The forgotten story of a pioneering group of five Black ballerinas whose legacy was 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. 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 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 their historic careers, and a window into the robust history of Black ballet, hidden for too long.

2021 NAACP Image Award Nominee This definitive history is a celebration of the first African-American ballet company, from its 1960s origins in a Harlem basement, to the performances, community engagement, and education message of empowerment through the arts for all which the Company continues to carry forward today. Illustrated with hundreds of never before seen photos from the founding during the Civil Rights Movement by Arthur Mitchell and Karel Shook through to today, this visual history tells the story that fueled Dance Theatre of Harlem’s growth into one of the most influential and revolutionary American ballet companies of the last five decades. With exclusive backstage stories from its legendary dancers and staff, and unprecedented access to its archives, Dance Theatre of Harlem is a striking chronicle of the company's amazing history, its fascinating daily workings, and the visionaries who made its legacy. Here you’ll discover how the company’s founders—African-American maestro Arthur Mitchell of George Balanchine’s New York City Ballet, and Nordic-American Karel Shook of The Dutch National Ballet--created timeless works that challenged Eurocentric mainstream ballet head-on—and used new techniques to examine ongoing issues of power, beauty, myth, and the ever-changing definition of art itself. Gaining prominence in the 1970s and 80s with a succession of triumphs—including its spectacular season at the Metropolitan Opera House—the company also gained fans and supporters that included Nelson Mandela, Stevie Wonder, Cicely Tyson, Misty Copeland, Jessye Norman, and six American presidents. Dance Theatre of Harlem details this momentous era as well as the company's difficult years, its impressive recovery as it partnered with new media's most brilliant creators—and, in the wake of its 50th anniversary, amid a global pandemic, its evolution into a worldwide virtual performance space. Alive with stunning photographs, including many from the legendary Marbeth, this incomparable book is a must-have for any lover of dance, art, culture, or history.

From New York Times bestselling and award-winning author and American Ballet Theatre principal dancer Misty Copeland comes an illustrated nonfiction collection celebrating dancers of color who have influenced her on and off the stage. As a young girl living in a motel with her mother and her five siblings, Misty Copeland didn’t have a lot of exposure to ballet or prominent dancers. She was sixteen when she saw a black ballerina on a magazine cover for the first time. The experience emboldened Misty and told her that she wasn’t alone—and her dream wasn’t impossible. In the years since, Misty has only learned more about the trailblazing women who made her own success possible by pushing back against repression and racism with their talent and tenacity. Misty brings these women’s stories to a new generation of readers and gives them the recognition they deserve. With an introduction from Misty about the legacy these women have had on dance and on her career itself, this book delves into the lives and careers of women of color who fundamentally changed the landscape of American ballet from the early 20th century to today.

Profiles the life and career of the professional ballerina, covering from when she began dance classes at age thirteen in an after-school community center through becoming the only African American soloist dancing with the American Ballet Theatre.

BONUS: This edition contains a new Afterword and a reading group guide. Utopia, Texas: It’s either the best place on earth, or it’s no place at all. In the twenty-first century, it’s difficult to imagine any element of American life that remains untouched by popular culture, let alone an entire community existing outside the empire of pop. But Karen Valby discovered the tiny town of Utopia tucked away in the Texas Hill Country. There are no movie theaters for sixty miles in any direction, no book or music stores. But cable television and the Internet have recently thrown wide the doors of Utopia. Valby follows the lives of four Utopians—Ralph, the retired owner of the general store; Kathy, the waitress who waits in terror for three of her boys to return from war; Colter, the son of a cowboy with the soul of a hipster; and Kelli, an aspiring rock star and one of the only black people in town—as they reckon, on an intensely human scale, with war and race, class and culture, and the way time’s passage can change the ground beneath our feet. Utopia is the kind of place we still think of as the “real America,” a place of cowboys and farmers and high-school sweethearts who stay together till they die. But its dramatic stories show us what happens when the old tensions of small-town life confront a new reality: that no town, no matter how small and isolated, can escape the liberating and disruptive forces of the larger world. Welcome to Utopia is a moving elegy for a proud American way of life and a celebration of our relentless impulse toward rebirth.

A full accounting of five incredibly talented Black ballerinas from The Dance Theater of Harlem, founding members among them, that illuminates their hard-fought, historic, and overlooked contributions to the world of classical dance at a time when racism shut out Black dancers from major dance companies. It was true until only recently, their past achievements had been erased—that’s what happened to five Black ballerinas, members of the groundbreaking Dance Theater of Harlem. At the peak of the Civil Rights Movement, Lydia Abarca, who dance critics praised effusively, was the first Black prima ballerina of this major dance company, performing lead roles in the most iconic ballets. She was also the first Black ballerina to grace the cover of Dance magazine. Alongside fellow founding members Sheila Rohan and Gayle McKinney-Griffith, and first-generation dancers Karlya Shelton and Marcia Sells, these swans of Harlem shone a bright light on the depth of Black professional classical dancers. Their grit, determination, and exquisite artistry propelled them to dizzying heights, but over the decades, their trailblazing and triumphs were largely forgotten. Now these ballerinas and longtime friends are giving voice to their stories on and off stage—reclaiming a past so that it is finally recorded and acknowledged.

A full accounting of five incredibly talented Black ballerinas from The Dance Theater of Harlem, founding members among them, that illuminates their hard-fought, historic, and overlooked contributions to the world of classical dance at a time when racism shut out Black dancers from major dance companies. It was true until only recently, their past achievements had been erased—that’s what happened to five Black ballerinas, members of the groundbreaking Dance Theater of Harlem. At the peak of the Civil Rights Movement, Lydia Abarca, who dance critics praised effusively, was the first Black prima ballerina of this major dance company, performing lead roles in the most iconic ballets. She was also the first Black ballerina to grace the cover of Dance magazine. Alongside fellow founding members Sheila Rohan and Gayle McKinney-Griffith, and first-generation dancers Karlya Shelton and Marcia Sells, these swans of Harlem shone a bright light on the depth of Black professional classical dancers. Their grit, determination, and exquisite artistry propelled them to dizzying heights, but over the decades, their trailblazing and triumphs were largely forgotten. Now these ballerinas and longtime friends are giving voice to their stories on and off stage—reclaiming a past so that it is finally recorded and acknowledged.