![]() ![]() Wilkinson was born in 1935 to an educated, upper-class Black couple who set her on a course of ballet when she was just five years old. Her presence was proof to Black girls that they too could be ballerinas when the world was telling them no. Being a part of the ABT kept her steady in a place where her dreams could come true, and she realized that she was representing something much bigger than herself. Although racism is common in dance, Copeland never allowed that to make her settle. ![]() ![]() Like most Black women who find themselves as the “only,” she got used to it. It strengthened my respect and admiration for Copeland and allowed me the opportunity to learn about Wilkinson’s life.įor six years, Copeland was often the only Black dancer at the ABT. What’s beautiful about this memoir is seeing how these two women developed an unbreakable friendship. But the focus of the book is more on the mentor-mentee relationship between Wilkinson and Copeland, as Wilkinson guided Copeland and showed her that perseverance would reap rewards. The book tackles racism, the current climate in the United States, being Black in ballet, and Copeland’s struggles as a principal dancer in the ABT. Her new book, The Wind at My Back: Resilience, Grace, and Other Gifts from My Mentor, Raven Wilkinson, is a gift to Copeland’s mentor. The weight of her responsibility doesn’t go unnoticed. Not only that, but the mark she has made gives honor to those who came before her and highlights the importance of extending a hand to the next generation of ballet dancers by being a mentor. The same year, she was promoted to principal dancer, making her the first Black woman to ever be promoted to the position in the ABT’s 75-year history.Īll of her hard-earned success has solidified Copeland’s significance in the world of ballet and Black history. Copeland reprised the role in June 2015, as well as debuted as Juliet in Romeo & Juliet. She was dancing within three months of taking her first dance class and performing professionally in just over a year: an achievement unheard of for any classical dancer.Īfter years of training and overcoming what could have been a career-ending injury, in the fall of 2014, she made history as the first Black woman to perform the lead role in American Ballet Theatre’s Swan Lake, during the company’s inaugural tour to Australia. From living in a grungy motel room and struggling with her five siblings for a place to sleep on the floor, Copeland was a prodigy. She is the personification of dreams that really do come true. Misty Danielle Copeland, born in my hometown of Kansas City, Missouri, doesn’t look like someone who’s been through what she’s been through. ![]()
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