This books was incredibly informative and feels like an essential addition to the narrative history of ballet. It’s was heartbreaking reading about the five ballerinas, Lydia Abarca, Gayle McKinney-Griffith, Sheila Rohan, Karlya Shelton and Marcia Sells, and how their history as some of the first black ballerinas was scrubbed from the modern consciousness. Karen Valby’s efforts to bring these amazing women’s stories to light is commendable!

The only reason I took off a star for my rating is that the writing felt a little dry at times, almost like I was reading a report about their lives. However, the content was exceptional, and I highly recommend this novel.

Thank you so much to NetGalley and Pantheon for the ARC of this novel!

Before we heard of Misty Copeland there were the five black Ballerinas of Dance Theater of Harlem (DTH). DTH was founded by Arthur Mitchell in 1968 after the assassination of MLK Jr. He had success as a ballerina and was intent on showing the world black ballerinas. He was successful even if his methods were questionable.

The 5 ballerinas- Lydia Abarca, Marcia Sells, Sheila Rohan, Gayle McKinney-Griffith, and Karlya Shelton-Benjamin, were pushed to succeed because they all had something to prove while buying into Arthur Mitchell’s dream.

This book is about each dancer’s emotions as they change the world. The irony is that the general public largely forgot them, and so there is a constant refrain of “we were there, we were there.” Their sadness is tangible, but so is their perseverance.

I enjoyed learning about these dancers, the era in which they danced, and Arthur Mitchell. Misty Copeland sits on their shoulders and acknowledges their work.

They were there, and it was worthwhile.

#Theswansofharlem #netgalley

The Swans of Harlem is a book that is way past due, but thank goodness Karen Valby collected the stories of these five ballerinas from the Dance Theatre of Harlem's early years. In the past decade, much has been written about Misty Copeland's achievement as the first black principal dancer at ABT, but these women proved that black women could dance ballet long before Misty laced up her first pair of point shoes. These five women, Lydia Abarca-Mitchell, Gayle McKinney-Griffith, Sheila Rohan, Karlya Shelton-Benjamin, and Marcia Sells, give an unflinching account of those early years of the Dance Theatre of Harlem, reclaiming their place in ballet history. While the revere Arthur Mitchell for his vision and audacity, they clearly state there was a price to pay for dancing for the company. The five omens are honest about the toll dancing took on their bodies and private lives. This boo is a must-read for any balletomane.

The Swans of Harlem tells the story of the founding of the Dance Theatre of Harlem by focusing on five of its first principle dancers, and offers theories of why their contributions have been all but forgotten. Similar to how Hidden Figures sought to tell the story of the black mathematicians, engineers, and human computers' contribution to the discovery of super sonic flight and the beginning of the space program, author Karen Valby beautifully tells the company's founder Arthur Miller and the early dancers' story. Much as a ballet has three acts, the book tells of the ballerinas' early life, their time with the DTH, and their life after they left Harlem. The book also offers interesting insights into why these women's achievements were allowed to fade from ballet history, giving rise to the idea that Misty Copeland was uniquely talented for her race, rather than simply the best of her generation. I highly recommend this story and hope it finds its way into many libraries.

If you are at all interested in dance, this is a fascinating read, about the first all Black ballet company, The Dance Theater of Harlem, and the amazing women (and men) who were its heart. Most people have heard of Misty Copeland, the first Black principal dancer for the American Ballet Theater, but these women, Gayle McKinney-Griffith, Sheila Rohan, Karlya Shelton and Marcia Sells, blazed that trail 30 years before her, and sadly, seemed to have drifted away into obscurity. This book tells their story—their struggle, heartbreak, and joy. It’s a story of friendship, resilience and of sisterhood and it was eye opening to finally read their history.

*Special thanks to NetGalley and Knopf Pantheon for this e-arc.*

A wealth of information with the beauty of Blackness. The stories of these women are remarkably told. Reading this book made me miss being in Harlem. Their roots add a pivotal piece to the storytelling.

As a dancer and a lover of ballet, I found The Swans of Harlem to be a beautiful and insightful account of 5 prima ballerinas from the Dance Theater of Harlem. Black ballerinas have faced so many challenges in the ballet world due to biases and racism, and this was such an important story to tell and I'm so glad to have gotten to read it.

Thank you to NetGalley and Pantheon books for providing me with an ebook ARC for review. I will continue to recommend this book to others and feature on tiktok and Instagram.

I received a free ebook from Netgalley in exchange for a fair review of this book. I had never heard of the Swans of Harlem. I had mistakenly thought, that Misty Copeland was the first African American ballet dancer. I learned so much from this book.

The story is fascinating. The author tells you about the ups and downs of the dancers. I could feel the dancers pain, joy, and struggles. The book talks about many very important topics. I, also, saw the sisterhood of the dancers.

The book gives so much information. I learned so MUCH about what these amazing dancers went through. I felt like I was experiencing their past with them. I am thankful for their raw stories.

The book gave so MUCH information. It gave history from the 5 main ballet dancers. At times, it was so much information for me. I wish the book was written a little easier to read. I do think I will reread this book. It is an indepth story of DTH.

I am so THANKFUL to know the early history of these amazing dancers. Thank you for educating me about the Dance Theater of Harlem.

This is an excellent accounting of the lives and careers of the Black ballerinas of the Dance Theatre of Harlem, a groundbreaking dance troupe. Author Valby has done meticulous research and undertaken collecting oral histories from surviving dancers, piecing together a story of race and the controversial philosophy that Black performers could not just be as good as white ones, but had to be better. She tackles white audience expectations and reactions as well as both criticism and support from the Black community for the DTH. Although sometimes the timelines are difficult to follow, the book's mostly linear structure gives readers an inside look at the DTH and its director Arthur Mitchell, an enormously contradictory and problematic figure who nonetheless took the DTH to unheard-of heights in the Black dance community. Before there was Misty Copeland, there were Linda Abraca, Virginia Johnson, and many others who helped pave the way for Black ballet dancers.

While I think this book is an essential addition to the body of work on dance in America, I do wish Valby had gone a little deeper into Mitchell's behavior and its negative impact on dancers and the troupe in general. And while she touches on AIDS among the male dancers, the losses the Black dance community suffered were enormous, and they feel a little brushed-off here.

4.75 stars

I really enjoyed this extraordinary book. It has several different main themes: the creation of the Dance Theater of Harlem in the 60s, the story of some amazing women and artists and their challenges and struggles, the continuing story of racism and its many tentacles, and the tale of lifelong sisterhood among these women.

The history of the dance company and its charismatic but demanding founder Arthur Mitchell is fascinating, given the backdrop of the 60s and the civil rights movement. The individual stories of the dancers and their art was wonderful and personal. And toward the end of the book, the search to create and compile a meaningful legacy of the dance company and in particular the women who were its backbone was compelling. The generosity of spirit from the different generations of dancers to acknowledge everyone's contributions was positively uplifting. I recommend this book. I received an advance review copy for free, and I am leaving this review voluntarily.

I am completely emotionally invested in this book, The Swans of Harlem, written brilliantly and honestly by Karen Valby, published by Pantheon Books. The cover says "Five Black Ballerinas, Fifty Years of Sisterhood and Their Reclamation of a Groundbreaking History". This book, told with austere authenticity, is the story of the 152nd Street Black Ballet Legacy and its members, Lydia Abarca, Gayle McKinney-Griffith, Sheila Rohan, Marcia Sells and Karlya Shelton. From their beginnings studying ballet with Dance Theatre of Harlem and Arthur Mitchell, to becoming the artists they are and ballerinas in the company, this book covers their dancing lives as well as their lives after. Heartbreaking and so very very real, the decisions that they made and the decisions others made for them....are depicted in these chapters of Swans. All beautiful, all talented, all dealt with, brutally, many times, by Arthur Mitchell, this is their story and reclamation! It is a dance book that needs to be read by everyone, yes, even those of you who do not dance! Other chapters deal with the horrible occurrence of AIDS, and how it stripped the dance and artistic world of incredible artists. I loved how Ms. Valby devoted a chapter to each of these women, followed up in italics by their exact words. I didn't want this book to end...absolutely one of the best books of the year! Thank you to these women for their legacy and to Ms. Valby, for enriching my life with these words!

A tribute to the early principal ballerinas of Dance Theater of Harlem. The Swans of Harlem tells the story of five principal ballerinas committed to classical ballet who were bluntly told they would never be a principal dancer (or maybe in the company at all) at the major U.S. ballet companies. Arthur Mitchell's Dance Theater of Harlem gave them a place to star and to dance classical ballet in a new way. This book is an unflinching look at racism and sexism in dance, including Mitchell's own colorism as well as the harsh climate in which he created his company. Much of the story is told through the ballerinas' own words as they ensure their legacy is told and not forgotten. The author also covers the devastating toll AIDS and HIV took on the ballet world in the 1980s and 90s. I was left in awe of these women and what they went through, as well as sadness for the unfair limits on their potential, even as they became stars for at least a brief period. Thanks to NetGalley and PenguinRandomHouse for the ARC.

A powerful, well researched account of five of the founding members of the Dance Theater of Harlem who formed the 152nd Street Black Ballet Legacy Council during Covid. I appreciated all the conversations included that really let you get to know each woman. The book spans a long history from each dansers start in ballet, through the formation of the company with all it's ups and downs, through the devastation AIDS had on them to the formation of forming the 152nd Street Black Ballet Legacy Council and having a conversation with Misty Copeland. There were so many moving movements, especially the end at Mr. Mitchell's funeral and trying to balance a complicated flawed man who created a space for them to perform.

Thank you to the author, publisher, and NetGalley for an advanced copy in exchange for an honest opinion.

3.5 Stars

I love reading about the ballet culture. This was an interesting piece of history about The Dance Theatre of Harlem, which was founded in 1969 and is renowned for being the first Black classical ballet company. It became an inspiration and refuge for young Black ballerinas who were welcomed and celebrated at DTH, when they were often scarce and marginalized in other ballet companies. While a lot of people think of Misty Copeland as the face of a famous Black ballerina, they need to read this book to know the true origins and the five Black ballerinas who actually own this ground. These were Lydia Abarca, Gayle McKinney-Griffith, Sheila Rohan, Marcia Sells, and Karlya Shelton. Lydia was the "chosen one" or the principal / prima ballerina.

I enjoyed reading about the inside workings of being a ballerina like staying lithe, physical challenges, family/love/work balance, and hair and makeup. I also loved learning about how the ballerinas adapted their pale pink pointe shoes, ribbons and tights, tinting them a darker shade to blend in more with their skin. I performed internet searches to see images of the DTH ballerinas, as this advanced reader copy did not contain photos (and I don't know if the final publication will).

The writing style was good, but I sometimes found it difficult to keep track of the various ballerinas being discussed because they alternatively would be cited by their first names while other times referenced only by their last names. It caused a bit of a disconnect for me like I was lost at sea as to whom I was reading about. However, this was an important piece of history and a worthwhile book to read.

Thank you to the publisher Knopf, Pantheon, Vintage and Anchor for providing an advance reader copy via NetGalley.

Many people think Misty Copeland, who became a principal dancer for the American Ballet Theatre in 2015, was American's first Black ballerina. This is incorrect. In 1969, African American danseur Arthur Mitchell founded the Dance Theatre of Harlem (DTH), a company that featured Black ballet dancers.

For many years, it was 'common knowledge' that Black dancers belonged in modern dance, not classical ballet. Mitchell explains, "I said to hell with that; I wasn't raised speaking Swahili or doing native dances. Why not classical ballet?" So Mitchell became a danseur in George Balanchine's New York City Ballet, and later founded DTH.

DTH's five pioneer ballerinas were well known in their time, but subsequently faded from memory. Author Karen Valby, who's White, thought it was time to restore these women - whom she calls the Swans of Harlem - to their place in history. In an interview, Valby said, "Fundamentally, I consider this book a gift to my [adopted] daughters — young Black girls who are dancers themselves. They deserve to know about the Swans, and to feel surrounded by the power of example. Writing in this case felt like an act of mothering.”

DTH's first group of ballerinas were Lydia Abarca, Gayle McKinney-Griffith, Sheila Rohan, Karlya Shelton and Marcia Sells, all of whom shared a calling to the classical stage. Valby writes about the ballerinas' lives and careers, then describes how, during the Covid pandemic, the women formed the '152nd Street Black Ballet Legacy Council.' Valby writes, "They had all been knocked off balance by the anointing of Misty Copeland, by what felt like a deliberate scrubbing of their groundbreaking history." The (now golden age) dancers would gather online once a week to "throw out an anchor to one another from their scattered perches across the country." This provides a platform for discussing the women's lives after they left DTH, and their stories are inspiring and touching.

I'll say a few words about each pioneering Black ballerina, to introduce these talented women. (There's much much more in the book, of course.)

Lydia Abarca: Abarca, who grew up in a working class family in Harlem, loved to dance. Lydia dreamed of being a celebrity, with limousines, red carpets, and enough money to buy her parents a house. Lydia's passion drew her to Mitchell's studio, where her talent soon made her a star. As for Lydia's dream, Valby notes, "For a flash of time, a decade of her youth, [Abarca] had a taste of all that, as Mitchell's muse and Dance Theatre of Harlem's first prima ballerina.

Gayle McKinney-Griffith: McKinney-Griffith was raised in Connecticut, and as a young girl, learned ballet from former Bolshoi dancers. Later, at Julliard, Gayle's instructors pointed her toward modern dance, even though Gayle was a ballerina. Gayle persisted, however, and became the only Black dancer in Juilliard's ballet classes. Gayle became frustrated at Julliard, and when she heard Arthur Mitchell was auditioning for an all-Black ballet company, Gayle tried out.....and the rest is history.

Sheila Rohan: Rohan was raised in Staten Island, had asthma, and contracted polio as a child. Sheila's doctor prescribed exercise to strengthen her polio ravaged body, and Sheila was enrolled in tap and ballet classes - where her talent shone. By the time Sheila joined DTH, she was a 28-year-old wife and mother, which made things difficult. However, Sheila was determined, and she recalls, "You know how they talk about planting seeds? Arthur Mitchell planted a seed in me, and [the other ballerinas] helped to nurture that seed and make it grow."

Karlya Shelton: Shelton's family lived in Denver, Colorado and Karlya took ballet lessons in the local dance shop. When Karlya was seventeen, she saw a picture of Lydia Abarca on the cover of 'Dance Magazine' and was amazed to see the visage of a Black dancer and a story about DTH. Karlya's parents helped her move to New York City, where she joined DTH, and in time (after many trials and tribulations and a strict diet) Mitchell made Karlya a full company member.

Marcia Sells: Sells was raised in Cincinnati, where she started ballet classes at the age of four. When Marcia was ten, DTH performed in her home town, and Marcia was amazed to see a Black ballerina perform. Marcia would imagine herself dancing in productions like the 'Sugar Plum Fairy' and Balanchine's 'Serenade' and 'Concerto Barocco' and she "daydreamed about greeting her fans backstage, her arms heavy with roses." When Marcia met Mitchell - and he examined her feet - Mitchell insisted the girl move to New York City, live with a local family, and train at DTH. Young Marcia didn't move right away, but eventually joined Mitchell's company.

Arthur Mitchell was a perfectionist and a VERY hard taskmaster. Mitchell was relentless about practice; insisted the ballerinas be rail thin; had rules about ALWAYS looking perfect in public; and so on. Mitchell would rage and shout if he was confronted (even a drop), and the troupe had to walk on eggshells around him. Still, Mitchell was an amazing talent who gave unprecedented opportunities to people of color.

In a sad section, Valby writes about the horrible toll of AIDS on the ballet world. Take out your tissues for these chapters.

At it's height, DTH toured Europe and America; performed for presidents, royalty, and celebrities; and was feted and wined and dined. It's hard to imagine how the ground-breaking DTH dancers were forgotten by history. Valby's book should help right that wrong.

Aficionados of ballet will enjoy all the talk about pirouettes, relevés, pas de deux, pas de trois, arabesques, échappés, etc; and mentions of ballets such as 'Afternoon of a Faun', 'Swan Lake', 'Holberg Suite', and more. I'd like to emphasize, though, that one needn't be knowledgeable about ballet to enjoy the book, which is excellent. Highly recommended.

Thanks to Netgalley, Karen Valby, and Pantheon for a copy of the book.

The Swans of Harlem tells the true story of 5 of the founding members of the Dance Theatre of Harlem.

In college I learned about Arthur Mitchell and DTH, but we never talked much about the dancers who started it all. It’s eye opening to realize how many of these incredible performers have been forgotten about by the dance world.

It was amazing to learn about these women and their experiences as a part of the DTH company. But I found it even more impactful to learn about their lives after leaving the company, and how the erasure of their history had a profound impact on the rest of their lives.

I’m thankful that these women came together to tell this story, and I’m hopeful that we’ll continue to uncover the history of Black ballet.

Thank you to NetGalley and Pantheon for the ARC!

Karen Valby thoroughly recounts the lives of five ballerinas of color who pioneered the Ballet Theater of Harlem and set the course for many dancers to follow in their footsteps. After the assassination of Dr. Martin Luther King, Jr. in 1968, Arthur Mitchell returned to Harlem, where he was determined to provide opportunities in dance for the children in that community. A year later, he and his teacher, Karel Shook, inaugurated a classical ballet school. They started with 30 children in a church basement, and two months later, Mr. Mitchell had attracted 400 youngsters to attend classes.

This is an inspiring read that takes us into the lives of these amazing women, each of whom endured hardship, pain, humiliation, and loss—all to fulfill their passion—to be classical dancers. Even as they drove themselves toward perfection, they supported one another, creating a life-long bond and support system. Through their courage and sheer grit, these five ballerinas paved the way for today's women of color to rise to even greater heights in classical ballet.

This book made me fall in love all over again with dance, particularly ballet, while demanding that I open my eyes to Black ballerinas in dance. No, and nothing against her, Misty Copeland is absolutely not the first prima ballerina as much as the publicity, marketing, and hype lead the present world to believe. The fact that this has been the narrative for so long is due to the fact that Black achievement is so readily forgotten, swept under the rug, and plain ignored.

Because, more than fifty years ago, Copeland's path was paved by all the beautiful, hard-working, heart-wrenching stories of all the Black dancers that came before her.

Right around the assassination of Dr. Martin Luther King Jr., dancer Arthur Mitchell opened the Dance Theatre of Harlem (DTH), in Harlem, where he recruited, trained, molded, and brought together Black women and men at his dance school. He built a mecca where Black dancers could unite and dance together, especially as they were being shunned for principal roles at other companies all around the world. DTH grew and grew until it shuttered in the early 2000's due to heavy financial burdens.

But this book looks at all its glory, with the pinnacle focus being on five of the founding ballerinas at DTH: Lydia Abarca (who, had the times been different, would have been the "Copeland" of her day), Gayle McKinney Griffith, Sheila Rohan, Marcia Sells, and Karlya Shelton and the way they were founded, split onto different paths, and came back together because dancing together at DTH formed a sisterhood they'd embrace forever.

This book is an easy-to-read narrative nonfiction that is eye-opening, inspiring, heart-breaking and necessary social, racial, and cultural commentary. You will find yourself googling pictures and videos of the dancers, their dances, and the songs they danced to. I cannot give it enough stars.

Karen Valby, you did the Black dance world absolute justice and I'm so grateful I received this early Advanced Reader's Copy. I cannot wait for others to get their hands on it. My only ask: will the published version include original pictures of the dancers, their partners, their costumes, their dances?

P.S. Thank you, Netgalley and the publisher, for this early copy!

Thank you to @knopfdoubleday and #NetGalley for the digital ARC of #TheSwansofHarlem. The opinions expressed here are entirely my own.

This book is a revelation! Valby has beautifully captured the inspiring human stories behind 5 talented black women who challenged the very white world of classical ballet. Spanning 5 decades, you get a "behind the scenes" look at professional ballet layered with historical events such as civil rights, the AIDS crisis and more recently the COVID pandemic.

I wish the book had included photographs of the dancers through the years. It's a shame it took so long for this story to be told, but I'm glad it's out there now. Here's hoping PBS does an American Masters episode on these amazing women.

I enjoyed learning about the real first black prima ballerinas, pre-isty Copeland. Kudos to them and those who helped them along their dancing careers. Thanks to the author who did the research, and to NetGalley and the publisher for the opportunity to read this book.