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The Swans of Harlem: Five Black Ballerinas, Fifty Years of Sisterhood, and Their Reclamation of a Groundbreaking History
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57/99
Critics
78/99
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Scholars
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77/99
Volume
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About This Book
The forgotten story of a pioneering group of five Black ballerinas and their fifty-year sisterhood, a legacy erased from history—until now. At the height of the Civil Rights movement, Lydia Abarca was a Black prima ballerina with a major international dance company—the Dance Theatre of Harlem, a troupe of women and men who became each other's chosen family. She was the first Black ballerina on the cover of Dance magazine, an Essence cover star; she was cast in The Wiz and in a Bob Fosse production on Broadway. She performed in some of ballet's most iconic works with other trailblazing ballerinas, including the young women who became her closest friends—founding Dance Theatre of Harlem members Gayle McKinney-Griffith and Sheila Rohan, as well as first-generation dancers Karlya Shelton and Marcia Sells. These Swans of Harlem performed for the Queen of England, Mick Jagger, and Stevie Wonder, on the same bill as Josephine Baker, at the White House, and beyond. But decades later there was almost no record of their groundbreaking history to be found. Out of a sisterhood that had grown even deeper with the years, these Swans joined forces again—to share their story with the world. Captivating, rich in vivid detail and character, and steeped in the glamour and grit of professional ballet, The Swans of Harlem is a riveting account of five extraordinarily accomplished women, a celebration of both their historic careers and the sustaining, grounding power of female friendship, and a window into the robust history of Black ballet, hidden for too long.
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Reviews
"If it were just a quest for cultural redress, the result might have been a dusty scroll of the Swans' ballet bona fides."
"A captivating corrective to an often-whitewashed history."
"Valby's extensive interviews with the dancers lend an intimacy to the narrative, the details of their lives elevated and their perspectives clearly observed."
"Their individual stories are woven into a powerful narrative of professional triumphs and personal challenges that celebrates Black excellence in ballet."
"Thanks in part to her book, that history can be told with greater fidelity—a history to inspire dancers and dance enthusiasts alike."
"While [Valby's] decision to begin and end the book with Misty Copeland's widespread misidentification as the first Black prima ballerina detracts from the dynamic, tumultuous, and inspiring journey of the five central ballerinas, the book is deeply researched and full of heart."
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