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Cultural diversity of dance in higher education: the hip hop remix

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Cultural diversity of dance in higher education: the hip hop remix

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Content Cultural Diversity of Dance in Higher Education: The Hip Hop Remix
by
Cindy Gianellisa Foley
Rossier School of Education
University of Southern California
A dissertation submitted to the faculty.
in partial fulfillment of the requirements for the degree of
Doctor of Education
May 2025

© Copyright by Cindy Gianellisa Foley 2025
All Rights Reserved

The Committee for Cindy Gianellisa Foley certifies the approval of this Dissertation
Eric Canny
Doug Lynch
Monique Datta, Committee Chair
Rossier School of Education
University of Southern California
2025

iv
Abstract
This study investigates the sustainability and integration of Hip Hop studies within university
dance programs in the United States, centering on faculty perceptions and experiences. Through
a grounded theory approach, the research generates a conceptual framework, the Culturally
Resilient Framework (CRF) emerging from the findings. The CRF provides guiding principles
for sustaining and empowering cultural practices, mainly Hip Hop, in academic spaces,
addressing systemic barriers, and fostering culturally relevant approaches. Through qualitative
methods, including in-depth interviews and iterative data analysis, this study captures the
perspectives of dance faculty navigating the challenges and opportunities of embedding Hip Hop
culture into traditional academic structures. Findings reveal that sustainability hinges on
institutional alignment, resource allocation, community engagement, and faculty training in
culturally responsive practices. Participants also highlighted tensions between the communityrooted ethos of Hip Hop and the hierarchical nature of academia. The CRF emphasizes the
creativity and resilience of cultural dance educators who act as cultural mediators adapting to
institutional contexts. This study contributes to dance education, Hip Hop dance studies, and
organizational leadership by offering actionable insights and a conceptual framework for
embedding culturally significant practices in postsecondary institutions. Recommendations for
policy, pedagogy, and program development aim to ensure the longevity and authenticity of Hip
Hop studies in academia.
Keywords: Hip Hop dance studies, dance education, pedagogy, critical pedagogies, cultural
resilience, community engagement, cultural integration in academia, Hip Hop pedagogy

v
Dedication
To my husband, Patrick Foley, your companionship, love, and dedication to me and our children,
along with the unwavering support of our children, Mary, Jane, and Joseph, have been my
driving force. I love you.
To my brother, Jose Roberto Boreland, whose memory I carry with me in every journey on earth
and beyond.
To my sisters, Candy Foelix, Thalia Guare, and Charissa Dewoody, who embarked on this Hip
Hop journey with me over 25 years ago. I cherish the memories of repping as the FloorAngelz
breaking crew, which united us in sisterhood, peace, love, and fun.
Thank you for always supporting my commitment to empowering the voices of past, present, and
future generations of Hip Hop through dance.

vi
Acknowledgments
This dissertation would not have been possible without many individuals and
communities' support, guidance, and inspiration. First, Dr. Monique Datta, thank you for your
invaluable mentorship, encouragement, and expertise throughout this journey. Dr. Eric Canny
and Dr. Douglas Lynch, I am profoundly grateful for your insightful feedback, patience, and
belief in the importance of this research has been instrumental in shaping this work. At the
University of Southern California, the faculty and staff of the Doctor of Education in
Organizational Change and Leadership program thank you for providing a rigorous and
transformative academic environment that challenged me to grow as a scholar and leader.
To all my classmates and friends in Cohort 23, I will forever be grateful for the
encouragement of virtual chats, messages, and class engagement in the vortex of change-making
assignments.
I especially thank my grandparents, mother, family, and friends for their unconditional
love and understanding.
Thank you to my fellow veterans, service members, and military spouses for modeling
leadership and perseverance.
To my colleagues and peers in the Hip Hop community, particularly within the Child of
this Culture Foundation, thank you for inspiring me with your passion, creativity, and resilience.
This work is as much about you as it is for me. Finally, I dedicate this dissertation to the cultural
pioneers, educators, and advocates who have worked tirelessly to sustain and elevate Hip Hop
culture in academic and community spaces. Your guidance, encouragement, and belief in the
power of education and cultural resilience have made this work possible.
I thank God for the gift of life and the graces needed during this journey to Fight on!

vii
Table of Contents
Abstract.......................................................................................................................................... iv
Dedication....................................................................................................................................... v
Acknowledgments.......................................................................................................................... vi
List of Tables .................................................................................................................................. x
List of Figures................................................................................................................................ xi
List of Abbreviations .................................................................................................................... xii
Chapter One: Introduction to the Study.......................................................................................... 1
Context and Background of the Problem............................................................................ 2
Purpose of the Project and Research Questions.................................................................. 4
Importance of the Study...................................................................................................... 5
Overview of Theoretical Framework and Methodology .................................................... 7
Definition of Terms............................................................................................................. 8
Organization of the Study ................................................................................................. 10
Chapter Two: Review of the Literature ........................................................................................ 12
Historical Overview of Dance in Higher Education in the United States......................... 12
Challenges of Overcoming the Eurocentric Aesthetics in Dance..................................... 20
Hip Hop Dance in Higher Education................................................................................ 30
Theoretical Framework..................................................................................................... 36
Conceptual Framework..................................................................................................... 38
Conclusion ........................................................................................................................ 39
Chapter Three: Methodology............................................................................................ 40
Research Questions........................................................................................................... 40

viii
Overview of Design .......................................................................................................... 41
Research Setting................................................................................................................ 41
The Researcher.................................................................................................................. 42
Data Sources ..................................................................................................................... 43
Participants........................................................................................................................ 44
Instrumentation ................................................................................................................. 44
Data Collection Procedures............................................................................................... 45
Data Analysis.................................................................................................................... 46
Credibility and Trustworthiness........................................................................................ 48
Ethical Considerations...................................................................................................... 49
Summary........................................................................................................................... 49
Chapter Four: Findings................................................................................................................. 51
Participants........................................................................................................................ 51
Findings Research Question ............................................................................................. 52
Summary of Research Question........................................................................................ 79
Chapter Five: Recommendations...................................................................................... 83
Discussion Research Question.......................................................................................... 83
Theoretical Implications ................................................................................................... 99
Recommendations........................................................................................................... 102
Limitations and Delimitations......................................................................................... 122
Recommendations for Future Research.......................................................................... 123
Conclusion ...................................................................................................................... 126
References....................................................................................................................... 130

ix
Appendix A: Interview Protocol..................................................................................... 147
Appendix B: Document Analysis Protocol..................................................................... 149

x
List of Tables
Table 1: Theory Building Using Grounded Theory.................................................................... 7
Table 2: White Supremacy Characteristics from Dance Certifications Programs.................... 21
Table 3: Components of Conceptual Framework in Grounded Theory.................................... 39
Table 4: Data Sources ............................................................................................................... 43
Table 5: Study Participants Demographics Characteristics...................................................... 52
Table 6: Thematic Analysis with Coding and Themes ........................................................... 54
Table 7: Research Question Thematic Summary Table .......................................................... 82
Table 8: Findings with Participants Responses......................................................................... 84
Table 9: Key Differences between CRF and Critical Pedagogies .......................................... 100
Table 10: Sample Curriculum for Hip Hop Specialization ...................................................... 106
Table 11: Culturally Resilient Framework in Practice: Teach Hip Hop ................................... 108
Table 12: Teach Hip Hop Cash Flow Projections..................................................................... 109
Table 13: Teach Hip Hop Projected Revenue Streams: Short Term (Years 1-3)...................... 110
Table 14: Teach Hip Hop Projected Revenue Streams: Long Term (Years 4-10) .....................111
Table 15: Teach Hip Hop: Start-Up Costs (Year 1-2)............................................................... 113
Table 16: Teach Hip Hop: Faculty Composition and Budget Breakdown................................ 114
Table 17: Teach Hip Hop: Recurring Annual Costs Year 3+)................................................... 115
Table 18: Culturally Resilient Framework in Practice: Recurring Conference ........................ 116
Table 19: Recurring Conference Logic Model ........................................................................ 117
Table 20: Cost Analysis Projections for Recurring Conference ............................................... 120
Table 21: CRF in Practice: Hip Hop Dance Digital Archives .................................................. 121

xi
List of Figures
Figure 1: Grounded Theory Coding Steps.................................................................................... 6
Figure 2: Conceptual Framework............................................................................................... 79
Figure 3: CRF in Practice: Teach Hip Hop Logic Model........................................................... 99

xii
List of Abbreviations
BFA Bachelor of Fine Arts
BIPOC Black, Indigenous, People of Color
COVID-19 Coronavirus disease 2019
CDP Critical Dance Pedagogy
CHHP Critical Hip Hop Pedagogy
CRF Culturally Resilient Framework
CRP Culturally Relevant Pedagogy
CRT Critical Race Theory
CSP Culturally Sustainable Pedagogy
GT Grounded Theory
IPEDS Integrated Postsecondary Education Data System
IOC International Olympic Committee
ITR Interviewee Transcript Review
MFA Master of Fine Arts
NASD National Association of Schools of Dance
NCES National Center for Education Statistics
NDEO National Dance Education Organization
WSC White Supremacy Culture

1
Chapter One: Introduction to the Study
Dance departments in higher education in the United States struggle to integrate a
culturally diverse curriculum effectively to support students within Hip Hop dance programs.
The predominance of Eurocentric aesthetics, programming, and structures adversely affects the
inclusivity of higher education dance opportunities for student and faculty populations
(McCarthy-Brown & Schupp, 2023). Despite the rise of a diverse population in the United
States, the primary area of study in dance in postsecondary and graduate programs is Eurocentric
(Amin, 2016; Bress, 2023; McCarthy-Brown, 2014; McCarthy-Brown & Schupp, 2021, 2023;
Risner & Stinson, 2010; Schupp, 2022; Walker, 2019). For example, out of the 626 college
degrees offered in dance in the United States, Eurocentric dance forms make up 35% of the area
of emphasis compared to 19% of cultural dance forms (Dance Magazine, 2024). To this point,
many consider ballet as the foundational competency required for entry into postsecondary and
graduate dance programs in the United States (Amin, 2016; Bress, 2023; McCarthy-Brown,
2014; McCarthy-Brown & Schupp, 2021, 2023; Risner & Stinson, 2010; Schupp, 2022; Walker,
2019).
While ballet and other Eurocentric dance forms have significant historical and cultural
value, their dominance in dance training can hinder the advancement of dance education,
especially considering that ballet is not the origin of dance in many cultures (Mabingo, 2019).
Consequently, the Eurocentric format may be more culturally or structurally suitable for classical
dance forms (Davis & Phillips-Fein, 2018). However, more university dance departments are
discussing and addressing critical changes in dance instruction (Amin, 2016; McCarthy-Brown,
2014; Schupp, 2022). Embracing a culturally diverse curriculum means adopting change in
dance teaching (McCarthy-Brown & Amin, 2017; Schupp, 2022). This study explores the

2
experiences of faculty teaching Hip Hop dance in university dance departments across the United
States, focusing on understanding their perspectives on the sustainability of integrating Hip Hop
into higher education curricula.
Context and Background of the Problem
Educators continue to use Hip Hop as a positive tool for social change, activism, and
diversifying educational curriculums to appeal to students (Diaz et al., 2015; Fogarty et al.,
2018). Evidence showed a growth in the development and acceptance of Hip Hop curricula and
studies, although Hip Hop dance studies were lacking (Fogarty et al., 2018; Johnson, 2015).
However, Hip Hop education is new (Diaz et al., 2015). Historically, higher education engages
in various dance studies and acknowledges the relevancy of cultural dance courses. University
dance departments continue to marginalize non-European dance pedagogies, prioritizing
Eurocentric dance forms with more considerable requisites and entry points (Davis, 2018;
Walker, 2019). For the same reason, dance programs in higher education offer dance genres like
Hip Hop as electives or not at all (Amin, 2016; Davis, 2018).
Misalignment Between Diversity Goals and Practice in Dance Education
Dance educational norms in higher education misalign diversity goals with practice.
Notably, McCarthy-Brown's (2014) analysis of three university dance departments revealed that
most degree requirements weighted non-Eurocentric dance units significantly less than classical
core dance units, showing the prevalent singular and cultural focus. Likewise, McCarthyBrown's study of over 100 dance departments' mission statements revealed a proclaimed
commitment to cultural diversity. However, the degree program requirements did not reflect a
significant change in terms of increased credit requirements, allocation of human resources, or
training in cultural dance forms (McCarthy-Brown, 2014). Hence, dance department norms

3
should demonstrate a commitment to inclusion by integrating diverse dance traditions into their
required curricula and reassessing practices that exclude or devalue such courses (Bress, 2023;
McCarthy-Brown, 2014).
Eurocentric Influence on Dance Education
Subsequently, the historical labeling of ballet as universal reinforced the Eurocentric
models of dance as the standard competency in the United States, shaping norms tied to
European cultural traditions (Bucek, 2018; Davis & Phillips-Fein, 2018; McCarthy-Brown,
2014; McCarthy & Schupp, 2021, 2023; Walker, 2019). This framework reflects a historical
emphasis on European cultural and Anglo-Saxon traditions, which influenced Whiteness's social
and cultural dynamics in dance education in the United States (McCarthy & Schupp, 2021,
2023). In this context, Whiteness refers to the historical dominance of European culture and
Anglo-Saxon norms as the prevailing cultural identity in the United States (Gusa, 2010).
Increasing awareness of Eurocentrism’s influence within dance instruction indicated the need for
more inclusive pedagogical approaches to foster equity in higher education (McCarthy &
Schupp, 2023). Furthermore, a racial disparity persists in higher education student and faculty
dance populations, with 72% of dance students and 80% of faculty in higher education being
White (Kerr-Berry, 2016; Walker, 2019). This disparity highlights a broader need for qualified
dance educators in cultural dances to attain tenure-track positions (Duffy, 2020; Prichard, 2019).
Researchers argued that promoting diversity in dance education requires reimagining
curricular goals, course design, and teaching strategies to include a broader range of cultural
perspectives (Amin, 2016; Bucek, 2018; McCarthy-Brown & Schupp, 2021, 2023; Schupp,
2022; Walker, 2019). Efforts to address the problem include fostering student agency, increasing

4
representation of African diasporic dance forms, and implementing cultural programs that
support diverse educational experiences (Schupp, 2022; Stevens et al., 2020).
Current Challenges in Dance Education
While dance remains a relevant field of higher education, Hip Hop dance programs lack
sufficient pedagogical development and research. Scholars contended that despite its recognition
as an academic discipline, dance struggles with categorization, often falling under art, physical
education, or humanities (Amin, 2016; Pulinkala, 2014). According to Dance Magazine (2024),
there are 582 dance degree programs, 162 minor and non-degree programs, and 104 non-credit
and certificate programs in the United States, with diverse offerings such as 41 dance
departments, 38 in performing arts, and 28 in physical education. Hip Hop represented 14% of
the area of emphasis at 582 schools, with 63 institutions including Hip Hop courses as a
requirement for degree programs or minors (Dance Magazine, 2024). Furthermore, in 2022, most
dancers and choreographers had a high school or equivalent, with visual and performing arts
being the most common bachelor’s degree (Census Bureau American Community Survey [ACS],
2022).
Purpose of the Project and Research Questions
This field-based study explores to understand the experiences of the university dance
faculty at public and private institutions across the United States, offering insights into the
factors influencing the sustainability of Hip Hop studies programs. As such, the following
questions guide the study:
1. How do faculty in university dance departments perceive, interpret, and respond to
the factors influencing the sustainability of the Hip Hop programs, as examined
through a grounded theory approach?

5
Importance of the Study
This problem is critical to address because relying on a single approach to dance learning
in higher education may limit the potential benefits 21st-century dance students can gain when
exposed to more inclusive cultural dance pedagogies (Pedro et al., 2018). The implications of
addressing more diverse and fair learning environments in higher education due to the increasing
demographic shifts of the population of the United States and current discourse towards civil
rights should also be a priority for performing arts institutions (Ford, 2020). Additionally, the
status quo can lead to exclusion and assimilation into Eurocentric aesthetics, cultural norms, and
expectations, which may negatively affect dancers of color's self-esteem and well-being (Ford,
2020; Thompson, 2016). Additionally, researchers suggested that by increasing cultural diversity
through enrollment, hiring, and change of pedagogies, dance departments actively address issues
of racism in higher education (Ford, 2020; McCarthy-Brown, 2014; Schupp, 2022; Walker,
2019).
Foundationally, Hip Hop is an American subcultural movement that originated from the
African-diasporic communities in the late 1970s that continued to evolve as a positive tool for
social change, activism, commercial industry, and culturally relevant education (Buffington &
Day, 2018; Diaz et al., 2015; Fogarty et al., 2018; Fogarty & Johnson, 2022; Jenkins, 2023;
Ladson-Billings, 1995; Söderman & Sernhede, 2016). The first Hip Hop course at Howard
University in 1991 widened academic fields and jobs in higher education for the next three
decades (Jenkins, 2023). Similarly, creating Hip Hop-related courses and minor and graduate
courses stretched the boundaries of research and scholarship (Jenkins, 2023). For instance,
Carson (2017) created and delivered his rap album, “Owning My Masters: The Rhetoric of
Rhymes & Revolutions,” for his doctoral dissertation at Clemson University. Furthermore, Hip

6
Hop as a cultural dance art form transcended its subcultural underground roots, generating a
legitimate dance profession, capital, and celebrity status (Prickett, 2013).
The study provides an opportunity to delve into universities where the dedication to
diversity aligns with its dance curriculum. Understanding faculty experiences and identifying the
perspective on the curriculum design, challenges, and perceptions influencing the sustainability
of a culturally diverse dance curriculum could help inform future initiatives and improvements.
Dance education standards aim to provide clear policies and skill development, but the sustained
influence of Eurocentric models stresses the need for systemic changes. One solution is raising
awareness of critical organizational dimensions that drive structural inequities (Tate et al., 2022).
For example, skill development for college dance students may need to align with professional
pathways. Bennett's (2009) study of 239 performing artists comparing skill development results
from school to career showed that 37% of dancers felt collegiate preparation should include
career industry awareness and development. Twenty-six percent advocated course structure and
training changes across different genres (Bennett, 2009).
Moreover, Hip Hop cultural art forms continue to evolve from their subcultural origins to
legitimate professions with economic and cultural capital amplifying the need for such alignment
(Prickett, 2013). Programs like the “Hip Hop, Street and Social Dance Forms” minor and the
“Hip Hop Studies Graduate Certificate” offered at two universities in the Western region of the
United States address this need by integrating historical, social, and aesthetic influences in
contemporary application. These programs also provide opportunities to explore dance within the
context of African diaspora dance (Amin, 2016; Mabingo, 2019). However, organizations with
lower levels of diversity in demographic regions or social identities might need help becoming
aware of the situation and addressing its structural reasons (Tate et al., 2022).

7
Overview of Theoretical Framework and Methodology
Grounded theory (GT), as a methodology for creating theories, addresses the challenge
that higher education dance programs face in embracing cultural diversity in their curriculum.
GT is not a theoretical framework but can result in a framework or theory that becomes
foundational for future research (Glaser & Strauss, 1967). The study looks at the program
through a framework that systematically collects and analyzes data using comparative analysis to
develop a theory grounded in the observed data of the phenomena of interest (Merriam &
Tisdell, 2016). Glaser and Strauss’s (1967) work on GT as a specific research methodology
focused on the investigator as the primary instrument of data collection and inductive analysis to
derive meaning from the data. The difference from other theories is that GT focuses on building
the theory from the data (Glaser & Strauss, 1967). Figure 1 demonstrates the model’s steps:
identifying the phenomenon, data collection, open coding, axial coding, and selective coding,
and constantly comparing until the core category and theory are reached (Glaser & Strauss,
1967).
Figure 1
Grounded Theory Coding Steps (Adapted by Glaser & Strauss, 1967)
Table 1 demonstrates the stages of analysis for grounded theory. This dissertation is a
qualitative field study that provides an in-depth analysis of faculty members’ experiences to

8
advance the perspective on curriculum design, challenges, and perceptions of factors influencing
integrating a culturally diverse curriculum and the sustainability of Hip Hop studies programs.
Table 1
Theory Building Using Grounded Theory (Adapted Glaser & Strauss, 1967)
Stages Concepts
1. Research Problem Identify the research problem and select methodology
2. Field Research Data collection includes interviews and observations
3. Conceptual Development Systematically define and describe concepts comparing them
against incoming data
4. Category Development Develop concepts into descriptive categories
5. Theoretical Integration Link categories around a central or core category
6. Contextualize in Literature Using existing literature to assist in comparing constructed
emerging theoretical frameworks and prior theoretical
frameworks.
7. Present Core Category and Theory Present final concepts and theory representing how research
participants interpret reality.
Definition of Terms
The following definitions offer clarity regarding their use throughout this study.
• Ballet refers to the European-originating dance style prevalent in the United States and is
the requisite entry into postsecondary and graduate dance training and competency
(Homans, 2010).
• Cultural Diversity (also known as multiculturalism) refers to acknowledging a group of
diverse people from diverse cultural backgrounds and societies by creating an inclusive
environment that values differences based on their personal cultural experiences and
attributes (American Psychological Association, 2024).

9
• Culture refers to the shared values and beliefs that shape a school's social, emotional, and
academic environment. It includes how schoolwork, the underlying norms, and values
shape the behavior patterns, attitudes, and expectations among school stakeholders
(American Psychological Association, 2024).
• Dance refers to the art of movement to an internal rhythm to communicate meaning about
the human experience (National Dance Education Organization, [NDEO], 2016; O'
Cadiz, 2021).
• Dance pedagogy refers to the teaching education in dance as the development of the
knowledge and skills needed to create, perform, and understand movement as a means of
artistic communication (NDEO, 2016).
• Decolonization reverses colonialism's constraints and acknowledges the continued
monocultural perspective in policies, curriculum, histories, institutions, and society
(Shahjahan et al., 2022).
• Eurocentric refers to the tendency to interpret the world as centered on Europe or
European Anglo-American values and experiences (Gusa, 2010).
• European refers to native to or derived from Europe (dictionary.com).
• Hip Hop refers to the American subcultural movement that originated from Africandiasporic communities in the late 1970s and continued to evolve as a positive tool for
social change, activism, the commercial industry, and culturally relevant education
(Buffington & Day, 2018; Diaz et al., 2015; Fogarty et al., 2018; Fogarty & Johnson,
2022; Jenkins, 2023; Ladson-Billings, 1995; Söderman & Sernhede, 2016).

10
• Inclusive Education is an approach to education that provides access to all students
regardless of individual differences, aimed to include all students as active participants in
learning (Boyle & Allen, 2022).
• Systemic racism refers to the oppression of a racial group to the advantage of another as
perpetuated by inequity within interconnected systems (such as political, economic, and
social systems) (Kerr-Berry, 2016).
• Western refers to the non-Communist countries of Europe and the Americas
(dictionary.com).
• Whiteness refers to the racialization and acceptance of the historical dominance of
European culture and Anglo-Saxon core society norms as the dominant culture, racial
identity, and belief system in the United States (Gusa, 2010).
Organization of the Study
The dissertation follows a traditional five-chapter model. Chapter One introduces the
problem of higher education dance programs' struggle to embrace cultural diversity in their
curriculum and outlines the importance of the study, the methodology, and the research
questions. In addition, it provides an overview of the fundamental concepts of the grounded
theory approach as a theoretical framework, the methodology for the study, and key definitions.
Chapter Two highlights the history of dance education in higher education in the United States
and the theoretical framework of GT. Chapter Two further offers a literature review on the
challenges of overcoming the Eurocentric aesthetics in dance, reviews strategies for integrating
cultural diversity in dance, and discusses the literature review of Hip Hop dance studies. Chapter
Three details the research methodology for the study, the research setting, data sources, study
participants, data collection, and analysis. Chapter Four examines and analyzes the findings of

11
the qualitative interviews. The dissertation concludes with Chapter Five, which presents the
results based on the literature, limitations, and proposed recommendations.

12
Chapter Two: Review of the Literature
University dance programs in the United States work towards integrating culturally
diverse curricula effectively, which is essential for preparing 21st-century dancers for diverse
professional pathways. Historical legacies and traditional training methods have contributed to
marginalized groups' inequities in graduate and undergraduate dance programs. Understanding
this historical evolution and its challenges can offer valuable insights into successfully
integrating diversity and creating culturally inclusive dance education. The literature review,
framed by the grounded theory approach, aims to explore dance in higher education from this
perspective. Chapter Two synthesizes five main areas: a historical overview of dance in higher
education, challenges and relationships in current dance education, the emergence of Hip Hop
dance studies, the theoretical framework, and the conceptual framework of integrating culturally
inclusive dance education through Hip Hop pedagogical principles.
Historical Overview of Dance in Higher Education in the United States
The development of dance education in higher education in the United States is relatively
recent. Understanding its history is crucial to addressing the inclusion of cultural diversity in the
curriculum. The literature reviews the chronological history from the American Colonial era to
the present day, synthesizing the origins of dance norms, cultural inclusion, and expansion in
higher education.
American Colonial Era
Dance education in the United States traces its origins to the American Colonial era. It
began with Western social dance norms of the 1700s and their inclusion in physical education
(Oliver, 1992). According to Dill (2007), social dancing reflected the values of order and
structure deemed necessary for functioning in society, which was particularly important for

13
upper colonial families in the 1700s and remained influential throughout the 1800s. The
profession of dance teaching emerged in the late 1900s by the widespread practice of social
dancing in society (Dill, 2007). European immigrants brought the social, physical, and
educational norms related to movement methods and academic discipline to universities across
the United States.
However, European dance norms and designs were often inspired by or adapted from
other cultures. Other cultures often inspired the development of European dance vocabularies,
choreography, and design, though incorporated without fully understanding or presenting the
original cultural context (Ruyter, 1996). Additionally, European immigrants played a significant
role in introducing dance into higher education during the turn of the century. German and
Swedish cultural traditions in physical and academic areas shaped collegiate movement training
norms and systems of dance in the United States. Hagood (2000) stated that dance found its way
to academia through the practice of European-originated folk dance. Tomko (2000) discussed
modern dance pioneer Isadora Duncan's combination of her Delsartian background with her early
German physical cultural exercises, social dances, and ballet vocabulary. Researchers credited
Francois Delsarte, a pioneer of dramatic arts from France whose methods of expression molded
modern dance pedagogy (Oliver, 1992; Ruyter, 1979, 1996; Tomko, 2000).
Thus, the literature revealed that over the past 100 years, the perspectives of European
immigrants have primarily persuaded the incorporation of dance into higher education (Oliver,
1992). However, a single approach to dance learning and research can lead to a curriculum that
primarily reflects dominant cultural groups' perspectives, experiences, and achievements,
potentially reinforcing exclusion, stereotypes, biases, and misconceptions about other cultures
(McCarthy-Brown & Schupp, 2023; Walker, 2019). As a result, the lack of attention to cultural

14
diversity in the history of dance education in higher education limits the inclusivity experienced
by students and faculty.
American Dance in Higher Education in the 20th Century
In the 20th century, collaboration among physical educators, dancers, and dance
educators abetted the emergence of American dance pedagogy in higher education. Gender
norms in the early 1900s formed the emergence of dance as an educational field. Oliver (1992)
provided a chronological historical rationale for women's roles, including the expansion of dance
in higher education. Tomko (2000) emphasized a cultural context of gender that evolved and
expanded dance pedagogies. In general, dance's historic entry into higher education described
different curricular, administrative, and theoretical implementations based on societal norms and
discourse between the acceptable moral and bodily activities between men and women (Dill,
2007; Oliver, 1992; Ross, 2002). In effect, the perception of dance as a suitable physical activity
aligned with the educational expectations for women in higher education. The earliest account of
dance in higher education was in 1887 when Dudley Sargent introduced dance into collegiate
women's physical education at the Harvard Summer School as a suitable physical and
educational activity (Oliver, 1992; Ross, 2002).
Physical education reform in the early 20th century marked a significant shift in the
perception of dance. It was no longer viewed solely as a means of physical fitness but as a
performative discipline. Physical education educators expanded the shift and discourse of dance
as an area of study. Dr. Luther Gulick, a prominent figure in physical education reform, played a
pivotal role in redefining dance, emphasizing its value as a form of expressive development
(Chapman, 1974). His first book included dance as an area of study, further reinforcing the
significance of dance in education (Oliver, 1992). The expansion of folk dance in education

15
programs also affected the evolution of dance education. The integration of folk dance into
public education contributed to the advancement of women in dance professions. For instance,
folk dancing in dance education mirrored societal development patterns, portraying dance as a
simplistic yet collective expression for women (Dill, 2007). Dr. Gulick's introduction of folk
dance into the New York public schools' curriculum in 1902 fostered the profession, particularly
for women pursuing careers as dancers, choreographers, and teachers (Dill, 2007).
Historically, women played a significant role in developing pedagogical approaches and
curricula in dance in higher education. Women expanded the categorization of dance from
physical education to performing arts. As a result of these developments, dance educators
credited Margaret H'Doubler for the first program of a dance major in higher education (under
the physical education department) at the University of Wisconsin, Madison, in the early 1900s
(O'Brien, 1966; Oliver, 1992; Ross, 2002). Researchers also attributed the reshaping of dance
methodologies and pedagogical training, with an emphasis on experiential learning and
performance, to Gertrude Colby, who taught educators like H'Doubler and several other women
at Teacher's College, Columbia University (Dill, 2007; Hagood, 2000; Oliver, 1992). Alongside
Margaret H'Doubler, the legacy of American dance literature shifted from physical education to
the performing arts in higher education in the United States (Hagood, 2000; O'Brien, 1966;
Oliver, 1992; Ross, 2002). Hagood (2008) credited the expansion of American dance discipline
towards modern dance to Martha Hill and Martha Graham.
While dance in higher education has begun to develop organizationally as an academic
discipline in the United States, there is a concerning trend of limited emphasis on ensuring
educational equity. In 1932, the American Physical Education Association added the National
Section of Dance (Oliver, 1992), aiming to advance dance as an academic discipline by

16
establishing national standards and objectives through additional educational conferences in the
1900s. Despite the growth of dance education organizations in higher education, there remained
minimal emphasis on ensuring educational equity (Kassing, 2010; Risner, 2010). For instance, in
1981, dance education programs established the National Association of Schools of Dance
(NASD) to institute specialized accreditation and national standards for both undergraduate and
graduate degrees for dance training and education (NASD, 2024). According to Risner (2010),
the objectives of both NASD and the National Dance Education Organization (NDEO) displayed
a limited acknowledgment and focus on achieving equity in dance education, particularly
concerning curriculum design, teaching approaches, and cultural competencies. Although
organizations like NDEO and NASD collect data and baseline information on dance in higher
education from diverse sources, the absence of dance and dance education studies from national
assessments and reports limits the field's analysis (Risner, 2010). As dance education emerged in
higher education in the 20th century, the focus began shifting away from its categorization as
part of physical education, principally in the 21st century.
Expansion of Dance in Higher Education in the 21st Century
The evolution of dance in higher education continues to expand beyond physical
education in the 21st century. Dance has gradually become a recognized academic discipline in
higher education. At the turn of the century, dance surfaced as a recognized academic discipline
in higher education, despite significant challenges, categorizing dance as physical education, the
arts, or humanities (Amin, 2016; Murray et al., 2022; Oliver, 1992; Pulinkala, 2014; Risner,
2010). Thus, the historical development of dance pedagogy and competency focused on
performance partly due to dance teachers' reliance on practical methods and adaptations from
other disciplines (Kassing, 2010). Consequently, historically, collegiate dance has developed a

17
pedagogical focus separate from the profession (Amin, 2016; Pulinkala, 2014). For example,
61% of undergraduates in dance held jobs unrelated to performance (Montgomery & Robinson,
2003). As a result, dance departments often operate independently or in conjunction with other
departments, such as theater (most commonly) or physical education (Duffy, 2020).
Historically, dance literature has included limited integration of non-Eurocentric
aesthetics into higher education curricula in the United States. However, recent literature reflects
a growing emphasis on more inclusive dance programs in United States universities (Barr &
Oliver, 2023; McCarthy-Brown & Schupp, 2023; Schupp, 2022). Over the past decade, literature
has increasingly enriched the discourse on the historical narrative of dance within marginalized
groups, fostering educational evolution and pioneering culturally inclusive pedagogies to
advance dance beyond mere cultural replication (Mabingo, 2018; McCarthy-Brown & Schupp,
2021, 2023; Schupp, 2022; Walker, 2019). While pedagogical methods continue to evolve, many
postsecondary dance students could benefit from more diverse dance experiences and training to
prepare them for the 21st century. For instance, Mabingo's (2018) study of student performers'
experiences learning Ugandan dances underlined the intercultural significance and development
of culturally diverse education and dance environments. Additionally, Desmond's (1997)
interdisciplinary research on American dance intersected the fields of cultural, social, and dance
studies, emphasizing the importance of an inclusive dance education framework that
acknowledged the cultural identity of a dance performance and its meaning of exchange between
groups.
So far, the expansion of dance education in higher education in the 21st century has faced
significant challenges. The factors contributing to the challenges could stem from American
perception of the value of higher education and its return on investment to questions about

18
equity. According to the Varying Degrees 2023: New America’s Seventh Annual Survey on
Higher Education, which surveys Americans about the value of higher education, 70% of
Americans surveyed perceived higher education as valuable, but 53% felt access to quality
higher education was unaffordable. Additionally, the perception of dance as a legitimate and
sustainable career choice could contribute to the lack of skill development in dance in higher
education. Duffy (2020) suggested that understanding how Americans engage with and
contribute to dance is important in considering how dance operates and develops. According to
the National Endowment for the Arts Survey of Public Participation in the Arts (SPPA, 2022),
22.8M adults (7.4% of the total population) in the United States attended a dance event in 2017
with many Americans exposed to dance education at some point in their lives from various
approaches such as public school, private dance studios or community-based programming.
Despite the negative impact on the arts from the United States recession 2008, the increasing
interest of people in pursuit of dance careers is competitive, and according to the United States
Department of Labor (2024), the outlook for expansion in the dance field is good.
Additionally, researchers also suggested that challenges in dance in higher education
indicated a need to enrich curricula to better prepare dance students for diverse career
opportunities (Kassing, 2010; Risner & Stinson, 2010; Schupp, 2022). A singular focus on
performance contributed to the decline of dance education undergraduate and graduate tracks
(Risner, 2010). For instance, dance education in undergraduate and graduate degree tracks
struggled to sustain enrollment, human resources, and adequate facilities due to the rising
discontinuation of master's and doctoral dance education programs in the United States (Hagood,
2000; Risner, 2010). However, the shifts towards professionalizing dance as a standalone field of
study led to a 33% increase in Bachelor of Fine Arts degree programs in the early 2000s. In

19
comparison, dance education programs decreased by 13% (HEADS, 2004, 2009). From 1999 to
2008, 62% of dance education doctorates were conferred outside of the dance discipline due to a
lack of doctoral programs in dance education (Risner, 2010). This situation underscores the need
to reevaluate dance education to ensure its sustainability and relevance in higher education.
Impact of COVID-19
The Coronavirus disease 2019 (COVID-19) pandemic altered dance education in
postsecondary institutions by causing faculty to transition to online teaching, which sparked
discussions about technology’s role in dance training. The COVID-19 pandemic reshaped dance
education in higher education. Dance faculty promptly adopted online teaching methods and
opened discourse on the role of technology in dance training (Goletti & Milovanovi, 2022;
Schmid & McGreevy-Nichols, 2022). The shift to virtual education calls attention to the
challenges related to access and socioeconomic disparities. For instance, Goletti and Milovanovi
(2022) noted that internet access and space constraints at home revealed disparities among
students and faculty. These challenges also underscore the need for curriculum diversification
and empowering student’s agency in face-to-face teaching. While universities provided
resources, students’ home environments varied, affecting their ability to engage in virtual dance
education (Goletti & Milovanovi, 2022).
Therefore, while dance faculty implemented creative solutions to adapt to the challenges
of the pandemic, technology had limitations in fully replicating the physical experience essential
to dance education (Goletti & Milovanovic, 2022; Schmid & McGreezy-Nichols, 2022).
Consequently, the post-pandemic demand for performing arts may affect the growth of dance
employment as the field recovers from business and institution closures, travel restrictions, and
health concerns. The Federal Bureau of Labor Statistics (2024) projects a 5% increase from 2022

20
to 2032 for the overall employment of dancers and choreographers due to the demand for
performing arts.
The historical accounts surrounding dance in higher education provide insight into its
transformation from a social practice during the American Colonial era to its integration into
academia, expanding from physical education to the performing arts. Furthermore, the ongoing
evolution of dance history accentuates its growing significance as an academic field. By
exploring the historical backdrop of dance in higher education, dance educators can better
address the ongoing challenges related to the Eurocentric aesthetics within the dance discipline.
Challenges of Overcoming the Eurocentric Aesthetics in Dance
This section begins by examining literature that explores how Eurocentric ideals
contribute to racial hierarchies and may marginalize non-European traditions. However, the
challenges of addressing the Eurocentric aesthetics in dance are evolving. Subsequently, the
section reviews literature proposing strategies and frameworks for challenging Eurocentric
norms and integrating diverse cultural perspectives into dance education curricula. The section
concludes with a synthesis of literature that examines critical pedagogies and how
intersectionality has shaped experiences of exclusion and marginalization for dance in higher
education. Addressing Eurocentric perspectives toward incorporating diversity in dance
education is essential for maintaining dance’s vitality and relevance within American academic
institutions.
Historical Legacy of Eurocentrism in Dance in Higher Education
Historically, the Eurocentric dominance of dance in postsecondary programs posed
barriers to the diversification of the curriculum. The historical legacy sustained a single approach
to dance training in higher education in the United States. Walker (2019) revealed widespread

21
discontent with this single approach among 90% of participants at nine institutions in the United
States. The disconnection from cultural roots in dance history contributed to the social exclusion
experienced by marginalized groups in dance in higher education. Martinez (2014) identified that
the roots of structural racism in American society stem from systemic patterns of exclusion.
Researchers argued that a single approach to dance education tends to reinforce privilege and
power associated with Eurocentric standards (Buono & Davis, 2022; Finklestein, 2022; Pedro et
al., 2018; Walker, 2019). To this point, McCarthy-Brown's (2022) study revealed how the
dominance of Whiteness in ballet normalized Eurocentric aesthetics, influencing the students’
belief in the ideal appearance of dance, including how it should look, feel, and move. Neglecting
to address Eurocentric aesthetics in postsecondary programs may contribute to continued
marginalization, limited educational opportunities, and challenges to the vitality of dance in
American institutions.
Buono and Davis (2022) also conducted a study investigating the landscape of higher
education dance certification programs across 75 universities. The findings revealed a
predominant reliance on specific criteria evaluated by experts in ballet, regardless of the
student’s specialized dance form. This systemic dependency on standards is further underscored
by the correlation illustrated in 0, which intersects Okun’s (2021) 10 characteristics of White
supremacy culture (WSC) with examples from university dance certification programs (Buono &
Davis, 2022). One identified characteristic featured by Okun is the assumption of “qualified”
(p.148) as a trait of Whiteness. Buono and Davis noted that historically, teacher certifications
often reflected norms, behaviors, policies, and values, such as favoring traditional dance
apprenticeships and mentorship processes as the primary means of determining qualifications.

22
Consequently, the Eurocentric approach has historically limited the representation of
non-European dancers in the field. This bias is reflected in the racial makeup of the dancers and
choreographers’ workforce in the United States, which remains predominantly White. According
to the Census Bureau’s ACS (2022), the dancers and choreographers’ workforce are White,
accounting (for 61.9%,) compared to Black dancers, making up 17.4% and 10.6% of individuals
who identified as two or more races. Furthermore, the ethnicity of dancers and choreographers is
White (80.9%), while 19.1% of individuals of Hispanic ethnicity (ACS, 2022). Gottschild (2003)
asserted that the framework of Eurocentric aesthetics historically reinforced power dynamics and
hegemony over Black and Brown dancers.
Higher education dance programs often lack representation and inclusion of dancers from
non-Western backgrounds, contributing to a racial disparity in dance in higher education. For
example, in 2020, among 39,394 colleges and universities in the United States, White students
obtained the highest number of dance degrees, totaling 1,913, which was 725 more than those
earned by Hispanic and Latino students and 78% higher than Black and African American
students (NCES, 2021). The Eurocentric value system established ballet as the foundation of
dance for college dance students in the United States. McCarthy-Brown (2022) recounted how
the indoctrination of a Eurocentric value system solidified the belief that ballet is the foundation
of dance for many first-year college students and dance education in higher education.
Furthermore, less than eight dance departments and university programs in the United States
offer options to earn a degree in a dance form not based on modern or ballet dance studies
(McCarthy-Brown & Schupp, 2021). Researchers argued that the perpetuation of Eurocentric
aesthetics in dance contributed to the lack of representation and slow expansion of cultural dance
programs, curricula equity, and pedagogy (McCarthy-Brown & Schupp, 2023; Risner, 2010).

23
Table 2
White Supremacy Culture Characteristics from Dance Certification Programs (Buono & Davis,
2022; Okun’s (2021))
Okun’s WSC Characteristics Examples from Dance Certification Programs
Fear
Perfectionism
One Right Way
Paternalism
Objectivity
Qualified
Either/Or the Binary
Progress is
Bigger/More
Quantity over Quality
Worship of the Written Word
Individualism
I’m the Only One
Defensiveness and Denial
Right to Comfort
Fear of Open Conflict
Power Hoarding
Urgency
An inability to provide critical feedback about the educational environment for
fear of negative or retaliatory response, disapproval, or marginalization.
Standardization of certification processes and pre-established teaching norms
with formalized assimilation to rubrics that claim to encourage measurable
objective benchmarks.
Establishing institutional oversight by dance evaluators with modern and ballet
expertise no matter the dance form the dance education student specializes in.
Passing or not passing ossified teachers certification requirements.
Adding additional committees, statements, or reports to be created rather than
deepening the transformation of existing structures.
Written records, lesson plans, and reports as primary modes to introduce
teaching concepts and track success.
Prioritizing assessments and evaluations made by an individual over collective
and collaborative learning structures.
Inability and/or unwillingness to decipher and receive critical feedback from
colleagues or students.
Character assassination of a colleague or student who does not feel compelled
to provide comfort to a person with more power or privilege.
Institutional deadlines valued over interpersonal connection and personal
wellness.
The influence of dance critics, who often overlooked African aesthetics and contributions
of Black artists, historically shaped the assimilation of Eurocentric ideals. For example, dance
critics played a significant role in enforcing Eurocentric ideals in ballet at the expense of African
aesthetics and the contributions of Black artists (Klapper, 2020; Mattingly et al., 2023).
Moreover, researchers recounted that the history of Black Americans' integration into ballet often

24
involved assimilated Eurocentric ideals, a norm further reinforced by dance critics (Mattingly et
al., 2023; McCarthy-Brown, 2014). For instance, Mattingly et al. (2023) pointed out how
historical figures such as dance critic John Martin, particularly in the 1930s, significantly shaped
the value systems of dance within the university settings, often at the expense of Black artists
and African aesthetics. Martin's dance critiques from 1937 reported the talents of adequately
trained Black ballet dancers, portraying their abilities as deviating from the norm while
advocating for Eurocentric representations of ballet as the sole credible aesthetic (Mattingly et
al., 2023).
Additionally, Klapper (2020) noted that in Indianapolis at the turn of the century, the
allure of ballet, represented by virtues such as grace, manners, beauty, and dignity, prompted
learning by Black Americans aiming to fight racial discrimination. Black families enrolled their
children in dance academies to pursue cultural refinement and respectability. Klapper described
the reports of an 1893 recital performed by eighteen Black children in Indianapolis and a 1914
ballet recital in Dayton, Ohio, expressing the motivation of Black families to pursue cultural
refinement and respectability in a segregated society. Black predominant artists such as James
Weldon Johnson (author) and James P. Johnson (composer) integrated ballet into community
cultural life performance and the debut of American Negro Ballet at the Lafayette Theatre in
New York in 1937 represented ballet as a sign of high culture. However, the acceptance of ballet
by Black communities was not without resistance, as African American writers criticized the
notion that ballet was classier than Black dance styles, such as tap (Klapper, 2020). Recognizing
and addressing the challenges faced by Black ballet artists is essential for fostering inclusivity
and equity. Failure to acknowledge and address these issues may shape the cultural and social
fabric of the dance community.

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Intersectionality and Dance in Higher Education
The literature explores the intersectionality of race, gender, ableism, and sexual
orientation in the context of dancers' experiences. Intersectionality refers to recognizing how
people's overlapping identities influence their experiences of injustices and inequities (Crenshaw,
1989). In the context of higher education, the literature examines the intersectional experiences
of participants across various dimensions, including academic, social, and personal aspects,
revealing the disadvantages produced in these environments. For example, Nichols and Stahl's
(2019) systemic review of 50 studies using intersectionality as a theoretical framework
demonstrated how multiple systems of inequity impact the participation and outcomes of
students and faculty in higher education.
Additionally, the intersecting identities of race, gender, ableism, and sexual orientation
affect marginalized groups in dance in higher education. Historically, the literature has noted the
relationships between the marginalization of dancers and the challenges of moving beyond
Eurocentric aesthetics in higher education (Risner & Pickard, 2020; Schupp, 2022).
Intersectionality as a framework within higher education has demonstrated how various groups'
experiences interconnect within the systems of power and privilege (Mitchell, 2014; Nichols &
Stahl, 2019). For example, Duffy's study (2020) presented a connection between the challenges
of intersectionality and discriminatory practices experienced by 50 postsecondary dance faculty
members, revealing the possibility of cultural taxation or an additional burden for faculty of
color due to their race or ethnicity. Neglecting to address the interconnected experiences of
various groups may slow progress in dance education and limit the opportunity for meaningful
systemic change toward more inclusive and equitable policies and practices in higher education
and the dance community.

26
Furthermore, the intersectionality of masculinity and identity in male dancers within
postsecondary dance programs focuses on gender disparities, the challenges male students face,
and the need for support systems to aid their academic advancement. Mazeppa (2023) reported a
gender disparity of 34% of male faculty and 14% of undergraduate dance majors. Additionally,
their research spotlighted the multifaceted challenges 16 male community college students face
studying dance, emphasizing the need for support systems that address personal motivation,
relationships, financial circumstances, and broader systemic interactions to ensure their academic
advancement (Mazeppa, 2023). Moreover, over 90% of recipients who received dance degrees
were female.
The literature reiterates the importance of addressing intersectionality in higher
education dance programs to promote equity and inclusivity (Duffy, 2020; Mazeppa, 2023;
McCarthy-Brown & Schupp, 2023). Additionally, it identifies disparities in attitudes and values
that contribute to narrow perceptions of what dance should look like, stressing the need to
embrace diverse forms and cultural perspectives to advance dance education.
Inclusive Education
While inclusive education can be complex to define, there is consensus among
researchers that it offers significant benefits to all participants and promotes equality and wellbeing. Boyle and Allen (2022) summarized inclusive education as providing education to all
students regardless of individual differences or abilities, aiming to include all students as active
participants in learning. Furthermore, inclusive education is more achievable through studentcentered teaching methods (Aliusta & Özer, 2017; Di Biase, 2019; Hartley, 2009). Implementing
inclusive education in dance training in higher education can significantly enhance the goals of

27
equality, well-being, and practical education in dance, benefiting individual students and the
broader dance community.
Critical Dance Pedagogy
Critical dance pedagogy draws on critical race theory and analyzes race's intersection
within dance learning and choreography (McCarthy-Brown, 2021; Ottey, 1996). Critical race
theory is a theoretical framework that looks at the role of race in society, particularly about
structures of law and power (Crenshaw et al., 1995). McCarthy-Brown's (2021) case studies
conducted at three universities explored the implementation of critical dance pedagogy, revealing
that integrating identity awareness into dance education posed challenges such as discomfort,
resistance, and the persistence of certain defensive behaviors related to racial dynamics within
the dance classrooms. However, McCarthy-Brown's research also indicated that 90% of students
reported personal growth based on their experiences. Calamoneri et al. (2020) furthered the
literature in the context of ethics by addressing questions regarding the process of cultural
transmission in teaching dance at university. One case studied the design and implementation of
Hip Hop residency, noting the students' positive responses to empowerment, the opening of
critical consciousness, and cultural understanding of Hip Hop while also addressing
commodification and cultural appropriation. The researchers contended that the use of Hip Hop
in dance education is not without the engagement of Hip Hop artists who are invested in teaching
about the form's history (Calamoneri et al., 2020). This section provides a pedagogical approach
to dance learning that acknowledges the role of race in society and its power structures in dance
education, which includes faculty as a lens for developing strategies for promoting cultural
diversity and inclusion.

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Demand for Diversity in Dance in Higher Education
Dance scholars in the United States call for greater diversity in higher education.
Furthermore, scholars suggested expanding postsecondary dance programs beyond modern and
ballet (McCarthy-Brown, 2014; Musil, 2010; Risner, 2010; Schupp, 2017; Walker, 2019).
Expanding these programs could better prepare students for societal shifts and changes in the
professional field. For example, McCarthy-Brown (2014) proposed that students assess their
needs and align their curriculum with cultural affinities over four years. Moreover, Schupp
(2017) suggested that one approach to re-imagining dance in higher education involved
designing a curriculum that allows students to study diverse dance practices while engaging in
coursework focused on creativity and inquiry. Furthermore, Schupp's study of implementing a
Bachelor of Fine Arts (BFA) curriculum featuring personal movement courses for dance students
revealed themes of student empowerment, individualized movement development, and enhanced
problem-solving skills.
A gap exists in representing students of color seeking dance degrees. Black, Indigenous,
and People of Color (BIPOC) students earn dance degrees at lower rates compared to White
students. The most common race or ethnicity awarded degrees is White at 57% (Integrated
Postsecondary Education Data System [IPEDS], 2021). Additionally, few men are earning
degrees in dance. The IPEDS (2021) reported that 89% of individuals with a degree in dance
identified as female, making it the most common sex among degree holders. The most common
race, ethnicity, and sex combination was also White females at 56%. Addressing the lack of
programs and resources for aspiring dancers implied the need for diversity in dance education,
essential for ensuring continued vitality and relevance within American academic institutions.

29
Additionally, dance student enrollment trends showed fewer degree-seeking students
enrolled in ballet than in modern and performance majors. During 2020-2021, the top three
majors in dance enrolled by dance students at 52 institutions were general dance, choreography
and performance, and modern dance (HEADS, 2021). In those schools, 306 dance students
enrolled in ballet, 18% less than performance majors (HEADS, 2021). As a result, skill
development for college dance students may need to align more closely with professional
pathways. Given that performing arts companies employ 51.4% of dancers and choreographers
(ACS, 2022). Moreover, the comparative advantage (RCA) of dancers’ and choreographers’
skills revealed a need for more skills in coordination, service orientation, and social
perceptiveness beyond the average skill levels in these areas (ASC, 2022). Bennett's (2009) study
of 239 performing artists comparing skill development results from school to career revealed that
37% of dancers felt collegiate preparation should include career industry awareness and
development. Twenty-six percent of dancers felt that course structure changes and training are
needed in different genres (Bennett, 2009). Additionally, researchers have suggested that
increasing cultural diversity through enrollment, hiring, and change in pedagogies could help
dismantle racism in higher education (Ford, 2020; McCarthy-Brown, 2014; Schupp, 2022;
Walker, 2019).
The lack of career industry awareness and development in dance education programs may
leave students ill-equipped for the demands of the workforce. Literature underscores the
necessity for career industry awareness and genre-specific training. Moreover, the call to
increase cultural diversity in enrollment, hiring, and pedagogies is crucial in combating racism in
higher education. The current trends in dance student enrollment and curriculum could result in

30
inadequate preparation and cultural inclusivity, potentially leading to dissatisfaction among
dance students and affecting retention and success rates.
Hip Hop Dance in Higher Education
Historically, Hip Hop's roots are deeply embedded in the African diaspora. Due to its
significant media presence, Hip Hop, an African diaspora-inspired dance, has become dominant
in the commercial dance industry. Hip Hop is widely regarded as a popular and prominent style
required for work within the commercial dance industry due to its widespread presence in media,
culture, and fitness (Geeks for Geeks, 2024). African American contributions to American pop
culture are a continuous expression of creativity rooted in the African American experience.
Hazzard-Donald (2004) described the African American impact on dance in the United States,
illustrating its progression since Emancipation.
Additionally, the period of Emancipation marked a shift from collective folk dances
shared by couples and mainly taught to women to individualistic expressions without couples
and primarily created by men (Henri, 1976). The shift marked the transition from rural to urban
impacts in African American dance (Hazzard-Donald, 2004). Another example is the creation of
the lindy hop, which symbolizes defiance, public self-redefinition, and cultural pride among
Black servicemembers (many northern industry workers) returning from World War I (HazzardDonald, 2004). Hazzard-Donald (2004) also argued that African American influence in
American pop culture is a continuous expression of creativity from the African American
experience.
Course offerings, faculty qualifications, and the adequacy of facilities and resources
shape college Hip Hop dance programs. Educators continue to use Hip Hop as an effective tool
for social change, activism, and diversifying educational curricula to appeal to students (Diaz et

31
al., 2015; Fogarty et al., 2018; Fogarty & Johnson, 2022). Researchers have noted the growth in
Hip Hop studies, though the development of Hip Hop dance studies has progressed more slowly
(Fogarty et al., 2018; Fogarty & Johnson, 2022; Johnson, 2015). Furthermore, Fogarty and
Johnson (2022) argued that there is a scarcity of research on Hip Hop dance studies within both
Hip Hop and dance studies. Nevertheless, Hip Hop has had a profound and enduring impact on
American culture and the world. For instance, Matt Steffanina, a prominent Hip Hop
choreographer, has over 13 million YouTube subscribers (Youtubedownlaod.nimitool.com,
2023). Despite Hip Hop's popularity, only 63 schools offer Hip Hop dance units, while colleges
offer ballet as an emphasis 15% more frequently (Dance Magazine, 2024). As educational
institutions worldwide integrate Hip Hop studies into their curricula, colleges that do not develop
Hip Hop dance studies may risk falling behind in educational trends and innovation, potentially
affecting their reputation and appeal to prospective dance students.
The Emergence of Hip Hop Dance Studies
Hip Hop aesthetics presents an alternative perspective to Eurocentric aesthetics,
promoting a more inclusive view of dance. Historically, Hip Hop dance originated from the
movements of breakers, leading to a pedagogical perspective that includes critical, culturally
relevant, and culturally sustaining pedagogy across the diaspora (Alim, 2023). Schloss (2009)
argued that the gendered terms bboy and bgirl refer to Hip Hop dancers rooted in the dance's
origins of bboying or breakdancing, now known as Breaking, and considered the original Hip
Hop dance. Hip Hop dance studies also build upon the embodiment of cultural memory,
fostering pedagogical innovations (Alim, 2023). Although research in Hip Hop dance has been
somewhat limited, the past decade has seen a significant increase in accessible resources,
archived materials, and scholarly research (Johnson, 2022). The cultural, educational, and

32
historical importance of Hip Hop dance underscores its role in proposing alternative narratives,
supported by advancements in research and resources that enhance Hip Hop dance study and
practice (Fogarty & Johnson, 2022; Schloss, 2009, 2022).
For instance, the Oxford Handbook of Hip Hop Dance Studies (2022) represents the first
collection of 29 chapters and contributions from 32 authors exploring various aspects of street
and Hip Hop dance practices and research (Fogarty & Johnson, 2022). The anthology provided
significant scholarly contributions and amplified the voices of dance practitioners (Fogarty &
Johnson, 2022). Through the lens of critical race theory, anticolonialism, intersectional
feminism, and more, the book emphasizes the importance of diverse perspectives in
understanding Hip Hop dance (Fogarty & Johnson, 2022). For example, Johnson (2022) pointed
out the distinction between the standard spelling of “Hip Hop” as a proper noun in publishing
rather than a compound noun with lowercase letters and a hyphen. The term's significance
reflects the representation of culture (Johnson, 2022).
Throughout its short history, women have played a significant role in shaping the field of
Hip Hop dance studies. Their contributions, which reflect diverse experiences rooted in the art
form's culture, have been instrumental in broadening the field. According to Johnson (2022),
researchers such as Tricia Rose (1994), dance journalist Sally Banes (1981), and photographer
Martha Cooper (Cooper & Chalfant, 1984) conducted on-the-ground research that significantly
broadened the field of Hip Hop dance studies to include sociology and cultural studies.
Moreover, women ethnographers navigated access, safety, and legitimacy challenges within the
Hip Hop dance environments (Johnson, 2022). These challenges involved self-presentation and
identity, strategies for establishing boundaries in informal social dance spaces, and the complex
interplay of race, gender, age, and nationality in the physical movements and interactions within

33
Hip Hop dance spaces. In summary, women have shaped Hip Hop dance studies, contributing
diverse experiences and expanding the field despite facing these challenges (Johnson, 2022).
Breaking: The Original Hip Hop Dance
The foundation of Hip Hop dance studies is deeply rooted in Breaking, the original Hip
Hop dance (Fogarty & Johnson, 2022). Breaking is a significant embodiment of Hip Hop culture
and serves as the foundational element of Hip Hop dance studies. Emerging in the 1970s as a
creative response to limited access to arts and dance programs, Breaking reflects the
contributions of Black and Latino Americans and remains a vibrant part of the Hip Hop cultural
landscape (Fogarty & Johnson, 2022; Foley, 2016; Schloss, 2009). Many Breaking originators
are still active, keeping the spirit of this dance form alive. Further, Ken Swift, a pioneer breaker,
identified Breaking as the original Hip Hop dance, deeply connected to the music and cultural
milieu of the late 1970s (Gabbert & Yarrow, 2022). Foundational Breaking styles, such as
Rocking, Freestyle, and Burning, facilitate a creative journey that incorporates individual
expressions of self, region, and culture, often observed at block parties, clubs, and house
gatherings (Gabbert & Yarrow, 2022; Robitzky 2022).
Breaking is not just a dance; it is a field of study. Researchers have increasingly
contributed to the growth of scholarship within the field of dance studies, dance science, dance
education, sociology, business, and sport (Fogarty & Johnson, 2022; Foley, 2016; Kalish, 2014;
Robitzsky, 2022; Tsiouti & Wyon, 2021; 2020). The rise in archiving Breaking history is
exemplified by the establishment of the Hip Hop collection at Cornell University in 2007
(Kalish, 2014), the launch of numerous documentaries, lectures, and books, and the creation of
over 20 breaking studios across the United States (Foley, 2016). The expansion of the field has
led to new understandings of dancers, particularly in the context of Breaking. For instance,

34
Tsiouti and Wyon’s (2021) study on injury incidence among 320 adult breakers revealed that
52% trained significantly less than theatrical dancers, with 71% of respondents reporting a
dance-related injury in the previous 12 months. Commonly injured body parts from respondents
included the arm-hand (40%), shoulder (36%), knee (32%), neck (23%), and ankle (16%). These
findings underscore the need for specialized training and injury prevention strategies in
Breaking.
While Breaking has a rich history, its formal pedagogical development is still evolving. A
significant gap was a lack of a formalized method or standard to certify Breaking educators in
the United States before 2016. This gap inspired Foley (2016) and her sister to create Breaking
Pedagogy to prevent injury and improve dancer welfare. Robitzky (2022, 2024) also addressed
the need for more technical developmental research, providing technical descriptions and
historical accounts of his experiences with moves like the six-step and windmill and the
expansion of organized competitions to theater productions. Breaking scholars called attention to
the need for more unified terminology, teaching pedagogy, and shared historical knowledge due
to the lack of researchers in the Breaking field (Fogarty & Johnson, 2022; Foley, 2016; Robitzky,
2024).
Additionally, Breaking is rooted in a comprehensive movement system that accentuates
rhythm and musical breaks, facilitating its evolution and preserving its essence (Gabbert &
Yarrow, 2022). Understanding the components and cultural contexts of Breaking is crucial for
researchers and educators seeking insights into the development of other Hip Hop dance styles
and elements. Park (2022) used the academic oral history of New York City bgirls, Rockfella
and Honey Rockwell from the 1990s as a methodology to examine an approach to create a fuller
picture of Breaking History. Breaking has also become an Olympic Sport. Breaking made history

35
in 2020 when the International Olympic Committee (IOC) announced its inclusion at the 2024
Olympic Games (Li & Vexler, 2019). Breaking’s inclusion in the 2024 Summer Olympic Games
underlines its accessibility and inclusivity, marking it as the first dance genre to debut as an
official Olympic sport. Li and Vexler (2019) described the evolution and challenges of
Breaking’s development as a sport. The ongoing efforts to document, develop, and legitimize
Breaking, alongside its inclusion in the 2024 Summer Olympic Games, accentuate its cultural
significance, technical evolution, and challenges within the broader context of sport and dance.
Breaking’s debut at the 2024 Olympic Games in Paris, France, demonstrated its historical and
cultural contribution as the original Hip Hop dance style, further contributing to scholarship
across society, science, and sport.
Critical Hip Hop Pedagogy
Critical Hip Hop pedagogy (CHHP) offers an alternative to the traditional Eurocentric
approach to curriculum in higher education. CHHP advocates for a culturally diverse approach
by recognizing Hip Hop as a culturally relevant art form within a predominantly Eurocentric
context (Akom, 2009; Buffington & Day, 2018; Lee, 2020). While existing literature has
primarily focused on CHHP within the contexts of language in music and writing programs in
higher education, there has been less focus on its application in dance education (Akom, 2009;
Ringsager et al., 2022; Stone & Stewart, 2016; Tinson & McBride, 2013). The principles of
equity and identity inherent in CHHP closely align with those in culturally relevant pedagogy
(Akom, 2009; Alim, 2023; Kim & Pulido, 2015). Coined by Akom (2009), the term CHHP
serves as an approach for educators to address the intersectionality of social inequities within the
context of Hip Hop, drawing on the historical roots of Black freedom and oppression worldwide.
Furthermore, Akom suggested that using Hip Hop’s cultural context as a means of data analysis

36
can support the development of critical consciousness among students, enabling them better to
understand the practices of the world around them.
Theoretical Framework
The grounded theory (GT) approach would provide a grounded and actionable
understanding of how faculty experiences intersect with broader systemic and cultural dynamics,
offering insights to inform policy changes, curriculum development, and support systems in
higher education. Sociologists Glaser and Strauss (1967) introduced the specific research
methodology. Glaser and Strauss’s work challenged traditional notions by bridging theory and
research, legitimizing qualitative methods, integrating data collection with analysis, and
demonstrating the potential of qualitative research to develop theory rather than merely
descriptive case studies (Charmaz, 2014). Rather than applying pre-existing frameworks or
assumptions, this methodology focuses on themes, insights, and theory building (Glaser &
Strauss, 1967). Additionally, GT distinguishes itself from other qualitative research by
developing substantive theories rooted in specific, real-world situations, offering practical
applications and insights into processes and changes over time (Glaser & Strauss, 1967).
GT as a Methodology
GT uses an inductive approach where concepts and relationships emerge directly from
the data rather than being predetermined by existing theories (Merriam & Tisdell, 2016). GT is
frequently used in educational research, providing a systemic process for data collection, coding,
analysis, and theory generation (Stough & Lee, 2021). Data sources in GT studies come from
interviews, observations, and various documentary materials (Merriam & Tisdell, 2016). The
methodology begins with data collection guided by theoretical sampling, a process where
researchers simultaneously collect, code, and analyze data. Decisions about subsequent data

37
collection are made based on emerging findings to refine and develop the emerging theory
(Glaser & Strauss, 1967). Secondly, a constant comparative method of data analysis involves
systematically comparing data segments to determine similarities and differences. The study
groups similar data into categories to identify patterns and relationships among them.
Researchers arrange the patterns to build a grounded theory of the research phenomena (Merriam
& Tisdell, 2016).
Theoretical Frameworks as a Lens
A theoretical framework is typically a preexisting set of concepts or theories that guide
the research. It is derived from the orientation or stance the researcher brings to the study and
serves as the foundation for the research (Merriam & Tisdell, 2016). The theoretical framework
offers a structured frame or lens through which the researcher examines the data and situates
findings. The frame draws from the researcher’s disciplinary orientation and the lens through
which the researcher views the world (Merriam & Tisdell, 2016).
Role in Research
GT has evolved into three distinct methodological genres, each building on the
foundational work of Glaser and Strauss (1967). First, traditional GT, associated with Glaser,
aims to generate conceptual theories that explain behavior patterns relevant to those involved.
Then evolved GT, developed by Strauss (1987), Corbin and Strauss (1990), and Clarke (2005),
integrates symbolic interactionism to explore how individuals assign subjective meaning to
social interactions, objects, and events. Finally, the constructionist GT, introduced by Charmaz
(2014), emphasizes the co-construction of meaning between researchers and participants,
focusing on how individuals create understanding within the context of inquiry. While all three

38
approaches share foundational principles, differences exist in their philosophical stances, use of
literature, and methods for coding, analysis, and theory development (Chun Tie et al., 2019).
The GT prioritizes the participants’ needs and realities, ensuring that any theories
developed are rooted in authentic, participant-centered insights. Furthermore, GT relies on
collecting rich, qualitative data directly from participants, such as through interviews or focus
groups, while allowing participants to have the opportunity to articulate their experiences,
challenges, and aspirations in their own words (Glaser & Strauss, 1967). GT creates new
frameworks or theories based on the data rather than applying or testing existing ones (Merriam
& Tisdell, 2016). GT avoids starting a predetermined framework to allow for the organic
development of insights and can be valuable for exploring under-researched areas. Its role in
research includes identifying a core category that connects all other categories and with
hypotheses emerging inductively from “grounded” data to build a substantive theory and
relationships without predetermined testing, which can be adaptable to diverse fields of study
(Merriam & Tisdell, 2016, p. 32).
Conceptual Framework
The conceptual framework is based on grounded theory (GT). This study’s conceptual
framework, using GT, is constructed as categories and patterns emerge during the research
process. The framework will emerge from the methodology between data collection and analysis,
which involves creating an emerging framework in relevant literature while avoiding existing
theories to acknowledge how the findings might align with, challenge, or expand on established
ideas. The core categories, subcategories, and their relationships form the conceptual framework
and components described in Table 3.

39
Table 3
Components of Conceptual Framework in Grounded Theory
Component Description
Core Category Central Concept that integrates the study’s findings.
Subcategories Supports elements that define and explain the core category.
Theory Tentative relationships among categories grounded in data.
Conclusion
This literature review comprehensively explored dance in higher education in the United
States through a ground theory approach. Chapter Two synthesizes five main areas: a historical
overview of dance in higher education, challenges and relationships in current dance education,
the emergence of Hip Hop dance studies, the theoretical framework, and the conceptual
framework of integrating cultural diversity through Hip Hop pedagogical principles. It
introduced a conceptual framework based on GT, positioning dance education as a promoter of
cultural diversity in postsecondary institutions. The chapter also reviewed emerging Hip Hop
dance studies and provided insights into integrating culturally diverse dance curricula. This
analysis points out the importance of diversity in shaping inclusive dance education in higher
education.

40
Chapter Three: Methodology
This qualitative study seeks to understand the experiences of the faculty at the university
dance department, offering insights into the curriculum design, challenges, and perceptions about
the factors influencing integrating a culturally diverse curriculum through the development and
sustainability of a Hip Hop Studies program. Qualitative research aims to uncover the meaning
of the phenomenon for those involved and to understand how individuals or groups interpret
their experiences (Creswell & Creswell, 2018; Merriam & Tisdell, 2016). This chapter starts
with an overview of the research question and design that aligns with GT and summarizes the
data collection and analysis methodology. Next, it discusses the participants, instrumentation,
data collection process, protocols, and justification. Subsequent sections illustrate data analysis
methods. The chapter concludes by reviewing credibility, trustworthiness, and ethical
considerations. The study’s implications aim to contribute to research on Hip Hop dance studies.
At the same time, findings may enhance the quality of dance in higher education and provide
dance departments with practical strategies sustaining cultural dance curricula such as Hip Hop
within their programs.
Research Questions
The research question focused on understanding the perceptions and experiences of dance
faculty members in higher education institutions across the United States. By engaging with
faculty who teach Hip Hop studies in academia, the study’s implications may advance the
perspective of curriculum design, challenges, and perceptions that influence the sustainability of
culturally diverse dance programs such as Hip Hop studies programs. Achieving a better
understanding of the perceptions and experiences of dance faculty members is crucial to the
sustainability of dance in higher education. This dissertation answered previous research

41
recommendations (Fogarty & Johnson, 2022; McCarthy-Brown & Schupp, 2021, 2023),
addressed the literature gap concerning cultural diversity in dance, and contributed to the
research surrounding Hip Hop dance studies. The following questions guided this study:
1. How do faculty in university dance departments perceive, interpret, and respond to
the factors influencing the sustainability of the Hip Hop programs, as examined
through a grounded theory approach?
Overview of Design
This qualitative study explores faculty perspectives and experiences, offering insights
into the factors influencing integrating a culturally diverse curriculum through the sustainability
of Hip Hop programs. Hip Hop studies examine the sharing of Hip Hop theory and practicebased dance curriculum. The study used interviews as the research methodology for
understanding the lived experiences of the dance faculty at universities across the United States.
The qualitative research involved 12 interviews conducted using a semi-structured interview
guide. The interview contained 12 questions related to the main research question guiding the
study (see Appendix A). Various question types were used in the interview protocol, as identified
as a best practice in the research of Merriam and Tisdell (2016) and Patton (2002).
Research Setting
The study involved faculty in higher education who instruct Hip Hop studies courses or
related subjects, such as street-style dances, Hip Hop dance history, theory, or practice. The
interviews offered insights into the curriculum design, challenges, and perceptions about the
factors influencing sustainability. Interviews took place on Zoom, an online virtual format.

42
The Researcher
As a Hip Hop practitioner and scholar wanting to become a dance faculty member and
researcher, I needed to recognize my positionality and its impact on my research. Researchers
asserted the importance of acknowledging practice, setting up transparency, and contextualizing
methods to understand each other. They include reflecting on their experiences and identities that
shape why and how they approach their work (Secules et al., 2019). My background as an
educated Panamanian and Samoan American woman and my experience as a Hip Hop dance
scholar-practitioner informs my perspective. Growing up immersed in Hip Hop culture, I
developed critical thinking, resilience, and an appreciation for positive self-expression through
dance. While I have experienced racism, bias, and sexism, I am passionate about empowering
marginalized communities, particularly women and youth. The complexities and intersectionality
of social identities present challenges in finding a voice that contributes to positive change
(Douglas & Nganga, 2013). With its roots in hardship, Hip Hop has served as a platform for
marginalized voices, driving cultural, political, and social change. However, amid controversies,
Hip Hop's evolution has sometimes been marked by portrayals and practices that detract from its
positive essence. My journey through formal education and street culture has contributed to
developing a cultural dance pedagogy for Hip Hop (Foley, 2016), which aims to challenge
gender boundaries and contribute to cultural equity in the dance community.
Through my work, I aim to challenge stereotypes and preserve the image of Hip Hop,
ensuring its authenticity amid commercialization. While I am a member of the field of dance
education, I maintained a neutral relationship with the setting and participants. Maintaining a
neutral relationship with the setting and participants helps me approach the study with minimal
preconceived notions. Specifically, I avoided a subservient student-to-professor dynamic. I took

43
a critical researcher’s approach by questioning responses and guarding against Hip Hopconnected biases, including Hip Hop community affiliation, education, and position.
However, this stance may still introduce certain biases. I guarded against biases resulting
from this positionality during data collection, analysis, and presentation using the methods
discussed by Creswell and Creswell (2018). During the collection, I minimized sharing or
commiserating with personal experiences to keep the focus on the perceptions and experiences of
the faculty members. Reflective memo writing aided data analysis. Researchers can employ
reflexivity to address these potential biases by continuously examining and disclosing how
positionality within the field might influence the research process and outcomes (Gibbs, 2018).
Data Sources
The study used interviews as the primary data source to understand better faculty
behaviors and experiences related to the dance program. Qualitative data consists of experiences
conveyed through words obtained through interviews, observations, and various types of
documents (Merriam & Tisdell, 2016; Patton, 2002). Table 4 summarizes the methods of data
collection used to explore the research questions.
Table 4
Data Sources
Research Questions
Method of
Data
Collection
1. RQ1: How do faculty in university dance departments perceive,
interpret, and respond to the factors influencing the sustainability of
the Hip Hop programs, as examined through a grounded theory
approach?
Interviews

44
Participants
This study recruited participants who are faculty members at university dance
departments teaching Hip Hop studies or related subjects. Participants shared their perceptions
and experiences regarding factors influencing the sustainability of Hip Hop studies programs.
The target population for this research comprised faculty members working in higher education
institutions across the United States. A purposeful sampling method was employed to select 12
participants. They taught within established dance programs that integrated cultural dance,
including the theoretical and practical aspects of Hip Hop dance. According to Merriam and
Tisdell (2016), qualitative case studies typically require two levels of sampling: first, selecting
the case to be studied, and second, recruiting participants based on criteria aligned with the
research questions.
The selection process ensured that participants met these criteria to provide meaningful
insights into the sustainability of Hip Hop studies within university dance departments.
Purposeful sampling ensures the selection of participants or sites based on their relevance to the
phenomenon of interest (Merriam & Tisdell, 2016). This method allowed the study to focus on a
specific group with unique characteristics directly related to the research questions (Creswell &
Creswell, 2018; Merriam & Tisdell, 2016). The chosen participants were notably well-suited to
provide valuable insights into the factors influencing the sustainability of Hip Hop studies within
university dance departments.
Instrumentation
The qualitative study design utilized interviews as the primary data collection method.
This approach interviewed faculty members from the university dance departments across the
United States. A research interview is a process in which a researcher and participant usually

45
exchange information in a person-to-person conversation focused on questions related to a
research study (Gibbs, 2018). These interviews provided a deeper understanding of the
sustainability of the Hip Hop dance programs. Adapted from Patton (2002), the interview
protocol guided the discussion (See Appendix A). The interviews captured the faculty members'
lived experiences and addressed the research questions from their perspectives. They explored
faculty perceptions of the critical factors influencing the successful integration of the Hip Hop
studies program across universities in the United States.
Data Collection Procedures
Data collection included the participant interviews and transcripts. I contacted potential
interviewees via email, social media messages, and formal request advertising through the
National Dance Education Organization research network. Once individuals agreed to participate
in the study, they received an email or Zoom confirmation via email (see Appendix A). The
interviews were virtual interviews with respondents and recorded via video. The interview
recording made it easier for the researcher to focus on the content and verbal prompts. It thus
enables the transcriptionist to generate a verbatim transcript of the interview (Merriam & Tisdell,
2016).
The Zoom discussions followed a structured sequence of questions. Sessions lasted
between 35 to 96 minutes. The open-ended questions, bolstered by multiple probes, encouraged
detailed responses. The composition of interview questions used the study’s research questions
and key concepts through a grounded theory approach. Before the interviews, all participants
consented to recording; if any participant had not consented, alternative methods, such as notetaking or audio transcription without recording, were arranged to ensure their participation while

46
respecting their preferences. The study protocols reflected the details of the interview content
and approach (See Appendix A and B).
Multiple methods of recording provided redundancy and maximum transcript accuracy.
Zoom’s recording capability provided an audio record, visual record, and textual transcription of
the interview. I printed the interview protocol and took handwritten notes on them during the
interviews. To develop the final transcripts used for data analysis, I re-watched the video
recording of the interviews. I cross-referenced Zoom transcripts while correcting the documents
downloaded into MAXQDA, research software. Pseudonyms ensured the confidentiality of the
participating individuals and their institutions. These measures included paraphrasing language
that could identify a college, university, or school and any distinct biographical or occupational
traits attributable to a participant. Pseudonyms and paraphrasing protected the faculty member
research subjects from harm resulting from expressing frustrations with organizational barriers or
negative opinions regarding their institutions.
I used password protection for all electronic data to ensure the privacy of the study’s
participants and organization. I saved all documents into a password-protected folder on a
password-protected desktop computer before deleting them from Zoom platform recordings
storage. I then transferred all Zoom transcripts to the MAXQDA password-protected project
folder. After completing this study, I disposed of all study data and the pseudonym code key. I
retained a backup folder of all audios, visual, and textual recordings for future research.
Data Analysis
The data analysis of participant responses sought to reveal recurring concepts relevant to
individual and organizational factors influencing the sustainability of Hip Hop studies programs
in U.S. university dance departments. Based on how individuals interpret reality and subjective

47
experiences, the grounded theory approach in building theory allows abstraction into theoretical
statements (Glaser & Strauss, 1967). The systematic approach of emerging theory through
constant comparison and categorization from data collection and the consolidation of core
categories interconnected the relationships between various factors influencing sustainability in
academic Hip Hop programs.
I began by coding the data from recorded Zoom interview transcripts and loaded them
into the MAXQDA research software. The participants' reflections, emphasizing key experiences
and perspectives from the transcripts, provided a detailed, descriptive account of the
sustainability of Hip Hop dance in higher education. Code memos and reflective memos within
MAXQDA helped organize and manage the data throughout the analysis process. Key concepts
from the literature review informed the open coding of each interview. I reviewed the interviews
individually using a line-by-line analysis or open-coding the interview and writing memos to
identify concepts while constantly comparing data from each code. From the concepts, I wrote
memos about the properties and dimensions of each idea. The interviews yielded between 50 and
200 open codes each, which were compared and combined into categories. Each interview
produced between 5 and 10 open code categories.
The comparative data analysis process continued for each interview and evolved into
axial coding. MAXQDA code map helped to identify connections and relationships between data
sets during axial coding. I began axial coding in developing categories that helped identify
central or core categories and drove the building of emergent theory. Each interview was open
and axial coded separately first. The code maps created in MAXQDA provided visual support to
see clusters of relationships and connections that led to broader categories and, ultimately, to
selective coding with emerging themes. Constant comparison of data from each interview

48
developed the patterns using visualization of code maps to make connections and view
relationships to reveal emerging themes. I contextualized the themes with literature to identify
similarities and differences with the final coding process, based on selective coding, which
resulted in three overarching themes that directly addressed the research question.
Credibility and Trustworthiness
The study used various methods to ensure credibility and trustworthiness. According to
Merriam and Tisdell (2016), the researcher propels the qualitative research’s trustworthiness and
credibility with careful study design, using strategies that enhance validity and reliability
(Merriam & Tisdell, 2016). For example, the strategy called reflexivity refers to the researcher’s
position and critical self-reflection through a journal or notes (Gibbs, 2018; Merriam & Tisdell,
2016). While the grounded theory approach aims to develop a theory grounded in the data, it can
support transferability through detailed documentation of participants’ experiences, the research
process, and emergent categories. The sample size of 12 study participants supported enough
detailed or thick descriptions of data collection to reach saturation.
The purposeful exploration and discussion of the interviewee specify the conditions and
contexts under which the theory was developed to guide its application to other scenarios. By
highlighting those lived experiences that diverge from either data majority or preconceptions
(Merriam & Tisdell, 2016). Lastly, providing enough detailed or thick descriptions to
contextualize the study allows readers to determine how their situations match the research
context and whether to transfer findings (Merriam & Tisdell, 2016). To facilitate future inquiries
or references to this study, I maintained original copies of all data, including transcripts,
interview notes, reflexive memos, audio recordings, and video recordings. I appropriately stored
and protected all archived data.

49
Ethical Considerations
This study contributes to existing literature concerning the cultural diversity of dance in
higher education through a grounded theory approach, serving as a foundation for examining
participants' experiences. Participants' identities remained confidential, and they were notified
during the interview about their right to withdraw from the interview at any time, per Merriam
and Tisdell (2016). I obtained participants' informed consent before the study. The informed
consent included a statement stressing that the data collected would be used exclusively for
student research. Gaining voluntary participation and informed consent was paramount, with the
University of Southern California's (USC) Institution Review Board (IRB) approval. USC IRB
ensured the ethical conduct of this study by including the protection of all human subjects
involved in the research. No email contact or interviews took place before receiving approval
from the USC IRB. As the study focused on input from individuals not acting as organizational
representatives, no universities required the IRB process.
Confidentiality was maintained throughout to prevent any disclosure of information that
could potentially harm participants. No conflict of interest was present between the research
subjects and me, and there were no academic relationships with the research subjects that could
have influenced the power dynamics. Additionally, participants and the researcher did not
receive financial benefits or compensation for this study, so it is essential to acknowledge how
the sustainability of Hip Hop studies programs in dance in higher education may lead to future
growth and opportunities for cultural diversity.
Summary
This qualitative study utilized interviews to understand the dance faculty’s perspectives,
experiences, and responses to factors influencing the sustainability of Hip Hop programs across

50
universities in the United States. Data analysis involves interpreting and extracting meaningful
insights from the data (Merriam & Tisdell, 2016). Managing data, coding, and organizing data
analysis benefited the analysis and reporting of findings.

51
Chapter Four: Findings
This qualitative study aimed to understand the factors influencing the sustainability of
Hip Hop dance programs in university dance departments across the United States. Based on
Glaser and Strauss’s (1967) grounded theory approach, the conceptual framework builds direct
and indirect influences on sustainability. Furthermore, the chapter synthesizes participants’
responses and highlights quotes. This chapter focused on the organization of the research
findings, analysis of semi-structured interviews, and emerging themes facilitating the
development of recommendations in response to the research question:
1. How do faculty in university dance departments perceive, interpret, and respond to
the factors influencing the sustainability of the Hip Hop programs, as examined
through a grounded theory approach?
Participants
The participants in this qualitative research were faculty of Hip Hop studies programs in
university dance departments across the United States, including tenured, adjuncts, lecturers,
guest lecturers, a visiting assistant professor, and graduate student instructors. The participant
selection aimed to develop a framework for understanding the factors influencing the curriculum
design, challenges, and perceptions influencing the sustainability between organizations from a
cultural context of Hip Hop. The participants were public and private postsecondary education
institution employees with first-hand experiences working with Hip Hop-related dance and
academically rigorous courses. Thus, their shared perceptions, interpretations, and responses
provided an in-depth understanding of the factors influencing the sustainability of cultural dance,
such as Hip Hop and higher education. Furthermore, the participants were all active Hip Hop
cultural practitioners and professional dancers, aged 26 to 54, representing diverse cultural

52
backgrounds and varying levels of experience in higher education. These participants are diverse
in race, ethnicity, and age but not gender. This ratio is uncommon in the higher education dance
setting, where most educators are White females. Using pseudonyms instead of actual names
provided anonymity to participants and facilitated deep reflection on their professional
experiences and roles as educators. Table 5 demonstrates the participant demographic
information, including the participant's pseudonym, race, gender, faculty role, estimated years in
higher education, and institution type.
Table 5
Study Participant Demographics Characteristics
Particip
ant Race Gender Age Faculty Role
Estimated
years in
Higher
Education
Institution Type
Shawn Black Male 54 Lecturer 11 R1 Private (Nonprofit)
Kendrick Black Male 50 Adjunct 15 R1 Private
Marshall Biracial Male 47 Lecturer 5 R1 Public
Clifford Asian American Male 45 Guest Lecturer 2 R2 Public
Aaron Black Male 42 Lecturer 10 R2 Public
Charles
Lisa
Dwayne
Missy
Lana
Calvin
Lauren
Latino
Latina
Latino
Asian American
Black
White
Black
Male
Female
Male
Female
Female
Male
Female
26
52
43
45
48
43
42
Graduate Student
Instructor
Guest Lecturer
Guest Lecturer
Lecturer
Guest Lecturer
Assistant Professor
Tenure
7
5
2
18
2
6
4
R2 Public
R2 Public
R1 Private (Nonprofit)
R2 Public
R1 Public
R1 Public
R1 Public
Findings Research Question
The context of the research question focused on understanding the perceptions and
experiences of faculty on the factors influencing the sustainability of their Hip Hop studies
programs in academia. The first 10 queries of the interview protocol (Appendix A) answered this
research question and addressed the categories and themes of the emerging conceptual
framework. The findings revealed a give-and-take between faculty agency and institutional

53
structures, indicating the complications of integrating Hip Hop into academic settings. Through
the grounded theory approach, the participants' responses emerged three themes reflecting
distinct yet interconnected aspects of faculty experiences. As shown in Table 6, the following
themes are that the faculty's role is central to bridging academia and Hip Hop culture,
overcoming institutional barriers to cultural integration, and fostering innovation through
immersive practices.
Theme 1: Faculty’s Role Central in Bridging Academia and Hip Hop Culture
Through a grounded theory approach, the data analysis revealed that the faculty’s role
was central in bridging academia and Hip Hop cultural dance practices. All 12 participants in the
study were individuals with diverse Hip Hop cultural experiences encapsulating similar
motivations and decisions to join the professoriate of teaching in academia. While participants
shared some experiential commonalities, each person’s journey as faculty was unique. For
example, participants’ mutual experiences included active Hip Hop cultural practice,
professional dance industry experiences, multidisciplinary backgrounds, and traditional and
nontraditional entry to faculty positions in academia.
Regarding their role as faculty, the study’s participants represented two roles: tenure and
nontenured faculty. Within the theme, two categories emerged: cultural mediation and faculty
leadership and capacity. Faculty members described their role as cultural mediators, translating
Hip Hop’s principles and practices into academic frameworks without compromising its
authenticity. Additionally, their leadership and capacity heavily influenced their ability to fulfill
this role, encompassing personal expertise and institutional support.

54
Table 6
Thematic Analysis with Coding and Themes
Common phrases or terms Codes Categories Emerging themes
academic rigor, sense of responsibility,
identity negotiation, advocacy, cultural
Authenticity
tenure, role, lived experience, hiring, degree,
nontraditional pathways
authenticity
cultural
understanding
bridging the gap
Adaptability
cultural mediation
faculty leadership
and capacity
institutional policies
and norms
Faculty’s role
central in bridging
academia and Hip
Hop
policy constraints, commodification,
challenging Eurocentric bias, value, limited
funding, elective, nontenure, duration
authenticity
cultural
understanding
challenging
Eurocentric bias &
practices
sustainable
programming
advocacy
community
engagement &
partnership
commodification of
Hip Hop
limited funding on
faculty challenges
Institutional
constraints as
systemic barriers
resilience, passion, teamwork, technology,
community, academic rigor, cultural value,
creativity, self-expression/awareness,
storytelling, empowerment
holistic approach
experiential
learning
adaptive teaching
resilience
cultural
understanding
community
engagement &
partnership
CRP in Hip Hop
practice
use of technology
community
engagement
storytelling
traditions
Innovation through
immersive practices
Category 1: Cultural Mediation
The 12 participants had multidisciplinary backgrounds and deep connections to Hip Hop,
as represented by their role as cultural mediators. Participants had varied experiences and
cultivated spaces where they preserved cultural authenticity and academic and community-based
Hip Hop practices could coexist. All faculty members tied terms such as academic rigor,
advocacy, sense of responsibility, and identity negotiation with cultural authenticity central to
their roles as cultural mediators (as shown in Table 8). Their individual and professional
experiences were deeply connected to diverse cultural environments, allowing them to navigate

55
cross-cultural collaborations and mediate between academia and Hip Hop culture. All faculty
members enacted cultural mediation using their multidisciplinary expertise to facilitate
communication and understanding between academic institutions and the Hip Hop community.
Participants perceived cultural authenticity as the core of preserving Hip-Hop’s roots,
resisting superficial representations, and ensuring the integrity of the culture in academic
settings. They described their teaching experiences, including the view associated with the
importance of teaching the history and origins of Hip Hop rather than presenting “diluted” or
“trend-driven” versions. Kendrick advocated the need to “document the culture’s stories...as
these pioneers die” for historical preservation and authenticity. Calvin, Dwayne, and Clifford
saw their role as collegiate educators of Hip Hop dance courses as both different and rewarding,
sharing the importance of teaching the historical roots of Hip Hop to students with access and
opportunities far from practitioners who originated the subcultural movement. Clifford
explained, “This [Hip Hop] was not just a TikTok dance or a song that became popular last
week. There is history about it.”
Furthermore, the participant responses interrelated cultural mediation to intersectionality
and identity negotiation, particularly for non-Black participants. All participants advocated for
cultural preservation while navigating the complex intersections of identity, privilege, and
artistic expression. Five participants experienced mentioned emotions related to imposter
syndrome, intersectional identity challenges, and privilege versus marginalization, illuminating
the complexities these faculty faced within academia and Hip Hop culture. Charles mentioned
how teaching Krump, a Hip Hop dance style, deeply intertwined with his religious and cultural
identity as a Latino. He described Krump as “a form of worship” while reflecting on the
challenges of being a non-Black practitioner, including experiencing “imposter syndrome

56
navigating this space.” Interviews revealed further insights into the challenges of undergoing
identity negotiation for participants. Missy recounts her experiences navigating stereotypes “as
an Asian woman” and the intersectional pressures reinforced by slurs she recalled, like “banana”
or “pencil.” However, she reframed these challenges as opportunities “to shift perspectives,
which means that I fit in everywhere.”
Moreover, participants held a deep sense of responsibility to pioneers and a commitment
to honor Hip Hop’s history and adequately represent and uphold the authenticity of Hip Hop
culture. Lana described her “investment in what I do” as a commitment to “never want to
disrespect the people [pioneers] who made it possible for me to be where I am.” Participants
recognized the responsibility to respect and preserve cultural authenticity as educators of Hip
Hop. Missy reaffirms her sense of responsibility, stating, “Hip Hop is not mine. I am not the
gatekeeper. I am not the arbiter.”
Participants expressed experiences that connected their deep understanding of Hip Hop
not as a class but as a way of life. Several participants described their teaching techniques as a
“lived experience” that encapsulated participants’ emphasis on teaching hip hop beyond
technique. For example, Lisa contrasted her approach with the mechanical learning styles often
found in university dance programs. “Their approach to learning is mechanical...where I try to
approach dance as a way of life and my culture. I think in Hip Hop, I teach Hip Hop language,”
she explained. Her teaching philosophy advocated transmitting a holistic understanding of Hip
Hop culture. “Now we lived it. Now they are learning it,” she responded. Moreover, all
participants actively fostered spaces that were respectful of Hip Hop’s roots and the diverse
identities of their students. Interviewee responses interconnected inclusive pedagogy, student
engagement, and community-building, as participants like Lauren proclaimed her perspective as

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“not just lived in a past sense” but rather “it is a lived experience,” describing her approach as
tied to the Hip Hop cultural ethos.
The overarching theme of advocacy and bridge-building was evident across all
participants’ narratives. Every participant often challenged superficiality and responded by
advocating for cultural preservation, equity and representation, and academic-community
collaboration as efforts to create spaces where cultural authenticity thrived alongside academic
rigor. Kendrick remarked about the dual role of Hip Hop teachers, commenting, “Hip Hop is
authenticity” and “otherwise, are you a teacher?” challenging the superficiality of teachers who
neglect the importance of culture, claiming “being a poser.” Participants’ responses addressed
the intersections of identity, privilege, and artistic expression through their roles as cultural
mediators. These findings highlight the profound personal and professional connections to Hip
Hop, centering the cultural authenticity of their mediation in bridging academia and Hip Hop
cultural practices.
Category 2: Faculty Leadership Capacity Key to Bridging Institutional Gaps
The faculty members’ leadership roles influenced the capacity to bridge institutional
gaps. For example, the one tenure track professor in the study was likelier to lead efforts
leveraging their institutional access, long-term influence, and professional expertise to drive
curriculum innovation and advocate for cultural inclusivity. The tenured professor interviewed
for this study is historically the second individual to achieve tenure as a Hip Hop dance professor
in higher education in the United States at the time of this study. Lauren remarked on the unique
opportunity her role provided to bridge academia and the living culture of Hip Hop. She
exclaimed that entering a tenured position “required a shift towards community engagement.”
The role demonstrates increased capacity by increasing the potential to raise the academic rigor

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of Hip Hop so that students “will not just sit here in this classroom, research, write papers, and
not act like…this [Hip Hop] culture is not alive.” In addition to curriculum innovation, Lauren
expressed how her role in advocating for structural changes better reflected the student body's
and local communities' diversity. Reflecting on her hiring, Lauren argued that although she had
the “accolades,” she questioned if the system’s “certifying authority dynamic” entrenched
practices excluded alternative pathways for faculty inclusion, making “the case to have someone
like me be a part of their [university] of their faculty.”
Furthermore, tenure-track roles enabled Lauren to allocate resources and guide students
toward experiences that extend beyond traditional classroom learning. She described how
students engaged in the logistics of setting up and helping produce a community event, “bringing
all the things that community does to support and sustain its [community] culture.” Lauren also
expressed her ability to influence curriculum rigor and focus on cultivating well-rounded
students with intellectual and cultural depth rather than “regurgitating movement” and instead "
creating dancers and thought leaders.”
In contrast, the non-tenured faculty or part-time instructors, such as adjuncts, visiting
assistant professors, lecturers, guest lecturers, and graduate student instructors, discussed how
their roles were typically less secure and lacked the institutional authority, program stability, and
support available to tenured professors. Eleven non-tenured participants occupied transient roles,
lacked formal academic credentials, and worked without the support of required Hip Hop
courses. Shawn reflected on how his extensive cultural and practical knowledge is recognized
enough to secure a teaching position for 11 years at an esteemed institution but insufficiently
qualify him for a full-time role. He added, “Our practitioners, our culturity [quality], are not
getting the jobs they should because they do not have the paper [diploma].” The frustration from

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several participants agreed with Shawn’s perspective, as cultural practices and expertise are
typically experienced informally and not in a traditional academic way. Participants addressed
that qualified cultural teaching practitioners have “nowhere for them to get the paper [diploma].”
Furthermore, four participants shared experiences of being “brought in.” For example,
initially hired as a breaker for a single semester, Shawn was initially part of a plan to bring in
different specialists each term:
They planned to bring in a breaker. I was suggested for the program just for that
semester. The following semester, they would have a house dancer and a popper.
However, because I knew those things, they kept me.
What began as a temporary position for Shawn evolved into something more enduring. His broad
expertise aligned with the program’s needs, and the program “ended up turning into what it is
now.”
All non-tenured faculty expressed feelings of constraint and marginalization, which
impacted their ability to advocate for long-term programmatic change. Kendrick illustrated the
perspective of adjunct roles, “a part-time faculty,” pointing to the institutional priorities in higher
education, specifically in dance departments, which are often driven by financial and enrollment
metrics. From his point of view, if the current system is profitable, “making money,” and
students continue to enroll, the institutions are unlikely to prioritize change or innovation in
programming “if it “ain’t (sic) broken” unless there is significant demand or “until the students
care.”
Eight participants entered academia through nontraditional paths. Five participants
(Lauren, Calvin, Charles, Lana, and Dwayne) relied on professional experiences and
certifications outside the field of Dance; however, Calvin held a Master of Fine Arts in Dance.

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Four participants (Clifford, Lisa, Shawn, and Kendrick) relied on cultural and professional
experiences. Three participants (Missy, Charles, and Marshall) entered with traditional academic
credentials. One of the participants, Missy, pathway stands in contrast to the nontraditional
routed participants, representing the only participant with a conventional path who holds the
most substantial academic credentials in Dance and is pursuing a Doctor of Philosophy (PhD) in
Dance. Marshall and Charles’s experiences also spanned a traditional pathway as Master of Fine
Arts (MFA) graduate students in Dance; both credited their pathways to mentorship and
institutional support for paving the way.
Lauren, the sole tenure-track faculty member in this study, exemplifies the potential for
community and cultural expertise to gain institutional recognition. Lauren held academic
credentials outside of the field of Dance:
I am one of the only tenured dance professors in the system without a dance degree.
My dance experience and acumen come from my community and elders, who
taught me, my peers with whom I battled, and my colleagues with whom I cipher.
Eight faculty members with nontraditional paths faced ongoing challenges.
Unlike the experiences of the tenured faculty, Calvin, who holds an MFA in Dance, does
not occupy a tenure-track position. He expressed frustration and uncertainty, “I do not even
know how to ask for it,” regarding the challenges regarding tenure-track positions. He recounted
the rejection of previous positions with feedback implying that his qualifications might not align
with traditional academic expectations, questioning, “Do you not respect the research?”
addressing the terms of value and engagement with his research. Although Calvin felt he had
gained institutional support after six years, he noted his frustrations with the lack of access to
“getting a salary,” “benefits,” “financial support and access to apply for certain grants,” the types

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of institutional support that a tenure position could afford him. He argued, “If you [university]
want to take on Hip Hop...you should at least be offering these things.” On the other hand,
Aaron, who has been teaching Hip Hop courses for the past 10 years, said, “They keep bringing
me back,” expressing gratitude for recognizing his courses and institutional support. Aaron
demonstrated that despite these limitations, all faculty members in this study demonstrated
resilience and resourcefulness, gratitude leveraging support from departmental leadership, and
their contributions to program growth.
Theme 2: Overcoming Institutional Barriers to Cultural Integration
The findings revealed that faculty shared common concerns about institutional barriers
and constraints, with a noticeable interconnection of responses indicating shared challenges.
Participants commented about overcoming institutional barriers to cultural integration, with two
categories emerging: systemic barriers from institutional policies and norms and faculty
advocacy for community engagement to address these issues.
Category 3: Institutional Policies and Norms as Systemic Barriers
The participants experienced persistent obstacles due to institutional policies and norms.
Several participants (Kendrick, Lauren, Charles, Missy, and Dwayne) described how institutional
policies often failed to recognize Hip Hop’s cultural and educational value as equal to traditional
disciplines. Dwayne tied the stigma to Hip Hop’s origins:
It is interesting, and it is ironic, and it is frustrating…I do think that there is still
that stigma…because it [Hip Hop] was created by Black and Brown kids from
urban cities…that means that maybe these kids are not intelligent, or this [Hip Hop]
dance is not intelligent, or this [Hip Hop] dance does not deserve the same respect
as any other dance.

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Furthermore, all participants without academic degrees shared institutional policies that
hindered their advancement to full-time work. Shawn teaches without a degree but cannot be
offered full-time employment due to institutional policies stating, “I teach at Ivy League
University; I do not have a degree. They [the institution] will not give me full-time because I do
not have a degree.” Nevertheless, Shawn grappled with and acknowledged the financial and
professional prestige of teaching at an Ivy League institution compared to other institutions.
Even when “there are universities that would give me full time, the money is nothing compared
to what I get for a semester at Ivy League University...I am not going anywhere.” The
compensation and stature of his current position keep his resolve to stay.
Category 4: Commodification of Hip Hop Dance in Academia
Sixty-six percent of participants expressed views about how institutional systems often
commodify Hip Hop for appeal rather than supporting its cultural authenticity. Shawn noted,
“Hip Hop is not just a flavor of the month.” Participants critiqued the treatment of Hip Hop in
universities' dance programs, primarily associated with commercial dance. Missy remarked on
the inclusion of Hip Hop as a response to declining enrollment as quick fixes for “15 years losing
enrollment,” calling the motive of institutional efforts “the thing that's going to save us includes
Hip Hop” superficial or “another band-aid that's not going to do it.” She also explained the
current focus on “commercial dance,” noting, “Now, actually, it is flipped where so many dance
programs are like, oh, now we have to teach commercial dance.” Dwayne, Shawn, and
Kendrick’s perceptions of “commercial dance” agreed with Missy, who questioned the definition
of commercial dance, often associated with "global music video stuff," and pointed out the
historical dismissal of commercialism by dance academics, arguing “they (institution) have
always considered it something less than the thing (traditional dance) that they (institution) do.”

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She argued that this perspective ignores that modern dance has always been commercial,
citing examples like “Agnes DeMille choreographed on Broadway. Bill T. Jones has three
different Broadway shows.” Missy challenged the idea that modern dance is separate from
commercial dance, stating, “to say that modern dance is not commercial is not true,” and adding,
“Jazz is commercial. It was a club dance.” She concluded that labeling “commercial dance” as a
distinct category will not solve the issue, emphasizing that “dance and dancers work in whatever
ways they can make a living.”
Further, findings demonstrated that faculty and administration grapple with authentically
incorporating Hip Hop and other cultural forms into their curricula and programs. Three
participants (Missy, Calvin, and Charles) directly addressed commodification rather than
supporting the authenticity of the artistic dance practices. Calvin remarked,
Watching people treat it [Hip Hop] like it is some commodity when it is [Hip Hop]
not…after you do this [Hip Hop] thing for so long, you start to really appreciate what it
has and what it [Hip Hop] offers people.
Charles shared his efforts to encourage students to examine their practices critically and
question whether they authentically engage with Hip Hop or appropriate the art form. Missy
discussed the challenges of recentering Hip Hop and Jazz to the program while addressing
appropriation and capitalism. She explained the systemic constraints facing arts support in the
United States, especially in academia, against the backdrop of the “50th anniversary of Hip Hop”.
Despite the historic milestone, Missy argued that institutions struggle to provide fundamental
resources such as “free space for choreographers” to develop work. Further, contending the more
profound structural limitations within the United States, where arts were historically viewed as

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“entertainment” and relegated to the “private sector.” Missy emphasized, “You have to look at
the government structure. You have to look at the way the budgets are drawn up.”
For example, Missy contrasted the institutional support for Hip Hop as a legitimate art
form between Europe and the United States, where the movement originated. Unlike Europe,
where the arts are integrated into civic life and treated as a public good with dedicated funding,
success in the United States often requires artists to commodify themselves. Missy remarked, “If
you want to succeed in this [academic] space, you have always had to somehow market yourself
as a private commodity,” illustrating the pressures between artistic integrity and institutional
sustainability. She related the pivotal role of iconic Hip Hop figures in the 1990s in elevating the
visibility and legitimacy of breaking and popping within institutional and artistic spaces. She
shared that the recognition brought credibility to these styles and transformed perceptions of
contemporary dance. Reflecting on Hip Hop’s influence on modern dance, Missy observed,
“You cannot look at the contemporary dance right now and say that it [contemporary dance] is
waving as that [dance] comes from poppers. That is floor work, from breaking. That comes from
the Hip Hop dance community.”
Three participants (Lana, Missy, and Dwayne) contended that the contributions of Hip
Hop practitioners have become foundational to contemporary dance, even as these movements are
often reframed or elevated in ways that distance contemporary dance from Hip Hop cultural roots.
Participants critiqued the disconnect between Hip Hop artistic integration and the institutional
support for Hip Hop’s development. Missy explained, “But you are saying it is elevated on this
[contemporary dance] place. However, their budget models are completely different and value the
development.” Ten participants emphasized the missed opportunity to grow the development of

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Hip Hop dance, especially breaking; Dwayne asked, “How do we advance as art makers, dancers,
teachers?”
Furthermore, participants perceived resistance from traditional faculty often manifested
as skepticism toward Hip Hop’s artistic and academic value, perpetuating a narrow view of
dance as a discipline. Calvin observed the “strange energy” potential resistance from traditional
dance faculty when integrating Hip Hop into academia with exclusively academic backgrounds.
Similarly, Dwayne echoed these frustrations, showing the ongoing battle to have breaking,
considered the original Hip Hop dance style recognized as a legitimate dance form within
academic institutions:
Breaking is as legitimate as any other dance form, but you must fight the good fight
to get them to see it. They want it polished, packaged, and presented in a way that
fits their framework, which is not how Hip Hop works.
Participants noted that treating cultural practices as novel or tokenism showcased by
institutional inclusivity without deeper engagement or structural support undermined their
program’s integrity. Four participants (Lauren, Missy, Dwayne, and Shawn) further illuminated
the pressures between institutional constraints and cultural integration. Lauren emphasized the
need for representation and empowering students to “stand in their own power” through Hip Hop
learning. Lauren expressed frustration with how these dynamics affect faculty who aim to
preserve cultural authenticity, pointing to the tension between cultural authenticity and academic
acceptance. The pressures created significant constraints for participants striving to maintain Hip
Hop's integrity within the universities. Lauren described her perceptions of teachers who “want
so badly to be seen authoritatively that they acquiesce to what the system wants,” compromising
the culture. Participants expressed that the dynamic undermines those genuinely rooted in the

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culture and perpetuates a university system that “belittles or novelizes cultural forms” to make
them more marketable and appealing.
Category 5: Limited Funding on Faculty Challenges
The findings revealed that participants’ perceptions and experiences showed a
strong relationship between limited funding and the challenges faculty faced by academic
institutions due to the lack of Hip Hop course requirements and qualified instructors
directly influencing the development of sustainable programming and driving the hiring
and retention of skilled instructors. Nine of the 12 participants taught Hip Hop courses as
electives or optional offerings rather than integrated into the core curriculum. The
participants perceived that the lack of funding hindered the development of robust,
sustainable programming and course offerings.
Shawn reflected on the hesitancy of academic institutions to integrate Hip Hop as
a formal discipline rather than an elective. He raised a key concern that universities struggle
to justify the inclusion of Hip Hop in their core curricula without an established pipeline
for post-graduation careers. Shawn asked, “What are you doing with it after getting this
Hip Hop degree? Where are you going if it is not being taught in schools?” The rhetorical
question emphasized the absence of professional opportunities for graduates with Hip Hopfocused degrees. Shawn contrasted the reality with traditional dance programs that have
established clear-cut career trajectories, noting, “At the end of the year, I watched a piece
I did on stage with them [recruiters] in the audience, but people from various dance
companies were plucking kids off stage and giving them jobs.”
His observation demonstrated how other dance disciplines provided evident postgraduation opportunities, supported by industry connections and an existing infrastructure for

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employment. A broader skepticism within academia compounded the perspective of the lack of
career opportunities for Hip Hop dance graduates. Shawn explained, “If we put this in the school,
suppose we make this part of the curriculum. What are y’all (sic) doing with it? Where are we
sending our kids?” He concluded with a reflection on the long-standing absence of professional
companies or opportunities tied to the Hip Hop dance discipline as the oldest (54 years old)
participant in the study encapsulated his frustration of witnessing other dance disciplines thrive.
Shawn conveyed, “No field exists with Hip Hop studies. I have wished for 24 years that there
were companies.” At the same time, Hip Hop remains marginalized, limiting the ability of dance
styles to develop as both an academic field and career pathway.
Participants’ perspectives reflected the difficulty of consistently providing the students
with adequate time and resources to engage deeply with and master Hip Hop techniques and
culture. Kendrick remarked on the limitations of the academic setting with students gaining
appropriate time to learn the dance techniques and the necessity “to practice,” claiming he does
“not find many students practice outside of class.” Furthermore, participants identified that the
short duration of course offerings significantly limited students' ability to develop proficiency in
Hip Hop dance fully. The duration of dance courses offered by the study participants ranged
from 8 to 16 weeks. Participants explained that the duration hindered comprehensive skill
development, sustained programming, and connections to broader cultural and practical contexts.
Similarly, participants expressed a desire for more institutional support and flexibility to
develop more comprehensive programming to better serve student learning and skill
development of the art form. Dwayne discussed the challenges of trying to fit the depth and
complexity of Hip Hop dance, specifically breaking into the limited “only 8 weeks in the
semester.” Participants’ experiences showed the disconnection between the rigor of Hip Hop

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dance discipline and the duration and amount of course offerings, and participants’ perspective
was that the limited duration was insufficient for meaningful learning. Dwayne responded, “Here
I am thinking if I am teaching Hip Hop, if I am teaching breaking, what the heck are they going
to learn in 8 weeks?”
Three participants (Clifford, Marshall, and Calvin) identified the lack of hiring qualified
Hip Hop instructors to meet student demand. Marshall shared his journey into academia: “The
former chair contacted me directly to teach the 200-level classes,” demonstrating that the
department recognized the need for qualified instructors by contacting him to teach Hip Hopfocused courses. Marshall stated, “They [Administration] knew there was a gap in expertise and
wanted someone who could authentically represent Hip Hop in those [Hip Hop] courses.”
Participants addressed challenges Hip Hop dance educators face transitioning to academic
teaching without university experience; Calvin described the process as “a little jarring” for those
accustomed to teaching workshops. He explained that in an educational setting, educators must
“stretch those things out” and develop appropriate course material, which requires a shift in
approach from the shorter, less structured formats typically used in workshops. Ten participants
reported high-class enrollment, especially those who taught electives. Marshall’s class is “one of
the first to be filled up and on campus.” Similarly, Shawn recounted the offering of his breaking
classes:
As soon as it was offered in the program, there would be no more slots if it opened
today at 10 o'clock by 1015. Students who wanted it [class] but did not get a chance
to get in are on a waiting list. The waiting list was 30 kids.
Meanwhile, Dwayne and Shawn remarked about a lack of institutional respect, adequate
resources, and viable career pathways for Hip Hop practitioners. Also, participants pointed out

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that the focus on formal academic credentials often excluded culturally qualified practitioners
deeply rooted in Hip Hop. Like the absence of clear pathways for hiring, participants also
described the lack of retaining qualified Hip Hop practitioners, particularly those without formal
academic credentials but with deep cultural expertise. Charles shared an example of institutional
openness and flexibility when applying for a faculty position. Initially, the job posting included
an MFA requirement, but “the language was changed” after faculty members outside the
traditional, modern, jazz, and ballet disciplines advocated for a broader perspective. His
colleagues argued that “all qualified Hip Hop practitioners do not necessarily have a degree.”
Furthermore, faculty repeatedly spoke about concerns about the lack of instructors who
deeply embody Hip Hop culture, emphasizing the importance of cultural authenticity in
sustaining these programs. Lana criticized institutional practices of hiring instructors who lacked
“deep roots in Hip Hop culture;” however, they gained acceptance or “appeal to administrators”
because they met academic credentials. She emphasized the importance of instructors who view
Hip Hop as integral to their lives, sharing her frustrations:
You see people coming in who know just enough to get by and do not live this life.
They are not invested in it. This is frustrating because it feels like they are just using
Hip Hop to make themselves more palatable to administrators, and that is not what
this [Hip Hop] is about.
Lana continues to share her struggles as an instructor without an MFA and the impact on
the perception of her approach as “less polished” than those with formal academic training. She
explained, “They see my lack of degree as a lack of professionalism, but they do not understand
that my expertise comes from years of living this culture, not sitting in a classroom.”

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While participants acknowledged the shortage of Hip Hop specialists with formal
credentials, Five of the 12 participants shared efforts by their universities to be more inclusive in
their hiring practices. Five participant’s perceptions and experiences detailed how faculty and
administrators recognized the unique value of culturally rooted practitioners, even when those
individuals lacked formal academic credentials. Clifford recounted his experience of being hired
to fill a departmental vacancy, noting that his lack of a degree ultimately questioned his position,
“they [the Administration] did not realize I did not have a degree.” Ultimately, due to a
colleague’s unwavering advocacy and the high demand for his classes by students, Clifford
explained the administration “figured out a way to bring me back.”
Marshall remarked, “I know them [institution] working against a lack of funding for our
department and the entire university.” Additionally, faculty described how administrative
decisions often lack consideration for the resources and flexibility required to foster Hip Hop
dance in postsecondary institutions. The dependency on state funding added further complexity;
as Marshall explained, “We got an interesting relationship with our state legislature, which
provides the bulk of our funding for our university.” Systemic funding challenges often lead to
prioritizing traditional and elite art forms. Missy discussed how budget models and funding
structures in the United States prioritize “evening-length pieces that support companies like fullon dance companies, opera companies rather than grassroots Hip Hop companies and artists.”
She remarked, “What Hip Hop company is being presented?” The participants emphasized
institutional policies and norms, the commodification of Hip Hop dance in academia, and the
influence of limited funding on faculty challenges related to broader systemic barriers. Without
adequate resources, infrastructure, and recognition, it became difficult for faculty to effectively
teach Hip Hop dance in a way that respects its depth and significance.

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Theme 3: Fostering Innovation Through Immersive Practices
All 12 interviews revealed a consistent overlap in immersive teaching methods that use
experiential learning, cultural context, and community engagement to deepen students’
connection to Hip Hop dance and its broader significance. Faculty members described innovative
pedagogical strategies grounded in holistic, embodied teaching, leveraging technology, fostering
community engagement, and incorporating storytelling traditions as key categories influencing
the sustainability of Hip Hop dance education.
Category 6: Culturally Relevant Pedagogy in Hip Hop Practice
Responses indicated the value and broader significance of integrating cultural and
historical context within their curricula consistent with research on CRP (Ladson-Billings, 1994,
2014). Fifty percent of the participants (Shawn, Missy, Kendrick, Lauren, Marshall, and
Dwayne) discussed taking a “holistic, embodied” approach. Shawn stressed that teaching the
“cultural concept” behind Hip Hop ensures that students understand its context beyond dance
techniques. He prioritized that students develop a deeper embodied understanding, not just learn
the steps.
Kendrick aimed to teach the “why” behind the dances, not just the steps, seeing the
cultural context as integral to the embodied learning experience. Charles focused on the “5th
element” of the Hip Hop principles called “Knowledge of Self,” which connected his teachings
to the culture’s philosophy and values to deepen students’ understanding. Dwayne shared his
approach to developing technical skills alongside emotional, social, and intellectual growth. As
he puts it, he aims to “teach dancers how to adapt the methods and techniques” from Hip Hop,
such as “remixing, sampling, call and response, [and] live improvisation,” and apply them as
dance-making practices. Dwayne described his approach as “nurturing a new generation of

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dancers and performers.” He aims to cultivate well-rounded, empowered dancers and artists by
focusing on the whole person.
Missy described incorporating the “cipher theory” into her curriculum, emphasizing Hip
Hop culture’s communal, non-hierarchical, and collaborative essence. The faculty agreed that
appreciating Hip Hop requires more than “technical mastery” and “direct involvement;” it also
requires understanding Hip Hop’s cultural roots, philosophy, and history. Marshall discussed the
importance of a holistic approach to teaching Hip Hop, which connects multiple disciplines, such
as architecture, mathematics, visual arts, and music. He highlighted how Hip Hop influences and
reflects various fields, citing examples like the lyrical breakdown of Yasin Bey, formerly Mos
Def, an American rapper and actor’s song “Three is Magic Number.” He stressed that
understanding Hip Hop requires technical skills and an awareness of its cultural and
interdisciplinary significance. He argued, “It is a holistic approach...if they [his students] cannot
say what Hip Hop is in an accepted definition…their definition, and why they are doing it, then,
we wasted a semester.”
Participants described their goals to offer students a more comprehensive and meaningful
learning experience through an embodied and holistic teaching approach aligned with CRP
(Ladson-Billings, 1994). The emerging category of CRP united the approaches described by
participants, which were deliberate departures from traditional, technical dance instruction
affirming the cultural and academic value of Hip Hop.
Proactive Approach to Addressing Systemic Barriers.
Amid these challenges, the findings also pointed to moments of institutional support that
enabled the sustainability of Hip Hop programs. Faculty members emphasized a proactive
approach to addressing systemic barriers through advocacy of policy changes, curriculum

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development, resource allocation, community engagement leveraging community partnerships,
and research-informed practices. Several participants (Lauren, Kendrick, Calvin, and Aaron)
experiences pushed for advocacy for policy changes, recognizing Hip Hop as a legitimate
academic discipline, and creating dedicated Hip Hop degree programs or minors. Aaron argues,
“We have so many street styles that it can be a major.” The findings revealed participants’
consensus on developing comprehensive and culturally relevant Hip Hop curricula beyond
teaching dance techniques. Lauren proposed that her teaching approach looks at the dance
“reflectively,” while Kendrick described an approach that looks at Hip Hop dance as a
“phenomenon.” All participants shared approaches. Three participants’ (Charles, Marshall, and
Lauren) experiences included a team of existing Hip Hop faculty or “cultural avengers,” as
Lauren mentioned, who collaborate to build a robust, multi-faceted cultural curriculum and
program. Charles specifically expressed the uniqueness and impact of having a team of diverse
Hip Hop voices to help ensure the program is comprehensive and authentically represents the
culture.
Demonstrating the Academic Rigor and Cultural Value of Hip Hop.
Participants expressed the rigor and cultural value necessary to learn Hip Hop dance,
which included the complexity of the techniques, the diversity of the styles, the skill
development and immersion through practice, and the development of a foundational
understanding of the cultural context of Hip Hop as a subcultural movement. Lauren believed
rigor was critical in practice and teaching within Hip Hop knowledge-based dance learning. She
explained how rigor extended beyond physical movements, including intelligent self-reflection,
personal discipline, and academic thought processes. Lauren reflected on her efforts to foster a
culture of rigor, commenting that “rigor has been the greatest…all of those things come out of

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the rigor of one’s practice.” She noted that achieving and sustaining a high level of rigor is
contingent on various factors, such as personal practice and external opportunities like working
in specific venues or being recognized at higher levels.
Additionally, participants discussed how they incorporated rigor into their teaching by
balancing physical practices with academic expectations, even within compressed course
structures. Lauren explained, “I have taken two classes and moved them from full 16-week
semesters to half semesters…However, I still require academic rigor as well.”
Participants delineated the fundamental aspects such as discipline, intrinsic motivation,
and perseverance to master Hip Hop dance. Participants advocated for institutional support for
recognizing and visibility of their teaching approaches, including leveraging their extensive
experience as dancers. Like Lauren, a renowned Hip Hop dance practitioner, the self-taught
nature of many Hip Hop practitioners in the study mirrors the broader cultural ethos of Hip Hop,
which often emphasizes learning through lived experience, observation, and community
involvement. Eight participants identified themselves as self-taught, embodying the ethos of
organic skill-building. Kendrick remarked, “I am more interested in finding the institutions that
support the pedagogy I have built for the last couple of years…I think all that [pedagogy] goes
into what it [collective dance experience] is that I bring to the table.” He states how his lived
experiences and self-development help bridge the value of community-based knowledge within
an institutional framework. Participants discussed the rigor and cultural significance of learning
Hip Hop dance, emphasizing how institutional constraints hinder meaningful training and drive
the development of innovative and immersive practices to overcome systemic barriers.
Category 7: Use of Technology

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The participants incorporated digital tools to preserve and share accessible knowledge.
The responses from the interviewees, such as Kendrick, revealed that participants used digital
and catalog historical footage, photographs, and interviews with pioneers and influential figures
in the Hip Hop dance community. The faculty members discussed employing cutting-edge
technologies such as volumetric capture and holograms to create interactive, 360-degree
demonstrations and performances by master Hip Hop dancers. Participants like Kendrick
described integrating holographic and virtual reality (VR) experiences to enable remote access
and virtual participation in Hip Hop cultural practices. Half of the participants (Marshall, Missy,
Marshall, Lauren, Clifford, and Kendrick) mentioned collaboration with Hip Hop dance
communities to produce high-quality instructional videos, tutorials, music production, and
workshops led by respected practitioners and scholars. Participants collectively shared their
intent to work to create curriculum and teaching resources that reflect the cultural context and
historical significance of Hip Hop.
Participants discussed engagement on social media platforms to amplify the voices and
experiences of Hip Hop dance practitioners, sharing their stories, techniques, and cultural
perspectives. Participants discussed using and developing “online communities” and “discussion
forums” where Hip Hop enthusiasts, scholars, and educators can engage in dialogue, share
resources, and collaborate on projects. Clifford remarked, “Let me just play some music online.”
Digital engagement fostered a deeper understanding of Hip Hop culture and supported the
ongoing exchange and trends of knowledge sharing in a global, accessible space. The findings
described interconnected strategies of faculty using technology to demonstrate a comprehensive
and sustainable approach to Hip Hop dance education. They leveraged digital tools to preserve,

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share, and expand access to authentic resources and historical context for the preservation and
growth of Hip Hop as both an art form and a cultural movement.
Category 8: Community Engagement
The findings emphasized key strategies employed by the faculty members to help
students connect with the broader Hip-Hop community beyond the classroom, including
exposure to real-world applications and cultural immersion. The category emerged as community
engagement, which participants consistently discussed. Shawn and Kendrick described using
real-world experiences to take students to clubs, events, and community spaces where Hip-Hop
culture is actively practiced as an essential exposure for dance learning.
The importance of the cipher, a key element of Hip Hop culture, emerged as a tool for
cultural immersion and community engagement. Several participants (Clifford, Missy, Shawn,
Charles, and Shawn) most frequently mentioned the term “cipher” (cited by 58% of the
participants) as a dynamic social space that offers a platform for students to experience
collaboration, creativity, belonging, and cultural exchange first-hand. Charles further elaborated
on the significance of the philosophy and values behind the cipher, stating,
This [cipher] is the most beautiful thing about Hip Hop... the cipher is like a dance
tool. Being in a circle and having somebody dance in the middle is great. However,
the cipher has much philosophy, usually connected to the fifth element [knowledge
of self or self-awareness].
Participants described innovative community engagement through partnerships with Hip
Hop organizations and community-based initiatives to expand students’ learning outside the
classroom. Participants mentioned an approach that involved nurturing relationships with
external stakeholders to ensure that students gain practical, real-world exposure while

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contributing to the sustainability of local Hip Hop communities. For example, Lauren facilitated
connections between students and the local Hip Hop scene while encouraging student-led
initiatives and performances. Additionally, through efforts of student empowerment, faculty
members described their aim as cultivating a sense of ownership and leadership among students
beyond their academic years. Participants communicated the practice of bringing in “guest
speakers” and “workshop leaders” to allow students to engage with diverse voices, perspectives,
and expertise to enrich the student’s learning experiences and promote networking opportunities
within the broader Hip Hop dance industry. The community engagement category revealed
participants emphasized as a key strategy for students to connect with the broader Hip Hop
community beyond the classroom setting.
Advocacy Through Community Partnership.
Participants perceived that the structural rigidity misaligned with the dynamic and
community-oriented nature of Hip Hop culture. Faculty consistently emphasized gaining
institutional support for leveraging community-based partnerships, often as a response to the
challenge of the commodification of Hip Hop within academic settings. Nine participants
mentioned embedding community engagement central to their teaching philosophies and
practices while navigating institutional constraints. Participants frequent references to
“Community” (84 times across all the interviews) indicated an integral role of community in
their advocacy through tangible actions, such as organizing cultural events, creating mentorship
programs, and collaborating with local organizations to support Hip Hop cultural learning and
practice. Participants viewed community engagement as essential for the advocacy and
sustainability of Hip Hop dance in postsecondary institutions. Participants’ remarks surrounded
community engagement, deciding to “do a battle and make it a big community event,”

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integrating community-driven learning, fostering cultural authenticity through immersion, and
connecting academic efforts with real-world practices.
Participants also described community engagement as essential for preserving the
authenticity of Hip Hop in academic spaces. The participants regularly brought in “guest artists”
and instructors, providing students and the local communities opportunities to learn and engage.
Charles made his Hip Hop events “feel authentic” by hiring DJs, inviting guest judges, and
hosting community battles. Clifford described producing a competitive battle between four
universities. The participants also viewed the community as a source of inspiration, a target of
meaningful action in their work, and a foundational aspect of their perspective and practices.
Marshall discussed integrating guest lecturers from local communities to reinforce the history,
culture, and practices of Hip Hop within his courses.
Several participants mentioned the reciprocal relationship between academic spaces and
community practices in Hip Hop. For example, Missy was the only participant whose institution
integrated a complete academic program centered on Hip Hop theory and practice rather than
ballet. However, Lauren’s program was the most comprehensive marketing of Hip Hop arts and
included one of three focus areas for the undergraduate degree. Missy described her view and
advocacy with the dance department chair, noting that academic initiatives should connect with
the community while recognizing that many advancements in the field will come from
individuals trained in academic settings who then contribute to the broader community. Missy
noted the mutual dependence between academic spaces and community engagement to “keep
doing what we are doing.” Lauren was also co-director of a community engagement program,
emphasizing maintaining connections with local communities, describing the importance of
being part of “family or community functions” to support and sustain cultural ties.” Participants

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shared the importance of utilizing community-based partnerships to counter Hip Hop's
commodification within academic settings, often by advocating and gaining institutional support
to bridge academic and cultural practices.
Category 9: Storytelling Traditions
The findings showed transparent relationships between the faculty members’ use of
storytelling as a teaching approach in Hip Hop dance practice. Participants described the value
of incorporating storytelling and personal narratives into their teachings. Marshall described
using storytelling and personal narratives to connect with his students, stating, “I tell my students
I love them. I tell them that they are valuable. I tell them that their voices are important.” Nine
participants shared similar approaches, such as Shawn and Clifford, sharing storytelling
approaches by “sitting students in a circle.” Participants expressed the value of storytelling in
fostering cultural understanding, as the term “story” was mentioned by 75% of the participants.
Participants described storytelling as a teaching tool, using personal anecdotes, cultural histories,
and student narratives to engage students. Missy uses “oral history methodology” to foster a
deeper understanding and create meaningful learning experiences in the context of Hip Hop
dance and culture. Storytelling emerged as a category emerged as a teaching approach faculty
used in Hip Hop dance practice.
Summary of Research Question
The research question focused on the factors influencing sustainability, such as faculty
perceptions, experiences, and responses. The findings from this qualitative study seek to identify
former efforts and barriers that support or hinder sustainability between faculty and institutions.
The three themes illustrated the factors influencing the sustainability of Hip Hop programs in
university dance departments, focusing explicitly on faculty perceptions, experiences, and

80
responses. Given the reactions shared during the interviews, the findings illustrate the give-andtake process, demonstrating key themes such as the faculty’s role in bridging academia and Hip
Hop, institutional constraints as systemic barriers, and fostering innovation through immersive
practices’ mutual influences on each other. The varying perspectives emphasized that the
relationship between these themes is dynamic. As the anchors of sustainability, cultural dance
educators operate at the foundation of culture, pedagogy, and institutional constraints.
Entrenched attitudes toward the commodification of Hip Hop within postsecondary
institutions affected the interaction between faculty in dance departments across the United
Stations. However, 4 of 12 participants recognized shifts within their institutions, such as hiring
tenure-track faculty and integrating Hip Hop into required curricula. Faculty members’
experiences suggest a rising awareness of Hip Hop’s academic and cultural significance. The
interview evidence demonstrated that participants shared that while hiring faculty and integrating
Hip Hop into curricula are positive steps, genuine institutional commitment requires long-term
policies and structures that support these programs. The shift from support to faithful adaptation
involves systemic changes beyond isolated actions. All participants sought to establish advocacy
strategies and suggested revising hiring practices to ensure diverse representation, creating
formal pathways for Hip Hop studies majors or minors, or rethinking assessment and pedagogy
to align with the values of Hip Hop culture.
However, two participants questioned the reality of including Hip Hop degrees without
clear career pathways established. Four participant interviews suggested the inclusion of Hip
Hop dance as a focus or practice area of emphasis in existing dance degree programs. While
initial actions, such as hiring faculty and integrating Hip Hop into curricula, may reflect
institutional support in response to advocacy and demand, the successful sustainability of Hip

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Hop studies programs depends on whether institutions recognize them as integral to the broader
cultural and educational landscape. The Hip Hop dance faculty indicated that their continuous
advocacy supported a shift from viewing these programs as temporary or niche offerings to
direct stakeholder engagement and support increased resilience amidst changes in leadership,
funding, or institutional priorities.
Each institution identifies the role of faculty through various formal and informal
mechanisms, often shaped by the institution’s mission, strategic priorities, and governance
structures. Dance departments articulate the role of faculty in ways that align with teaching,
research, service, and community engagement, depending on the type and focus of the
institution. The relationship between faculty resilience, systemic adaptation, and individual
agency is an important mechanism facilitating sustainability. Interview evidence identified that
resilience enables them to cope with institutional challenges and facilitates systemic adaptation
by fostering sustainable practices. Through the interviews, all the participants acknowledged that
while institutions must adapt to the unique demands of higher education, the presence of
passionate, skilled educators creates pressure for these changes. The perspective suggested that
the back-and-forth dynamic between resilience and individual agency and system sustainability
amplifies sustainability and facilitates institutional transformation. Institutional transformation is
not solely top-down but relies on empowered individuals who can navigate and reshape resistant
systems.
This chapter concludes with analyzing data collected from 12 interviews and then
categorizing the themes. This study sought to understand the factors influencing the
sustainability of Hip Hop studies programs in postsecondary dance settings across the United
States. This research used semi-structured interviews to understand the individual and

82
institutional factors specific to Hip Hop dance studies. Findings in this study emerged from
constant comparison of evaluation and subjective interpretation through a grounded theory
approach. The discussion in Chapter Five includes the findings’ theoretical and practical
implications, recommendations, and potential implications for future research.
Table 7
Research Question Thematic Summary Table
Emerging Themes Categories Finding
Faculty’s role central in
bridging academia and
Hip Hop culture
cultural mediation 1. Faculty use their multidisciplinary expertise to
bridge communication and understanding
between institution and the Hip Hop
community.
faculty leadership and
capacity
2. Faculty leadership capacity impacts response to
institutional gaps.
Overcoming
institutional barriers to
cultural integration
institution policies and
norms
3. Faculty faced persistent obstacles, due to
institutional policies and norms.

commodification
4. Faculty perceived institutions commodify Hip
Hop dance, prioritizing marketability over
cultural authenticity.
limited
funding
5. Limited funding, a lack of course requirements,
and qualified instructors hinder programming,
the hiring and retention of faculty.
Fostering innovation
through immersive
practices
culturally relevant
pedagogy in
Hip Hop practice
6. Faculty shared a commitment to integrating
cultural context, history, roots, values, and
broader significance into their curriculum
aligned with CRP.
use of technology 7. Faculty used digital tools to preserve and share
authentic knowledge and history.
community engagement 8. Faculty employed community engagement to
connect students with the broader Hip Hop
community, foster real-world applications and
cultural immersion.
storytelling traditions 9. Faculty incorporate storytelling into their
teaching of Hip Hop dance practice.

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Chapter Five: Recommendations
The final chapter of this dissertation includes a discussion of the study findings based on
the data analysis implications for practice and recommendations. Through a grounded theory
approach, the qualitative study aims to understand factors influencing the sustainability of
cultural dance, specifically Hip Hop dance, in university dance departments across the United
States. Twelve faculty members, purposefully sampled, participated in interviews conducted via
Zoom video conference. The information gathered from the study participants reflected diversity
in professional and cultural experiences and interactions with postsecondary institutions,
providing an opportunity to gain insight from the perspective of the artistic dance education of
Hip Hop. Hence, the insight from this study is a conceptual and methodological roadmap for
guiding the research design, data analysis, and interpretation within the context of dance
education and Hip Hop studies. The chapter closes with recommendations for future inquiry.
Discussion Research Question
The findings of this study addressed the research question: the individual perception,
interpretation, and response to factors influencing the sustainability of Hip Hop studies
programs. This section discusses the themes that emerged from the data analysis and their
relationship with the existing literature in Chapter Two. The research led to nine findings that
underlie the multifaceted sustainability process in the context of cultural dance in higher
education (as shown in Table 7). The findings were consistent with other researchers’
perspectives on existing literature, particularly with themes from culturally relevant pedagogy
(CRP) and critical pedagogies aligned with integrating Hip Hop culture and dance into academic
spaces. Collectively, the factors created barriers to the sustainability of cultural dance, such as
Hip Hop, in postsecondary institutions. However, some prominent exceptions emerged.

84
Table 8
Findings with Participant Responses
Finding Participant Responses
1. Faculty use their multidisciplinary
expertise to bridge communication and
understanding between institution and
the Hip Hop community.
Dwayne “Using practices that you see in Hip Hop a lot like
remixing, sampling, call and response, live
improvisation”
2. Faculty leadership capacity impacts
response to institutional gaps.
Charles
Lauren
‘If you're looking for a high, level dance teacher to
come in, we should drop that because there might be
some incredible applicants that we're shutting out.”
"Being able to move in those spaces with continued
integrity, not just giving over everything that we have
to the institution, because it's an institution teaching
them…it reflects everything, teaching them how to
work with the community, even as the community is
changing."
3. Faculty faced persistent obstacles, due to
institutional policies and norms.
Calvin “The challenges are everywhere. They're nonstop.
They come from my faculty. They come from my
students. They come from the public, and it's those
challenges that are rooted in stigma of Hip Hop.
4. Faculty perceived institutions
commodify Hip Hop dance, prioritizing
marketability over cultural authenticity.
Missy
Lana
The United States has never supported the arts. The
arts have always been entertainment, which has been
a private entity. If you want to succeed in this space,
you've always had to somehow market yourself as a
private commodity.
"They [students] think it's just the opportunity to
learn choreography and feel dope and embody what
they envision. The cosplay of street kids.”
5. Limited funding, a lack of course
requirements, and qualified instructors
hinder programming, the hiring and
retention of faculty.
Shawn “My breaking class is an elective.”
6. Faculty shared a commitment to
integrating cultural context, history,
roots, values, and broader significance
into their curriculum aligned with CRP.
Aaron "I think the role is from what your experience is, to
find a way to help somebody that is not part of the
culture understand a little bit better. So, when they
decide that they want to be part of the culture, they
have a base."
7. Faculty used digital tools to preserve
and share authentic knowledge and
history.
Kendrick “I think the use of technology would be germane in
that regard, because as more and more pioneers of
Hip Hop dance, pass away, that information becomes
more vital. We're looking at ways of preserving
it…idea was to create holograms.”
8. Faculty employed community
engagement to connect students with the
broader Hip Hop community, foster
real-world applications and cultural
immersion.
Marshall “Hip Hop is nothing. if not a social and community
practice…I feel participating in jams, participating in
events. the club scene, the street scene.”
9. Faculty incorporate storytelling into
their teaching of Hip Hop dance
practice.
Lisa "I'll share with them definitely like the trials and
tribulations and something that happened in 94, you
know where and how it relates to today. And just
kind of the comparisons and of what it took to get to
that point, and how it was back then, in comparison
to how it is today."

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Finding One: Use of Multidisciplinary Expertise in Bridging Academia and the Hip Hop
Faculty perceptions emphasized how they leverage their multidisciplinary expertise to
bridge communication and understanding between academic institutions and the Hip Hop
community, a characteristic essential for engaging with diverse cultural practices like Hip Hop.
This approach aligns with educational trends emphasizing breaking down traditional academic
silos and incorporating various disciplines to create comprehensive and relevant curricula
(Ladson-Billings, 1995; Risner & Anderson, 2015). For example, Dwayne used “remixing,
sampling, call and response, and live improvisation.” Theories of performance, interdisciplinary
applications in dance, and Black cultural studies further highlight the need for faculty to integrate
methodologies from disciplines such as ethnography, critical race theory, and performance
studies to understand complex social movements like Hip Hop (DeFrantz & Gonzalez, 2015). As
cultural mediators, faculty perceived their embedding Hip Hop’s core values of creativity, selfexpression, intersectionality, and social justice into curricula as consistent with culturally
relevant pedagogy (Crenshaw, 1989; Ladson-Billings, 1994; Mitchell, 2014; Nichols & Stahl,
2019) while advocating for their cultural roots to ensure authenticity.
The faculty perceived that their commitment strengthens educators’ strategies for
addressing institutional constraints and systemic barriers, as supported by research on critical
pedagogies in dance and Hip Hop (Alim, 2023; Ladson-Billings, 1994; McCarthy-Brown, 2021).
The findings emphasize the acknowledgment of faculty possessing multidisciplinary expertise
utilized for expanding their leadership capacity to bridge institutional gaps and contribute to the
sustainability of Hip Hop programs within academia. The ability of faculty to act as cultural
mediators is the foundation that sets the stage for exploring strategies to sustain connections
between academic institutions and the Hip Hop community.

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Finding Two: Faculty Leadership Capacity Bridge Institutional Gaps
Faculty perceived faculty leadership significantly influences the sustainability of
university dance programs, with tenure status and cultural competency playing key roles.
Tenured faculty often have greater job security and institutional backing, allowing them to
implement sustainable initiatives, develop inclusive curricula, and challenge Eurocentric
frameworks while celebrating diverse perspectives (Akom, 2009; Alim, 2023; Ladson-Billings,
1995). These leaders utilize resources and administrative support to embed equity and
sustainability into programs by diversifying curricula and addressing power, privilege, and
cultural appropriation (Bensimon, 2005; Risner, 2007). Non-tenure-track faculty face challenges
such as limited resources and autonomy, which hinder their ability to establish continuity and
connect with grassroots Hip Hop communities. However, non-tenured faculty still contribute to
innovation and inclusion within their capacity (McCarthy-Brown & Schupp, 2023). Integrating
Hip Hop studies into university dance programs demonstrates how culturally competent
leadership can transform curricula, promote equity, and bridge institutional gaps, aligning with
Hip Hop’s legacy as a tool for social change and culturally relevant education (Alim, 2023;
Buffington & Day, 2018).
Finding Three: Faculty-Faced Persistent Obstacles Due to Institutional Policies and Norms
Hip Hop instructors in higher education dance programs face persistent obstacles when
integrating non-Eurocentric dance forms due to entrenched institutional policies, norms, and
biases that stigmatize Hip Hop and favor traditional Eurocentric aesthetics. Walker (2019)
contended how these barriers reflect hierarchical values within academia, which resist curricular
and pedagogical changes that deviate from the established canon of ballet and modern dance.
The findings revealed that funding and resource allocation models often exacerbate these

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challenges by prioritizing Eurocentric dance forms, leaving cultural dance programs undervalued
(Buono & Davis, 2022).
Despite these constraints, faculty members demonstrated adaptability and resilience by
revising their teaching approaches and finding creative solutions to overcome institutional
resistance. For example, Shawn described changing the course titles each year, even if the
content is similar, so returning students can retake it, stating, "If I want that same group to take
the next year's course. I have to say breaking 202, level up, power up, that is a new course.”
McCarthy-Brown (2022) noted that while the imbalance between maintaining cultural
authenticity and institutional expectations persists, supportive environments, collaborative
efforts, student advocacy, and faculty innovation have occasionally fostered more inclusive
dance education programs. Though limited within this study, these instances of progress signal
the potential for transformative change through collective action and reimagined pedagogical
strategies that challenge hegemonic values and promote curricular equity (Gottschild, 2003;
McCarthy-Brown & Schupp, 2023).
Finding Four: Institution-Consistent Commodification of Hip Hop Dance
The commodification of Hip Hop dance in postsecondary institutions has significant
implications for its cultural authenticity and long-term sustainability. The findings revealed that
faculty perceived that when academic institutions commodify cultural dances such as Hip Hop, it
often reduces the discipline teaching experience to a spectacle, marginalizing the dance
discipline. The findings contribute to researchers’ work on the barriers reinforcing systemic
inequities in dance education (Fogarty & Johnson, 2022; McCarthy-Brown, 2014). Hip Hop
practitioners in the study raised concerns and expressed frustrations about how the
commodification of Hip Hop dance in academic institutions creates an institutional barrier to

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sustainability. Furthermore, participants’ perceptions of the institutional commodification of Hip
Hop-dance reflect interest convergence (Bell, 1967), where universities embrace Hip Hop when
it serves their branding, diversity initiatives, or funding goals while limiting its authenticity and
autonomy. Participants perceived this selective investment results in Hip Hop’s
institutionalization in ways that prioritize academic interests over the empowerment and
recognition of its originators, reinforcing systemic power imbalances.
The findings revealed the awareness of faculty diversification approaches united in
culturally relevant pedagogies as responses to overcome Eurocentric focus. Existing literature
supports the response of increasing faculty diversity in dance in higher education as a critical
impact, dismantling systemic racism, and preserving Hip Hop’s authenticity in education (Ford,
2020; Schupp, 2022). The demographics of the Hip Hop practitioners with deep cultural
knowledge and experiences in the study contrast sharply with the predominantly homogenous
makeup of dance faculty in higher education reported in the literature (IPEDS, 2021). The
diversity of faculty is crucial for sustaining the relevance, rigor, and development of Hip Hop
dance in academia, an art form whose origins are distinctly traced to the plurality of culture,
identities, and creative expressions of marginalized American communities, with origins tied
deeply to the lived realities, creativity, and resilience of Black communities. Lana described her
vision for what a sustainable Hip Hop program in academia should look like, emphasizing
faculty who are deeply invested in and connected to the culture, not just using it for professional
gain. She said, “Just people invested in teaching the culture, but engage in the culture entirely,
not just for work. This means they go out and activate the culture in some sort of way.” This
distinction reinforces the cultural and historical significance of tying academic experiences to
reflect and unify different voices within the broader American experience,

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Despite Hip Hop’s deep cultural roots and global significance, its representation in
academia is limited, with only 63 schools offering units compared to ballet’s broader focus
(Dance Magazine, 2024). Critical Hip Hop Pedagogy (CHHP) provides a framework for
integrating equity, identity, and cultural relevance into curricula, ensuring the teaching of the art
forms with integrity (Akom, 2009; Alim, 2023; Rose, 1994). Hip Hop dance teachers prioritize
curriculum development of Hip Hop courses to provide dancers with proper training,
conditioning, and educational support with a commitment to develop their skills and cultural
understanding. Hip Hop dance practice and the inclusion of an area of focus in existing dance
degree programs across universities in the United States can foster student empowerment and
professional adaptability (McCarthy-Brown, 2014; Schupp, 2017). Institutional support emerged
through collaborative efforts between faculty and institutions addressing Hip Hop's
commodification and prioritizing its cultural significance. This shift is vital for enhancing the
visibility, legitimacy, and long-term sustainability of Hip Hop dance.
Finding Five: Limited Funding Affects Curriculum Requirements, Hiring, and Retention
Limited funding, a lack of course requirements, and insufficiently qualified instructors
hinder the sustainability of Hip Hop programming and faculty retention. Participants perceived
that achieving sustainability requires equitable funding models recognizing Hip Hop’s cultural
and educational value, supported by partnerships, grants, and advocacy for institutional or state
backing. Moreover, the participants’ perceptions pointed to the variations in student interest
across dance disciplines, raising questions about how institutional support faculty composition
aligned with enrollment trends, further emphasizing the economic and structural barriers to
tenure and stable employment for hip-hop faculty exacerbated institutional challenges. The
finding is consistent with the HEADS (2021) enrollment data report, which revealed a shift in

90
student interest in dance programs. Among 52 institutions offering Bachelor of Fine Arts (BFA)
or equivalent degrees with at least 65% of coursework dedicated to dance, General Dance had
the highest enrollment (855 students across 20 institutions), followed by Choreography and
Performance (565 students at 12 institutions) and Modern Dance (538 students at eight
institutions). Despite ballet’s historical prominence in academia, HEADS data reveals a 15%
decline in enrollment since 2011, with the 2021 report showing ballet had the lowest enrollment,
306 students across five institutions. The declining enrollment in ballet raises critical questions
about institutional hiring and faculty composition.
The perceived experiences of participants signal an institutional hierarchy that privileges
European dance traditions over Hip Hop, despite the latter’s growing student interest and
enrollment. The faculty members’ experiences provide insight into how Hip Hop courses
generate revenue but remain undervalued regarding faculty stability, professional development,
and pathways to tenure. Buono and Davis (2022) identified a similar systemic bias in higher
education dance certification programs, where expert evaluations were predominantly based on
ballet criteria, regardless of a student’s specialized dance form. This structural preference aligns
with Okun’s (2021) framework of White supremacy culture (WSC), which critiques how
dominant institutions define “qualified” faculty based on historically Eurocentric norms. The
reliance on traditional apprenticeship and mentorship processes to determine dance qualifications
further reinforces barriers for Hip Hop educators. Okun’s (2021) work provides critical insight
into how these institutional structures shape faculty hiring and tenure opportunities. One
identified WSC characteristic is the assumption of “qualified” (p.148) as an inherently Whitecoded trait reflected in university hiring practices that privilege European dance traditions. Thus,
the tenure status in dance departments warrants scrutiny. The faculty members’ perceptions point

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to the faculty composition within their dance department remaining disproportionately adjunct,
with limited access to stable employment or career advancement.
While HEADS (2021) reports 65.5% Full-Time Equivalent (FTE) faculty at 76
institutions, this figure raises questions about how tenure proportions are calculated. If adjunct
faculty who teach substantial course loads are excluded, the reported percentage may obscure the
reality of faculty precarity. The finding reveals a discrepancy in faculty composition perceived
by the participants, like Buono and Davis (2022), which aligns with participants’ experiences
and perceptions that limited funding affects curriculum requirements, hiring, and retention.
Further, financial constraints may contribute to the marginalization of Hip Hop studies,
reinforcing a cycle where economic decisions dictate whose knowledge is deemed legitimate.
Moreover, faculty-perceived challenges reflect systemic funding disparities highlighted
in equity-focused literature (Ladson-Billings, 1995; Paris & Alim, 2017), which critiques the deprioritization of marginalized art forms like Hip Hop in favor of Eurocentric traditions while
often overlooking the role of external partnerships and lobbying in sustainability efforts.
Sustainability requires integrating Hip Hop into core curricula, emphasizing its cultural, social,
and artistic significance while advancing diversity, inclusion, and cultural preservation. The
findings align with CRP (Ladson-Billings, 1995) and Culturally Sustaining Pedagogy (CSP)
(Paris & Alim, 2017), which advocate embedding students’ cultural identities into learning.
Consistent with research by Alim (2023), youth culture studies educators’ use of Hip Hop’s
potential to engage students. However, dance studies often focus on cultural preservation,
overlooking evidence-based approaches to institutional alignment (Bragin, 2022; DeFrantz,
2016).

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Participants perceived the collaborative efforts between universities and industry leaders
to advance career pipelines for Hip Hop practitioners, including roles in professional companies,
education, and community outreach, addressing barriers to Hip Hop's academic legitimacy as
essential to sustainability. While studies on professionalization (Wyszomirski et al., 2023)
highlight the importance of career infrastructure, findings suggest that cultural and community
alignment are equally vital for sustainability. Institutions adopting inclusive hiring practices will
demonstrate the value of cultural expertise alongside formal credentials advocating for
practitioners transitioning to academia. The approach aligns with CSP (Paris & Alim, 2017) and
CRP frameworks, which emphasize cultural authenticity to enhance credibility and student
engagement while critiquing traditional hiring practices that often marginalize cultural expertise.
Increasing the duration of cultural dance courses, offering sequential classes, and
establishing intensive programs or residencies can enhance dance departments' commitment to
diversity. It is consistent with observations of experiential learning frameworks (Kolb, 1984),
emphasizing immersive and progressive education. Although often overlooked because of the
resource challenges involved. The limited span of Hip Hop training fails to meet the body
conditioning, rigor, and cultural understanding required for meaningful mastery. For example,
Charles questioned rigor by stating, "Can we reach a point where we are challenging the artistic
minds of Hip Hop dancers to the same level as we are to ballerinas and modern dancers."
Grassroots efforts by faculty and students can further drive institutional change by leveraging
data on enrollment, feedback, and community impact to advocate for support. The faculty
perceived their efforts aligned with organizational change literature (Kezar, 2021), highlighting
advocacy and data-driven reforms. However, it often underestimates the power of student and
community engagement in driving bottom-up change.

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Faculty perceptions addressed the sustainability of Hip Hop dance in higher education,
which requires addressing systemic inequities through education, policy changes, and external
partnerships, advocating for Hip Hop as an academic and cultural asset that drives social change
and community empowerment. Critical race theory (CRT) (Bell, 1980) highlights systemic
barriers marginalizing nonwhite cultural contributions in academia but often overlooks the
intersection of race, culture, and art form, which these findings address. The sustainability of Hip
Hop dance programming requires addressing systemic inequities through equitable funding,
curricular integration, inclusive hiring practices, and strategic collaborations while recognizing
Hip Hop's cultural and academic value, fostering community empowerment, and aligning with
frameworks such as CRP CSP and experiential learning theories.
Finding Six: Faculty Shared Commitment Consistent With CRP
Emerging from the findings, the holistic and embodied teaching approaches are unified
towards CRP, fostering sustainability in Hip Hop dance practice (Ladson-Billings, 1994, 1995,
2014). The faculty is dedicated to integrating Hip Hop's cultural context, history, roots, values,
and significance into their teaching. Relevant to observations, CRP prioritizes connecting
academic content to students' artistic and lived experiences, aligning well with the participants'
emphasis on holistic approaches beyond technical mastery. Thus, fostering foundational
principles in cultural dance learning is essential for mastery. Hip Hop educators bridged the
curriculum with students’ lived experiences by teaching the “why” behind movements and
incorporating methods such as remixing, sampling, call and response, and live improvisation,
consistent with Calamoneri et al. work (2020) on the embodiment of cultural dance leads to
ethical and critical dance practice. Unlike traditional iterative dance learning, the participants'
experiences show that creating a sustainable practice model that emphasizes technical precision

94
and replication within hierarchical, Eurocentric frameworks. Lisa explained, “They were not
taught Hip Hop the way I lived it.” Traditional dance learning in higher education often centers
on rigid technical mastery and performance precision, preserving institutionalized practices
within hierarchical teacher-student dynamics.
Hip Hop educators in this study embraced dynamic, communal practices, prioritizing
evolution and expression. This highlights the need to connect academic content to students’ selfawareness and promote critical consciousness alongside artistic and technical development.
While CRP provides a foundational framework for culturally relevant teaching, it does not fully
address Hip Hop's unique cultural, historical, and philosophical dimensions. Thus, the limitation
is particularly evident when CRP lacks tools to comprehensively address structural inequities,
racial dynamics, and the distinct communal values central to Hip Hop’s identity.
The study highlighted the transformative potential of integrating CRP with CHHP and
CDP. CHHP emphasizes situating Hip Hop education within its cultural and historical roots to
foster critical consciousness (Akom, 2009). Faculty in the study embodied CHHP principles by
incorporating the cipher, a non-hierarchical and communal space that encourages collaboration,
mutual respect, and cultural preservation. Missy described incorporating “cipher theory” as the
center of her curriculum. Similarly, McCarthy-Brown’s work (2022) on Critical Dance Pedagogy
(CDP) draws on critical race theory to challenge Eurocentric norms in dance education that view
Hip Hop as a cultural practice intertwined with broader societal issues. Central to Hip Hop’s
artistic canon, the cipher mirrors CRP’s tenets by fostering student engagement, cultural
competence, and community connection.
As a pedagogical tool, the cipher creates a circular, communal learning process where
knowledge is co-constructed, shared, and exchanged. However, the non-hierarchical nature of

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the cipher can challenge the structured, hierarchical dynamics prevalent in institutionalized
education. CRP’s focus on individual achievement and adaptation to existing structures often
contrasts with the cipher’s emphasis on collective learning and shared responsibility to yourself
and others. These differences turn towards critical pedagogies like CHHP and CDP, which
explicitly address systemic inequities and prioritize cultural preservation, but not specifically for
dance and institutional alignment. By integrating these frameworks, educators can align the
principles of CRP with the cipher’s communal ethos, creating a culturally grounded, inclusive,
and sustainable model of Hip Hop dance practice that honors its origins while equipping students
for lifelong engagement.
Finding Seven: Use of Technology
Technology in practice in cultural and educational contexts supports sustainability.
Faculty perceived utilizing digital tools, including immersive technologies like virtual reality
(VR) and holograms, alongside digital platforms for archiving and content sharing to preserve
and expand access to Hip Hop’s cultural practices. Advanced tools like holograms and VR
facilitate innovative approaches to teaching and practice, which, when used thoughtfully, can
ensure cultural and educational relevance (As shown in Table 8). Hip Hop originators innovative
technology by creating new forms of self-expression, and so practitioners continue to use
strategies that reflect Hip Hop’s origins in innovation and self-expression, emphasizing the role
of digital tools in maintaining the cultural essence of Hip Hop as it globalizes (Fogarty &
Johnson, 2022). The findings demonstrate how educators leverage technology to promote global
engagement and deeper cultural understanding and respond to the institutional constraints of
course durations.

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Safeguarding the movement’s history could be a cost-effective way to enact archival
efforts to preserve Hip Hop's cultural roots while offering students immersive learning and
remote participation. Akom (2009) highlights the potential of such technologies to expand
educational opportunities and deepen students’ understanding of cultural practices. Collaborative
efforts to produce instructional videos and workshops further democratize dance knowledge,
fostering global connections and evolving Hip Hop as a culturally significant art form closely
tied with Hip Hop pedagogies (Alim, 2023; Rose, 1994).
While technological advancements offer transformative potential, digital equity and
authenticity concerns remain prominent. Researchers contend that the risk of misrepresenting or
modifying cultural elements through digital tools is a significant challenge and caution against
distorting cultural meanings in digital formats (Goletti & Milovanovic, 2022; Rose, 1994;
Schloss, 2009). The digital divide may also exclude communities lacking access to high-tech
resources, exacerbating educational disparities.
Finding Eight: Community Partnerships and Engagement
Participants’ perceptions emphasized that community engagement and partnership are
beneficial in providing value to the institution and sustainability of the dance program. The
findings contribute to a clearer understanding of community engagement practices that create
dynamic learning environments offering students real-world applications and cultural immersion
in Hip Hop culture. By collaborating with community organizations, faculty facilitate
experiential learning opportunities, allowing students to engage with Hip Hop beyond the
classroom. Building upon critical Hip Hop pedagogy, students' ability to understand Hip Hop's
social, political, and cultural dimensions (Akom, 2009; Alim, 2023; Bragin, 2022; Rose, 1994).
While previous research focuses on the cultural context of community engagement, these

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findings demonstrate faculty advocacy for funding and institutional alignment and support.
Participants’ perceptions stressed the importance of institutional support and external
partnerships in ensuring the success of community engagement initiatives. The faculty
perceptions and experiences demonstrate Hip Hop's relevance in academic and cultural contexts
by organizing student-led projects, performances, and community collaborations. Lauren argued
that courses aim to understand, not that students need to “supplant their voices with the voice of
the community,” but find “points of alignment in the message.” The community engagement
approach contrasts traditional dance education, whose academic setting involves only the
classroom. The approach is consistent with Ladson-Billings (2014), supporting how initiatives
between conventional teaching methods and innovation assist in bridging gaps between
community and academia while providing flexible learning experiences that engage students in
culturally relevant ways.
The shared emphasis by participants' perceptions on embodied learning in Hip Hop dance
training further underscores the significance of community engagement in fostering critical
thinking and reflection. Hip Hop educators encourage students to interrogate their study content
through personal experience and active participation. Faculty perceived that Hip Hop dance, a
physically expressive art form, allows students to embody cultural knowledge, deepening their
understanding and connection to the material. Faculty perceived the facilitating immersive
practices emphasizing physical and intellectual engagement with Hip Hop culture support
students' critical consciousness development. By integrating these pedagogies with community
engagement strategies, faculty empower students to critically assess Hip Hop's cultural impact
and encourage them to contribute to the ongoing evolution of the art form (Alim, 2023). This
synthesis of experiential learning, community collaboration, and critical pedagogy ultimately

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enriches students’ educational experiences while ensuring the sustainability of Hip Hop practice
in academic settings.
Finding Nine: Faculty Incorporate Storytelling into Hip Hop Dance Practice
Participants perceived storytelling in Hip Hop dance practice as crucial for preserving
cultural authenticity and fostering a deep connection to the art form's roots. Faculty members
perceived using personal and cultural narratives to create a relatable, meaningful learning
environment, aligning with research on the role of storytelling in Hip Hop communities to
enhance cultural understanding and engagement (Bragen, 2022; Park, 2022). The participants
emphasized that the approach enriches students' comprehension of Hip Hop as a dance form and
a cultural expression. Hip Hop faculty members perceived that incorporating storytelling into the
curriculum encourages students to share stories, fosters a sense of belonging and deepens
student-teacher engagement relevant to Park’s work (2022) on Hip Hop oral history practices.
Furthermore, as faculty shared their experiences, their perceptions highlighted that building
personal connections helps establish trust, creating a classroom community that enhances
learning and supports the long-term sustainability of Hip Hop dance programs.
Moreover, storytelling is an adaptable pedagogical tool that can be tailored to various
teaching contexts, from formal classrooms to community-based settings, allowing Hip Hop
dance programs to evolve with shifting student demographics and cultural dynamics (LadsonBillings, 2014). By sharing personal narratives, students reflect on their cultural identities and
strengthen their connection to Hip Hop, which enhances self-expression and emotional
investment (Fogarty & Johnson, 2022). Shawn shares his perspective on storytelling by
reflecting on the evolution of Hip Hop, stating that “Hip Hop is dead.” He explains that the oral
histories and diverse approaches passed down over time have shaped movement development,

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drawing from previous environments and movements. However, he believes that the essence of
what came before is now gone, and in its place, there is a new approach, a fresh label that
resonates with newer generations. Thus, the faculty’s perceptions of storytelling support
culturally relevant pedagogy in creating inclusive environments where students’ cultural
identities are validated (Ladson-Billings, 1995). While Jones (2015) cautions that storytelling
may not resonate with all students, the study suggests that, when thoughtfully incorporated,
storytelling significantly enhances inclusivity, cultural relevance, and engagement, ensuring the
cultural sustainability of Hip Hop dance programs in educational settings.
Theoretical Implications
This study utilized a grounded theory approach to identify themes that informed the
development of an emerging theory and conceptual framework, the Culturally Resilient
Framework (CRF) (Alim, 2023; Ladson-Billings, 2014; McCarthy-Brown, 2022; Ottey, 1996).
Existing literature provides limited insight into the integration and sustainability of Hip Hop
studies, mainly dance, within university programs, with challenges such as institutional
resistance to non-traditional curricula and financial constraints remaining underexplored. While
frameworks like Culturally Relevant Pedagogy (CRP), Critical Hip Hop Pedagogy (CHHP), and
Critical Dance Pedagogy (CDP) offer foundational perspectives, they lack specific exploration of
how dance faculty apply these pedagogies in practice (Akom, 2009; Alim, 2023; LadsonBillings, 1994; 2014; McCarthy-Brown, 2022). Alim and Paris's (2017) expansion of CRP into
Culturally Sustaining Pedagogy (CSP) emphasizes the preservation of cultural practices.
However, a gap remains in understanding how faculty develop strategies to integrate and sustain
Hip Hop dance in academic spaces. Table 9 shows the key differences between CRF and other
critical pedagogies. This study addresses the gap in research on the emergence of CRF, which

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shifts the focus from cultural preservation to adaptation, resistance, and empowerment observed
by faculty experiences to systemic barriers.
Table 9
Key Difference Between CRF and Critical Pedagogies
Aspect Culturally Relevant
Pedagogy (CRP)
Culturally
Sustainable
Pedagogy (CSP)
Culturally Resilient
Framework (CRF)
Critical Hip Hop
Pedagogy (CHHP)
Temporal
Focus
Addresses immediate
cultural relevance in
learning
Long-term
preservation and
growth of culture
Immediate adaptability
and sustainability
Immediate and
transformative action,
grounded in current
realities
Orientation Centered on affirming
cultural identities,
fostering academic
success, and developing
critical consciousness
Centered on
maintaining
traditions and
practices for future
generations
Emphasizes how culture
and individuals adapt
and thrive amidst
systemic challenges
Grounded in Hip
Hop’s cultural and
political ethos to
challenge inequities
Goal in
Institutions
Bridge cultural gaps to
improve equity in
learning environments
Embed culture
authentically into
academic and
community spaces
Prepare individuals to
navigate and challenge
systemic barriers while
maintaining cultural
integrity
Use Hip Hop as a
transformative tool to
critique and dismantle
oppressive systems
Cultural
Identity
Validates and affirms
students’ cultural
backgrounds
Sustains and
nurtures cultural
practices over time
Emphasizes resilience
and agency in cultural
identity
Centers Hip Hop as
both cultural identity
and a critical lens for
societal change
Focus Relevance and respect for
students' cultural contexts
in teaching
Perpetuation and
amplification of
cultural practices
Adaptation and
empowerment in
challenging
environments
Empowerment through
Hip Hop’s practices,
ideologies, and critical
examination
Power
Dynamics
Develop critical
awareness of inequities
Sustain equity by
preserving cultural
agency
Resist and adapt to
inequities in systems
Directly critiques and
resists oppression
through Hip Hop
culture
Faculty members act as cultural mediators and leaders, balancing the dual responsibility
of teaching Hip Hop with cultural authenticity while navigating institutional demands. The
pattern of the limited research explores how Hip Hop educators in postsecondary institutions
reconcile the dual roles, particularly in the face of barriers such as institutional policies, funding
limitations, and community engagement needs. The lack of institutional understanding creates a
gap in actionable strategies for sustaining cultural dances like Hip Hop in academia. By

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integrating academic rigor with cultural relevance through frameworks like CRP, CHHP, CDP,
and CSP, faculty strive to balance institutional expectations with the core cultural values of Hip
Hop. The CRF, as illustrated in Figure 2, centers on faculty agency and demonstrates how
“critical remixing” of critical consciousness, cultural authenticity, and innovative pedagogy can
create an educational environment that is both academically rigorous and culturally empowering,
ensuring the sustainability of Hip Hop dance in higher education.
The theoretical implications for educational theory, cultural studies, and institutional
change of the framework extend and redefine existing paradigms. Focusing on how cultural
practices sustain, adapt, and thrive in environments that face systemic marginalization or
commodification. The framework builds on CRP (Ladson-Billings) and CSP (Paris & Alim),
emphasizing adaptability and the interplay between resistance and resilience, positioning
resilience as a mechanism to confront systemic inequities. The CRF aligns with ecological
systems theories (Bronfenbrenner, 1979) by showing how cultural practices interact with
external systems and centers the agency of cultural practitioners, specifically Hip Hop dance
educators, in navigating institutional norms while maintaining authenticity. Furthermore, the
CRF challenges Eurocentric paradigms and contributes to decolonial theory by positioning
marginalized cultural practices as complex, legitimate, and adaptable knowledge systems. CRF
expands theories of organizational change and leadership. The framework offers a lens to
understand how cultural systems adapt and transform institutional constraints. CRF deepens the
dialogue on how Hip Hop serves as both a cultural practice and a framework for organizational
change, ultimately redefining the interaction between marginalized cultural practices and
dominant systems.

102
Figure 2
Conceptual Framework: Culturally Resilient Framework
Recommendations
The three key recommendations address the essential findings for future considerations in
dance in higher education. This study explicitly focused on the experiences of Hip Hop dance
faculty. The recommendations guide dance educators and institutions in sustaining cultural dance
practice (as shown in Table 8). These program sustainability strategies align with institutional
goals, including diversity, equity, inclusion (DEI), community engagement, and curriculum
innovation. While many Hip Hop studies focus on preserving authenticity, the recommendations
in this study adapt the Cultural Resilient Framework (CRF) in a “critical remixing” of
institutional norms to align with their cultural values. The CRF shifts the focus to resilience and
adaptability, exploring how Hip Hop evolves within restrictive environments like academia.
Recommendation 1: Integrate Hip Hop Focus Within Existing Dance Degrees
Institutional &
Financial Barriers
Cultural
Mediation
Immersive
Practices
Creativity &
Resilience
Faculty
Agency
"critical
remixing"

103
Including Hip Hop dance as a focus area in dance degree programs assists the alignment
of academics with cultural relevance and industry needs. As dance evolves, it is essential to
incorporate diverse forms that appeal to students and the performing arts community. Institutions
can provide students with valuable skills, cultural literacy, and relevant competencies by
introducing a Hip Hop specialization within existing degrees like General Dance, Choreography
and Performance, and Modern Dance. The HEADS (2021) report showed that Bachelor of Fine
Arts degree programs or equivalent (65% dance content), general dance, choreography and
performance, and modern dance remain the top three majors among dance students, with a
noticeable 15% decrease in ballet enrollments compared to 2010 (HEADS, 2011, 2021).
Choreography and performance increased by 31% since 2010 (HEADS, 2011, 2021). The
enrollment decline indicates an evolving demand for broader skill sets, which Hip Hop can
fulfill. The growing interest in Hip Hop, particularly among the next generation of students,
further supports the integration.
Integrating a Hip Hop Arts focus into university degrees, as Figure 3 demonstrates,
provides a clear and structured approach to embedding a culturally resilient framework within
academic spaces. The Teach Hip Hop logic model shows the critical components of institutional
accountability. The conceptual framework of the CRF aligns institutional norms and policies to
also adapt towards promoting sustainability, cultural empowerment, and academic legitimacy.
By leveraging community partnerships, faculty development, and interdisciplinary coursework,
Hip Hop arts focus integration supports the CRF’s resilience and sustainability.
Recommendations for advancing the integration of Hip Hop focus in existing degrees include
securing funding, conducting comprehensive faculty and student needs assessments, and piloting
the program through targeted courses and community collaborations. These efforts would

104
increase the university’s inclusivity and have a long-term impact, empowering students and
communities by centering Hip Hop Arts within higher education.
Including Hip Hop specialization in three key dance majors is feasible. General Dance
major, Hip Hop would broaden students' exposure to diverse styles while maintaining a
foundation in traditional forms, equipping them with practical skills in performance,
choreography, and community-building. In the Performance and Choreography major, a Hip
Hop concentration would enable students to experiment with innovative choreographic methods
that integrate Hip Hop techniques, freestyle, and social commentary. Similarly, incorporating
Hip Hop into the Modern Dance major would encourage students to explore new creative
processes and performance approaches emphasizing individuality, expression, and social
commentary, aligning with modern dance’s focus on innovation and pushing boundaries in
choreography and performance.
A Hip Hop focus can also be integrated as a minor, certificate, or full major, allowing
institutions to start small and expand based on interest. Hip Hop can intersect with other
disciplines like music, theater, cultural studies, and education, enhancing its adaptability.
Integrating Hip Hop into dance programs enhances professional pathways for practitioners by
providing opportunities, legitimization, and essential resources that may otherwise be
inaccessible. Table 10 outlines that the Culturally Resilient Framework (CRF) provides a lens for
creating a comprehensive plan incorporating a Hip Hop focus, covering the rationale, program,
faculty structure, economic viability, and implementation strategies to ensure long-term success
and sustainability. Schools seeking to sustain or grow their enrollment should consider offering
Hip Hop as a concentration within Choreography/Performance or Performance-based degrees,
which already cater to students focused on artistic creation and technical proficiency. By

105
responding to enrollment trends and student interests, universities can enhance the feasibility of
Hip Hop-focused studies within their existing degree structures.
Figure 3
Culturally Resilient Framework in Practice: Teach Hip Hop Logic Model
Program Structure Recommendation
The proposed Hip Hop specialization must be built on a comprehensive, interdisciplinary
program structure combining practical training, theoretical studies, and community engagement.
The recommendation of cultural integration aims to provide students with a well-rounded
education in Hip Hop culture while preparing them for professional careers in the performing
arts and education. The program's core will focus on hands-on, practical training in foundational
Hip Hop dance movements such as Breaking, Popping, Locking, Social, House, and Krump.
These courses will be taught by experienced industry professionals or cultural practitioners who
bring real-world expertise and insights into the classroom. Students will develop technical

106
proficiency in these styles while understanding their cultural origins and evolution. In addition to
physical training and conditioning, students will engage in the theoretical aspects of Hip Hop
culture. The classes should explore the history, cultural significance, and sociopolitical impact of
Hip Hop, providing students with a deeper understanding of the movement's role in shaping
global society. These courses will encourage critical thinking and connect Hip Hop to broader
art, activism, and social justice themes. Table 9 demonstrates a sample curriculum for Hip Hop
arts integration adapted from participants’ perspectives and experiences.
Table 10
Sample Curriculum for Hip Hop Specialization
Course Title Course Description Credits Semester
Introduction to Hip
Hop Dance
Focusing on a strong foundational techniques and cultural context
of Hip Hop dance, encourages students to engage in studio classes
and community cultural events throughout the semester.
3 Fall
History and
Evolution of Hip
Hop
Exploration of the origins, cultural significance, and global
influence of Hip Hop as a movement and art form.
3 Spring
Hip Hop in Practice Students expand their skills in music, freestyle and cultural
connections, working with local DJs, beatmakers, beatboxers, and
producers in dance class ciphers and community settings.
Advanced Hip Hop
Choreography
Development of performance-ready pieces with emphasis on
creativity, originality, and technical execution.
3 Fall
Hip Hop Ensemble Comprises dancers and musicians exploring the connections
between Hip Hop musical practices and movement forms in a live
improvisatory setting, ciphers.
3 Spring
Capstone Project Original research or performance project that reflects students'
learning across the program, culminating in a final presentation.
3 Spring
The program should foster collaboration between the music, theater, and visual arts
departments. Students will have opportunities to work on multidisciplinary projects that blend
Hip Hop dance with music, live performance, and visual arts, enriching their educational
experience and preparing them for the collaborative nature of the performing arts industry. A key

107
element of the program will be its strong emphasis on community engagement. Educators should
actively facilitate students’ participation in annual showcases, masterclasses, and outreach
programs, connecting with local and global Hip Hop communities. These activities will provide
students with real-world performance experience and reinforce the program's commitment to
using Hip Hop as a tool for social transformation and cultural expression.
Economic Story: Sustainable Investment with Cultural and Financial Returns
The proposed recommendation is economically viable but requires strategic enrollment
management and diversified revenue streams to ensure long-term sustainability. The Hip Hop
specialization exists within the double-edged dynamic of interest convergence, where institutions
recognize Hip Hop’s ability to attract students and bolster enrollment but may not fully commit
to its long-term integration or cultural integrity. While the program aligns with student demand
and institutional enrollment goals addressed in the findings’ discussions about commodification
and institutional constraints, the sustainability of the inclusion of Hip Hop focus depends on
whether it is valued as a legitimate academic discipline rather than merely an enrollment driver.
Projected enrollment growth remains steady but is contingent on institutional support and
the broader landscape of higher education, where arts programs often face budget constraints.
Revenue generation will rely on tuition, showcases, workshops, grants, and partnerships with
industry and community organizations. The economic analysis, incorporating a 3% inflation rate,
accounts for rising costs and revenue adjustments over a 10-year horizon (as shown in Table 11).
Start-up costs remain at $215,000, with annual recurring costs increasing by 3% annually. By
Year 4, projected costs rise to $190,962 and continue increasing, reaching $225,616 by Year 10.
Revenue projections, also reflecting a 3% inflationary effect from Year 4 onwards, anticipate
approximately $350,833 in Year 4, growing to $507,905 annually by Year 10. However, these

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projections assume stable enrollment and institutional commitment beyond Hip Hop’s immediate
utility as an enrollment booster. Without deep integration into curricular structures and faculty
investment, the program risks being treated as an expendable recruitment tool rather than a
sustainable academic pathway.
Table 11
Culturally Resilient Framework in Practice: Teach Hip Hop
Key Area Recommendation Alignment with Institutional
Goals
Benefits
Institutional &
Financial
Barriers
Overcome barriers through
strategic planning, securing
funding, and demonstrating
value of Hip Hop.
Innovation in Curriculum:
Promotes new approaches to dance
education.
Enables integration of Hip
Hop while addressing
financial and institutional
constraints.
Cultural
Mediation
Incorporate Hip Hop as a
cultural mediation tool to
bridge formal academic and
cultural spaces.
Diversity, Equity, and Inclusion
(DEI): Creates inclusive, accessible
spaces for diverse cultural
expressions.
Enhances cultural
understanding, providing
students with a deeper
connection to global social
movements.
Immersive
Practices
Use immersive practices like
breaking, popping, and Hip
Hop freestyling in the
curriculum.
Innovation in Curriculum:
Provides experiential, hands-on
learning.
Enhances students' creative
and technical skills in
authentic Hip Hop practices.
Creativity &
Resilience
Foster an environment of
creativity, resilience, and
innovation through Hip Hop.
Innovation in Curriculum, DEI:
Encourages diverse, boundarypushing choreography.
Encourages students to
adapt, think critically, and
innovate in their dance
practice.
Faculty
Agency critical
remixing
Encourage faculty to utilize
critical pedagogies.
Diversity, Equity, and Inclusion
(DEI): Supports inclusive and
supportive learning environments.
Empowers faculty to create
culturally relevant,
meaningful, and inclusive
learning experiences.
Degree
Programs
Integrate Hip Hop focus into
existing degree programs,
certificate, minor, full
program.
Innovation in Curriculum, DEI,
Community Engagement: Reflects
a deeper commitment to addressing
systemic inequities and redefining
institutional priorities to align with
the cultural values.
Serves as a transformative
step that benefits both
students and the institution
while signaling a broader
cultural and institutional
shift.
Institutional
Goals
Align degree programs with
institutional goals of
innovation, DEI, and
community engagement.
Innovation in Curriculum, DEI,
Community Engagement:
Connects students with real-world
issues and communities.
Strengthens the institution’s
mission of diversity,
inclusion, and communitydriven engagement.
Ultimately, the financial sustainability of this program relies on the institution's
willingness to recognize Hip Hop as a lasting academic field instead of a temporary response to
market trends. The challenge lies in ensuring that Hip Hop’s inclusion in higher education is not

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merely transactional, simply filling seats but transformational, offering long-term benefits to
both students and the field of dance education.
Table 12
Teach Hip Hop Cash Flow Projections
Year Enrollment
(Students)
Tuition
Revenue
(USD)
Other
Revenue
(USD)
Total
Revenue
(USD)
Costs
(USD)
Net Cash
Flow (USD)
Discount
Factor (5%)
Discounted Cash
Flow (USD)
0
(StartUp)
0 $0 ($215,000) ($215,000) 1 ($215,000)
1 10 $200,000 $87,500 $287,500 ($180,000) $107,500 0.9524 $102,056
2 11 $216,000 $87,500 $303,500 ($180,000) $123,500 0.907 $112,263
3 12 $233,280 $87,500 $320,780 ($180,000) $140,780 0.8638 $121,960
4 13 $259,000 $91,833 $350,833 ($190,962) $159,871 0.8227 $131,978
5 14 $279,730 $94,218 $373,948 ($196,489) $177,459 0.7835 $138,409
6 15 $301,700 $96,621 $398,321 ($202,113) $196,208 0.7462 $146,307
7 16 $324,838 $99,042 $423,880 ($207,836) $216,044 0.7107 $153,337
8 17 $349,177 $101,473 $450,650 ($213,659) $236,991 0.6768 $160,648
9 18 $374,737 $103,915 $478,652 ($219,585) $259,067 0.6446 $167,606
10 19 $401,542 $106,367 $507,909 ($225,616) $282,293 0.6139 $173,841
Despite these cost increases, the program continues to generate positive cash flows. After
accounting for inflation-adjusted costs and revenues, the program's net present value (NPV) is $
1,193,405, indicating a profitable investment generating more value than its costs. The start-up
cost in Year 0 is recovered with the programs breaking even by Year 1, with cumulative positive
cash flow starting then, and remains profitable throughout the 10 years. The analysis
demonstrates that despite inflationary pressures, the Hip Hop specialization creates substantial
value and is a financially sound decision providing a strong return on investment for the
university.

110
Table 13
Teach Hip Hop Projected Revenue Streams: Short-Term (Years 1–3)
Revenue Source Details Estimated Revenue
(USD)
Increased Enrollment (8%) Increase of 10-12 student enrolling for the
specialization
$233,280 /year
Workshops/Community Classes Hosting 5 workshops annually with 20
participants at $50 each
$5,000/year
Partnerships and Grants Securing arts education and cultural
preservation grants
$50,000/year
Research Grants Applying for research-focused grants $25,000/year
Annual Community Engagement
Showcase
Hosting one large-scale showcase with 300
attendees
$7,500/year
Total Short-Term Revenue $320,780/year
Projected Revenue Streams
The Hip-Hop specialization program's short-term revenue (Years 1–3) is projected at
$320,780 annually (As shown in Table 13). The 8% enrollment increase of 10 to 12 students
annually generates $233,280 in tuition. Income comes from workshops, community classes,
partnerships, grants, and a community engagement showcase (See Table 13). Notable revenue
sources include $75,000 from arts, culture, and research grants. Over the long term (Years 4–10),
revenue will increase to $350,833–$507,909 per year as demand and enrollment grow (As shown in
Table 13). The projections include higher enrollment (13-19 new students annually), public
performances, workshops, and expanded grants, with the program reaching an even broader
audience and securing larger research and cultural education grants. Integrating Hip-Hop arts into
existing university dance programs is a financially viable and culturally transformative initiative that
promises long-term sustainability.
Start-up Costs

111
The start-up costs for launching a Hip Hop specialization within a university dance
program are essential for establishing a solid foundation (as shown in Table 14). Key
investments include faculty recruitment, with an estimated cost of $120,000–$150,000 per year
for full-time tenure-track and adjunct faculty, ensuring the program is led by experts in the field.
Guest lectures and practitioner honoraria are estimated at $15,000 to bring industry and cultural
professionals for workshops and talks. Curriculum development will require $10,000 to design
and approve academically rigorous courses. Marketing and outreach efforts, including
promotional materials and social media campaigns, are budgeted at $7,500. Facility upgrades,
such as studio space and sound system improvements, will cost $25,000 to create a better
environment for creative work. Professional development workshops on Hip Hop teaching will
cost $5,000 to help faculty improve their teaching methods. Lastly, $20,000 in seed funding will
support research projects for both faculty and students. The estimated start-up costs range from
$202,500 to $232,500, laying the groundwork for a culturally enriching and academically sound
program.
Table 14
Teach Hip Hop Projected Revenue Streams: Long-Term (Years 4–10)
Revenue Source Details Estimated Revenue
(USD)
Increased Demand and
Enrollment
12-19 new students annually $400,000–$600,000/year
Public Performances and
Showcases
Two major events annually with 300 attendees per
event
$15,000/year
Workshops and Community
Programs
Increased participation, offering certifications and
training
$15,000/year
Partnerships and Grants Securing larger research and cultural education grants $75,000/year
Total Long-Term Revenue $505,000-$705,000/year

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The faculty team for a Hip Hop-focused dance program consists of full-time faculty who
lead core courses, mentor students, engage in community outreach, and contribute to program
development. Adjunct faculty provide specialized instruction and masterclasses and help develop
new courses, offering flexibility as the program grows. According to HEADS (2021), Table 15
shows that full-time faculty earn $65,000–$80,000 annually, plus benefits, while adjuncts earn
$3,000–$6,000 per course. Public institutions that rely on state funding can sustain growth by
using existing resources, forming community partnerships, and applying for external grants.
Private institutions have more funding flexibility from tuition and donations, allowing for a mix
of full-time and adjunct faculty and opportunities for alumni engagement and private
sponsorships to support continued growth. Tailoring these strategies to the unique financial
structures of public and private institutions ensures the long-term success and sustainability of
the program.
The proposed faculty structure ensures scalability and flexibility while maintaining a
high-quality educational experience. It is designed to accommodate the program’s growth and
ensure that students receive diverse instruction and support as they develop essential skills for
their careers in dance. The program can maintain sustainability by strategically expanding
faculty while meeting academic and industry needs. The financial assessment projects that
maintain the Hip-Hop specialization will cost between $165,000 and $195,000 annually by Year
3 (as shown in Table 11). These costs cover faculty salaries, guest lectures, materials, marketing,
scholarships, and research.
Cost Benefit Analysis
The financial assessment for the Hip-Hop specialization program demonstrates strong
financial viability (as outlined in Table 11). Over 10 years, the program’s Net Present Value

113
(NPV) reached $1,73,841, confirming its inclusion in the existing degree program’s profitability.
In the first three years, revenue was $320,780 annually, driven by increased enrollment and
grants. From Years 4 to 10, revenue grew to $507,909 annually, fueled by sustained enrollment
growth, public performances, workshops, and expanded grant funding.
Table 15
Teach Hip Hop: Start-Up Costs (Year 1–2)
Category Details Estimated Cost (USD)
Faculty Recruitment Hiring full-time tenure-track faculty and adjuncts $120,000-$150,000/year
Guest Lectures/Practitioners Honoraria for visiting artists and speakers
($1,000/session)
$15,000
Curriculum Development Faculty time for course design and approvals $10,000
Marketing and Outreach Promotional materials, social media campaigns $7,500
Facility Modifications Studio upgrades, sound systems, and technology
integration
$25,000
Professional Development Workshops for current faculty to learn Hip Hop
pedagogy
$5,000
Research Initiatives Seed funding for faculty and student research
projects
$20,000
Total Estimated Start-Up
Costs
$202,500–$232,500
The program’s financial trajectory shows steady progress from its start-up phase. Year 0
incurs $215,000 in start-up costs with no revenue, setting the foundation for future growth. By
Year 1, enrollment of 10 students generates $287,500 in total revenue against $180,000 in costs,
yielding a net cash flow of $107,500. In the following years, enrollment growth drives revenue to
$320,780 in Year 3, with costs remaining stable at $180,000, reflecting solid financial health (as
shown in Table 16). From Years 4 to 10, revenue increases as enrollment reaches 19 students,
and total revenue grows to $507,909 by Year 10. Table 11 shows the program costs rise
incrementally. The financial projections show the program’s potential for growth, sustainability,

114
and success, with the net cash flows improving over time, peaking at $282,293 in Year 10, with
discounted cash flows at $173,841 and highlighting the cultural integration strategy’s ability to
generate positive results and reinvest in future growth and institutional norms and policies
changes.
Table 16
Teach Hip Hop: Faculty Composition and Budget Breakdown
Year FTE
Faculty
FTE
Salaries
Adjunct
Faculty
Adjunct
Faculty Pay
Total Faculty
Budget
Justification
1-3 1 $65,000–
$80,000
1 $3,000–
$6,000/course
~$90,000 Pilot phase with foundational
courses and guest instructors.
4-6 2 $130,000–
$160,000
1 $3,000–
$6,000/course
~$150,000 Increased enrollment requires
more faculty support.
7-10 3 $195,000–
$240,000
1 $3,000–
$6,000/course
~$220,000 Continued growth necessitates a
full faculty team for diverse course
offerings.
Beyond financial considerations, the Hip Hop specialization program provides cultural
and educational value by engaging underrepresented students, deepening understanding of Hip
Hop culture, and contributing to cultural preservation and education research. The program's
annual community showcases, and public performances should remain a key focus. The revenue
generated by community engagement activities offers students real-world experience, retaining
community engagement and the program's visibility. The Hip Hop specialization program is a
financially viable and culturally enriching investment for the university. The strong NPV of
$1.7M and consistent net cash flow growth after Year 3 confirm the program's potential to
achieve long-term financial sustainability.

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Table 17
Teach Hip Hop: Recurring Annual Costs (Year 3+)
Category Details Estimated Cost (USD)
Faculty Salaries Maintaining faculty positions $120,000–$150,000/year
Guest
Lectures/Practitioners
Continued engagement with industry professionals $10,000
Program Materials Equipment, costumes, and cultural media resources $5,000
Marketing and
Outreach
Annual marketing campaigns $5,000
Scholarships Support for underrepresented students $10,000
Research Initiatives Annual funding for research grants and student projects $15,000
Total Recurring Costs $165,000–$195,000/year
Recommendation 2: Launch a Recurring Conference
Integrating Hip Hop culture into academia offers a unique opportunity to challenge
traditional pedagogies and foster culturally relevant educational environments. As the study
highlights, the Culturally Resilient Framework emphasizes creating aligned intuitional support
and academic spaces where cultural practices can survive and thrive, empowering students and
educators. Research has demonstrated that integrating cultural practices like Hip Hop into the
curriculum enhances student engagement, particularly for those from marginalized communities
(Ladson-Billings, 1994; Paris, 2012). However, educators often face challenges in incorporating
Hip Hop effectively, such as limited professional development opportunities and insufficient
institutional support. Addressing these gaps through structured initiatives is critical to sustaining
and evolving Hip Hop culture in education. The proposed a recurring conference aligned with
the CRF, would serve as a vital platform for educators, students, and practitioners to share
innovations, teaching strategies, and research on Hip Hop in academia (As shown in Table 18).
Program Structure Recommendation

116
The conference aims to present a strategy to respond to institutional and financial barriers
while showcasing the value of Hip Hop as a dynamic force in education. Scholars addressed the
potential of Hip Hop pedagogy to engage students with meaningful learning experiences,
underscoring how reflecting students’ cultures in the curriculum fosters motivation and academic
success (Alim et al., 2012). By fostering dialogue and collaboration, the Street Style Lab would
create a network of scholars and practitioners, administrators, and students committed to
advancing Hip Hop education. The recurring event would provide professional development for
faculty and empower marginalized communities by validating their cultural contributions and
supporting the development of clear career pathways aligning with the CRF’s goal of sustaining
resilient academic spaces celebrating Hip Hop culture (As shown in Table 18).
For example, identifying several key assumptions to consider when planning a
conference focused on integrating Hip Hop culture into university curricula. Universities are
assumed to be increasingly open to cultural diversity in their curricula, fostering an academic
environment receptive to integrating disciplines like Hip Hop studies. Furthermore, this study’s
findings demonstrated a belief in Hip Hop’s educational value and a need to increase legitimacy
and visibility. Additional assumptions from this study point to the launching of a recurring
conference that supports faculty and practitioners’ perceptions, and that faculty perceived an
open opportunity for professional development and collaboration, enabling a blend of academic
and practical perspectives on Hip Hop as an educational tool. Funding challenges (budget
fluctuations and grants uncertainties.) are external factors that may affect the conference’s
feasibility. Planning committees should address these realities to ensure success and support the
integration of Hip-Hop culture into higher education.

117
Table 18
Culturally Resilient Framework in Practice: Recurring Conference
Focus Area Barrier CRF Strategy Institutional Alignment
Institutional
Barriers
Misconceptions about
Hip Hop’s academic
relevance or value.
Align conference themes with
institutional priorities (DEI,
innovation, student success).
Showcase research and case
studies demonstrating Hip
Hop’s educational impact.
Reinforces the institution’s
commitment to diversity and
equity.
Positions the institution as a
leader in culturally relevant
education.
Financial
Barriers
Limited funding and
competition for
resources.
Build partnerships with
cultural organizations,
nonprofits, and academic
bodies.
Secure corporate sponsorships
with tiered visibility
opportunities.
Encourages sustainable funding
through partnerships.
Enhances community and
corporate relationships that
benefit the institution.
Showcasing
Value
Lack of understanding
about Hip Hop’s cultural
and educational
significance.
Highlight success stories of
students, faculty, and
community members.
Incorporate live performances,
workshops, and
interdisciplinary panels into
the program.
Demonstrates Hip Hop’s
transformative power in
education.
Enhances institutional and
community pride.
Community
Engagement
Weak connection
between academic
programs and local
communities.
Invite community practitioners
and youth to participate in
events.
Host public-facing events like
open mic nights or showcases.
Strengthens town-gown
relationships.
Fosters the institution’s civic
presence and outreach goals.
Sustainability Risk of programs being
perceived as peripheral or
temporary.
Establish the conference as an
annual event.
Showcase measurable
outcomes, such as increased
student participation and
cultural awareness.
Positions the conference as a
flagship event, reinforcing
institutional reputation and
ongoing commitment to
cultural sustainability.
Revenue
Generation
Difficulty maintaining
financial viability over
time.
Utilize tiered ticket pricing
and premium packages.
Apply for grants emphasizing
educational equity and cultural
preservation.
Provides a scalable, selfsustaining model for ongoing
funding.

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Economic Narrative: Financial Viability Evaluation of the Conference
The conference demonstrates a strong financial outlook due to the scalable revenue
model, with a 10% increase in attendees and increased ticket revenue year-over-year, which
makes the revenue streams scalable. The showcase, cultural tourism grants, and drop-in revenue
also contribute to the sustainability of the conference. Based on the study's findings and strategy
integration of CRF, the Street Style Lab presents a highly viable economic project. The event's
projected revenue over ten years, with a 10% annual increase in attendance and a 3% inflation
rate for costs, yields a cumulative Net Present Value (NPV) of $638,308. The financial analysis
shown in Table 19 proposes that the event has strong potential for long-term growth and the
potential to bring significant financial returns, making it sustainable while supporting the next
generation of Hip Hop practitioners. By increasing revenue strategically and managing costs
effectively, the event will continue to thrive and deliver meaningful benefits to its supporters and
stakeholders.
Recurring conferences focused on Hip Hop dance play a pivotal role in the field's
professionalization by providing consistent platforms for networking, skill development, and
performance opportunities, which can enhance career prospects for emerging dancers. By
creating a reliable revenue model, these events contribute to long-term financial stability,
offering students and professionals access to paid gigs, sponsorships, and industry connections.
Additionally, the ongoing success of such conferences can help bridge the gap between academia
and the professional dance world, fostering job security and mentorship for students transitioning
into their careers.

119
Table 19
Recurring Conference Logic Model
Inputs Description Activities Outputs Outcomes
CRF Guiding principles for cultural
sustainability, empowerment,
and authentic representation of
Hip Hop in academia.
Curriculum
Development
Culturally
Relevant
Curriculum
Short Term
Knowledge &
Skills
Strengthened
Partnerships
Understanding of
Hip Hop in
Education
Faculty &
Educators
Faculty members from various
academic disciplines interested
in integrating Hip Hop into
curricula.
Workshops
and Seminars
Professional
Development
Resources
Hip Hop
Practitioners &
Artists
Artists, performers, and scholars
from the Hip Hop community
who can contribute expertise and
knowledge to the educational
space.
Collaborative
Research
Collaborative
Research
Publications
Medium Term
Widespread
Curriculum
Adoption
Improved Student
Engagement
Strengthened
Professional
Community
Research &
Knowledge
Existing research on Hip Hop
pedagogy, cultural studies, and
educational practices that can
inform curriculum development.
Community
Engagement
Networking
Opportunities
Institutional
Support
Administrative backing from
universities, including resources
for professional development
and event hosting.
Conferences &
Events
Conference
Presentations &
Proceedings
Long-Term
Outcomes
Sustained
Integration
Empowered
Communities
Launching a conference to increase the visibility and legitimacy of Hip Hop culture in
academia offers a strong financial outlook. The financial outlook supports the recommendation
of a recurring conference that will foster innovation, research, and collaboration within the
academic integration of Hip Hop, gaining institutional alignment with the cultural integration of
dance using the CRF strategies fostering sustainable spaces with cultural practices. Sharing
financial support from universities, cultural groups, corporate sponsors who support Hip Hop,
and faculty member involvement will ensure the conference’s success. Engaging the Hip Hop
community is key to reflecting Hip Hop’s culture. The conference will sustain and advance Hip
Hop culture in education by providing professional development and a platform for innovation.

120
Table 20
Cost Analysis Projections for Recurring Conference
Year Full
Attendees
(10%
Increase)
Showcase
Revenue
Drop-in
Attendees
Revenue
Total
Revenue
Total
Costs
(Inflated
@ 3%)
Net
Cash
Flow
Discount
Factor
(1 + r) ^t
Discounted
Cash Flow
(DCF)
Cumulative
NPV
1 100 $1,280 $15,000 $91,280 $44,000 $47,280 1.05 $44,057 $44,057
2 110 $1,408 $16,500 $100,128 $45,320 $54,808 1.1025 $49,751 $93,808
3 121 $1,549 $18,150 $109,212 $46,609 $62,603 1.1576 $54,070 $147,878
4 133 $1,704 $19,965 $118,742 $47,922 $70,820 1.2155 $58,322 $206,200
5 146 $1,874 $21,961 $128,729 $49,260 $79,469 1.2763 $62,308 $268,508
6 161 $2,062 $24,157 $139,296 $50,612 $88,684 1.3401 $66,179 $334,687
7 177 $2,268 $26,573 $150,508 $51,978 $98,530 1.4071 $70,011 $404,698
8 194 $2,495 $29,230 $162,531 $53,358 $109,173 1.4775 $73,872 $478,570
9 213 $2,745 $32,153 $175,428 $54,751 $120,677 1.5514 $77,999 $556,569
10 234 $3,020 $35,368 $189,300 $56,157 $133,143 1.6287 $81,739 $638,308
Recommendation 3: Creating a Hip Hop Dance Digital Archive
Due to the innovative nature of Hip Hop’s ethos, the use of technology for sustainability
has become a critical approach to safeguarding the movement’s history by Hip Hop practitioners
while offering immersive learning experiences. Akom (2009) contended that the potential of
technologies is to expand educational opportunities, deepen students’ understanding of cultural
practices, and create cost-effective ways to preserve Hip Hop’s cultural roots. Creating an online
repository of teaching materials, curriculum guides, and video resources showcasing Hip Hop
dance techniques, history, and cultural narratives aligns with the CRF principles, emphasizing
preserving and adapting cultural practices through modern tools. The CRF ensures that while Hip
Hop’s foundational elements are preserved, the knowledge can evolve with contemporary digital
platforms, reflecting the dynamic nature of the culture.
The efforts to codify the evolution of Hip Hop dance through digital databases, 3D
volumetric recordings, and interactive learning tools provide more than just dance instructions;
the study’s participants’ use of technology aims to convey the emotional and cultural expressions

121
tied to these movements. The digital archives embody the CRF core, which focuses on
transmitting cultural knowledge across generations while maintaining cultural authenticity (as
shown in Table 21). These technologies provide learners with a dynamic, embodied experience
that connects them to the cultural and historical context of the dance. Augmented reality (AR)
and other immersive tools reinforce connections of intergenerational transmission of knowledge,
allowing users to engage with Hip Hop in a way that mirrors traditional learning practices yet
adapts to the technological advancements of the digital age. The use of technology aligns with
the CRF’s vision of culture as resilient and adaptable, offering a living space where Hip Hop’s
relevance is sustainability for future generations.
Table 21
CRF in Practice: Hip Hop Dance Digital Archives
CRF Component Benefit to the Hip Hop Dance Digital Archive
Cultural Preservation
through Digitalization
Ensures the foundational elements of Hip Hop dance and culture are preserved,
made accessible, and relevant for future generations.
Innovation through
Technology
Integrates AR and 3D volumetric recordings to create an immersive, engaging,
and innovative learning experience that merges tradition with modern
technology.
Community Involvement
and Empowerment
Actively involves the Hip Hop community in the creation and maintenance of
the archive, ensuring authenticity and ownership, and fostering a sense of pride
and cultural responsibility.
Intergenerational
Transmission of Knowledge
Provides a space for knowledge exchange between generations, allowing for the
continuous passing down of cultural and artistic expressions in a relevant,
impactful way.
Cultural Relevance Maintains the cultural integrity of Hip Hop by aligning materials with its
historical context and adapting to contemporary needs, ensuring it remains
relevant in a rapidly changing world.
The Hip Hop Dance digital archive initiative should foster strong collaborations with key
cultural and institutional stakeholders such as established Hip Hop artists, dancers, community
leaders, dance department chairs, and administrators. The collaborative approach is central to the

122
CRF's emerging strategies. Additionally, integrating accessibility and inclusivity within the
platform extends its usage audience by offering content in various formats (e.g., video, text, and
interactive AR features). The archive will create an immersive, interactive learning environment,
making Hip Hop culture accessible across generations and, ultimately, functioning as a space for
cultural preservation and a dynamic hub for ongoing cultural exchange, in line with the CRF’s
principle of cultural relevance and sustainability in an ever-evolving digital landscape.
Limitations and Delimitations
Qualitative research, while valuable, poses several potential limitations that researchers
must consider. Price and Murnan (2004) referred to limitations as the constraints arising from the
initial design choices or unexpected challenges that affected the interpretation of the findings.
For example, time constraints limited the prolonged engagement in the field due to practical
issues such as access limitations, impacting the depth of understanding gained. Additionally, the
scope of the research question or sample size may limit the depth of insights obtained. Analyzing
qualitative data involves interpretation, which can be complex and subject to multiple
perspectives, challenging the establishment of clear conclusions (Miles & Saldana, 2018).
Moreover, conducting research requires significant time, funding, and expertise, which may only
sometimes be available or feasible. The sample of participants may not fully represent the
diversity of perspectives relevant to the research questions, limiting the generalizability of
findings. Differences in interviewer skills, experience, or training may contribute to the quality
of data collection (Merriam & Tisdell, 2016). Addressing these limitations and delimitations can
help strengthen the rigor and validity of the case study findings.
Delimitations refer to the boundaries set by the researchers to define the scope and limits
of the study. Anticipated delimitations include the potential for biased or incomplete information

123
due to social desirability bias or memory recall limitations (Brutus et al., 2013). Interviewers
may inadvertently impact participants' responses through demeanor or question framing. Access
challenges may arise, limiting the diversity and depth of data collected, while time constraints
during interviews may lead to incomplete data (Miles & Saldana, 2018). Social dynamics and
environmental factors within interview settings may also impact data quality. These delimitations
help clarify the study's focus and highlight areas that may require caution when interpreting the
results.
Recommendations for Future Research
Findings from this qualitative study presented several paths of inquiry to explore with
further research. The qualitative study used a grounded theory approach to explore the
perspectives of faculty members in dance in the university dance department regarding their
viewpoint on the factors that influence the sustainability of Hip Hop dance integration in higher
education. The narrowed focus on cultural dance faculty sought to elicit in-depth subjective
interpretation by participants. Further, this work will not fully capture the magnitude of the
program, albeit the study seeks to contribute meaningfully to existing literature. Three future
research areas emerged from the interviews, each addressing individual and environmental
factors that affect cultural dance integration in academic settings.
First, future researchers may conduct longitudinal studies to evaluate the effectiveness of
CRF in sustaining Hip-Hop programs. As discussed by the participants, the findings addressed
the interplay of institutional barriers and the external backdrop to sustainability. By assessing
how adopting CRF principles influences faculty agency and “critical remixing,” student
engagement, and program growth over time, research that explicates the assessment of the

124
framework will support a realistic framework to achieve sustainability in the alignment of
institutional integration of Hip-Hop.
The findings revealed that the sustainability of Hip Hop programs in university settings
depends on including cultural authenticity with academic rigor. Faculty often face challenges
balancing the improvisational and community-driven essence of Hip Hop with the structured
nature of institutional norms. The constraints are particularly evident in curriculum design and
assessment practices. The curriculum design and assessment practice may fail to capture the
depth of learning in Hip Hop culture; instead, showcases, cipher-based evaluations, and studentled projects offer promising avenues to bridge the gap between cultural dance integration and
academia. Research that can expand on these findings is needed by investigating how innovative,
culturally authentic curriculum models support the sustainability of Hip Hop programs. For
example, expanding the concept addressed in this study, how the cipher, addressed by several
participants in the study and an essential component of Hip Hop culture that fosters creativity,
collaboration, and critical feedback, can be adapted for academic assessment. Research could
examine how ciphers encourage skill development, improvisation, and cultural understanding in
ways that align with institutional standards.
Thirdly, another line of inquiry compares how different cultural art forms receive
institutional backing or community advocacy, drawing parallels and contrasts with Hip Hop
programs. Further exploration of the internal factors, such as faculty support and curriculum
design, and external forces, including institutional backing and community advocacy, influence
the sustainability of Hip Hop programs in university settings. Hip Hop programs often rely on
grassroots efforts, partnerships with local practitioners, and cultural communities for legitimacy
and support. However, this model differs significantly from how other cultural art forms receive

125
institutional and community support. Do well-established art forms benefit from robust funding,
established pedagogical frameworks, and long-standing academic acceptance? At the same time,
Hip Hop programs may struggle with perceptions of being informal or non-academic. This line
of inquiry can build an understanding of the broader support ecosystem needed for academic and
cultural art programs in academia. Researchers can identify best practices, highlight systemic
inequities, and propose strategies for improving institutional and community support by
comparing Hip Hop programs to other art forms. This comparative approach may inspire
innovative advocacy efforts and partnership models, ensuring Hip-Hop’s rightful place as an
academic discipline.
This study’s exploration of technology as a pedagogical approach to dance beckons an
inquiry toward exploring how technology supports and sustains Hip Hop programs, particularly
in hybrid or online learning environments. The study highlights the growing significance of
technology as a pedagogical tool in dance education, particularly in response to the institutional
constraints of higher education and the increased prevalence of hybrid and online learning
environments. Participants revealed that technology provides students and faculty opportunities
to expand accessibility, preserve cultural knowledge, and foster global connections. Platforms
like YouTube, Zoom, and VR environments allow for innovative teaching practices, such as
remote ciphers, virtual collaborations, and digital archives of Hip Hop history and practice.
However, the findings also reveal challenges, such as the loss of embodied, communal
experiences central to Hip Hop culture, the digital divide among students, and the need for
faculty to develop technical expertise and culturally informed approaches to integrating
technology. Future research can further understand how technology challenges and sustains Hip
Hop programs in academic settings. Future research can illuminate best practices for using

126
technology in culturally respectful ways, ensuring the longevity and authenticity of hip-hop
programs.
Lastly, future research can investigate how Hip Hop is incorporated and sustained in
university programs outside the United States. Participants addressed views and experiences that
contributed to differences between the visibility and legitimacy of Hip Hop arts in the United
States and other countries. Future contributions to research can bring Insight into global trends,
challenges, and opportunities for cultural exchange and highlight the global nature of hip-hop as
a cultural movement, with unique adaptations and interpretations across different countries.
While the study focused on participants in the United States, many who grappled with balancing
cultural authenticity and academic standards, similar programs abroad may face distinct
challenges, such as navigating local cultural norms, securing resources, or addressing perceptions
of hip-hop within their societies. Exploring the cultural integration of Hip Hop in university
programs outside the United States offers valuable insights that can inform sustainability efforts
domestically and internationally. Investigating the global incorporation of Hip Hop in university
programs will provide valuable insights into how diverse cultural and institutional contexts shape
the sustainability of Hip Hop education. The research has the potential to position Hip Hop as a
genuinely global academic discipline, celebrating Hip Hop for its adaptability and cultural
significance across borders.
Conclusion
Faculty experiences demonstrate that cultural dance offers institutions opportunities to
engage in critical dialogue about organizational change while also revealing systemic barriers
that hinder the progress of cultural dance faculty. Unlike other cultural movements with
established academic frameworks, the study discusses faculty perception of how Hip Hop often

127
faces stigma, commodification, and limited recognition in higher education. While practitioners
bring invaluable cultural knowledge and technical expertise, they frequently encounter obstacles
to obtaining traditional academic qualifications. Faculty in this study exercised agency
through critical remixing, adapting critical pedagogies to align with their cultural values while
addressing inequities within academic systems.
The voices of the 12 participants reflected a strong commitment to their work,
emphasizing knowledge-sharing and cultural preservation in higher education. Their responses
align with the Culturally Resilient Framework (CRF), highlighting the necessity of sustaining
cultural practices and empowering educators within marginalized disciplines. Rather than
expressing dissatisfaction, these faculty demonstrated resilience and adaptability in response to
institutional constraints, a pattern supported by research on faculty working in under-resourced
disciplines (Ladson-Billings, 1995). Their ability to integrate cultural knowledge while
addressing student interests aligns with culturally responsive pedagogy, prioritizing connecting
students’ lived experiences with academic content (Gay, 2018).
However, the reality that many of these educators have been part-time faculty for over a
decade despite teaching complete courses with strong enrollment raises concerns about
institutional progress. National trends indicate a growing student interest in Hip Hop and
culturally relevant coursework, yet faculty in these fields remain in precarious positions without
clear pathways for advancement. This disconnect reflects broader systemic issues in higher
education, where disciplines outside dominant Eurocentric frameworks often struggle for
legitimacy and institutional investment (Gutiérrez & Rogoff, 2003; Patel, 2016). The CRF
framework underscores the urgency of legitimizing these educators’ contributions and moving
beyond temporary accommodations toward long-term structural change. If higher education is

128
serious about pushing disciplinary boundaries, it must reexamine how it values and supports
faculty in emerging and culturally significant fields.
However, institutional progress cannot rely solely on faculty ingenuity. Universities must
actively bridge gaps through alternative credentialing pathways, such as practice-based
evaluations and partnerships with community organizations, while developing curricula that
position Hip Hop alongside established dance forms like ballet and modern dance. Hiring Hip
Hop dance practitioners and addressing systemic constraints are critical to increasing visibility
and legitimacy within universities. The study’s findings highlight the need for a dual approach to
sustainability: recognizing practitioners as cultural mediators while establishing equitable
credentialing pathways that respect their expertise and lived experiences. Furthermore,
institutions must resist privileging individuals pursuing academic credentials without authentic
cultural knowledge or lived experience in Hip Hop, as doing so risks diluting the discipline’s
integrity and perpetuating inequities.
This study has been invaluable because it directly impacts my work in higher education
and Hip Hop. I have built a new network of 12 incredible professionals collaborating in ways
they never have before, creating a foundation for lasting change. As the glue in this process, I
embody Hip Hop’s fifth element, knowledge, which calls for self-awareness and community
responsibility. My mentors have described Hip as "to know" and Hop as “to act,” through this
study, I have embraced that principle by fostering connections and amplifying voices within
academia. My positionality in this research mirrors the participants’ profound gratitude for the
recognition that our love for Hip Hop is not just artistic expression but a leadership opportunity.
Encouragingly, the study identified institutional momentum for change, including
universities hiring tenure-track faculty and assembling teams of cultural avengers, faculty

129
dedicated to advancing cultural dance forms. These efforts represent a promising step toward
transforming how Hip Hop is represented and institutionalized in academia. By applying the
principles of the CRF, institutions can foster meaningful change, dismantle stigmas, and amplify
Hip Hop’s societal and artistic impact. Through intentional action and structural reform, dance
departments across the United States can create sustainable pathways for cultural dances to
thrive, enriching the field and empowering future generations.

130
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Appendix A: Interview Protocol
Date of Interview:
Location of Interview:
Start Time: End Time:
Name of Interviewee:
Name of Interviewer:
Recording Mechanism:
Research Questions
RQ1.
Respondent Type: Faculty of the university dance department
Introduction to the Interview:
I am a doctorate student from the University of Southern California and am interested in
studying dance in higher education. My study aims to understand the experiences of the faculty
at the university dance departments across the United States, offering insights into the factors
influencing integrating a culturally diverse curriculum through the development and
sustainability of a Hip Hop studies program. May I have your consent for an interview? Also, is
it ok to record the interview to ensure I fully gain an understanding of your experiences? You
may also feel free to ask me any clarifying questions as we move along the interview.
Interview Questions Potential Probes RQ Key Concept Addressed
(Patton)
1. Would you share your name,
current role, and one thing about
your role?
How have you been involved
with the Hip Hop Studies
Program, if at all?
n/a Background
Experience
2. Can you describe your
experiences with the Hip Hop
program and how you perceive
its role within the dance
department?
Can you elaborate on a particular
aspect?
1 Knowledge
Experience

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Interview Questions Potential Probes RQ Key Concept Addressed
(Patton)
3. Can you share your experiences
that influenced the development
of the Hip Hop studies program?
What experiences inspired you? 1 Experience
4. What factors do you believe
have the most significant impact
on the program's sustainability
1 Opinion
5. How do you and your colleagues
respond to challenges related to
the program's long-term
viability?
1 Opinion
6. How do you perceive the
integration of Hip Hop into the
existing dance curriculum, and
what challenges or opportunities
has this presented?
How did those experiences
contribute to your cultural
awareness?
1 Opinion
7. What elements of Hip Hop
culture do you find most crucial
to include in the curriculum, and
why?
Can you describe the stages or
phases for the program?
1 Knowledge
8. In what ways do you believe the
program maintains the cultural
authenticity of Hip Hop, and
how important do you think this
is for its sustainability?
1 Knowledge
9. How do you interpret the role of
Hip Hop in the academic setting
compared to its origins and
cultural context outside of
academia?
In what ways has this experience
enhanced the cultural
competence and responsiveness?
1 Opinion
10. How do you perceive the level
of support the program receives
from the department and
university, and how does this
impact its sustainability?
Can you give an example of your
experience?
1 Experience
11. What is your long-term vision
for the Hip Hop program, and
what steps are you taking to
ensure it continues to evolve and
grow?
1 Opinion
12. How do you see the program
adapting to future changes in the
academic and cultural landscape
of dance?
1 Opinion
Conclusion to the Interview:
Thank you for your time and participation in the interview. Would it be okay to contact you if I
have any follow-up questions or need clarification?

149
Appendix B: Document Analysis Protocol
The protocol includes the following steps, and within each step, emerging patterns and
themes will be coded and analyzed:
1. Collection of documents
2. Categorization of type of document
3. Analysis of topics for emerging themes
4. Content and discourse analysis for keywords
5. Analysis of document use
Document
Description
Categorization (Who
produced it? Why?
When? Type of
data?)
Topic(s)
addressed
(Code for
emerging
themes)
Topics that align to
categories program
conceptualization,
implementation, and
challenges
Key word
analysis (e.g.,
inclusion,
Hip Hop,
challenges,
culture)
How the
document
issued
Also, of paramount importance when evaluating documents is not to consider the data as
“necessarily precise, accurate, or complete recordings of events that have occurred” (Bowen,
2009, p. 33). These issues are summed up in another eight-step process offered by O’Leary
(2014):
1. Gather relevant texts.
2. Develop an organization and management scheme.
3. Make copies of the originals for annotation.
4. Assess the authenticity of documents.
5. Explore the document’s agenda and biases.

150
6. Explore background information (e.g., tone, style, purpose).
7. Ask questions about the document (e.g., Who produced it? Why? When? Type of
data?).
8. Explore content.
Step eight involves examining the documents' actual content (writing evidence) using two
primary techniques as outlined by O’Leary (2014). The first technique is the interview approach,
where the researcher treats the document as a respondent or informant “asking” questions and
then identifies the answers within the text (O’Leary, 2014). One is the interview technique. In
this case, the researcher treats the document like a respondent or informant that provides the
researcher with relevant information (O’Leary, 2014). The second technique is content analysis,
which involves noting occurrences by quantifying specific words, phrases, and concepts
(O’Leary, 2014). The researcher identifies what to search for and systematically records the
frequency and context of these occurrences within the document. This information is then
organized based on its relevance to the central research questions (Bowen, 2009).

Abstract (if available)

Abstract This study investigates the sustainability and integration of Hip Hop studies within university dance programs in the United States, centering on faculty perceptions and experiences. Through a grounded theory approach, the research generates a conceptual framework, the Culturally Resilient Framework (CRF) emerging from the findings. The CRF provides guiding principles for sustaining and empowering cultural practices, mainly Hip Hop, in academic spaces, addressing systemic barriers, and fostering culturally relevant approaches. Through qualitative methods, including in-depth interviews and iterative data analysis, this study captures the perspectives of dance faculty navigating the challenges and opportunities of embedding Hip Hop culture into traditional academic structures. Findings reveal that sustainability hinges on institutional alignment, resource allocation, community engagement, and faculty training in culturally responsive practices. Participants also highlighted tensions between the community-rooted ethos of Hip Hop and the hierarchical nature of academia. The CRF emphasizes the creativity and resilience of cultural dance educators who act as cultural mediators adapting to institutional contexts. This study contributes to dance education, Hip Hop dance studies, and organizational leadership by offering actionable insights and a conceptual framework for embedding culturally significant practices in postsecondary institutions. Recommendations for policy, pedagogy, and program development aim to ensure the longevity and authenticity of Hip Hop studies in academia.

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Asset Metadata

Creator Foley, Cindy Gianellisa (author)

Core Title Cultural diversity of dance in higher education: the hip hop remix

Contributor Electronically uploaded by the author (provenance)

School Rossier School of Education

Degree Doctor of Education

Degree Program Organizational Change and Leadership (On Line)

Degree Conferral Date 2025-05

Publication Date 02/03/2025

Defense Date 01/29/2025

Publisher Los Angeles, California (original), University of Southern California (original), University of Southern California. Libraries (digital)

Tag community engagement,critical pedagogies,cultural integration in academia,cultural resilience,dance education,hip hop dance studies,hip hop pedagogy,OAI-PMH Harvest,pedagogy

Format theses (aat)

Language English

Advisor Datta, Monique (committee chair), Canny, Eric (committee member), Lynch, Doug (committee member)

Creator Email cgfoley@usc.edu,cindygfoley9@gmail.com

Unique identifier UC11399GBT8

Identifier etd-FoleyCindy-13810.pdf (filename)

Legacy Identifier etd-FoleyCindy-13810

Document Type Dissertation

Format theses (aat)

Rights Foley, Cindy Gianellisa

Internet Media Type application/pdf

Type texts

Source 20250204-usctheses-batch-1240 (batch), University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

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