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Essay / Research Paper Abstract
9 pages in length. Arthur Mitchell's accomplishments within the world of dance are only as limited as the time needed to achieve even more notoriety. The extent to which the world renown dancer, director, choreographer and teacher has single-handedly revolutionized the very essence of dance is both grand and far-reaching; that he has devoted more than fifty years of his life to the industry he loves serves as a testament to his unwavering dedication to the arts. Bibliography lists 8 sources.
Page Count:
9 pages (~225 words per page)
File: LM1_TLCMitchel.rtf
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choreographer and teacher has single-handedly revolutionized the very essence of dance is both grand and far-reaching; that he has devoted more than fifty years of his life to the industry
he loves serves as a testament to his unwavering dedication to the arts. Mitchells career found its start when, as a young man, he won the popular annual dance award
from New York Citys High School for the Performing Arts, a feat that may not have been so extraordinary had he not been the first male to ever do so.
From that point forward, Mitchell collected numerous other bits of recognition that duly fortified his hunger for dance, not the least of which included two post-graduate scholarships; after accepting
the offer from the School of American Ballet, "history was made in 1955 when Arthur Mitchell became the first African-American male dancer to become a permanent member of a major
ballet company" (Anonymous, 2001). After Mitchells initial presence in the New York City Ballet, it did not take long before he earned the position of New York City Ballets
principal dancer. Working closely with the legendary George Balanchine was a particularly important element in the eventual reputation Mitchell would earn for himself during the decade and a half
he spent with the company. "The myth was that because you were black that you could not do classical dance. I proved that to be wrong...When I won
the scholarship, I realized that I was in service to a force greater than myself, and that was my art form, dance" (Mitchell, 1993).
Learning from Balanchine what he would have never been able to glean from any other instructor, Mitchell took full advantage of the time spent with the man who claimed
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