New York City Ballet: History and Mission Statement
This paper examines the New York City Ballet (NYCB), tracing the institution's origins from Lincoln Kirstein's 1933 vision of a distinctly American ballet company to its establishment as a world-renowned organization at Lincoln Center. The paper outlines key milestones in the NYCB's development, including the pivotal partnership between Kirstein and choreographer George Balanchine, the setbacks of World War II, and the company's eventual flourishing in the late 1940s. It also analyzes the NYCB's two-part mission statement, evaluating how the organization has adhered to its founding principles while embracing innovation in choreography, outreach, and community involvement.
- Introduction: Ballet as Art and Discipline: Degas painting introduces ballet and paper scope
- History of the NYCB: Kirstein and Balanchine found American ballet company
- Mission Statement of the NYCB: NYCB's two founding goals and outreach promise
- Mission Statement Influence upon the NYCB: How mission statement shaped NYCB's development
- Conclusion: NYCB's legacy and ongoing mission fulfillment
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What makes this paper effective
- Opens with a vivid reference to Edgar Degas's Dance Class at the Opera, grounding the paper in a concrete cultural image that draws the reader into the subject of ballet before narrowing to the NYCB.
- Maintains a clear two-part organizational focus — historical narrative followed by mission statement analysis — keeping the paper concise and purposeful throughout.
- Applies a nonprofit governance framework to evaluate the NYCB's mission statement, demonstrating awareness of organizational principles beyond the arts context alone.
Key academic technique demonstrated
The paper effectively uses a funnel structure: it opens with a broad cultural observation about ballet, narrows to a specific institution's founding history, and then evaluates that institution against explicit mission statement criteria. This movement from the general to the specific, and from descriptive to evaluative, is a well-executed technique for short academic essays.
Structure breakdown
The paper has five sections. The introduction uses Degas's painting as a hook before stating the paper's dual purpose. The history section traces the NYCB chronologically from 1933 through the post-WWII era. The mission statement section quotes the organization's two formal goals. The analysis section applies external criteria for effective mission statements to assess the NYCB's performance. The conclusion briefly synthesizes both threads. Total length is appropriate for an introductory-level overview essay.
Introduction: Ballet as Art and Discipline
Edgar Degas's painting Dance Class at the Opera shows four women dressed in beautiful, almost ethereal ballet costumes, complete with sashes at the waist and perfect buns. Some of the women are waiting while others are preparing for what the viewer imagines will be a fantastic performance. Degas was able to portray movement, passion, and anticipation in such a distinctive yet persuasive way that the viewer cannot help but be drawn into the painting.
This is often the case with ballet — a form of art and dance unparalleled by others, yet studied by many. The grace, discipline, and physical demands that come with ballet are not only worthy of study but of admiration as well. As a short introduction to the art form, this paper focuses on the New York City Ballet (NYCB). It traces the evolution of the institution historically and examines the role that its mission statement has played within the organization.
History of the NYCB
The story of the NYCB begins in 1933. Though the institution we know today was neither established nor formally constructed in that year, the foundation for what would become the NYCB was laid then. The history begins with Lincoln Kirstein, who envisioned a distinctly American ballet — neither French nor Russian — and who wanted young dancers to be trained and schooled in this tradition. Kirstein also wanted the best teachers and masters to both teach and perform at the new institution. During the 1800s, ballet troupes had to travel constantly and could not be based solely in one city. Furthermore, Kirstein wanted ballet to develop organically in America rather than be imported from Europe, which is why he sought native dancers.
Kirstein traveled to Europe in search of a founding master and met George Balanchine in London in 1933. Balanchine had been trained in the Russian ballet tradition. The two embarked on the ambitious journey to create an American ballet, but faced many frustrations along the way. The first performance of Kirstein's new school was postponed, and the first tour collapsed. Many ballet companies formed and dissolved during these years, and efforts came to a halt entirely during World War II. It seemed, for a time, that the NYCB would never be realized. Yet after the war, both partners returned to New York and took the first concrete steps toward the company's formation in the 1940s, when Kirstein found a new company with which to collaborate.
It was not until the late 1940s that the company's first ballet was truly realized, and not until 1964 that the NYCB had its own dedicated theater. Today, the company is world-renowned, with 90 dancers and an active repertory of over 150 works. The company is headquartered at Lincoln Center in New York City — though the name "Lincoln" in that venue has no connection to Kirstein. It is nonetheless important to recognize that the NYCB could never have come into being without Kirstein and his partner, Balanchine.
Mission Statement of the NYCB
The two founders shaped the NYCB around two central goals: producing and performing ballet that reimagines classical dance principles. The mission statement of the NYCB reflects this dual purpose by focusing on:
1. Preserving "the ballets, dance aesthetic, and standards of excellence created and established by its founders," and
2. Developing "new work that draws on the creative talents of contemporary choreographers and composers, and speaks to the time in which it is made."
The statement also pledges to expand ballet outreach through various programs. The company's symbol is the Lyre from Orpheus, one of Balanchine's signature works.
Conclusion
The NYCB has become an institution and a defining presence at Lincoln Center. Yet this achievement could never have been realized without the sustained effort of two dedicated men across the 1930s and 1940s. Today, the NYCB not only upholds its mission statement but continues to build upon it, making the organization a model of artistic excellence and institutional success.
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