NEW YORK — Misty Copeland is set to retire her iconic pointe shoes this Wednesday, marking the end of a remarkable journey that has not only reshaped the landscape of ballet but also transcended the boundaries of the art form. Her career stands as a beacon of diversity and representation in a predominantly white industry, and her influence reaches far beyond the stage.

In a fitting tribute, the American Ballet Theatre (ABT) will celebrate Copeland’s retirement with a gala evening, honoring her 25-year legacy with the company. Copeland joined ABT as a teenager and a decade ago shattered glass ceilings by becoming the first Black female principal dancer in the company’s 75-year history.

The upcoming gala represents both a homecoming and a farewell for Copeland, as she prepares to perform with the company for the first time in five years. During her hiatus, she has devoted herself to family life, raising a young son with her husband, while also nurturing her career as an author. Her latest literary work, the second installment of the “Bunheads” series, was released in September.

Beyond her literary pursuits, Copeland has been fervently working to promote diversity within the dance community through her foundation. Her “Be Bold” afterschool program is tailored to inspire and support young children of color, fostering a new generation of diverse talent in the world of dance.

Despite stepping back from the stage, Copeland has chosen to grace the ABT audience one final time with a performance that includes a duet as Juliet, a role renowned for its emotional depth. While she hasn’t completely closed the door on future dance endeavors, it is clear that this performance marks the conclusion of a significant chapter.

Reflecting on her decision, Copeland, 43, shared with The Associated Press in June that after a quarter-century with ABT, she feels ready to move forward. “It’s time for me to move to the next stage,” she expressed, signaling the dawn of a new era in her illustrious career.

She added: “You know, I’ve become the person that I am today, and have all the opportunities I have today, because of ballet, (and) because of American Ballet Theatre. I feel like this is me saying ‘thank you’ to the company. So it’s a farewell. (But) it won’t be the end of me dancing. … Never say never.”

The evening at Lincoln Center’s David H. Koch Theater will be streamed live to nearby Alice Tully Hall across the plaza, with attendance free to the public – another sign of Copeland’s unique brand of fame in the dance world.

Copeland was born in Kansas City, Missouri, and raised in San Pedro, California, where she lived in near poverty and through periods of homelessness as her single mother struggled to support her and five siblings.

For a future professional dancer, she came to ballet relatively late – at 13 – but soon excelled and went on to study at the San Francisco Ballet School and American Ballet Theatre on scholarship opportunities. After a stint in the junior company, Copeland joined ABT as a member of the corps de ballet in April 2001, becoming a soloist six years later.

In June 2015, Copeland was promoted to principal dancer. Unlike other promotions, which are announced quietly, Copeland’s was announced at a news conference – a testament to her celebrity. Only days before, she’d made a triumphant New York debut in “Swan Lake” in the starring role of Odette/Odile, drawing a diverse and enthusiastic crowd to the Metropolitan Opera House.

In the AP interview, Copeland acknowledged that it’s striking that when she leaves ABT, there will no longer be a Black female principal dancer at the company (on the male side, acclaimed dancer Calvin Royal III was promoted to principal in 2020).

“It’s definitely concerning,” Copeland said. “I think I’ve just gotten to a place in my career where there’s only so much I can do on a stage. There’s only so much that visual representation … can do. I feel like it’s the perfect timing for me to be stepping into a new role, and hopefully still shaping and shifting the ballet world and culture.”

She also noted this is an especially trying moment for anyone working in the area of diversity, equity and inclusion.

“It’s a difficult time,” she said. “And I think all we can really do is keep our heads down and keep doing the work. There’s no way to stop the people that feel passionate about this work. We will continue doing it.”