Misty Danielle Copeland (nata il 10 settembre 1982) è una ballerina americana per American Ballet Theatre (ABT), una delle tre principali compagnie di balletto classico negli Stati Uniti. Il 30 giugno 2015, Copeland è diventata la prima donna afroamericana ad essere promossa a ballerino principale nella storia di 75 anni di ABT.

Copeland era considerato un prodigio che raggiunse la celebrità nonostante non avesse iniziato il balletto fino all'età di 13 anni. Due anni più tardi, nel 1998, i suoi insegnanti di danza, che servivano da guardiani della sua custodia, e sua madre, combatterono una battaglia per la custodia su di lei. Nel frattempo, Copeland, che era già un ballerino pluripremiato, stava mettendo in campo offerte professionali. Le questioni legali riguardavano le richieste di emancipazione da parte di Copeland e la restrizione degli ordini da parte di sua madre. Entrambe le parti hanno abbandonato i procedimenti legali e Copeland si è trasferita a casa per iniziare a studiare con un nuovo insegnante, che era un ex membro dell'ABT.

Nel 1997, Copeland ha vinto il Los Angeles Music Center Spotlight Award come miglior ballerino nel sud della California. Dopo due workshop estivi con ABT, è diventata membro della Studio Company di ABT nel 2000 e del suo corpo di ballo nel 2001, e nel 2007 è diventata solista di ABT. Come solista dal 2007 a metà 2015, è stata descritta come maturata in una ballerina più contemporanea e sofisticata.

Oltre alla sua carriera di ballerina, Copeland è diventato un oratore pubblico, un portavoce delle celebrità e un attore sul palcoscenico. Ha scritto due libri autobiografici e ha raccontato un documentario sulle sue sfide di carriera, A Ballerina's Tale. Nel 2015, è stata nominata una delle 100 persone più influenti al mondo dalla rivista Time, apparendo in copertina. Si è esibita a Broadway in "On the Town", è stata esibita come ballerina per Prince ed è apparsa nei reality show "A Day in the Life e So You Think You Can Dance". Ha appoggiato prodotti e aziende come T-Mobile, Coach, Inc., Dr Pepper, Seiko, The Dannon Company e Under Armour.

Copeland è nato a Kansas, nel Missouri e cresciuto nella comunità di San Pedro a Los Angeles, in California. È la figlia di Sylvia DelaCerna (italiana e afroamericana) e Doug Copeland (tedesca e afroamericana). Sua madre si è sposata più volte, tuttavia Misty è la più giovane dei suoi quattro figli. Durante tutta la sua vita, Misty non ha visitato né visto suo padre tra i due ei ventidue anni. Dai tre ai sette anni, Misty amava a Bellflower, in California, con sua madre e il terzo marito di sua madre (Harold Brown). Quindi Misty si trasferì a Santa Fe quando sua madre sposò il suo quarto marito. Lì ha frequentato la scuola elementare di Point Fermin. A sette anni, Misty vide un film intitolato Nadia, su Nadia Comăneci. È diventata la modella di Misty, ma non ha mai iniziato a ballare fino alla sua adolescenza. Tuttavia, essendo cresciuta, amava ballare canzoni pop e coreografare balli con i suoi fratelli (Mariah Carey era la sua preferita, come molte ragazze a quell'età). Più successivamente ha fatto parte della squadra di trivellazione della scuola media di Dana ed era capitano. Quando l'allenatrice della squadra, Elizabeth Cantine, vide Misty ballare, sapeva che Misty aveva un talento speciale. Dopo questo, la madre di Misty ha finito per lasciare il suo quarto marito e alla fine ha deciso di stabilirsi e trasferirsi nel Sunset Inn a Gardena, in California. Qui ha riservato due piccole stanze per sé e tutti i suoi figli (in totale quattro bambini). All'inizio del 1996, Cantine convinse Copeland a frequentare una lezione di danza al suo locale Boys & Girls Club. La madre di Misty (DelaCerna) ha permesso a Misty di andare al Boys & Girls Club dopo la scuola fino alla fine della giornata lavorativa. L'insegnante, Cynthia Bradley, ha visto l'interesse di Misty nel ballo e le ha chiesto se voleva andare in una scuola di ballo chiamata, San Pedro Dance Center. Sebbene Misty si preoccupasse molto di ballare, inizialmente ha delcined l'offerta perché sapeva che sua madre lavorava fino a molte ore per riuscire a portarla a ballare. Cynthia Bradley finì per scegliere Misty da scuola e portarla a lezione di danza. Copeland lavorava così duramente da essere già in pozione dopo tre mesi. La mamma di Misty (DelaCerna) non pensava che Misty potesse continuare a ballare e le avrebbe detto di smettere. Tuttavia, Cynthia Bradley (insegnante di ballo) voleva che lei continuasse. A causa di ciò, Bradley si offrì di ospitare Misty e DelaCerna firmando contratti per Misty che rimaneva con i Bradley. Trascorse la maggior parte del suo tempo (per i successivi tre anni) con i Bradley, vedendo sua madre nei fine settimana. All'età di quattordici anni, Misty Copeland era già impegnata in gare di balletto e si esibiva in assoli. Successivamente è stata presentata a Paloma Herrera, una ballerina principale con ABT (American Ballet Theatre). Copeland ha poi iniziato a studiare a casa con il Bradley (a partire dal 10 ° grado) in modo da avere più tempo per ballare. Poi, quando Misty aveva quindici anni, ha vinto il Los Angeles Music Center Spotlight Awards, dando così i soldi della borsa di studio. Durante l'estate andò agli intensivi estivi alla scuola di San Francisco (con borsa di studio completa), Joffrey, ABT e altri. Durante questi seminari estivi, è stata collocata nelle classi più elevate. Alla fine degli intensivi estivi, le fu offerto di continuare come studente a tempo pieno in molte aziende, tuttavia rifiutò a causa dell'incoraggiamento da parte della madre di tornare a casa. Tuttavia, sapeva che sarebbe tornata la prossima estate (in ABT).

Copeland returned to her mother's home and frequent arguments.^[1] Her mother had long resented the Bradleys' influence and soon decided that Copeland would cease study with the Bradleys.^[1][2] Copeland was distraught with fear that she would not be able to dance.^[3] She had heard the term emancipation while in San Francisco;^[2] the procedure was common among young performers to secure their financial and residential independence.^[1] The Bradleys introduced Copeland to Steven Bartell, a lawyer who explained the emancipation petition process.^[1][2] The Bradleys encouraged her to be absent from home when the emancipation petition was delivered to her mother.^[2] Copeland ran away from home for three days and stayed with a friend, while Bartell filed the emancipation papers.^[3][2] After her mother reported Copeland missing, she was told about the emancipation petition.^[2] Three days after running away, Copeland was returned to her mother by the police.^[1][2] DelaCerna engaged lawyer Gloria Allred and applied for a series of restraining orders, which included the Bradleys' five-year-old son, who had been Copeland's roommate, and Bartell. 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.^[2]

The custody controversy was highly publicized in the press (especially Los Angeles Times and Extra),^[2] starting in August and September 1998.^[2] Parts of the press coverage spilled over into op-ed articles. The case 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,^[4][5] Allred claimed that the Bradleys had turned Copeland against her mother by belittling DelaCerna's intelligence. The Bradleys noted that the management contract gave them authority over her career, but they stated that they would wait until Copeland became eighteen before seeking twenty percent of Copeland's earnings.^[4][3]

Template:Quote box After DelaCerna stated that she would always make sure Copeland could dance, both the emancipation papers and restraining orders were dropped.^[3] Copeland, who claimed she did not understand the term emancipation, withdrew the petition after informing the judge that such charges no longer represented her wishes.^[6] Still, DelaCerna wanted the Bradleys out of her daughter's life.^[6] Copeland re-enrolled at San Pedro High School for her junior year (1998–99), on pace to graduate with her original class of 2000.^[7][8] DelaCerna sought Cantine's advice on finding a new ballet school. Copeland began ballet study at Lauridsen Ballet Centre in Torrance with former ABT dancer Diane Lauridsen, although her dancing was now restricted to afternoons in deference to her schooling.^[1][2] Late in 1998, all parties appeared on Leeza Gibbons' talk show, Leeza, where Copeland sat silently as the adults "bickered shamelessly".^[2] As a student, Copeland had a 3.8/4.0 GPA through her junior year of high school.^[8] In 2000, DelaCerna stated that Copeland's earnings from ballet were set aside in a savings account and only used as needed.^[8]

Copeland auditioned for several dance programs in 1999, and each made her an offer to enroll in its summer program.^[1] She performed with ABT as part of its 1999 and 2000 Summer Intensive programs. By the end of the first summer, she was asked to join the ABT Studio Company. Her mother insisted that she finish high school, and so Copeland returned to California for her senior year, even though ABT arranged to pay for her performances, housing accommodations and academic arrangements.^[1][9] She studied at the Summer Intensive Program on full scholarship for both summers and was declared ABT's National Coca-Cola Scholar in 2000.^[7] In the 2000 Summer Intensive Program, she danced the role of Kitri in Don Quixote.^[10] Copeland's strongest memory from the summer is working with choreographer Twyla Tharp on Push Comes to Shove". Of the 150 dancers in the 2000 Summer Intensive Program, she was one of six selected to join the junior dance troupe.^[10]

In September 2000, she joined the ABT Studio Company, which is ABT's second company, and became a member of its Corps de ballet in 2001.^[7] As part of the Studio Company, she performed the Pas de Deux in Tchaikovsky's The Sleeping Beauty. Eight months after joining the company, she was sidelined for nearly a year by a lumbar stress fracture. When Copeland joined the company, she weighed 108 libbre (49,0 kg) (she is 5 piedi 2 pollici (1,57 m) tall). At age 19, her puberty had been delayed, a situation common in ballet dancers.^[11] After the lumbar fracture, her doctor told her that inducing puberty would help to strengthen her bones, and he prescribed birth control pills. Copeland recalls that in one month she gained 10 pounds, and her small breasts swelled to double D-cup size: "Leotards had to be altered for me ... to cover my cleavage, for instance. I hated this sign that I was different from the others. ... I became so self-conscious that, for the first time in my life, I couldn't dance strong. I was too busy trying to hide my breasts."^[11] Management noticed and called her in to talk about her body. The professional pressure to conform to conventional ballet aesthetics resulted in body image struggles and a binge eating disorder.^[11] Copeland says that, over the next year, new friendships outside of ABT, including with Victoria Rowell and her boyfriend, Olu Evans, helped her to regain confidence in her body. She explained, "My curves became an integral part of who I am as a dancer, not something I needed to lose to become one. I started dancing with confidence and joy, and soon the staff at ABT began giving me positive feedback again. And I think I changed everyone's mind about what a perfect dancer is supposed to look like."^[11] During her years in the corps, as the only Black woman in the company, Copeland also felt the burden of her ethnicity in many ways and contemplated a variety of career choices. Recognizing that Copeland's isolation and self-doubt were standing in the way of her talent, ABT's artistic director, Kevin McKenzie, asked writer and arts figure Susan Fales-Hill, then vice-chair of ABT's Board of Directors, to mentor Copeland. Fales-Hill introduced Copeland to Black women trailblazers who encouraged Copeland and helped her to gain perspective.^[12][9]

Early career reviews mentioned Copeland as more radiant than higher ranking dancers, and she was named to the 2003 class of Dance Magazine's "25 to Watch". In 2003, she was 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, workwithinwork, Amazed in Burning Dreams, Sechs Tänze, Pillar of Fire, "Pretty Good Year", "VIII" and "Sinfonietta, where she "stood out in the pas de trois – whether she was gliding across the floor or in a full lift, she created the illusion of smoothness". She also danced the Hungarian Princess in Tchaikovsky's Swan Lake. The 2004 season is regarded as her breakthrough season.^[13] She was included in the 2004 picture book by former ABT dancer Rosalie O'Connor titled Getting Closer: A Dancer's Perspective. Also in 2004, she met her biological father for the first time and regretted that she had not done so sooner.

In 2005, her most notable performance was in George Balanchine's Tarantella. she also danced the Lead Polovtsian Girl in "Polovtsian Dances" from Prince Igor. In 2006, she was acknowledged for her meticulous classical performance style in Giselle and created a role in Jorma Elo's Glow–Stop. Elo said: "Misty has the capability to absorb something extremely fast and then reproduce it exactly, and she gives such clarity to the material. If I were to make my own company, she would be the first one I would call."^[9] That year, she also returned to Southern California to perform at Orange County Performing Arts Center and danced one of the cygnets and reprised her role as the Hungarian Princess in Swan Lake in New York. In both 2006 and 2007, Copeland danced the role of Blossom in James Kudelka's Cinderella. Copeland's "old-style" performance continued to earn her praise in 2007. In 2007, she danced the Fairy of Valor in The Sleeping Beauty. Other roles that Copeland played before she was appointed a soloist by ABT included Twyla Tharp roles in In the Upper Room and Sinatra Suite as well as a role in Mark Morris's Gong. A Dance Magazine feature stated that Copeland's "sublime rapport with her partners in ... Sinatra Suite has earned her the honor of dancing with the company's male superstars".

Copeland was appointed a soloist at ABT in August 2007,^[2] one of the youngest ABT dancers promoted to soloist. Although, she was described by early accounts as the first African American woman promoted to soloist for ABT,^[14] Anne Benna Sims and Nora Kimball were soloists with ABT in the 1980s. Male soloist Keith Lee also preceded her. As of 2008, Copeland was the only African-American woman in the dance company during her entire ABT career. The only male African American in the company during her career, Danny Tidwell, left in 2005.^[14] In an international ballet community with a lack of diversity, she was so unusual as an African American ballerina, that she endured cultural isolation. She has been described in the press as the Jackie Robinson of classical ballet.^[14]

Copeland was a standout among her peers. In her first season as a soloist at New York City Center, in which avant-garde ballets works were performed, she received good notices in The New York Times for a Balanchine Ballo della Regina role. Also in 2007, she created a leading role in C. to C. (Close to Chuck), choreographed by Jorma Elo to A Musical Portrait of Chuck Close, Études 2, 9 & 10, by Philip Glass. Her performances of Tharp's works in the same season were recognized, and she was described as more sophisticated and contemporary as a soloist than she had been as a corps dancer. Her summer 2008 Metropolitan Opera House (the Met) season performances in Don Quixote and Sleeping Beauty were also well received.

During the 2008–09 season, Copeland was praised for performances in Twyla Tharp's Baker's Dozen and Paul Taylor's Company B. During the 2009 Spring ABT season at the Met, Copeland performed Gulnare in Le Corsaire and leading roles in Taylor's Airs and Balanchine's Pas de Deux from Swan Lake. Her 2008–09 Annenberg Fellowship included training for the Pas de Deux.^[15] Late that year, she performed in ABT's first trip to Beijing at the new National Center for the Performing Arts. In 2009, Copeland created a role in Aszure Barton's One of Three.

In 2010, after recovering from a stress fracture,^[9] Copeland performed in Birthday Offering at the Met and at the Guggenheim Museum danced to David Lang's music. She also created the Spanish Dance in ABT artist-in-residence Alexei Ratmansky's new version of The Nutcracker, premiered at the Brooklyn Academy of Music. In early 2011, she was well received at the Kennedy Center as the Milkmaid in Ratmansky's The Bright Stream, a remake of a banned comic ballet. In Black History Month in 2011, Copeland was selected by Essence as one of its 37 Boundary-breaking black women in entertainment. That same month, she toured with Company B, performed at Sadler's Wells Theatre in London. In May, she created a role in Ratmansky's Dumbarton, danced to Stravinsky's chamber concerto, Dumbarton Oaks. Alastair Macaulay of The New York Times found the piece too intimate for the cavernous Met, but he noted: "Misty Copeland gives sudden hints of need and emotional bleakness in a duet ... too much is going on to explain itself at one viewing; but at once I know I'm emotionally and structurally gripped." Her Summer 2011 ABT solos included the peasant pas de deux in Giselle^[16] and, in Ratmansky's The Bright Stream at the Met in June, her reprise of the Milkmaid was called "luminous, teasingly sensual". She reprised the Bright Stream role again 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. In November, she danced in Taylor's Black Tuesday.

In 2012, Copeland began achieving solo roles in full-length standard repertory ballets rather than works that were mostly relatively modern pieces. A 2012 feature in Dance Magazine stated that Copeland's "classical repertoire ... has deepened in artistry with each season. In the peasant pas de deux from Giselle, she is buoyant and refreshingly lyrical, and her plush jumps in Swan Lake's pas de trois are a joy. As the Fairy of Valor in Sleeping Beauty, she tempers the harsh stabbing fingers and dagger-like pas de chats by uplifting her body with grandeur and, yes, valor."^[9] She starred in The Firebird, with choreography by Ratmansky at the Segerstrom Center for the Arts in Costa Mesa, California. It premiered on March 29, 2012. The performance was hailed by Laura Bleiberg in the Los Angeles Times as one of the year's best dance performances. That year, Copeland was recognized by The Council of Urban Professionals as their Breakthrough Leadership Award winner. She also danced the role of Gamzatti in La Bayadère at the Met to praise from Alastair Macaulay of The New York Times, who noted her "adult complexity and worldly allure". The Firebird was again performed at the Met in June 2012, with Copeland set to alternate in the lead. It was Copeland's first leading role at ABT.^[17] Backstage described it as her "most prestigious part" to date. After only one New York performance in the role, Copeland withdrew from the entire ABT season due to six stress fractures in her tibia. She was sidelined for seven months after her October surgery.

Upon her return to the stage, she danced the Queen of the Dryads in Don Quixote in May 2013.^[18] Nelson George began filming a documentary leverage the chance to present her comeback. Copeland reprised her role as Gulnare in June 2013 in the pirate-themed Le Corsaire. She also played an Odalisque in the same ballet. Later in the year, she danced in Tharp's choreography of Bach Partita for Violin No. 2 in D minor for solo violin, and as Columbine in ABT's revival of Ratmansky's Nutcracker at the Brooklyn Academy of Music.

In May 2014, Copeland performed the lead role of Swanilda in Coppélia at the Met. According to Los Angeles Times writer Jevon Phillips, she is the first African American woman to dance the role. The same month, she was praised in the dual role of Queen of the Dryads and Mercedes in Don Quixote by Brian Seibert of The New York Times, although Jerry Hochman of Critical Dance felt that she was not as impressive in the former role as in the latter. Later in May, the Met staged a program of one-act ballets consisting of Theme and Variations, Duo Concertant and Gaîté Parisienne, featuring Copeland in all three.^[19] Siebert praised her work as the lead in Balanchine's choreography of Igor Stravinsky's Duo Concertant for violin and piano performed by Benjamin Bowman and Emily Wong. Of her Flower Girl in Gaîté Parisienne, Apollinaire Scherr of The Financial Times wrote that she "tips like a brimming watering can into the bouquets her wooers hold out to her". Copeland was a "flawless" demi-soloist in Theme and Variations, according to Colleen Boresta of Critical Dance.^[20]

In June 2014 at the Met, she danced the Fairy Autumn in the Frederick Ashton Cinderella, cited for her energetic exuberance in the role by Hochman, who missed the "varied texture and nuance that made it significantly more interesting" in the hands of ABT's Christine Shevchenko. That month, she played Lescaut's Mistress in Manon in which role Marjorie Liebert of BroadwayWorld.com described her as "seductive and ingratiating". Also in June, she performed the role of Gamzatti in La Bayadère. Copeland performed the Odette/Odile double role in Swan Lake in September when the company toured in Brisbane, Australia. Her ascension to more prominent roles occurred as three ABT principal dancers (Paloma Herrera, Julie Kent and Xiomara Reyes) entered their final seasons before retirement. In early October, Copeland performed several pieces including a principal role in Tharp's Bach Partita at Chicago's Auditorium Theatre. In October, Copeland made her New York debut in one of the six principal roles in Tharp's Bach Partita and created a role in Liam Scarlett's With a Chance of Rain. That December, when ABT revived Ratmansky's Nutcracker at the Brooklyn Academy of Music, Copeland played the role of Clara, the Princess. The same month, at the Kennedy Center Honors, she was described as "sublime" in Tchaikovsky's Pas de Deux by the New York City CBS News affiliate.

In March 2015, Copeland danced the role of Princess Florine in The Sleeping Beauty at the Segerstrom Center for the Arts in Costa Mesa, California. She made her American debut as Odette/Odile in Swan Lake with The Washington Ballet, opposite Brooklyn Mack as Prince Siegfried, in April at the Eisenhower Theater in the John F. Kennedy Center for the Performing Arts. The performance was the company's first presentation of Swan Lake in its 70-year history. In May 2015, she played Cowgirl in Rodeo, Bianca in Othello and Zulma in Giselle. She was selected for the 2015 Time 100. As a result, Copeland appeared on the cover of Time, making her the first dancer on the cover since Bill T. Jones in 1994. In June, Copeland created the small role of the Fairy Fleur de farine (Wheat flower) in Ratmansky's The Sleeping Beauty. The same month, she made her debut in Romeo and Juliet on short notice a few days before her scheduled debut performance on June 20. Later in June, Copeland made her New York debut in the Odette/Odile double role from Swan Lake that is described by Macauley as "the most epic role in world ballet". Her performance at the Met was regarded as a success. Her performance in the role had been anticipated as a "a crowning achievement" in wide-ranging media outlets and by a broad spectrum of fans and supporters. Pioneering dancers Raven Wilkinson and Lauren Anderson were on hand to present her with bouquets on stage.^[21] Some viewed this performance as a sign that her promotion to principal was forthcoming.

On June 30, 2015, Copeland became the first African-American woman to be promoted to principal ballerina in ABT's 75-year history.^[22] Copeland's achievement was groundbreaking, as there have been very few African-American principal ballerinas at major companies. Debra Austin became a principal at Pennsylvania Ballet in 1982, and Lauren Anderson became a principal at Houston Ballet in 1990, the first black principal ballerinas at major American companies. According to the 2015 documentary about Copeland, A Ballerina's Tale, until Copeland, "there [had] never been a Black female principal dancer at a major international company".

Copeland next accepted the role of Ivy Smith in the Broadway revival of On The Town, which she played for two weeks from August 25 to September 6. Her debut on Broadway was favorably reviewed in The New York Times, The Washington Post, and other media.

In October in New York, Copeland performed in the revival of Tharp's choreography of the Brahms-Haydn Variations, in Frederick Ashton's Monotones I, and "brought a seductive mix of demureness and sex appeal to 'Rum and Coca-Cola'" in Paul Taylor's Company B.^[9] The same month, she created the role of His Loss in AfterEffect by Marcelo Gomes, danced to Tchaikovsky's Souvenir de Florence, at Lincoln Center. When ABT brought Ratmansky's Nutcracker to Segerstrom Center for the Arts in December 2015, Copeland reprised the role of Clara.

In January 2016, Copeland reprised the role of Princess Florine in The Sleeping Beauty at the Kennedy Center, choreographed by Ratmansky. Her spring 2016 schedule also included leads in ABT productions of The Firebird, La Fille Mal Gardee, Le Corsaire, The Golden Cockerel, Swan Lake and Romeo and Juliet.^[12] In 2017, she appeared as a guest artist with La Scala Theatre Ballet when it visited Southern California.

In March 2009, Copeland filmed a music video with Prince for a cover of "Crimson and Clover", the first single from his 2009 album Lotusflower. Prince asked her to dance along to the song in improvised ballet movements. She described his instructions as "Be you, feel the music, just move", and upon request for further instruction, "Keep doing what you're doing". She also began taking acting lessons in 2009.^[15] During the New York City and New Jersey portions of Prince's Welcome 2 America tour, Copeland performed a pas de deux en pointe to his song "The Beautiful Ones", the opening number at the Izod Center and Madison Square Garden. Prince had previously invited her onstage at a concert in Nice, France. In April 2011, she performed alongside Prince on the Lopez Tonight show, dancing to "The Beautiful Ones."

In 2011, she was featured in the Season 1, episode 5 of the Hulu web series A Day in the Life. Copeland was a guest judge for the 11th season of FOX's So You Think You Can Dance. New Line Cinema has optioned her memoir, Life in Motion, for a screen adaptation, and the Oxygen network has expressed interest in producing a reality docuseries about Copeland mentoring a Master Class of aspiring young dancers.

A Ballerina's Tale, a documentary film about Copeland, debuted at the Tribeca Film Festival in April 2015 and was released in theaters in October 2015. It was then aired in February 2016 as part of PBS' Independent Lens series. Dawn Heinecken, a professor of women's studies at the University of Louisville, described the film as "part of a calculated media campaign designed to launch Copeland into mainstream celebrity", but notes that film "directly [challenges] the ideology of white supremacy that undergirds the world of classical ballet."

In May 2015, Copeland was featured on 60 Minutes in a segment with correspondent Bill Whitaker. The following month, she served as a presenter at the 69th Tony Awards. In July 2015, a black and white book, Misty Copeland: Power and Grace, was released by photographer Richard Corman, with an introduction by Cindy Bradley. The book contains photographs of Copeland dancing at sunrise on and around a baby grand piano that washed ashore under the Brooklyn Bridge. Copeland was included in the 2015 International Best Dressed List, published by Vanity Fair. In October 2015, she performed on The Late Show with Stephen Colbert accompanied by cellist Yo-Yo Ma, who played "Courante" from Bach's Cello Suite No. 2.

In February 2016, Copeland and President Barack Obama were interviewed together in the first of a three part video series with Time and Essence magazines on topics of race, gender, achievement and creating opportunity for young people. The same month, she walked the runway at New York Fashion Week to support the American Heart Association's "Go Red for Women" campaign to increase awareness of the dangers of heart disease for women. She appeared in the March issue of Harper's Bazaar recreating Edgar Degas ballerina poses in a photospread ahead of a Museum of Modern Art exhibition: "Edgar Degas: A Strange New Beauty". The feature was favorably noted by several media outlets, but Sebastian Smee of The Boston Globe argued that contemporary ballet performers take Degas' ballet-themed work too seriously.

Copeland was cast to dance the lead ballerina role in the forthcoming 2018 Disney film, The Nutcracker and the Four Realms, based on the 1816 story "The Nutcracker and the Mouse King". She also voiced herself on a 2016 episode of the animated TV series, Peg + Cat, "The Dance Problem/Follow The Bouncing Ball". In 2017, she appeared as a guest judge on World of Dance.

Copeland e suo marito, l'avvocato Olu Evans, vivono nell'Upper West Side di Manhattan. La coppia è stata presentata l'un l'altro nel 2004 dal cugino di Evans, Taye Diggs, e ha rivelato il loro impegno in una cover story del 2015 nella rivista Essence. Si sono sposati in California il 31 luglio 2016.

• Wikimedia Commons contiene immagini o altri file su Camig2004/Sandbox
• Template:Official website
• (EN) Camig2004/Sandbox, su IMDb, IMDb.com.
• Copeland dancing in On the Town on Broadway (2015)
• Cupcakes & Conversation with Misty Copeland, Soloist, American Ballet Theatre, su balletnews.co.uk, 11 April 2011. URL consultato l'8 July 2017.
• Copeland archive at Los Angeles Times
• A Day In the Life With Misty Copeland
• 55-minute version of A Ballerina's Tale, PBS (2016)

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