The headline frames this as an arts story, but the company’s origin is a political act—a direct response to Martin Luther King Jr.’s assassination. Its return to Paris after four decades isn't just a performance; it's the reintroduction of a potent American social ideology into a European cultural landscape with its own complex politics of identity. The real question is whether this "revolution" will be confined to the stage or if it will challenge the gatekeepers of continental ballet.
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