I cite Balanchine's work, and dancers, above in part to say that ballet can move away form its European roots and be great. And he's not the only example of this.
Of course it can be great. But if diversity is the goal, then halfway measures won't do, and the ideal, the real goal, is wide diversity and equal representation. So shouldn't NYCB have another Puerto Rican and/or Native American principal to replace Jock Soto? What about an Taiwanese-American male to replace Edwaard Liang? And how about Hispanic dancers? Wait, let's not be racist and say "Hispanic"to describe Chicanos, Cuban-Americans, Puerto-Rican Americans, etc., as if they're all alike. It needs them all. And what about sexual preference? Everyone knows that many dancers are gay men, but does the company have any lesbian dancers, and in the interests of diversity, shouldn't it have more than a few?
If you start along that road, where should the company be allowed to stop? Don't forget that precisely due to that history of white privilege, there is an extra high percentage of white dancers in the talent pool right now..
Following bart's idea - and, bart, I don't mean to presume we see things just alike here - if there are talented dancers in all those categories, and schools and companies are open-minded, they'll take their places. But a ballet company isn't an affirmative action program, it's an arts organization. It's goal isn't diversity, it isn't to rectify centuries of social injustice - it's to put the very best dancers and choreographer onstage, diverse or not.