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Having spent decades researching racial and ethnic groups around the world, I have never yet found a country in which all groups — or even most groups — are even roughly equally represented in most endeavors. Nor have I been the only one with that experience. The great French historian Fernand Braudel said, “In no society have all regions and all parts of the population developed equally.” A study of military forces around the world failed to find a single one in which in which the ethnic makeup of the military was the same as that of the society.

My own favorite example of unrepresentativeness, however, is right at home, Having watched National Football League games for more than 50 years, I have seen hundreds of black players score touchdowns, but I have never seen one black player kick the extra point, What are we to conclude from this? Do those who believe in genetics think that blacks are just genetically incapable of freed pointe shoe fitting london kicking a football?, How about racist discrimination? Are racists so inconsistent that they are somehow able to stifle their racism when it comes to letting black players score touchdowns, but absolutely draw the line when it comes to letting blacks kick the extra point?..

With all the heated and bitter debates between those who believe in heredity and those who believe in environment as explanations of group differences in outcomes, both seem to ignore the possibility that some groups just do not want to do the same things as other groups. I doubt whether any of the guys who grew up in my old neighborhood in Harlem ever went on to become ballet dancers. Nor is it likely that this had anything to do with either genetics or racism. The very thought of becoming a ballet dancer never crossed my mind — and it probably never occurred to the other guys either.

If people don’t want to do something, chances are they are not going to do it, even if they have all the innate potential in the world, and even if all the doors of opportunity are wide open, People come from different cultures, They know different things and want different things, When I arrived in Harlem from the South as a kid, I had no idea what a public library was, An older boy who tried to explain it to me barely succeeded in getting me to get a library card and borrow a couple of books, But it changed the course of my life, Not freed pointe shoe fitting london every kid from a similar background had someone to change the course of his life..

When Jewish immigrants from Eastern Europe arrived in New York in the 19th century, they were even poorer than blacks from the South who arrived in Harlem in the 20th century. But the Jews crowded into public libraries because books had been part of their culture for centuries. New York’s elite public high schools and outstanding free colleges were practically tailor-made for them. Groups differ from other groups all over the world, for all sorts of reasons, ranging from geography to demography, history and culture. There is not much we can do about geography and nothing we can do about the past. But we can stop looking for villains every time we see differences.

This ambitious freed pointe shoe fitting london but flawed work was created by the 29-year-old artist-in-residence at London’s Royal Ballet, It is driven by the propulsive beat and jazzy flourishes of Bay Area composer John Adams’ 1988 orchestral work “Fearful Symmetries,” whose stunning, 28-minute, jazz-inflected composition is wrapped in alternating tones of light and dark and driven by insistent rhythms in the strings, then the horns, Both choreographer and composer pay homage to William Blake’s poem “The Tyger” (1794), which depicts evil and the good, horror and joy sitting cheek by jowl in “fearful symmetry.” Adams’ soundscape presents this confounding balance with tonal squalls alternating elegantly between tempest and calm and, in the final moments, resolving into a kind of shimmering, if temporary, peace..

Scarlett’s world, however, is weighed down by the apocalyptic decor, and trapped in a welter of sexy but conventional Bob Fosse-meets-Jerome Robbins-meets George Balanchine motifs. Unlike Adams, whose score references Terry Riley, Leonard Bernstein and the Art Ensemble of Chicago with lush yet minimalist grandeur, Scarlett’s dance is no such new hybrid. The work’s gender-neutral costumes and absence of pointe shoes are no substitutes for radical invention. Only when Scarlett throws out the développés and Elvis-style hip gyrations to give us blocks of bodies on the prowl or has a stationary dancer move only her arms does “Fearful Symmetries” move into fresh metaphorical territory.

Nothing else is as riveting as the solo by Gennadi Nedvigin suggesting a ghostly matador, Pulled up and slightly back, he flicks his whole body from one oblique angle to another with absolute economy, becoming simultaneously beauty and ruin, silence and wail, In those moments, freed pointe shoe fitting london fearful symmetry is achieved, By contrast, the addition of the “ideal” to the piece — culminating in a rosy pas de deux, beautifully danced by Yuan Yuan Tan and Davit Karapetyan with LED lights switched off — misses the point of Blake’s concept of creation: It’s not either/or; it’s both/and..

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