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AP Exclusive: Academy President Responds to Twitter Firestorm

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In this Feb. 19, 2014 file photo, Cheryl Boone Isaacs, president of the Academy of Motion Picture Arts and Sciences, poses for a portrait in Los Angeles. (Chris Pizzello/Invision/AP, File)

Sandy Cohen, ASSOCIATED PRESS

 

LOS ANGELES (AP) — Responding for the first time to the firestorm of criticism over the lack of diversity in this year’s Oscar nominations, film academy president Cheryl Boone Isaacs says the all-white acting slate inspires her to accelerate the academy’s push to be more inclusive. She also hopes the film industry as a whole will continue to strive for greater diversity.

The first black president of the Academy of Motion Picture Arts and Sciences spoke out Friday night in an exclusive interview with The Associated Press about the Oscar nominations and the widespread criticism that followed.

All 20 of this year’s acting contenders are white and there are no women in the directing or writing categories. After the nominations were announced Thursday morning, the hashtag #OscarsSoWhite started trending on Twitter.

The Asian Pacific American Media Coalition issued a statement Friday saying the nominations balloting “obviously reflects a lack of diversity in Oscar voters as well as in films generally.”

Yet Boone Isaacs insisted the academy is “committed to seeking out diversity of voice and opinion” and that outreach to women and artists of color is a major focus.

“In the last two years, we’ve made greater strides than we ever have in the past toward becoming a more diverse and inclusive organization through admitting new members and more inclusive classes of members,” Boone Isaacs said. “And, personally, I would love to see and look forward to see a greater cultural diversity among all our nominees in all of our categories.”

A 2012 survey by the Los Angeles Times found the academy was 94 percent white, overwhelmingly male and with a median age of 62. A more recent survey determined the percentage of older white males had dropped by one point, the Times said. But with nearly 7,000 members and no requirement to retire, diversity is going to take some time.

Boone Isaacs declined to address whether she and the academy were embarrassed by the slate of white Oscar nominees, instead insisting that she’s proud of the nominees, all of whom deserved recognition.

She explained that while each branch comes up with its own criteria for excellence and each nominates its colleagues, all voting is individual and confidential.

For instance, only directors can suggest best director nominees and only actors can nominate actors. But the entire academy membership can submit suggestions for best picture.

“There is not one central body or group of people that sit around the table and come up with nominations,” she said. “It really is a peer-to-peer process.”

With all the accolades the civil rights drama “Selma” has received since its Christmas opening, some felt its failure to garner nominations for director Ava DuVernay or star David Oyelowo reflected a racial bias.

“What is important not to lose sight of is that ‘Selma,’ which is a fantastic motion picture, was nominated for best picture this year, and the best picture category is voted on by the entire membership of around 7,000 people,” Boone Isaacs said.

Besides best picture, the film received just one additional nod — for original song — in what was widely viewed as a significant snub. But fans shouldn’t feel that way, she said: “It’s nominated for the Oscar for best picture. It’s an award that showcases the talent of everyone involved in the production of the movie ‘Selma.'”

Boone Isaacs says the five best actor nominees — Bradley Cooper (“American Sniper”), Steve Carell (“Foxcatcher”), Benedict Cumberbatch (“The Imitation Game”), Eddie Redmayne (“The Theory of Everything”) and Michael Keaton (“Birdman”) — “are all at the top of their game.”

“There are quite a few actors this year at the top of their game,” she said. “There are five nominees and this year, these were the five.”

Diversity outreach is spread among the academy’s 17 branches, she said, since existing members recruit new ones.

“This is a membership organization, so we are all involved in this discussion and moving the subject of diversity forward,” she said. “It’s very important for us to continue to make strides to increase our membership and the recognition of talent.”

In its Friday statement, the Asian Pacific coalition said the responsibility for diversity in film should be industry-wide.

“It behooves Hollywood — as an economic imperative, if not a moral one — to begin more closely reflecting the changing face of America,” the statement said.

Boone Isaacs agrees, saying that as the academy “continues to make strides toward becoming a more diverse and inclusive organization, we hope the film industry will also make strides toward becoming more diverse and inclusive.”

Though she repeatedly stressed the Oscars are a competitive process and that she’s proud of the year’s nominees, Boone Isaacs acknowledged that diversity needs to be mandatory in both story and storyteller.

“It matters that we pay attention to, again, the diversity of voice and opinion and experience, and that it doesn’t slide, it doesn’t slide anywhere except for forward,” she said. “And maybe this year is more just about let’s kick it in even more.”

___

Follow AP Entertainment Writer Sandy Cohen at www.twitter.com/APSandy.
Copyright 2015 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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Art

Misty Copeland Shapes Ballet’s Tomorrow

THE POSITIVE COMMUNITY — Misty Copeland will curate the 2026 Joyce Ballet Festival, a two-week event in New York City from August 4-16. This role allows her to influence the future of ballet by showcasing a wide range of dancers, choreographers, and companies. The festival will present both established and contemporary works, blending classical traditions with new artistic expressions.

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Misty Copeland at the 2026 Met Gala, wearing fashion in theme of "Costume Art" Date 4 May 2026, 19:39:21

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.

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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Oakland Post: Week of August 5 – 11, 2026

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