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Notes
1. See for example, https://www.du.edu/cme/resources/inclusive-excellence.html.
2. For further information on the topic of diversity and inclusion in dance, see the work of Brenda Dixon Gottschild, Takiyah Nur Amin, Julie Kerr-Berry, Nyama McCarthy-Brown, Karen Schupp, and Kendra Unruh.
3. With regard to dance forms originating in the African diaspora, history has shown us that the dichotomy of fascination and disgust White culture has with Black bodily movement has had and continues to have an impact on how those forms are perceived and practiced by minority and non-minority communities alike. One way this perception has impacted Black dance forms is through what I refer to as cultural reassignment. Cultural reassignment is a function of appropriation where by an art form or practice is appropriated, popularized, and commoditized to a point where it is no longer attributed to the culture from which it comes in mass consciousness.
4. Kimberlé Crenshaw first introduced the theory of intersectionality in 1989 and holds that the interplay of identities such as race, gender, sexuality, and more influence individuals’ experiences of oppression.
5. Appalachian State University has an international student population of about 200 students. Our fastest growing demographic is that of Latinx students (5.8%), some of whom are undocumented. These students face discrimination across campus because of their (real or perceived) status. Each semester I have on average, two international or immigrant students in my class. I have had as many as four. The presence of first-generation Americans whose parents may not be from the US, as well as first generation college students makes this my most diverse class.
6. As 23 and Me has been found to be problematic, I think it necessary to note that this is not something I encourage. I am most interested in their excitement about the project and hope to provide advice on how to deepen their experience.