Why Did Misty Copeland Quit ABT? Principal Exits ABT With No Successor in Sight—Is Ballet Still Not Ready for Black Ballerinas?

Misty Copeland's final bow at the American Ballet Theatre (ABT) marks the end of a 25-year chapter that changed the face of classical ballet.

On 22 October 2025, Misty Copeland gives her farewell performance with ABT, closing a historic career that began when she joined the company at just 18 years old. Now 43, Copeland insists this is not retirement, but a conscious decision to move beyond the institution that both propelled and restricted her. After five years off the main stage due to the pandemic and motherhood, she describes her exit as 'a release' rather than an ending.

Throughout her tenure, Copeland became a global figure for both her artistry and advocacy. In 2015, she made history as the first Black woman promoted to principal dancer at ABT—a milestone that expanded audiences and brought long-overdue representation to an art form historically resistant to diversity. Former ABT artistic director Kevin McKenzie even compared her drawing power to that of Mikhail Baryshnikov in the 1970s.

Copeland's influence extended beyond performance. She was vocal about racial bias in casting and costuming, using her platform to push for systemic reform within ABT and the wider ballet community. Yet, as she steps away, she leaves behind an unsettling void; no Black woman will succeed her as principal dancer.

Breaking Barriers and Building Legacies

Copeland's decision follows years of reflection on what it means to belong within an elite cultural institution. While her artistry was celebrated, she often stood alone in representing Black women on the world's most prestigious ballet stages. She once said, 'To be the only Black woman in the company was shocking,' a statement that underscores how little progress has been made at the highest level.

Her next chapter, however, is already underway. In 2021, she launched the Misty Copeland Foundation, a non-profit aimed at promoting equity in the arts. She also runs Life in Motion, a production company she co-founded in 2015 with Leyla Fayyaz, dedicated to telling authentic dance stories beyond traditional Hollywood narratives.

Copeland remains active within the cultural sphere, serving on the boards of Lincoln Center and the Shed, institutions where she says her 'presence and voice matter'. Her work continues to centre on diversity and inclusion, even as arts funding and DEI initiatives face political and financial pressure. 'It's so important for us to keep going,' she says, acknowledging that progress requires persistence, not rhetoric.

The Road to Reinvention

Copeland's resolve has been tested before. In 2012, while performing the title role in Alexei Ratmansky's Firebird, she fractured her tibia; an injury that sidelined her for nearly a year. During her recovery, she channelled her energy into creating opportunity for others, helping ABT establish Project Plié, a diversity programme that has since evolved into ABT RISE.

Those who know her well, such as director and choreographer Debbie Allen, believe she is prepared for what lies ahead. 'She has established herself as a brand,' Allen has said, pointing to Copeland's ability to blend artistic vision with strategic direction. Her upcoming projects continue to redefine what a post-stage career can look like for professional dancers, particularly women of colour.

No Successor in Sight

Despite Copeland's historic success, ABT's lack of a Black female principal dancer after her exit highlights an uncomfortable truth. Structural change within ballet remains slow, and progress often hinges on individual trailblazers rather than institutional reform.

Copeland herself admits, 'In all honesty, I don't feel that ABT has done enough with me in furthering the cause.'