Life in Motion: An Unlikely Ballerina

Chapters 9-11 each cover roughly the same time period, each one centering on a different topic that became important during this time. Chapter 9 centers on racism in the ballet world. Chapter 10 focuses on Misty’s relationship with New York City, as well as personal developments occurring at the same time as the professional developments discussed in Chapter 9. Chapter 11 details Misty’s collaborations with Prince, which happened concurrently with the events of the other two chapters. Though each chapter examines a particular set of experiences separate from the others, all three chapters illustrate the ways that the Intersections of Race, Identity, and Art shape Misty’s career and life as a professional ballet dancer. All three chapters also demonstrate The Power of Mentorship, as Misty learns how to integrate the various aspects of her identity through the wisdom and examples of her various mentors.

Chapter 9 delves deep into the intersections of race, identity, and art as Misty confronts what it means to be Black in the predominately white world of professional ballet. She demonstrates how her race impacts not only the way others perceive her artistic endeavors but also her own interactions with her art and her peers. When she tries to discuss the New York Times article about Raven Wilkinson with her oblivious and privileged white colleagues, their dismissive reactions expose the limits of acceptance. Misty’s friends love and accept her as an individual, but they are either unable or unwilling to understand that refusing to “see her as Black” reproduces the message that Misty is a professional ballerina despite being Black, reinforcing the implicit assumption that ballet is a fundamentally white art form. Misty finds solidarity and guidance in integrating her racial and artistic identities through the mentorship of fellow Black ballet dancers. Arthur Mitchell, a Black dancer and co-founder of the Dance Theatre of Harlem, provides encouragement and support specifically within the context of Misty’s experiences as a Black woman in a predominantly white field. This relationship is vital for Misty, who at this point is struggling with negative racial stereotypes and others dismissing her concerns. Arthur and the Dance Theatre of Harlem provide Misty with a space where being Black and a ballerina are not contradictions in terms, allowing her to develop a holistic artistic identity and then bring that identity to places like ABT.

One powerful result of that process is that Misty becomes more able to embrace the mentorship of others whom she had previously not seen as being allies. Between Chapters 9 and 10, Misty slowly revises her perception of Kevin McKenzie, the artistic director of ABT, from an intimidating authority figure to a mentor who has her back. It is the power of mentorship that enables her to build a stronger mentoring relationship with Kevin. In addition to support from Arthur, Misty relies on the support of her boyfriend, Olu, who encourages her to reconsider her assumption that Kevin judges her harshly and sees her differently due to her race. Once she allows herself to approach Kevin without projecting onto him the judgments others have directed at her, their relationship rapidly improves. Misty knows with the benefit of hindsight that Kevin was always supportive and gave her opportunities to shine; she simply could not perceive it. The memoir suggests that mentorship is only effective when the mentee is ready and willing to accept support in good faith.

Chapter 11 integrates the themes of the intersections of race, identity, and art and the power of mentorship in a new artistic setting: pop music. The chapter follows Misty’s experiences outside of ballet, showcasing her various collaborations with the pop star Prince. Though he is not a mentor in the traditional sense, Misty finds inspiration and confidence through her work with him because he treats her like a professional rather than a student. Perhaps even more importantly, however, Misty views these collaborations as a vital part of her development as an artist and performer. Some critics claim that Misty injures her status as a professional ballet dancer by performing with Prince, as if the crossover with pop music somehow dirties the “highbrow art” of ballet. Such criticisms recapitulate the implicit racism both within ballet specifically and between “highbrow” and “lowbrow” art in general by implying that the art of a Black musician like Prince is lesser than the art of the predominately white creators of ballet. For Misty, these collaborations are a vital part of her whole identity. These performances require no less discipline and hard work than any other ballet performance and do not lessen but strengthen her dedication to the art—particularly her wish to share her love of ballet with everyone in the world. Prince is a Black performer and wants to collaborate with Misty as a fellow Black artist, and working with Prince allows Misty to explore her ballet and Black identities simultaneously.