Life in Motion

March 31, 2014
The first African-American soloist in the American Ballet Theatre (ABT) of New York City, Copeland was a latecomer to the art and took her first class at age 13.Told in graceful prose, the memoir recounts her quick but singular riseâher struggles with compulsive overeating, racism, injuries, and self-doubt, as well as high points like discovering acceptance in the melting pot of New York, reconnecting with her father, founding her own dance-wear company, and performing with Prince. Copeland offers a strikingly generous view of her family and those closest to her who caused pain and confusion, at one point leaving her in destitution at a hotel with five siblings while only in her teens. Now age 31, Copeland demonstrates a remarkable ability to focus on the positive. Although she expresses a responsibility to break through color barriers for aspiring black dancers, her achievements will encourage all those attempting to beat the odds in competitive fields. Similar to Dancing Through It, New York City Ballet principal Jenifer Ringer's account of surviving and, ultimately, thriving in a janus-faced profession, Copeland's story will help young dancers to hold fast to their dreams, remain true to themselves, and avoid the pitfalls of perfectionism.

November 1, 2016
A ballet milestone was reached when Copeland was named the first African-American principal ballerina at American Ballet Theater. Copeland begins her memoir with her difficult childhood of many stepfathers and little money. Recognized by local dance teachers as someone with great potential, she was encouraged to take lessons, apply for summer studies, and pursue what ultimately became her realized dream: a career as an elite dancer. Copeland is open about her mixed-race family's difficulties and how "Dancing was my escape." She is frank about discussing her enormous talent along with her conflicted feelings about her mother's role versus those of her teachers who took her in and provided for her, leading to a court battle for emancipation. Famous black performers sought her out and were a source of strength and comfort; she even performed with Prince. Always present, of course, is the fact that the world of ballet is "full of ivory-skinned dancers." Skin color, hair, and makeup needs set African-American ballet dancers apart, resulting in many instances of prejudice both overt and subtle. In this young readers' edition of her 2014 memoir of the same name and with Colbert's assistance, Copeland writes in a conversational tone. She devotes much space to her innate abilities, her ABT career, and her overwhelming desire to succeed and be an inspiration. As Copeland fiercely reminds herself, "This is for the little brown girls"--and any reader in need of inspiration. (Biography. 11-16)

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December 1, 2016

Gr 4-7-Although Copeland didn't begin her ballet training until the age of 13, she transcended the competition in just five years' time and became a professional dancer at the American Ballet Theatre. Despite Copeland's extraordinary natural talent, her dance career has not been an easy one. In this young readers edition of her 2014 autobiography, she relates her experiences growing up in a low-income, single-parent family and recounts the custody battle between her mother and her dance teacher. Copeland goes on to describe the challenges of her life as a professional ballerina, most notably her isolation as a black artist in a predominantly white field. She writes that "some people still notice [her] skin color before they notice [her] talent" and that others "simply don't believe brown girls have a place in classical ballet." While Copeland's overall tone is conversational, her frank discussion of race is serious and relevant to tween readers. She expresses gratitude for her numerous friends and supporters and recalls her delight at certain opportunities and roles, such as her collaboration with Prince and her landmark performance as the Firebird in 2012. Copeland closes her book by saying that she wants young dancers to "look at what I've accomplished and realize they can achieve this dream, too." VERDICT Copeland's story will interest, inform, and inspire budding ballerinas and deserves a place in every library that serves middle grade readers.-Magdalena Teske, Naperville Public Library, IL

Copyright 2016 School Library Journal, LLC Used with permission.

November 1, 2016
Grades 4-8 Copeland brings her adult memoir to a middle-grade audience with this young readers edition. Much of the nation has been captured by her power and grace as a principal dancer for the American Ballet Theatre (ABT), an incredible accomplishment made all the more notable because she's the first African American to hold the position. The challenges of being a person of color in the traditionally white classical ballet world occupy much of the book, but just as resonant are the personal stories she tells of growing up with little money in an unstable home. Even with amazing natural ability and the perfect ballerina's body, Copeland still had to work unbelievably hard to achieve her dream of joining the ABT, and the descriptions of hours-long rehearsals and painful injuries drive this home. Devoted to equal opportunities within the arts, the petite ballerina continues to make a sizable impact both on and off the stage. Dancers in particular will be drawn to Copeland's story, but everyone will be inspired by her soaring spirit, caring heart, and fierce determination.(Reprinted with permission of Booklist, copyright 2016, American Library Association.)