Misty Copeland, the history-making ballerina who shifted the dance world by being the first Black woman to be promoted as a principal at the American Ballet Theatre in 2015, has taken her final bow 10 years later. Copeland’s exit from ABT isn’t an end, but a whole new beginning.

“This is the end of ABT for me. But I want to continue performing in some capacity,” she said in a cover story for Harper’s Bazaar. Though she clarified that she’s leaving the company, not retiring. Calling her decision a “release,” Copeland framed the move as an opportunity to expand how ballet lives and is perceived in the world. 

She’s already built such a strong foundation beyond the stage: The Misty Copeland Foundation, her production work with Life In Motion — positioning herself to produce, mentor, and advocate on a larger scale. She also sits on the boards of both Lincoln Center and the Shed, and she knows that her presence on these boards matters. 

Since her career took off, Copeland has melded her passion for performance with purpose. That will continue far after her time at ABT. The dance legend, (and Copeland’s longtime friend) Debbie Allen knows that Copeland is ready to expand. “She has established herself as a brand,” she told Harper’s Bazaar. “And she has put in place the business model, along with the artistic genius, along with the family priority.”

Copeland has always stood on the idea that classical ballet must change to reflect the people it serves. For her first 10 years at ABT, Misty was the only Black woman in the company and that experience was “shocking” to the seasoned dancer. She challenged institutions to do more than celebrate milestones; she implored them to share their power and opportunity.

As she steps into this next chapter, Copeland’s message is simple and bold: dance can welcome different bodies and stories, and she intends to help build the table where that future can unfold and have a seat.