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A central premise of this book is the significance of interdependence, and the attendant suggestion that generative forms of dance criticism come from a collection of voices and perspectives. In this vein, this book emerges from the support, guidance, and conversations with many generous mentors, friends, and colleagues. First and foremost, I thank Shannon Jackson, a scholar who transformed my research, thinking, and writing. I am forever grateful for the classes Shannon taught at UC Berkeley, the numerous events that she curated for and with artists and scholars, and her incredibly generous feedback and guidance. This book is indelibly enriched by Shannon’s mentorship. I was fortunate enough to also work with Abigail De Kosnik at UC Berkeley, and the joy and brilliance Gail brought to every conversation left an indelible imprint. I think about her unique balance of curiosity and criticality every day and aspire to bring this approach to my own classes, students, and mentees. I had the great pleasure of meeting amara tabor-smith at UC Berkeley and her brilliant creative work, teaching, and insights influence my perspectives and writing. I am grateful for amara’s permission to share an image from House/Full of Blackwomen on the cover of this book.
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