DOCSLIB.ORG

Experiences of Contemporary Dance Choreographers of Color in the Pacific Northwest

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Experiences of Contemporary Dance Choreographers of Color in the Pacific Northwest University of Washington Tacoma UW Tacoma Digital Commons Ed.D. Dissertations in Practice Education Spring 6-16-2021 Experiences of Contemporary Dance Choreographers of Color in the Pacific Northwest Sue Ann Huang University of Washington - Tacoma Campus, [email protected] Follow this and additional works at: https://digitalcommons.tacoma.uw.edu/edd_capstones Part of the Dance Commons, and the Race, Ethnicity and Post-Colonial Studies Commons Recommended Citation Huang, Sue Ann, "Experiences of Contemporary Dance Choreographers of Color in the Pacific Northwest" (2021). Ed.D. Dissertations in Practice. 49. https://digitalcommons.tacoma.uw.edu/edd_capstones/49 This Open Access (no embargo, no restriction) is brought to you for free and open access by the Education at UW Tacoma Digital Commons. It has been accepted for inclusion in Ed.D. Dissertations in Practice by an authorized administrator of UW Tacoma Digital Commons. EXPERIENCES OF CHOREOGRAPHERS OF COLOR 1 Experiences of Contemporary Dance Choreographers of Color in the Pacific Northwest Sue Ann Huang A dissertation in practice proposal submitted in partial fulfillment of the requirements for the degree of Doctorate of Education in Educational Leadership University of Washington Tacoma 2021 Supervisory Committee: Dr. Christopher Knaus, Ph.D., Co-Chair Dr. M. Billye Sankofa Waters, Ph.D., Co-Chair Dr. Victoria Watts, Ph.D., Member Program Authorized to Offer Degree: UWT Education Program EXPERIENCES OF CHOREOGRAPHERS OF COLOR 2 Abstract In the context of racism in the U.S., dancers and choreographers of color are underrepresented in contemporary dance. Critical race theory (CRT) was utilized as the framework to understand the literature, frame interview questions, and interpret the findings. A review of the literature reviews many ways dance institutions and organizations perpetuate racism. Racism is reinforced in dance education, through messages to dancers that they do not belong, and necessitating additional emotional labor to navigate systems. Dance artists of color resist racism by choosing to have a presence in contemporary dance. This study explored the experiences of 13 choreographers of color in the Pacific Northwest (PNW) asking the research question: what are the intersections of dance, identity, and resistance among contemporary dance choreographers of color in the PNW? The participants shared their experiences with racism and resisting through interviews. The findings focused on four themes and a number of subthemes that capture the ways participants experienced racism in the PNW contemporary dance community and chose to resist. The four themes from the research are: ways racism caused participants to experience isolation, ways racism caused participants to experience tokenism, ways participants demonstrated their internal commitment to choreograph, and ways participants are changing the narrative of racism in contemporary dance. Applying a CRT lens to the findings illuminates the permanence of racism, Whiteness as a property right, interest convergence, and the power of counterstories. Implications include reflection on the findings and impacts for individuals and organizations committed to reducing racism for artists of color as well as encouraging joy and healing with artists of color. Keywords: dance, contemporary dance, dancers of color, choreographers of color, artists of color, racism, isolation, tokenism, counterstories, critical race theory, activism EXPERIENCES OF CHOREOGRAPHERS OF COLOR 3 Table of Contents Abstract ........................................................................................................................................................ 2 Acknowledgements ..................................................................................................................................... 6 Introduction ................................................................................................................................................. 7 Statement of Problem ............................................................................................................................... 10 Study Context ............................................................................................................................................ 15 Critical Race Theory ................................................................................................................................. 19 Literature Review ..................................................................................................................................... 22 Contemporary Dance History .............................................................................................................. 22 Racism in Dance Education ................................................................................................................. 25 Whiteness as Property in Dance Curriculum ................................................................................... 25 Whiteness as Property in Dance Pedagogy ....................................................................................... 27 Racist Messages that Artists of Color Receive that they do not Belong ........................................... 28 Presence as Resistance .......................................................................................................................... 30 Dance as Counterstories ....................................................................................................................... 33 Positionality ............................................................................................................................................... 36 How I Have Been Racialized ................................................................................................................ 36 My Experiences as a Dancer ................................................................................................................ 39 My Experiences as a Producer ............................................................................................................. 42 Research Question .................................................................................................................................... 46 Methods ...................................................................................................................................................... 47 Research Design .................................................................................................................................... 47 Data Collection Strategy ....................................................................................................................... 48 Participant Recruitment ..................................................................................................................... 48 Protection of Human Subjects ........................................................................................................... 49 Data Collection ................................................................................................................................... 50 Data Processing .................................................................................................................................. 51 Data Analysis Strategy ......................................................................................................................... 52 Participants ............................................................................................................................................ 52 Catalina .............................................................................................................................................. 53 Mika .................................................................................................................................................... 55 EXPERIENCES OF CHOREOGRAPHERS OF COLOR 4 Elijah .................................................................................................................................................. 56 Elena ................................................................................................................................................... 57 Maya ................................................................................................................................................... 59 Kiaria .................................................................................................................................................. 61 Aki ....................................................................................................................................................... 63 June .................................................................................................................................................... 64 Nora .................................................................................................................................................... 64 Kayla ................................................................................................................................................... 66 Sebastian............................................................................................................................................. 68 Adeline ...............................................................................................................................................
Load more

Recommended publications
  • Is a Genre of Dance Performance That Developed During the Mid-Twentieth
    Contemporary Dance Dance 3-4 -Is a genre of dance performance that developed during the mid-twentieth century - Has grown to become one of the dominant genres for formally trained dancers throughout the world, with particularly strong popularity in the U.S. and Europe. -Although originally informed by and borrowing from classical, modern, and jazz styles, it has since come to incorporate elements from many styles of dance. Due to its technical similarities, it is often perceived to be closely related to modern dance, ballet, and other classical concert dance styles. -It also employs contract-release, floor work, fall and recovery, and improvisation characteristics of modern dance. -Involves exploration of unpredictable changes in rhythm, speed, and direction. -Sometimes incorporates elements of non-western dance cultures, such as elements from African dance including bent knees, or movements from the Japanese contemporary dance, Butoh. -Contemporary dance draws on both classical ballet and modern dance -Merce Cunningham is considered to be the first choreographer to "develop an independent attitude towards modern dance" and defy the ideas that were established by it. -Cunningham formed the Merce Cunningham Dance Company in 1953 and went on to create more than one hundred and fifty works for the company, many of which have been performed internationally by ballet and modern dance companies. -There is usually a choreographer who makes the creative decisions and decides whether the piece is an abstract or a narrative one. -Choreography is determined based on its relation to the music or sounds that is danced to. .
    [Show full text]
  • Brethren Band Mutual Kumquat Sings from the Soul
    . .. -,!'l' ' ,:J~-~,.-,e'~..,;:,1':,., :. , . ., . ' . ' . Church of the Brethren Brethren band Mutual Kumquat sings from the soul DECEMBER 2009 VOL.158 NO. 11 WWW.BRETHREN.ORG a . publish with the voice of thanksgiving, and tell of all thy wondrous worksn (Psa. 26: 7b KJV). Editor: Walt Wiltschek Publisher: Wendy McFadden News: Cheryl Brumbaugh-Cayford Subscriptions: Diane Stroyeck Design: The Concept Mill want a revolution. Well you know, We all want to change the world." That desire still continues for many more than four decades later, and the infectious spirit of "good times revolution music" lives on in popular Brethren band Mutual Kumquat. Cover photo by Heidi Beck. 8 Some like it 'quat: A visit with Mutual Kumquat Mutual Kumquat carries its Brethren roots into its music, and it has developed a dedicated following in parts of the denomination. As the band prepares to mark its 10th anniversary in 2010, it has a renewed focus and several new projects in the works. 12 Making a joyful noise How could a small church choir be re-energized? Psalm 100 provided an answer. 14 Lighting a lamp for peace The town of Taybeh is one of the few predom­ inantly Christian towns remaining in Palestine. It shared with an ecumenical "Living Letters" delegation one of the ways it is keeping hope alive. DEPARTMENTS 16 Revelation: An apocalyptic el)ding 2 From the Publisher Graydon F. Snyder says Revelation, with all its 3 In Touch symbols and imagery, may be the most com­ Editor's note: We apologize for 6 Reflections plex book in the Bible.
    [Show full text]
  • It Takes Two by Carolyn Merritt
    Photo: Keira Heu-Jwyn Chang It Takes Two by Carolyn Merritt What will become of us if we can’t learn to see and be with others? Can we see ourselves as others do, in order to navigate the path toward greater communication and understanding, without relinquishing our identity in the process? Together, Union Tanguera and Kate Weare Dance Company probe these questions in Sin Salida, their stunning cross-pollination of Argentine tango and contemporary dance recently presented at the Annenberg Center. Titled after Jean-Paul Sartre’s 1944 play No Exit (Huis clos in French), the production weaves together essential elements of each form with points of connection and tension, positing dance as a metaphorical map for human relations. Five chairs mark the upstage space and a single light hangs above a piano downstage left, evoking a tense audition. Film images, in negative, appear against the backdrop—a woman tending her hair at a vanity, a couple framed in a doorway, their essence muddied in the wash of black. Union Tanguera Co-Artistic Directors Claudia Codega and Esteban Moreno dance an elegant, salon-style tango that combines the outward focus and enlarged vocabulary of stage tango with the inward intention of the improvised, social Argentine form. They spin as if in balancé turns to the sounds of tango waltz, heads and focus trailing behind. Moreno lifts Codega to fan her legs wide in a split en l’air. Their costuming—stiletto heels and a tight red, knee-length dress slit to the hip for Codega, and dark dress shirt and slacks for Moreno—reference “traditional” tango aesthetics and gender dynamics.
    [Show full text]
  • 03.07.21 CONNECTIONS Jill Mcnabnay
    Storyline Gathering - 03.07.21 CONNECTIONS Jill McNabnay I love the TV show, The Big Bang Theory, because it’s full of geeky, nerdy, science humor, which I’m all about. But the whole show is really about these four guys who are so brilliant in their jobs, but so dumb in real life. They have no clue how to form relationships with others. And just I’m fascinated by their quest for connection because that’s something I see every day – ALL day - as a high school teacher. Young people may not be aware of it, but from the outside looking in, it doesn’t take long to see that a huge percentage of their life is dedicated to finding, impressing, and keeping their group of friends. This looks different depending on their age, but it is still there all the time. I teach freshmen and seniors, so I see them at the beginning and end of their high school career, and one of the biggest differences between them, besides their maturity level, is that most freshmen don’t know where they belong or how they fit in, so a lot of their time, effort, and mental energy is consumed with trying to figure that out, and at times making pretty clumsy attempts to fit in and impress their classmates. But by the time they’re seniors, kids have settled into their niche, they’ve found a group, club or team where they feel like they belong…the more flamboyant quest for friendship may be over, but the passion connected to connecting with others clearly remains.
    [Show full text]
  • Jacob's Pillow Presents Canada's Red Sky
    NATIONAL MEDAL OF ARTS | NATIONAL HISTORIC LANDMARK ​ FOR IMAGES AND MORE INFORMATION CONTACT: Nicole Tomasofsky, Public Relations & Communications Manager 413.243.9919 x132 [email protected] JACOB’S PILLOW PRESENTS CANADA’S RED SKY PERFORMANCE, AUGUST 7-11; CENTERPIECE OF WEEKLONG CELEBRATION OF INDIGENOUS DANCE AND CULTURE July 22, 2019 – (Becket, MA) Red Sky Performance makes their Doris Duke Theatre debut with the U.S. Premiere of Trace, August 7-11. Red Sky is a leading company of contemporary Indigenous performance in Canada and ​ ​ worldwide, led by Artistic Director Sandra Laronde. “Magnificent in the scope of its imagination” (Globe and ​ Mail), Trace is a highly kinetic contemporary dance work influenced by Anishinaabe sky and star stories, offering ​ ​ ​ a glimpse into Indigenous origins. The U.S. premiere of Trace is the centerpiece of The Land On Which We ​ ​ Dance, a landmark gathering of Indigenous dance and culture at Jacob’s Pillow, curated by Sandra Laronde in ​ association with Hawaiian dancer/choreographer Christopher K. Morgan and Massachusetts-based Nipmuc Elder Larry Spotted Crow Mann. ​ “Jacob’s Pillow’s identity is entwined with the beauty and majesty of our land and natural surroundings. It is important to welcome back to the Pillow the original inhabitants of this land with a landmark celebration that will not only assemble local elders and artists, but also a premiere company like Red Sky Performance, whose work acts as a vehicle for storytelling and transformation,” says Jacob’s Pillow Director Pamela Tatge. In an interview with the Smithsonian’s American Indian Magazine, Laronde says, “The idea of Trace came from ​ ​ ​ ​ the notion that all things are traceable and what we leave behind as humans, as a culture, as a nation, and as an individual is our legacy.” In creating the work, Laronde realized all traces have origins, and then began to question the origin of Indigenous people and more specifically, Anishinaabe people.
    [Show full text]
  • The Political Kiaesthetics of Contemporary Dance:—
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Political Kinesthetics of Contemporary Dance: Taiwan in Transnational Perspective Permalink https://escholarship.org/uc/item/5gg5d9cm Author Seetoo, Chia-Yi Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The Political Kinesthetics of Contemporary Dance: Taiwan in Transnational Perspective By Chia-Yi Seetoo A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Miryam Sas, Chair Professor Catherine Cole Professor Sophie Volpp Professor Andrew F. Jones Spring 2013 Copyright 2013 Chia-Yi Seetoo All Rights Reserved Abstract The Political Kinesthetics of Contemporary Dance: Taiwan in Transnational Perspective By Chia-Yi Seetoo University of California, Berkeley Doctor of Philosophy in Performance Studies Professor Miryam Sas, Chair This dissertation considers dance practices emerging out of post-1980s conditions in Taiwan to theorize how contemporary dance negotiates temporality as a political kinesthetic performance. The dissertation attends to the ways dance kinesthetically responds to and mediates the flows of time, cultural identity, and social and political forces in its transnational movement. Dances negotiate disjunctures in the temporality of modernization as locally experienced and their global geotemporal mapping. The movement of performers and works pushes this simultaneous negotiation to the surface, as the aesthetics of the performances registers the complexity of the forces they are grappling with and their strategies of response. By calling these strategies “political kinesthetic” performance, I wish to highlight how politics, aesthetics, and kinesthetics converge in dance, and to show how political and affective economies operate with and through fully sensate, efforted, laboring bodies.
    [Show full text]
  • Westfiild LEADER
    O I O\ « o o WESTFiiLD LEADER MO • The Leading and Moat Widely Circulated Weekly Newspaper In Union County Second Clua Pottac* Paid Publlihad EIGHTV R-N0.J6 •t Wtltfl.]*, N. J. WESTFIELD, NEW JERSEY, THURSDAY, JUNE 22, 1978 Bvery Thursday 24 Pages—15 Cento iFEA Protests Delay, Board 575 Graduate from WHS Ann Shepherd Bagley was High School during com- straight A students, heading Jennifer Ann McCornack, recognized as the top mencement exercises for a list of 150 honor students, Michael A. Pollack and Optimistic On Contract Talks student among six who 575 seniors Tuesday night in are Richard H. Bagger, Barbara Lynn Shacklett. achieved all A's at Westfield the Armory. The other five Cynthia Ann Coniglio, Westfield High School School board officials are Those concerns, as well as among other things by the elementary school day and ago? . Principal Albert • R. Bobal optimistic that a fact- those of Wilson and Lincoln lack of progress in the given a realistic rationale "We wonder .if these Top Weatfieid High School Graduates announced that nearly half a finding session tonight on parents who protested class contract negotiations. for the proposed change. actions do represent a million dollars in scholar- contract negotiations with sizes in those schools, oc- "Many of us wonder about Why was the plan given to us conscious stalling tactic or ship aid has been won by the Westfield Education cupied the majority of the what appears to be*delaying so late in the course of even ' harrassment on the members of the Class of Association will resolve public session of Monday tactics on the part of the negotiations?.
    [Show full text]
  • Border Crossing Brothas: a Study of Black Bermudian Masculinity, Success, and the Role of Community-Based Pedagogical Spaces
    DOUGLAS, TY-RON MICHAEL O’SHEA, Ph.D. Border Crossing Brothas: A Study of Black Bermudian Masculinity, Success, and the Role of Community-based Pedagogical Spaces. (2012) Directed by Dr. Camille M. Wilson. 289 pp. Using qualitative research methods and an amalgamation of border crossing theory and postcolonial theory within the context of race, this dissertation study examined how Black Bermudian males form identities, define success, and utilize community-based pedagogical spaces (i.e. barbershops, churches, sports/social clubs, neighborhoods) to cross literal and figurative borders. Drawing on data from 12 Bermudian Black males who were active participants in community spaces, this study challenges educators to consider how the disturbing statistics on Black male failure and the perceived achievement gap between White students and students of color may be influenced by tensions between dominant ideologies of success, the under appreciation of community-based pedagogical spaces by educational stakeholders, and competing conceptualizations of identity, success, and masculinity for Black males. BORDER CROSSING BROTHAS: A STUDY OF BLACK BERMUDIAN MASCULINITY, SUCCESS, AND THE ROLE OF COMMUNITY-BASED PEDAGOGICAL SPACES by Ty-Ron Michael O’Shea Douglas A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Greensboro 2012 Approved by Committee Chair © 2012 Ty-Ron Michael O’Shea Douglas To the memories of Ivy “Ma” Richardson, “Granny Mary” Wilkinson, Henry “Papa” Thomas, Louise “Nana Louise” Jackson, Bernard “Uncle Jack” Jackson, Mandell “Hillside” Hill, Mother Burruss, and Ronald Burruss—men and women whose lives, legacies, and love inspired me to be a border crosser and bridge across time and space.
    [Show full text]
  • Process of Improvisational Contemporary Dance
    Process of Improvisational Contemporary Dance Yuko Nakano ([email protected]) Graduate School of Interdisciplinary Information Studies, University of Tokyo Tokyo 113-0033, Japan Takeshi Okada ([email protected]) Graduate School of Education & Interfaculty Initiative in Information studies, University of Tokyo Tokyo 113-0033, Japan Abstract process of improvisational dance contains the essence of artistic creation and expression. The purpose of this study is to investigate the process of improvisational contemporary dance. To achieve this goal, we Previous studies in the domain of dance have pointed out combine two types of methodology: analysis of data from the importance of improvisation in the creation of dance interviews with dancers and analysis of their dance works, and the importance of impromptu expressions performances. Our findings reveal that while dancing, in themselves (Fukumoto, 2007; 2009; Hosokawa, 2011; De order to create their movements, improvisational dancers Spain, 1997; Ribeiro & Fonseca, 2011; Soma & Hosokawa, interact with various stimuli that come from inside and 2007; Tsujimoto, 2010). Reviewing previous studies outside of themselves (for example, images and feelings that they entertain during their dancing, and the music, space and focused on how historically eminent dancers used audience of their dance performances). Through such improvisation to express themselves or create their dance interactions, dancers organize movements in their works, Tsujimoto (2010) emphasized the significance of performances extemporarily, using various expressive improvisation in dance. Tsujimoto (2010) also described an techniques (for example, changing speed or image anecdote that when dancing extemporarily, the dancer's intentionally and seeing themselves from the viewpoint of a body instantly responded to stimuli from dance partners, the third person).
    [Show full text]
  • The Acoustic City
    The Acoustic City The Acoustic City MATTHEW GANDY, BJ NILSEN [EDS.] PREFACE Dancing outside the city: factions of bodies in Goa 108 Acoustic terrains: an introduction 7 Arun Saldanha Matthew Gandy Encountering rokesheni masculinities: music and lyrics in informal urban public transport vehicles in Zimbabwe 114 1 URBAN SOUNDSCAPES Rekopantswe Mate Rustications: animals in the urban mix 16 Music as bricolage in post-socialist Dar es Salaam 124 Steven Connor Maria Suriano Soft coercion, the city, and the recorded female voice 23 Singing the praises of power 131 Nina Power Bob White A beautiful noise emerging from the apparatus of an obstacle: trains and the sounds of the Japanese city 27 4 ACOUSTIC ECOLOGIES David Novak Cinemas’ sonic residues 138 Strange accumulations: soundscapes of late modernity Stephen Barber in J. G. Ballard’s “The Sound-Sweep” 33 Matthew Gandy Acoustic ecology: Hans Scharoun and modernist experimentation in West Berlin 145 Sandra Jasper 2 ACOUSTIC FLÂNERIE Stereo city: mobile listening in the 1980s 156 Silent city: listening to birds in urban nature 42 Heike Weber Joeri Bruyninckx Acoustic mapping: notes from the interface 164 Sonic ecology: the undetectable sounds of the city 49 Gascia Ouzounian Kate Jones The space between: a cartographic experiment 174 Recording the city: Berlin, London, Naples 55 Merijn Royaards BJ Nilsen Eavesdropping 60 5 THE POLITIcs OF NOISE Anders Albrechtslund Machines over the garden: flight paths and the suburban pastoral 186 3 SOUND CULTURES Michael Flitner Of longitude, latitude, and
    [Show full text]
  • Do the Right Thing” of Rochester, Inc
    “Do The Right Thing” of Rochester, Inc. 2009-2010 Annual Report Rochester Police Department 185 Exchange Blvd., Rochester, New York, 14614 www.dotherightthingrpd.org Table of Contents Letter from Chief David T. Moore Letter from Board President Mr. James R. McCauley Program History Program Staff Executive Board Program Sponsors for the 2009 / 2010 Year Words From Our Sponsors Expense Report Student Profiles Student Musical Performances Dr. Charles T. Lunsford School # 19 Recognition Ceremony State of the City Address 2010 End of the year “Do The Right Thing” Seabreeze Family Picnic Scholarships Camp Good Days & Special Times Buffalo Bills Training Camp Program Statistics DTRT Winner Survey Thank you History of Program ** “DO THE RIGHT THING” program was born in 1990 in the Miami Police Department. On October 7th, 1995, the model was adapted by the Rochester Police Department when they received permission to start a Rochester Chapter of “DO THE RIGHT THING”. ** “DO THE RIGHT THING” was instituted to reward children for their positive accomplishments and to enhance the lives of many of our city’s needy youth. ** The goals of the program are to: Reinforce socially desirable behavior among youth in the community. Demonstrate that “good kids” are newsworthy. Foster positive relations between the police and kids by building bridges of trust, understanding, and civic responsibility. ** “DO THE RIGHT THING” Award program was established, with students selected on a bimonthly basis for recognition by the police department for their outstanding accomplishments. ** “DO THE RIGHT THING” will continue to build a sense of mutual respect and understanding between young people and police officers by initiating new projects and activities to stimulate the relationship.
    [Show full text]
  • Spike Lee and Commentaries on His Work. Occasional Papers Series 2, No.1
    DOCUMENT RESUME ED 353 622. CS 508 049 AUTHOR Hudson, Herman C., Ed. TITLE Spike Lee and Commentaries on His Work. Occasional Papers Series 2, No.1. INSTITUTION Indiana Univ., Bloomington. Afro-American Studies. PUB DATE 92 NOTE 92p.; A Martha C. Kraft Professorship Publication. PUB TYPE Collected Works General (020) Reports Evaluative /Feasibility (142) Reference Materials Bibliographies (131) EDRS PRICE MF01/PC04 Plus Postage. DESCRIPTORS Auteurism; *Black Community; *Black Culture; Black History; Cultural Images; Film Criticism; *Film Production Specialists; *Film Study; Popular Culture; Racial Relations; Urban Culture IDENTIFIERS *African Americans; *Lee (Spike) ABSTRACT This monograph presents a critical essay and a comprehensive 454-item bibliography on the contemporary African-American filmmaker, Spike Lee. The essay, entitled "African-American Folklore and Cultural History in the Films of Spike Lee" (Gloria J. Gibson-Hudson), analyzes Lee's filmmaking approach from a cultural and historical perspective. The essay identifies Lee as a contemporary storyteller weaving his tales with the aid of a camera and demonstrates how his film narratives draw on both the historic and contemporary experiences of African Americans. The essay discusses five of Lee's films (made between 1984 and 1991) thematically, categorizing them under intra-racal issues and inter-racial issues. The bibliography (by Grace Jackson-Brown) provides citations from both scholarly and popular literature, encompassing newspaper articles, journal and magazine articles, chapters or sections from books, and reviews of films (most of the citations date from the last 5 years). The extensive 49-page bibliography is intended to be a comprehensive guide to literature that will assist students and researchers with an interest in Spike Lee.
    [Show full text]