December 1, 1957. New Yorkers hurry through the icy streets of Manhattan.
A crowd gathers around a famous cultural center.
Inside, champagne glasses sparkle beneath the grand chandeliers of the entrance hall.
However, this luxury struggles to conceal the grim political reality of the United States.
Since the end of slavery, a cruel divide separates the country between whites and blacks.
Tonight, two brilliant artists have combined their talents to compose a ballet with a scent of revolution, George Balanchine, the choreographer, and Igor Stravinsky, the composer.
Backstage, Balanchine places his hand on the shoulder of a star dancer.
While staring him straight in the eye, he calmly says, My dear, now you must be perfect.
Despite the pressure, the young artist is relaxed.
He smiles at Balanchine and nods.
Gradually, the audience fails to haul.
Dim lights bring a warm atmosphere to the room.
The curtain rises and the first unmistakable notes of Stravinsky resonate.
Suddenly, a shockwave shakes the audience, and it has nothing to do with the music.
Beyond the creativity of the composition and the originality of the movements, it's the entrance that electrifies the crowd.
And for a good reason, the lead dancer has dared the unthinkable, not being white.
Immediately, insults fly.
Some people leave the hall exasperated.
By dancing with a white woman, a symbol of the Puritan ideal, this black man challenges the foundations of American society.
For him, there is no turning back.
Soon, this prodigy will usher classical ballet into a new era.
Hello, I'm Fabrice.
Welcome to Fabulous Destinies.
Today, I'm going to talk to you about a dancer who became a true political icon in the United States.
The color of his skin drew the wrath of the crowd for a large part of his career, but he never stopped fighting for the rights of black people.
Until, finally, revolutionizing the world of classical ballet, his name, Arthur Mitchell.
From Harlem to the White House, discover his incredible destiny.
Arthur Mitchell was born on March 27, 1934, in Harlem.
It's a poor neighborhood in New York, predominantly inhabited by the African American community.
He comes from a modest family.
His mother took care of their five children.
During the early years of his life, young Arthur sang in the choir and learned the art of tap dancing.
Soon, the teenager's talent is noticed by his guidance counselor, who encourages them to try out for a city art school entrance exam.
Once accepted, he studies performing arts.
A true workaholic, the young man trains relentlessly, to the point that one day he suffers a severe muscle tear that confines him to a hospital bed for several days.
After his studies, Arthur Mitchell specializes in ballet.
It's a bold choice given the lack of opportunities for black individuals.
The young man persists, knowing he won't have a second chance.
He has no choice but perfection.
If he wants to join a ballet company, he must acquire the virtuosity of a star.
Despite obstacles, his determination knows no bounds.
After a few years, he joins the New York City Ballet, the most prestigious company in the United States.
In 1962, he becomes the world's first black principal dancer.
And the people just, they were crazy.
Shouting and screaming.
Can you imagine this all white company at city center?
And here I come out in the leading role with Balanchine's wife at the end.
And the audience just went crazy and people were saying, be quiet.
Wherever he performs, his presence is noticed.
Amid unabashed racism and recognition of his immense talent, each performance shakes the world of classical ballet.
Parents called and said, I do not want my child, my daughter, to dance with that black guy or that Negro Azur in that black.
Beyond his skin color, Mitchell makes history with his successful collaborations with Balanchine.
Over time, he becomes a true muse for the Russian choreographer.
Mitchell said about him, it wasn't a matter of what role will I dance, but rather, what would you like me to do?
Use me. And that's what we did.
For 12 years, Arthur Mitchell shines on stages worldwide.
Despite criticisms and insults, he dominates the scene with his talent, charisma, and energy.
From the USSR to France, the shining star of the New York City Ballet galvanizes crowds.
Meanwhile, Balanchine refuses any compromise with those who do not accept the star.
One day as Mitchell's career takes a new turn and he is invited to create a national ballet of Brazil, a unexpected event occurs, bringing him back to the reality of his time.
Before we continue with this episode, a quick break to give the floor to our partner without whom this podcast could not exist.
Don't go away, we'll be right back.
On April 4th, 1968, Mitchell is in a taxi on his way to the airport.
The traffic runs smoothly and the man is lost in his thoughts.
The radio crackles.
Suddenly, his blood runs cold as he understands that the presenter is announcing the death of one of his heroes, Martin Luther King has been assassinated.
Good evening. The Reverend Dr.
Martin Luther King, 39 years old and a Nobel Peace Prize winner and the leader of the non -violent civil rights movement in the United States was assassinated in Memphis tonight.
Behind the man, a true symbol is under attack, that of the struggle of black individuals for their rights.
On that day, Mitchell faces two choices, shine in solitude or commit to his people.
He instructs the taxi to turn around.
To honor the memory of the famous pastor and work towards equality himself, he feels he must return to his roots.
A few hours later, the little boy from Harlem treads the streets of his hometown again, with an idea in mind, to use art to combat social exclusion.
He then creates the Dance Theater of Harlem, a school open to all local residents.
Quickly, Correll Shook, a choreographer and writer joins him.
He's the only white ballet master willing to teach black individuals.
Like many great American adventures, this project comes to life in a garage.
But the lack of resources is nothing compared to the enthusiasm the place generates.
Every day, dozens of young people flock to learn how to dance.
After centuries of slavery, racism remains a fundamental value in American society, even after the abolition of segregation laws.
Mitchell's ambition could have stopped at the borders of Harlem, but he doesn't see it that way.
Thanks to his fame and persuasive power, Mitchell creates unprecedented opportunities in the world of classical ballet.
Through dedication, his school grows.
Eventually, it becomes a full -fledged company.
The vast majority of people working there are black.
The United States, South Africa, the USSR, for several decades, the troupe performs worldwide.
Despite financial problems due to a lack of public subsidies, it continues to perform.
Ultimately, between the founding of the company in 1968 and Mitchell's retirement in 2011, the Dance Theater of Harlem launched to careers of talented artists.
For black dancers, classical ballet became a possibility.
On February 6, 2006, at the White House, President George Bush declares, Tonight, on the occasion of African American History Month, we celebrate the Dance Theater of Harlem and its unique founder, Arthur Mitchell.
America is fortunate to have individuals like him among us.
After a few minutes of speech, the audience turns to the stage.
That evening, the surprise that had followed Mitchell's appearance on stage 50 years earlier no longer has a reason to be.
The ballerinas find their place on the stage.
The assembly, attentive, observes them with admiration.
Arthur Mitchell feels President Bush's gaze behind him.
This is not the first time he has performed at the White House.
In fact, he has dined with every American president since the 60s.
Now a true symbol, Mitchell is aware that his troupe is a model of education, diversity, and artistic excellence.
His influence is tangible.
Today, the color of ballet shoes is adapted to the skin of the dancers, and most contemporary companies have stopped the practice of blackface, which involves grotesquely disguising oneself as a person of color.
Yet, a certain weariness creeps in due to the lack of state support.
It's 2006, and Mitchell is 72 years old.
Even though he's about to hand over the reins of the company to one of his ballerinas, his ambition is still intact.
Journalist Sarah Kaufman, who interviewed him that evening, reports these words, I hope this will pave the way for dance to become a line item in the federal budget so we can spread the arts throughout America.
Today, the Dance Theater of Harlem is still active and employs artists from all minorities.
Thank you for listening to this episode of Fabulous Destinies.
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