This summer, Misty Copeland will step into a different kind of spotlight. Instead of taking center stage as a dancer, she will help determine what audiences see onstage as curator of the 2026 Joyce Ballet Festival. Taking place August 4 through August 16 at The Joyce Theater in New York City, the two-week celebration will bring together dancers, choreographers and companies representing a broad spectrum of ballet. The festival gives Copeland an opportunity to share not only her appreciation for ballet’s traditions, but also her vision for its future.

Copeland understands better than most how powerful a ballet stage can be. Her historic career with American Ballet Theatre changed the conversation about representation in one of the world’s most traditional performing arts. When she became the company’s first Black woman to reach the rank of principal dancer, her achievement carried significance far beyond a personal milestone. It gave young dancers of color a new image of what was possible and challenged the industry to reconsider who belonged at the center of ballet.

That history informs the perspective she brings to the festival. Copeland has spent much of her career moving between performance, mentorship, advocacy and storytelling. Her curatorial role allows her to bring those interests together by creating a program that does not treat ballet as a museum piece. Instead, the festival presents dance as an evolving language capable of carrying classical traditions into new cultural and artistic territory.

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Audiences will encounter a mixture of established works and contemporary creations during the festival. Classical ballet vocabulary will share space with choreography that pushes dancers toward different physical, emotional and theatrical possibilities. The result is intended to give audiences a broader understanding of the art form while demonstrating that tradition and innovation do not have to be competing forces.

The lineup also provides an opportunity to see dancers from different artistic environments. Performers connected to organizations including American Ballet Theatre, New York City Ballet, Paris Opera Ballet, Houston Ballet, Dance Theatre of Harlem and Complexions Contemporary Ballet are among those represented in the festival. Each company carries its own history and artistic identity, making their participation part of a larger conversation about the many ways ballet can be performed and interpreted.

The presence of Dance Theatre of Harlem is particularly meaningful within the larger story of Copeland’s career and the evolution of Black representation in ballet. Founded during a period when opportunities for Black dancers were severely limited, the company helped demonstrate that excellence and classical training could flourish in a Black cultural environment. Its legacy continues to influence dancers and audiences, making its connection to a festival curated by Copeland especially resonant.

The program also reaches beyond a single definition of contemporary ballet. Choreographers with different backgrounds and artistic philosophies contribute to an evening that can move from recognizable classical structures to works shaped by modern dance, theater, popular culture and new approaches to movement. That diversity reflects a generation of artists who increasingly see ballet not as a rigid vocabulary but as a foundation from which they can explore.

For New York audiences, the festival offers something that is increasingly valuable: the opportunity to experience outstanding dancers in an intimate setting. The Joyce is known for presenting dance in a theater where audiences can see movement and artistry up close. That environment can make a familiar ballet work feel newly personal while allowing experimental pieces to communicate with unusual immediacy.

Copeland’s role as curator also sends a message about the importance of artistic leadership. The people who select performers and choreography help determine which stories receive attention and which artists receive opportunities. By bringing a range of voices into the festival, Copeland is using that responsibility to broaden the conversation around ballet. Her choices can introduce audiences to artists they may not otherwise encounter while encouraging longtime ballet followers to look at the form from a different perspective.

The 2026 Joyce Ballet Festival ultimately arrives at an important moment for the art form. Ballet is carrying centuries of tradition into an era defined by changing audiences, broader representation and increasingly adventurous choreography. Copeland’s festival reflects that transition. For two weeks in August, The Joyce will become a meeting place for the familiar and the unexpected—a celebration of where ballet came from and a preview of where it may be going. And with Misty Copeland helping shape the conversation, the future of ballet promises to be as expansive as the dancers who are defining it.

Based on reporting by The Positive Community.

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By Tamara Shiloh

George Cook was a Black American inventor from Louisville, Kentucky. He was born in 1863, during a time when Black Americans faced unfair laws, limited opportunities, and many barriers to education, jobs, and recognition. Even with these challenges, he became known for his intelligence, honesty, and ability to think in practical ways. Some records say he worked as a cook for Buffalo Bill Cody and later as a chef on a private dining car for the Louisville and Nashville Railroad. He was even known by the nickname “Honest Mister Cook.”

As with many Black American inventors and scientists of that era, there is little biographical information about Mr. Cook.

Cook’s most famous invention was the Automatic Fishing Device. He received U.S. Patent No. 625,829 for it on May 30, 1899. His patent shows that he was not just someone with an idea, but someone who made it happen.

So, what did the Automatic Fishing Device do? Imagine fishing with a line in the water. Usually, you have to watch carefully and pull the line at just the right moment when a fish bites. Cook wanted to make that process easier. His device was designed to react when a fish pulled on the line. The tension from the fish would trigger a lever. That lever would release a spring-loaded part of the device, causing it to move quickly and help pull in the line. The device also had an alarm gong that would ring to let the fisher know something was happening.

This invention was important because it used simple mechanical ideas in a clever way. Springs, levers, rails, and alarms were not new by themselves, but Cook combined them to solve a real problem. His device showed how inventors often take familiar parts and arrange them in a new way to make life easier. 

Cook looked at fishing and asked, “How can this be improved?” Then, he created a device that could respond automatically when a fish tugged on the line. His invention let fishermen relax instead of watching the line for hours, trusting the alarm to alert them.

Cook may not be as famous as some inventors, but his Automatic Fishing Device shows that creativity and innovation can be applied anywhere. His legacy lives on as part of the larger story of Black innovation in America.

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Kris Benz, a disabled Black veteran, is no stranger to cancer. In 2012, he was diagnosed with salivary duct carcinoma, a cancer so rare it strikes only about 1 in a million people each year.” But he beat it after six weeks of radiation and removal of his right salivary gland.

“I was cancer-free after six months,” he said.

Now, a new concerning mass has appeared in his neck despite months of scans. His doctor suspects it is cancerous, but Benz, who lives near Palm Springs, will not know for certain until a biopsy.

Compounding that uncertainty is a gap in his coverage. Benz is two work credits short of qualifying for Medicare, but returning to work could jeopardize his Department of Veterans Affairs (VA) disability status and funding. Buying Medicare Part A would cost $568 a month, leaving him “winging it.”

Benz is also frustrated that the VA will not schedule his scan and biopsy before his consultation, which will require another round of appointments afterward.

“It’s about money,” he said. “Doctor’s appointments, they get the money. There’s no preventive medicine here anymore.”

Although he calls the VA “a great organization,” he believes it is hampered by bureaucracy. For now, he remains “in limbo” waiting to complete his appointments. 

His experience reflects one of the most persistent health equity challenges facing Black communities: access to care.

According to a UC Davis study, “The Burden of Cancer Among Black/African Americans in California,” Black cancer patients were more likely than White patients to be diagnosed at a later stage and to have multiple health conditions, making treatment more difficult. They were also far more likely to live in low-income communities and rely on public insurance—evidence that economic inequality and barriers to care are helping drive disparities in the state’s cancer crisis.

That same study reports that between 2014 and 2018, the ten cancers most frequently diagnosed among Black/African American women in California were, from one to ten, breast, lung, colorectal, uterine, pancreatic, kidney, non-Hodgkin lymphoma, thyroid, myeloma, and ovarian cancers. During the same period, the ten most commonly occurring cancers among Black/African American men in California were, from one to ten, prostate, lung, colorectal, kidney, bladder, liver, non-Hodgkin lymphoma, pancreatic, myeloma, and oropharyngeal cancers. 

Researchers attribute the gaps not to biology but to social and economic inequality connected to structural racism. An American Cancer Society analysis found educational attainment was a stronger predictor of the mortality gap than race alone.

“These disparities are not because Black people are inherently less healthy,” said Rhonda Smith, executive director of the California Black Health Network. “They are the result of decades of inequitable policies, structural racism, unequal access to quality care, and chronic underinvestment in our communities.”

Dr. Flojaune Cofer, an epidemiologist and public health policy expert, said health outcomes are shaped as much by circumstances as by biology. She traced her understanding of disparities to her father’s death from heart disease at age 47. He began smoking as a child when tobacco companies marketed cigarettes aggressively and disproportionately to Black communities.

“My father’s story is not about individual choices,” Cofer said. “My father’s story speaks to institutional and systemic harm.”

“Health is not just what happens in the doctor’s office,” she added. Social determinants include neighborhood conditions, housing stability, nutritious food, transportation, and the ability to take time off work for care.

At federally qualified health centers, tight appointment schedules can make it difficult for medical providers to detect cancer early and earn the trust patients need to discuss troubling symptoms.

“We have only 15 minutes when you are working in a federally qualified health center — you have 15 minutes to assess, diagnose, treat, and write your note per patient,” said Jamie Garcia, a registered nurse who has been certified in oncology nursing for more than a decade and works at AdventHealth White Memorial in East Los Angeles.

Garcia said the rushed pace, driven partly by billing requirements tied to federal funding, leaves little time for providers to build relationships with patients. It can also allow health care professionals’ implicit biases to go unrecognized and unchallenged.

For Garcia’s patients, who are predominantly Black and Latino residents of surrounding communities, the consequences can be immediate and alarming. Many arrive with visibly advanced tumors after going without insurance, adequate coverage, a primary care physician or routine screenings.

Garcia recalled treating one patient whose tumor had grown large enough to be visible through the skin.

“The fact that I even got to see that is a failure and an atrocity,” she said.

Assemblymember Lori D. Wilson (D-Suisun City) sought to reduce another barrier through Assembly Bill 1570, which would have eliminated out-of-pocket costs for medically necessary diagnostic and supplemental breast imaging. It passed the Assembly Health Committee 16-0 but died in the Appropriations Committee. Wilson plans to reintroduce it during the next legislative session without biopsy coverage.

Wilson announced her breast cancer diagnosis in April 2023. She received timely, quality care but “saw others with similar diagnoses face different outcomes.”

“Some people who got diagnosed at the same time as me — their timing of their surgeries and treatment was delayed in comparison to my own,” she said. “Watching people go through and suffering unnecessarily was heartbreaking to me.”

Her follow-up imaging required only a $10 copay. “I’ve had friends have to pay $1,000 to get that secondary screening,” Wilson said.

Smith warned that policy changes could further erode access. California’s Every Woman Counts screening program is losing funding and being scaled back, she said. About one in three Black Californians relies on Medi-Cal, according to the state.

Smith also cited federal Medi-Cal work requirements projected to cause 1.1 million Californians to lose coverage by 2029-30. “Health equity is no longer simply about improving outcomes,” she said. “It’s about protecting access.” 

Californians seeking low-cost cancer screening can contact a local federally qualified health center or the California Department of Public Health’s Every Woman Counts program. The California Black Health Network also offers referrals and advocacy resources.

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