Issue link: https://digital.copcomm.com/i/556541
August 10 - August 31, 2015 18 Working World l WorkingWorld.com L ike many, I am inspired by the story of American Ballet Theater ballerina Misty Copeland. First, I am inspired by her recent achievement of being named the first African American principal dancer in the 75-year history of the renowned American Ballet Theater Company. I also am inspired to know of her Copeland's personal history of rising from poverty to being at the top of her art. Knowing that she grew up in San Pedro, CA – just a few miles from my childhood home of Compton, CA – reminds us all that anything is possible, no matter where you come from. I also was intrigued to learn that Copeland did not begin to learn ballet until she was 13 years old, and that over the years, she has been shunned by many ballet and dance critics for not fitting the traditional physical or cultural profile of a star ballerina. These are some of the same criticisms that the Williams sister tennis-champions have experienced. The thing that intrigued me most about Copeland's story was learning that one of the keys to her catapulting from just a talented ballet dancer to a now world- renown ballet star, was the moment in her life where she met Valentino Carlotti - the man who would become more than a mentor to her, but also one of her lead sponsors and benefactors. The concept of having a sponsor versus a mentor is not new. We know that in the early days of the European arts world, it was considered a badge of honor for a new or growing artist to be supported or sponsored by a wealthy benefactor. We also are familiar with the use of the term "sponsor" in connection with such programs as the Alcoholics Anonymous 12-step and similar programs. In the context of the workplace and professional world, the concept of having a sponsor versus a mentor first was brought to the forefront in 2010 when Sylvia Hewlett published her book "Forget a Mentor, Find a Sponsor." In defining the difference between having a sponsor versus a mentor in a 2013 interview with Forbes magazine, Hewlett stated that in short - "Mentors advise and sponsors act." She stated that "Mentors shine as you start to define your dream. They can see and put into words for you what you may not see about yourself or be able to articulate. They can help you determine your strengths: what you do exceptionally well and what sets you apart. A well-chosen mentor will also know the lay of the land in your firm and help you learn to navigate the corporate ladder." Hewlett went on to say that "if mentors help define the dream, sponsors are the dream-enablers. Sponsors deliver: They make you visible to leaders within the company — and to top people outside as well. They connect you to career opportunities and provide air cover when you encounter trouble. When it comes to opening doors, they don't stop with one promotion: They'll see you to the threshold of power." COPELAND'S STORY AS A POWERFUL EXAMPLE OF SPONSORSHIP Although the concept of having a sponsor versus a mentor now has been around and debated for several years now, with Copeland's story and meteoric rise, we see an example of this concept live and in living color. What do we know about Copeland's sponsor Carlotti? He is a partner at Goldman Sachs Group Inc., heading the securities division institutional client group. Like Copeland, Carlotti also is African-American. He has been quoted as stating that he understands the challenges Copeland has faced in trying to make it in the dance world, based on his own experiences in making it in the cutthroat world of Wall Street. Carlotti first offered to assist Copeland after hearing her speak at a local Manhattan, NY Bookstore. Carlotti reached out to Copeland's manager and offered to assist her, becoming both her adviser and benefactor. FEATURED ARTICLE by Angela Reddock-Wright, Esq. Sponsor vs. Mentor: The Example of American Ballet Theater Principal Ballerina Misty Copeland