Angyal's take on what ballet needs to do to survive (basically racial justice, body affirming feminism) is absorbing and the right mix of citation-supported lay language, insider knowledge, and we-criticize-because-we-care-but-power-wielding-predators-fuck-off.

Chapter 1: The Hidden Curriculum has important lessons for pedagogy over all.

It's from the hidden curriculum, whether in biology class or ballet class, that students absorb assumptions, norms, and values. ... Students learn the ideal ballet dancer is silent, observant, and obedient. They also learn that she is white: the pink tights that almost every American girl is required to wear to ballet class were originally designed to mimic the color of white women's skin, and today, girls wear them with matching pink slippers.

Chapter 5: The Unbearable Whiteness of Ballet observes

As underrepresented as racial and ethnic minorities are in front of the curtain, they are even less likely to hold administrative and artistic power. If ballet is to survive, it will need Black and brown and Asian American ballet masters and mistresses, repetiteurs, choreographers, composers, costume designers, set designers, and most crucially, artistic directors.

That she lists set designers and not lighting designers when the latter is more important in dance, is troubling to me, but I forgive her for turning me onto the gleefully snarky Models Doing Ballet on Instagram.