As the first African American female principal dancer with American Ballet Theatre, Misty Copeland made history. Now she’s one of the world’s most influential dancers, and she’s inviting you to the barre to develop a deeper appreciation for ballet and the language of dance. From pliés to partners, Misty demonstrates her techniques and teaches you to own your movement, own who you are, and do the dance only you can do.
Meet your new instructor: American Ballet Theatre principal dancer Misty Copeland. Misty talks about the philosophy that’s helped her through challenges, and she shares how this class will help you gain confidence and a fresh perspective.
Misty opens up about some of the errors she’s made in past performances, explaining how she’s dealt with criticism and revealing her technical transformation to rebuild strength and increase quality of movement.
Misty discusses how she prepares her pointe shoes and which type she chooses for different performances. Then she demonstrates a warm-up at the barre and performs a solo variation from Swan Lake.
Misty introduces placement principles for proper alignment and shares a series of stationary exercises to practice pliés and tendus. These exercises will help you build strength and prepare for jumps.
To help you learn placement principles and prepare for larger moves like arabesques, Misty demonstrates a series of small movement exercises to practice temps lié and maintain stability while shifting her weight from side to side.
In an advanced demonstration, Misty shows you exercises to practice ronds de jambe. These sequences prepare you for turns and help you engage placement principles while executing elaborate choreography.
All the techniques shown so far come together in a slowed-down version of Misty’s Black Swan variation. You’ll see Misty’s proper alignment for jumps and turns.
Misty tells you why a dedication to mastering technique in the studio will help you create dynamic performances, and she motivates you to become a storyteller through movement on stage.
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