Afterword: Brenda Dixon Gottschild—A Critical Perspective

  • Brenda Dixon Gottschild


1992: A classroom on the third floor of the Vivacqua Building, the Dance Department of Temple University. Professor Brenda Dixon Gottschild is teaching her graduate seminar on Research Methodologies. Even as she introduces us, her students, to multiple modes of organizing research and writing, and different methodological processes, she urges us to pay attention to how we formulate our research questions. She introduces her methodological intervention: “digging.” You must look for the absences, she urges us, for deliberate and unthinking omissions, and reflect on what erasures exist in the data presented. Who is missing from this picture? Whose voice might have been casually forgotten in this record? She teaches us to look deeply and thoughtfully at images, texts, and movements in order to recognize blurred-over moments of dis/miss/appearance, historiographic aporias.


Graduate Seminar Black Artist Dance Company American Performance Dance School 
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  1. 1.
    See for instance, Philip I. Kohl’s article “Nationalism and Archaeology: On the Construction of Nations and the Reconstructions of the Remote Past,” Annual Review of Anthropology, 1998, 27: 223–46.CrossRefGoogle Scholar
  2. 2.
    Brenda Dixon Gottschild, (2005) “By George! Oh Balanchine,” Discourses in Dance, 3; 1, 73–79, p. 76.Google Scholar
  3. 4.
    Brenda Dixon Gottschild, (2003) The Black Dancing Body: A Geography from Coon to Cool. New York and Hampshire, England: Palgrave Macmillan.CrossRefGoogle Scholar
  4. 6.
    Susan Mayhew, (2004) “Biohistory,” A Dictionary of Geography. Oxford: Oxford University Press, p. 56.Google Scholar

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© Brenda Dixon Gottschild 2012

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  • Brenda Dixon Gottschild

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