn (2013-10-09). "Misty Copeland: The Audacity of Hope…the Story of a Black Ballerina". Vogue Italia. Retrieved 2013-10-10.
- "Cupcakes & Conversation with Misty Copeland". Ballet News. April 11, 2011.
- Copeland archive at Los Angeles Times
- Copeland at American Ballet Theatre
- Copeland on Twitter
- A Day In the Life With Misty Copeland
- Copeland's commercial for Blackberry Bold
- "Crimson and Clover" video
- The Loop 21: Interview with Misty Copeland
- 1997 Copeland video