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George Balanchine was indeed one of the most gifted ballet choreographers in the 20th century. Having directed numerous ballet plays, he became well-known for his style and approach to ballet choreography, distinguished among his fellow professionals. However, Balanchine’s Agon Pas De Deux, performed at the opening of the New York State Theater in 1957, gained significant attention not only due to the choreography but also because of the dance’s message. By addressing the controversy of urban space occupying a community’s location in light of a mass depopulation program, the choreographer demonstrated how ballet could reflect a particular social, political, and cultural situation.
Although the opening of the New York State Theater was an incredible event that promoted the development of arts and dance in this location, the theater’s establishment has been achieved by ambiguous means. Stanger’s discussion excellently portrays the injustice that the area’s residents had encountered during the relocation and the theater’s construction. Even though the city areas are supposed to become altered according to the citizens’ needs, the urban space of 1950’s New York was completely under the control of the city’s authorities. As a result, little regard was paid to disadvantaged citizens or minorities.
Agon Pas De Deux focuses specifically on the aforementioned problem, illustrating the choreographer’s concerns through dancing. The abrupt movements of the dancers and their performance hint towards the displacement of the area’s residents, delivering a message to the audience. In addition, the races of the ballet dancers also serve as a sign towards the relocation, as a black man and white woman join together in the dance. From this perspective, the dance can be viewed as much more than a demonstration of beauty or talent; it also becomes a way of illustrating the political climate and social concerns.
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