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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Gov. Gavin Newsom has signed new legislation aimed at expanding affordable housing, reducing construction costs and speeding up housing development across California as part of the state’s 2026-27 budget.

Assembly Bill (AB) 179, signed July 17, modernizes California’s affordable housing finance system by streamlining project approvals, expanding funding for housing programs and creating new financing tools for homeowners rebuilding after disasters. State officials said the measure is intended to help increase housing production while strengthening efforts to address the state’s housing affordability and homelessness challenges.

The legislation introduces a new “One-Stop-Shop” financing system designed to reduce duplicative reviews and accelerate affordable housing projects. According to the governor’s office, the reforms are expected to lower construction costs by an estimated $60,000 to $70,000 per affordable housing unit, allowing existing state investments to finance more homes.

“When I took office in 2019, my goal was clear: to reverse decades of inaction on housing and homelessness and ensure there was enough housing and care for people to leave the streets,” Newsom said in a statement. “I’m grateful for the Legislature’s partnership, as together we add to this proven foundation with new laws that cut red tape, expand financing opportunities, and help communities build housing faster.”

The measure also establishes a $100 million Disaster Rebuilding Fund to help homeowners repair or reconstruct homes damaged by disasters. In addition, the budget includes $900 million for another round of Housing, Homelessness Assistance and Prevention grants while adding new accountability requirements for certain cities and counties receiving state funding.

To support affordable housing development, the budget provides $500 million in enhanced state low-income housing tax credits and $200 million for the Multifamily Housing Program to build and preserve affordable rental housing for low-income Californians.

According to the governor’s office, California has made progress in increasing housing production since 2019. Annual residential construction has risen by 59%, from about 70,000 homes in 2018 to approximately 111,000 in 2024. The administration also reported that more than 682,000 homes have been built statewide during that period and that the average time from development application to entitlement has dropped from 160 days to 68 days.

State officials also highlighted recent declines in homelessness, including what they described as the state’s largest reduction in unsheltered homelessness in 16 years.

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