Race, Culture and Ballet

[Old Fashioned]

I would think that color blindness would be exactly the right approach for any director trying to serve the art form, and their function should be to serve the art form, not to promote diversity. It's wonderful that directors are trying to reach out to people who have traditionally lacked access and exposure to ballet, but in my opinion lack of diversity is only a problem when non-white dancers are treated differently that white dancers. Unless the pool of minority dancers is exceptionally full of talent vis-a-vis the larger white pool, diversity for diversity's sake will only lower the quality of what's onstage.

I don't think I articulated my thoughts clearly. I certainly don't believe that AD's should hire minorities simply because they would diversify the company at the expense of talented white dancers...I'm only trying to pinpoint what the current problem is, and I'm far from knowing the right solution. Of course the AD's purpose is to serve the art form first and foremost...I guess what I'm trying to call into question is what that artistic vision involves and if that vision can include a diverse talent pool. I don't believe that one race, nationality, ethnicity, etc. can be inherently superior over another (although interestingly enough, Plisetsky said "No one is so naturally gifted in dancing as the Cubans"), but given the right opportunities and proper training, everyone has an equal chance at success. Is enough being done for everyone to be given that chance? The fact that there are more Caucasian ballet dancers in US companies than other races will always be a given...I don't expect there to be equal numbers of each race or more minority dancers than white, unless there is a dramatic shift in the general population. I think part of the problem in attracting a wider audience for ballet today is because people don't see a reflection of themselves or the real world in the company make-up. Whether it is artistically valid to be more reflective of reality in an art form like ballet is up for debate. Personally, I don't think the integrity of the art will be jeopardized if directors made the active effort to diversify, if there is no compromise of standards in technique, like Mel said. In the long run it will increase the quality of the product on stage.

Back to the finer points of the article, I wonder what it is about the dancers mentioned that kept them from progressing in the ballet world, without considering their skin color. I haven't seen either Aesha Ash or Alicia Graf perform, so I ask of those who have seen them: was Ash talented enough to get a promotion? would Graf's dancing style fit in with either NYCB or ABT's artistic standards?

[bart]

I certainly don't believe that AD's should hire minorities simply because they would diversify the company at the expense of talented white dancers...I'm only trying to pinpoint what the current problem is, and I'm far from knowing the right solution. Of course the AD's purpose is to serve the art form first and foremost...

Me too. And thanks for re-stating this. In fact, the pro-diversity posters on this long thread have never advocated that kind of discrimination. Is this something that we can all agree upon -- and then put to rest?

I haven't seen either Aesha Ash or Alicia Graf perform, so I ask of those who have seen them: was Ash talented enough to get a promotion? would Graf's dancing style fit in with either NYCB or ABT's artistic standards?

Considering how often these stories appear in print, I think these are excellent questions. Putting Old Fashioned's questions in the context of the larger discussion: "If these dancers were white, would their have been any problem at all fitting them a mainlline company as to training, style, potential, emploi?

[dirac]

I would think that color blindness would be exactly the right approach for any director trying to serve the art form, and their function should be to serve the art form, not to promote diversity.

Promotion of diversity, handled intelligently, would serve the art form, and such promotion doesn’t have to involve any lowering of standards.

[Old Fashioned]

Promotion of diversity, handled intelligently, would serve the art form, and such promotion doesn’t have to involve any lowering of standards.

Thank you for saying in a single sentence what I attempted to do in a whole paragraph.

One artistic director I can think of who has done a decent job of promoting diversity within the company is Ben Stevenson for Houston Ballet. Whatever one thinks of his choreography (on this international and New York-centric board, he and Texas companies are often overlooked), he elevated the status of ballet in Texas, which I think had a lot to do with bringing talents like Anderson, Li Cuxin, Li Anlin, and Carlos Acosta to the forefront.

[kfw]

Promotion of diversity, handled intelligently, would serve the art form, and such promotion doesn’t have to involve any lowering of standards.

Thank you for saying in a single sentence what I attempted to do in a whole paragraph.

Yes, of course you're right, that was very well put: diversity will serve the art form in the long term by, in a nutshell, significantly enhancing the talent pool. It's just a question in the short term of how we get there: by not lowering standards for the sake of diversity. Old Fashioned, thank you for clarifying what you meant earlier.

[SanderO]

I was away all day and this discussion is very interesting.

Bart:

I read the article about the NYC Opera in the arts section on Monday, 7 May. I suppose the arts section is available online and someone might know how to find the link. I need to run out... but didn't want to think I ignored you.

[Mel Johnson]

I guess another way of putting this question is this to reverse it -- are there classical ballet works in which legitimate "emploi" in ballet does involve color?

Well, according to the libretto, von Rothbart is probably best owl-colored, but ABT has seen fit to make him green. I don't know of any green owls, but I imagine that they could exist in densely vegetated areas of the world.

[dirac]

Me too. And thanks for re-stating this. In fact, the pro-diversity posters on this long thread have never advocated that kind of discrimination. Is this something that we can all agree upon -- and then put to rest?

Sorry, bart, I missed this earlier. I couldn't agree more.

[Mel Johnson]

I haven't seen either Aesha Ash or Alicia Graf perform, so I ask of those who have seen them: was Ash talented enough to get a promotion? would Graf's dancing style fit in with either NYCB or ABT's artistic standards?

I don't know Graf at all, but Aesha Ash is a fine dancer, and the only dancer within my memory to have a dance at City Ballet named for her, "Ash". I was at the very least disgruntled that they kept her in the corps.

[drb]

I haven't seen either Aesha Ash or Alicia Graf perform, so I ask of those who have seen them: was Ash talented enough to get a promotion? would Graf's dancing style fit in with either NYCB or ABT's artistic standards?

Alicia J. Graf, in her prime at 27, is one of my favorite Balanchine ballerinas. Admittedly that is a very large group, so more specifically one of my favorite Farrell ballerinas. I've always liked the Ailey Company, and given their Ronald K. Brown dances and a couple of terrific new additions to their rep last winter, there are even choreographic reasons to go more often. But what's tripled the frequency of performances I attend are those evocations of Farrell by Ms. Graf.

The courageous off-balances, with luxuriant resolutions that seem to do for whatever music she's dancing what Balanchine does for his chosen music. Also, like Suzanne, she's an eye-dancer. Now currently NYCB has loads of ballerinas who obviously have their own individual gifts to bring Suzanne Farrell's Balanchine ballets to life (every once in a while one gets a chance: Sara Mearns in Walpugisnacht, most recently). But Ms. Graf has had plenty of Balanchine experience at DTH, creds, and also has that magic old Farrell-heads crave. There's always the matter of a newly added dancer taking up roles that a current company member aspires to. There's the counter matter that, anyway, many of these roles are staying with dancers without a breath of Farrell's perfume. And there's the third matter, that art matters. For me two out of three is enough.

There is the height issue, 5' 10". Poor, tall, Mr. Askegard is already doubly overburdoned. But there are major Farrell roles that don't require tall guys.

Art matters. But, as Mr. Macaulay of The Times reminds us, it should matter more.

And, speaking to the issue of the small African-American ballerina pool. Obviously role models are needed. Why should you make such a monumental effort, with no goal in sight? Alicia's trying: If I may borrow a Link from BT's Ailey forum:

http://www.baltimoresun.com/entertainment/...rtslife-theater

[Leigh Witchel]

I haven't seen either Aesha Ash or Alicia Graf perform, so I ask of those who have seen them: was Ash talented enough to get a promotion?

I just saw Ash dance a few days ago with Lines at the Joyce. She's really lovely, and maturity has added to that. But, the brutal, honest answer is no. I remember thinking the same thing at the time. I may not have agreed always with who Martins promoted, but there was always someone there who seemed to come first. Ash was talented, but there were just too many talented girls in front of her. To me, it was bad luck and the competition.

[vipa]

I haven't seen either Aesha Ash or Alicia Graf perform, so I ask of those who have seen them: was Ash talented enough to get a promotion?

I just saw Ash dance a few days ago with Lines at the Joyce. She's really lovely, and maturity has added to that. But, the brutal, honest answer is no. I remember thinking the same thing at the time. I may not have agreed always with who Martins promoted, but there was always someone there who seemed to come first. Ash was talented, but there were just too many talented girls in front of her. To me, it was bad luck and the competition.

I too saw Ash with Lines and have to agree. She is beautiful in so many ways, but probably would not have been promoted in NYCB. As stated in the NY Times article, most women remain in the corps.

Having been in a few companies in my time I can say that knowing what a director thinks of you can valuble information. You can decide to stay and fight, stay and do what ever, stay and try to guest elsewhere or move to a company that will offer you more opportunities.

[nysusan]

I haven't seen either Aesha Ash or Alicia Graf perform, so I ask of those who have seen them: was Ash talented enough to get a promotion? would Graf's dancing style fit in with either NYCB or ABT's artistic standards?

Like drb, I l saw Graf often with Ailey last season and loved her. I hadn't seen her at all before this, so I can't really tell how her technique or style would hold up to the rigor of a full length classical ballet but considering her height she'd have to be the second coming of Ulanova to get a spot with ABT right now. They are struggling to find partners for the 2 tall ballerinas they already have (my observation, no inside info). If Gomes & Hallberg go down they really don't have anyone else big enough to partner them on a regular basis so adding another tall ballerina at this point wouldn't make any sense.

I have to say that while I found the Times story interesting I found the Virginia Johnson comment that Old Fashioned quoted perplexing:

But on another side, the side that they’re much more afraid of, is their whole subscriber base and their whole history of being a ballet company the way you thought ballet was. It means that you have to create a kind of trust, and they’ve never challenged their audiences to move forward

I have no doubt - none whatsoever - that racism exists in ballet as it does everywhere else but I think she is just plain wrong here. First of all, I don't think ABT's subscriber base would freak out at the sight of a black Giselle or Odette or whatever. As to "being a ballet company the way you thought ballet was" - I have no idea what she means. ABT does some modern work but they're primarily a classical company and if that's what she's questioning then she's right - I doubt that they or their subscribers want to see that change, but what does that have to do with whether or not they chose to hire Alicia Graf?

Secondly, with the aging of the ballet audience I think ABT would LOVE to capitalize on the new audience a black ballerina would bring in. One only had to be at City Center a couple of seasons ago when Misty Copeland danced the lead in a Kirk Peterson piece. I guess it was a matinee cause there were lots of teenagers around me and they went wild for her (as did I). Barring injuries I think you'll be seeing her move up the ladder at ABT in the coming years. Whether she'll go all the way is another question, but I think management is pulling for her (again, just my opinion as an outside observer).

[Old Fashioned]

I enjoyed reading everyone's input. I'm especially curious to see Graf now; she looks so exquisite in photographs.

Aesha Ash was one of those who never made it out of the corps but nevertheless managed to attract a large fan base, much like Deanna McBrearty. That may have to do with factors other than the dancing itself, but goes to show that they could still serve as role models for aspiring young dancers. It's understandable that the competition kept her from a promotion--and that NYCB is very much sink-or-swim--but could the management have "fought" for her, so to speak? Did she have the opportunities to show herself to be more than just a lovely dancer? Was technique a hindrance?

[STorevna]

A little of of the discussion here, but I just wanted to add a little comment about an african-american dancer I saw a film clip of recently - he was a graduate of the Vaganova School in Washington DC, and he was dancing the Le Corsaire Pas de Deux.

I was knocked out by this dancer - he was extremely limber and passionate, and had an incredible sense of balance and grace. He would perfom multiple pirouettes and come out of them in a developpe into a la seconde, while still in releve. It seemed as though he was completely off of his center, but somehow he managed to retain his balance quite effortlessly, almost as though defying gravity! He did this all throughout his performance in his jumps, tours, etc. Unlike many dancers I see nowadays, many of whom seem to be very much preoccupied with the hieght of their legs, how many turns they can squeeze in, or all things technical, he was really DANCING! Although there were in fact a few things on the techincal side he needed to work on (i.e. lazy feet in his double saut de basque during the turns around the stage), the fact that he was so lost in the actual DANCING made up for it! Not to sound to poetic, but it seemed as though he was trying to transform himself through the balletic movements into something more than just merely a ballet dancer. I have seen this Pas de deux danced many times, but he was truly something else!!!!

Unfortunately I have seen in performance and have personally known only a small few of ballet dancers in my life, so few of them take up ballet - I truly believe that people of this particular race are somehow genetically disposed to have incredible musicality and gift for movement - they were all amazing dancers, and when such a person becomes a ballet dancer, that gift for movement is exploited to the highest level. The dancer (I wish I could remember his name) I mentioned in this post is an example of this.

--Sasha Torevna

[carbro]

You must be referring to Danny Tidwell, who left ABT when it looked like the company was ready to heap opportunities on him. He joined Complexions, but lasted there only a year. I desperately hope he is still dancing and not lost to ballet.

There are other references to him in this thread: http://ballettalk.invisionzone.com/index.p...st&p=186824 and http://ballettalk.invisionzone.com/index.p...st&p=186915

[2dds]

Thanks so much for your respectful response Major Mel. I am glad this whole exchange is remaining so civil, and I think I am becoming more clear on the thrust of your comments. I suspect, ultimately we may have to agree to disagree as they say, but I would still like to follow up on a few of your points if I can.

With all respect, 2dds, I disagree with you entirely on the matter of silly ideas getting more play than they deserve.

This is a bit confusing as I don't remember ever mentioning any"silly ideas" at all, so I don't know what exactly is getting more play than it deserves. Mystifying still.

As for "negritude" having a specific application in history, I happen to be a professional historian, and I have used that word deliberately. Negritude was a Parisian response, in part, to the Harlem Renaissance, and produced some pretty condescending works intended to be flattering to Africans. The Darius Milhaud/Fernand Leger/Blaise Cendrars "La Creation du Monde" presented by the Ballet Suedois comes immediately to mind. Negritude radicalized in the 1960s with the militant wings of both the Black Nationalist and Black Separatist movements.

Thanks for this clarification. I asked specifically as a professional in a related field (AB, masters, and doctorate in anthropology with a geographical focus on the African American Diaspora and a theoretical focus on the diachronic processes of group identity formation), not because I was unfamiliar with the term "negritude," but precisely because I thought I was familiar with it, and this usage seemed idiosyncratic in terms of my readings and experience. Fortunately, as it happens, I know many respected professional historians (some among them have published on "negritude," the Panther Party, the history of Black Social Movements in the US, etc.) who specialize specifically in African American topics, and I will continue to follow up on this and correct any further misconceptions I may still have.

In today's world we see the groupthink of many African-Americans satirized by Aaron McGruder in his comic strip and animated cartoon Boondocks. In McGruder's work, we find a modern 9-year-old boy (Huey Freeman) adrift in the Black Panther mentality of the late 60s, yet realizing occasionally (he's a bright kid, and with a concealed soft heart that sometimes undercuts his hardline rhetoric) that it's not right either.

As stated previously, I prefer to seek the best experts I know when characterizing African American life and culture, and although I have enjoyed numerous chuckles when reading the satirical and insightful Boondocks, this would not be my first stop when seeking information about "groupthink" (!) or, more accurately IMO, the range of responses to the Black Panther presence either now, during the time they were most active, or in the intervening years. I suspect my attitude toward the established scholarly material specifically on African American history, life, and culture may be one of our points of disagreement.

As a ballet teacher over the decades, I have had too many promising African-American students tell me that they were quitting ballet "Because my friends call me names," "Because my mom and dad say it isn't right for black people," "Because my boyfriend beat me up and threatened to kill me if I didn't quit." These episodes tend to make one a bit sour on the whole subject.

These stories are heart-breaking, and I certainly understand how such experiences would be off-putting and very challenging for you and for the African American students. I am curious to know how you managed, as a teacher, over the years to provide support for your students who faced these obstacles. Did you have or seek access, even indirectly, to African American colleagues and/or role models who were willing and able to consult on solutions to these pedagogical dilemmas? Was this helpful at all?

It also seems some of the conventional ways of providing extra support for male ballet dancers (who would appear to share some of the exact same challenges) might be applicable to the African American (female?) students you worked with. I was wondering if any of these strategies were useful to you when trying to advise and encourage the black dancers you trained? Also, it sounds like a restraining order might have been appropriate as well as obtainable in the case of the dancer who was beaten and had her life threatened. Sadly, I know this situation, (which I would classify in a more gender-based rather than race-based way) can be very difficult to address under any circumstances.

"Blame those of European descent first" is another silly idea whose coin has run out.

Like the first set of "silly ideas" you mention, this hits me totally out of left field. I don't remember ever advocating this in any way, nor did I gather this impression from the original article either in intent (always hard to judge, admittedly) or explicit content (somewhat easier to pin down).

By the way, further along in this thread, I was very happy to see your candid firsthand evaluation of Aesha Ash's dancing, especially as it referred to her at the height of her neo-classical powers at NYCB. Not surprisingly, as she has struggled (by her own admission) to adjust her dancing to conform to the new Alonzo King choreographic demands, her recent appearance at the Joyce as a member of Lines Ballet would reflect most closely her developing allegience to this specific brand of contemporary choreography more accurately than it does her "technique" in some absolute sense as it would apply to any potential career she might have had at NYCB.

For those interested in at least a video version of Ash's dancing, I believe she was the dancing body double for Ms. Saldano (an actress who is not a highly trained ballet dancer) who co-starred in Center Stage. She also appears briefly in the snow scene of the Balanchine choreography Nutcracker Movie that also includes MaCauley Culkin. Both of these are widely available, and recorded during her SAB/NYCB days prior to leaving the company.

[STorevna]

You must be referring to Danny Tidwell,

no carbro, it was another african-american dancer with a much darker complextion...

here is a link to photo of him from the Vaganova web page - http://www.ubacademy.org/Gallery1/images/A...%20Corsaire.jpg

--Sasha

[Hans]

That looks like Brooklyn Mack to me.

[bart]

That looks like Brooklyn Mack to me.

Who went to Orlando Ballet. Working with Bruce Marks.

http://www.orlandoballet.org/Templates/Pag...ooklynMack.html

I wonder if our member Ostrich got to see him guesting in Cape Town.

[Mel Johnson]

I had to think carefully yesterday, even though my mind was tapioca from a museum meeting which discussed HVAC (heating, ventilation and air conditioning) at the museum. My mind was such a blur of BTUs, tons, various technologies for humidity control, and other dumpling stuff (full of air, but not much to actually digest) that I couldn't answer 2dds clearly for all. Fortunately, we've had a sidebar via PM and remain quite friendly. I really believe that I have to clarify for those reading this thread where I'm coming from and to whom I write in discussing this particular activity on this thread.

First, I think Ms. Kourlas article is tendentious and, I should hope inadvertently, conducive to bigotries which are my sworn enemies. When I was writing about "silly attitudes" or such words, it was not 2dds I was directly addressing, it was the article. Admirably placed in the good, grey Times for maximum dispersal and visibility, Kourlas article is sloppy even as feature critical comment, reporting hearsay, which sounds like the people involved (but not reported by the fly on the wall), and not actually saying that they had to do with race, but "wink, wink, nudge, nudge, knowwhatImean, knowwhatImean, saynomore, saynomore." That's deceitful.

I should apologize publicly to 2dds, as I was vacillating between commenting to her points, and venting regarding the article.

By "groupthink" I'm using a contemporary vogue word which is probably most accurately used as a synonym for Conventional Wisdom. It exists in many places an many forms among many groups as some core shorthand for "the general truth". Kourlas article seems to fan up a good deal of dust, but does not provide any but the most simplistic of solutions, combined with the PC of about fifteen years ago. Ms. Kourlas article is nearly quaint in this respect.

In my citation of students who have left from peer pressure or parental influence, I haven't seen the first-cited again since they stopped taking class, but I did see the last-named again, after she broke up with her boyfriend. She still is taking class on a recreational basis, is doing well in a civic company, where she's happy and well-liked, and dancing easily as well as many dancers in some professional companies. For a "day job", she teaches mathematics at a private high school. Brainy lady, and found her happy place. Good for her, but I still want to see more of my AA kids go to work in the business.

Oddly, I think that the male student here has an advantage. They have Arthur Mitchell, Christian Holder, Gary Chryst, Rasta Thomas, and others noted above as role models and social examples. It's the girls who are hit hardest, although it is correct to say that both sexes face many of the same challenges. At the time, Raven Wilkinson or Janet Collins would have made absolutely no impact on that generation of students. It's a tough old world.

[dirac]

When I was writing about "silly attitudes" or such words, it was not 2dds I was directly addressing, it was the article. Admirably placed in the good, grey Times for maximum dispersal and visibility, Kourlas article is sloppy even as feature critical comment, reporting hearsay, which sounds like the people involved (but not reported by the fly on the wall), and not actually saying that they had to do with race, but "wink, wink, nudge, nudge, knowwhatImean, knowwhatImean, saynomore, saynomore." That's deceitful.

Well....the article was raising questions. I didn't agree with everything in it, but I didn't think of Kourlas as being deceitful.

[bart]

Oddly, I think that the male student here has an advantage.

A point made by Kourlas as well. And one that appears to be universally true in ballet, regardless of race.

I confess to being rather impressed by Kourlas's use of of a variety of types of evidence. So far, we have been discussing the "soft" anecdotal evidence -- the personal stories. But it's supported by quite a bit of "hard" evidence as well.

[2dds]

Thank you to Mel Johnson for clearing up some of those points of confusion.

This is the link to the Dance Magazine article in the so-called Race issue. This article is specifically addressing African American dancers.

http://www.encyclopedia.com/doc/1G1-133008724.html

The issue of the advantage the male dancers enjoy comes up again as well as several other observations shared by posters and mentioned in the Kourlas article. When combined, these pieces present quite a range of types of evidence.

I do not find as many problems with the recent Kourlas piece as Major Mel. My feeling is much more like that of bart and dirac.

This is the article I referred to as June 2006 earlier in this revived thread (I lost a whole year along the way ). When I thought about that article, I just did not want to believe it had been 2005, I guess. We are still treading much of the same ground.

I think it is very instructive to see where we find ourselves two years later. Oakland Ballet has folded, DTH still on hiatus, Misty Copeland still in the corps, Stanton Welch still unable to hire a single female African American dancer from the hardy half dozen or so who continue to show up at the auditions (and this from a director who publically states he "would love to have more African Americans").

Maybe this is the "standards" red herring...Happily this has been laid to rest yet again on this thread. On this specific example, I know (firsthand) that African American females have continued to audition for Houston Ballet and at least one of them had been previously employed in the corps of another (albeit smaller regional) professional ballet company. Yet not one of these dancers has been able to attract the director's attention, despite his public statements. Of course, it is impossible to second guess an AD this way, but it does not support the publicly expressed wishes of a director who wants more auditioners not fewer.

I do not want to get anyone in trouble here, and this is not the hint, wink, anecdote style referred to above. This is not "deceit," but an acknowlegment of the reality that to speak plainly and name names in this tiny ballet world of ours is to take nearly impossible risks. No one with continued hopes of a career is going to do this. Thus, I suspect certain voices will remain muted in any discussion of this sort. With so few African American female dancers out there, that visibility is very frightening in a profession where reputation and connections are vital.

In the current climate, eventually, the ranks of these dancers will thin out, no matter how intrepid. Whatever talents they may have possessed will never be available as emerging or as established mature artists. This does not serve the best interests of either these dancers or the world of ballet generally. Personally, I don't need to wait for the missing swans to testify and name names before trying to come up with remedies.

At every step along the way from the time these young black dancers first enter the studio, to the moment they retire and seek a career transition, there are points of opportunity where we can work hard to stem the attrition rate, to inspire and encourage potential talent. For example, what might Tai Jimenez or Lauren Anderson have to offer (based on their experience as retired principal dancers), to help companies and schools attract, train, retain, promote, and hire aspiring dancers? Maybe they are already in huge demand as consultants or advisors and I just don't know about it. If no one is beating down their doors, IMO it might be an excellent idea. Debbie Allen also started out in ballet; has anyone solicited her expert opinion? Ditto Sandra Organ, also in Houston. Her solution was to start her own company, an experience that also might be very informative. Virginia Johnson (editor of Pointe Magazine) would be another obvious source of information and support. Similarly, has anyone checked in with an organization like the IABD (is this even a recognizable acronym for us at Ballet Talk?)

I am throwing this out not to overburden these women (and organizations). Of course, I think they should dictate for themselves exactly when, where, and how much they want to be involved in such efforts, and--most important--I think they should be treated (and compensated) just like any other expert consultants. I am simply suggesting some new ways to do a better job at efforts to be more inclusive of African American female ballet dancers. We do not always need to seek male dancers and directors as a first choice (even if they are African American); we do not need to consult only modern or non-ballet companies (no harm intended here--I am just suggesting we remember to seek ballet expertise rather than continually heading to Alvin Ailey as exquisite as they may be). In an alternate approach, how about checking in with Ben Stevenson (who seems to have hired and/or trained the majority of successful African American female ballet dancers outside DTH.) Maybe he could explain to other artistic directors what inspired/enabled him to make the choices he did.

We need to do more than make public statements of what we would love to do and stick with what we will and can do; we need to find ways to actually do something other than conduct business as usual (which predictably produces the same predictable results). Standards can be maintained; we all know there are more talented dancers out there (of all shades) than there are positions. Providing extra encouragement to any dancer that has something special (in this case it would be the determination and courage it takes IMHO to simply persevere as an accomplished African American female dancer) has always been a potentially successful strategy. In this case, it also seems to require something special on the part of those who make the decisions (to hire and fire, to train and support, admit or deny, retain or release, to attend or stay home).

I wonder what is the difference between those few who are able to make these different decisions, and the vast majority who are not. I propose we look at the limited successes and emulate those. Maybe this belongs in the inclusion thread? ? I defer to the judgment of the moderators here.

My overriding purpose is to find concrete ways to make specific positive changes that will prevent us from losing the gifts of the aspiring African American dancers out there. This echoes the sentiment of Mel Johnson

...I still want to see more of my AA kids go to work in the business.

as well as the observations of dirac and Oldfashioned

Promotion of diversity, handled intelligently, would serve the art form, and such promotion does not have to involve any lowering of standards.

Thank you for saying in a single sentence what I attempted to do in a whole paragraph.

One artistic director I can think of who has done a decent job of promoting diversity within the company is Ben Stevenson for Houston Ballet. Whatever one thinks of his choreography (on this international and New York-centric board, he and Texas companies are often overlooked), he elevated the status of ballet in Texas, which I think had a lot to do with bringing talents like Anderson, Li Cuxin, Li Anlin, and Carlos Acosta to the forefront.

If it's "broke," let's find out from those in a position to know "how to fix it"!

[Old Fashioned]

You must be referring to Danny Tidwell, who left ABT when it looked like the company was ready to heap opportunities on him. He joined Complexions, but lasted there only a year. I desperately hope he is still dancing and not lost to ballet.

If you're interested in seeing where he is now, tune into So You Think You Can Dance. I kind of feel dirty watching this show.

Currently the judges are unsure about keeping Danny and think his ego is too big. This, coming from a tv producer who failed to make it as a professional dancer and former choreographer for The Muppets, a has-been championship ballroom dancer, and a choreographer for such notables as Britney Spears and N'Sync.