Peter Boal in William Forsythe's installation, Choreographic Objects. Photo by Jennifer C. Boal.
My January is always busy. Weekdays are filled with rehearsals in Seattle and weekends are spent traversing the country auditioning students for our summer intensive. I direct Pacific Northwest Ballet School and I see these auditions as essential investments in future talent for both our school and company. I do them myself to let students know their presence means a great deal to me.
January travels also offer the opportunity to visit the country's museums. Museums have been my go-to places since I was a boy. I love the opportunity for quiet reflection.
This year, in ballet studios and art-filled galleries across America, race was on my mind. I'll venture to say ballet would benefit from paying attention to what's happening in the art world today.
IABD's 2019 men's ballet audition. Photo by Eric A. Smith of CREW Productions, Courtesy IABD
Since they were first offered in 2016, the International Association of Blacks in Dance's ballet auditions for dancers of color have sparked much debate within the dance community. Some believe these auditions create valuable opportunities for dancers of color while others disagree, even going so far as calling them slightly racist.
Arthur Mitchell in class, 1960s. Photo by Milton Oleaga. Arthur Mitchell Collection, Rare Book & Manuscript Collection, Columbia University.
Throughout his remarkable career, the fiercely determined, intelligent and energetic Arthur Mitchell has become accustomed to being called a trailblazer. "Being a typical Aries, I like being the first," he says, laughing. "That's what I've been doing all my life."
This is true, especially when it comes to the discussion at the forefront of today's national dialogue about dance: diversity in ballet.