Copeland’s story has also resonated far beyond the studios and auditoriums to which ballet is typically confined. A vocal and visible proponent for the importance of diversity and representation, she spread her message both with her words and her captivating stage presence. She became the face of a movement that penetrated the veil that often shrouds the inner workings of the ballet from the consciousness of the wider world.

“I’ll never forget when Misty played the role of the Firebird—I get chills when I think about it now,” Royal says. “We were holding the curtain for what felt like a half an hour because there were lines of people from all backgrounds lined up in circles around the Metropolitan Opera House.” In that moment, Misty became a beacon for an entire group of people that ranged in age, racial background, and previous interest in dance. Although she didn’t guide these people directly, her legacy of mentorship reached them, too.  

Copeland, in the words of Royal, “moved the art form forward.” She carried big, important dreams on her shoulders, and, as Muhammad says, always asked a lot of herself. Even her farewell, which comes after a lengthy break from the stage due to injuries, the Covid pandemic, and other career obligations, is a testament to that. “She went on a five-year hiatus, and she gets one night to pull it all together—that’s a lot of pressure to put on yourself,” says Muhammad. “But I can’t imagine her doing it any other way, because that’s literally who she is.” 

Although Copeland won’t be a fixture on the stage after her farewell, her presence will continue to exist there. She’ll be felt when Royal extends his arm in the way she coached him to, and when the Muhammad brothers continue to check roles off their bucket lists. And, when all the dancers who Copeland inspired to dream burst from the wings, she’ll certainly be channeled in their every movement.