Abstract

I take as my title a claim made by Arthur Mitchell about George Balanchine’s 1957 ballet Agon. Mitchell, a MacArthur Fellow, U.S. Medal of Arts winner, and founder of the Dance Theatre of Harlem,1 was the first African American principal dancer in the history of the New York City Ballet. Most importantly for my purposes, he was also the premier danseur upon whom Balanchine choreographed the central pas de deux of Agon. Mitchell’s partner was the ballerina Diana Adams, whom Balanchine christened his “alabaster princess” and whom a British critic declared to be the only ballerina in the company with “a proper face”. (It should be remembered that Maria...