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Her thoughts, insights, and c...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This critical correspondence is primarily composed by Maya Stovall. Her thoughts, insights, and commentary are interwoven with her brother, Josef Cadwell's poems and reflections. It is a correspondence, but their timeline is asynchronous. Their communication is dictated by the prison system and the surveillance, bureaucracy, and neglect this system rewards. Despite and through each challenge these siblings find each other and call out for a different way of being together, a more cohesive movement, a creative future-not fiction-that requires all of us.-Londs and Nicole, CC Co-editors Screenshot of a blue-toned gmail inbox with categories along the left and featured in the center, an incoming email notification from JPay: You have received a message from your loved one Josef Cadwell.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="58588fb71a4c224d4024baf99cfa4e72" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":102080395,"asset_id":101577071,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/102080395/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="101577071"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="101577071"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 101577071; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=101577071]").text(description); $(".js-view-count[data-work-id=101577071]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 101577071; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='101577071']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "58588fb71a4c224d4024baf99cfa4e72" } } $('.js-work-strip[data-work-id=101577071]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":101577071,"title":"Resisting the threat of violence: A conversation between Maya Stovall and Josef Cadwell","translated_title":"","metadata":{"abstract":"This critical correspondence is primarily composed by Maya Stovall. 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The Public Library, vol. 1, no. 1 (2018). HD video still; the performance of choreographed dance sequences. Saskatoon, Saskatchewan. (Image courtesy of Maya Stovall) I stare beyond my camera in front of me as I pull my left leg forward into (in ballet-speak) a rond de jambe en dedans a terre—that is, a counter-clockwise circling of the leg on the ground. The rond de jambe propels me forward; I advance toward the street facing City Hall. A breath; hold-hold-hold, right leg in plié, left leg stretched to reach far beyond this sliver of a moment. Slowly gathering myself. Standing up straight. Clash vertigo. 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But That Means It’s Home!” African American Feminist Critical Geographic Wanderings in the Anthropology of Space and Place." class="work-thumbnail" src="https://attachments.academia-assets.com/58671160/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38596411/_It_s_The_Hood_But_That_Means_It_s_Home_African_American_Feminist_Critical_Geographic_Wanderings_in_the_Anthropology_of_Space_and_Place">“It’s The ‘Hood. But That Means It’s Home!” African American Feminist Critical Geographic Wanderings in the Anthropology of Space and Place.</a></div><div class="wp-workCard_item"><span>Transforming Anthropology</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article pursues an African American feminist critical geographic approach in locating experi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article pursues an African American feminist critical geographic approach in locating experiential geographies that help shape people's perceptions of city life. I center the culturally symbolic site of Detroit bus stops as point of ethnographic departure. With my choreography as strategy approach to ethnography, I hang out at the site of the bus stop itself, finding perceptions of city life are shaped by people's subjective-geographic understandings, and reflect the paradox of place. In other words, people's perceptions exist both within and beyond built environment and prefigured assumptions of group membership. However, the philosophical, the choreographic, and the paradox do not substitute for historical-materialist, political economic analysis. Rather, I suggest that people's subjectivities and philosophical stances be considered alongside the political economic in an anthropology of cities. Demonstrative of such an approach, I offer several ethnographic sketches and some of the nuances that emerge as I wander bus stops in Detroit. Ultimately, I argue for an approach to urban anthropological research that prioritizes people's complex subjectivities alongside onto-historical context. [cultural anthropology, urban anthropology, feminist studies, African American studies, critical geography]</span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-38596411-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-38596411-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/49220796/figure-1-signage-announces-the-coming-rail-in-front-of-the"><img alt="Figure 1. Signage announces the coming M1 rail in front of the HopCat Restaurant (out of the frame of the image). Kitty-corner across the way, the #53 Woodward at Canfield bus stop can be viewed amidst the construction barriers and blockages. Photo courtesy the author, March 2016. [Color figure can be viewed at wileyonlinelibrary.com] Moreover, Detroit is internationally known as The Motor City; the luster and gleam of Detroit muscle has long captured the hearts of Americana: Jay Leno collects Ford Mustangs; Jay-Z has a record entitled Little Red Corvette, and nearly all dwellers of a certain age of the United States of America know the chorus to Bye, Bye, Ms. Ameri- can Pie, at the center of which is a certain Detroit- steel-muscle-breed known as the Chevy. Since 1994, Detroit’s Woodward Avenue Dream Cruise has attracted an estimated twenty to thirty thou- sand classic cars and over one million people every year in sweltering Detroit-August.'*> The Dream Cruise, a procession of tweezed, pruned Detroit steel up and down Woodward Avenue from Eight Mile Road to the northern suburb, Pontiac, Michigan, demonstrates both Detroit’s love of cars and its fraught, regionalist divisions.'* Eight Mile Road is the city-suburb divide—a_racialized, classed, regionalized economic border that exists both in the imagination, and in reality, regarding Scholars write that in this post-industrial rust- belt city, saluted as the automotive capital of the world, mass transportation has been deliberately eschewed (Dreier, Mollenkopf, and Swanstrom 2016; Gallagher 2013; Sugrue 2014) and_ that urban sustainability won’t happen without a sutur- ing of the class-based transit gap across the region (Vojnovic and Darden 2013). Urban theorists posit that Detroit’s post-war Fordist design features, such as the freeway system, were deliberately unfriendly to accessible mass transportation (Ryan and Campo 2013; Whitt 2014) in an effort to sup- port the interests of Ford, General Motors, and Chrysler—known as the Detroit Big Three Automakers—and to support regionalized segrega- tion. The swirling forces of classed, racialized, and racist geographies of bus stops in Detroit can’t be ignored. In Figure 1, an image of the coming M1 rail figured prominently next to a new national " class="figure-slide-image" src="https://figures.academia-assets.com/58671160/figure_001.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/49220803/figure-2-view-of-the-bus-stop-at-gratiot-and-mack-avenue-the"><img alt="Figure 2. View of the #34 bus stop at Gratiot and Mack Avenue. The bus bench was crafted by Todd Stovall. Notice there is no city-provided signage indicating this is a bus stop. The author’s studio loft is the building on the far right of the image directly behind the bus bench. Photo courtesy of the author, March 2016. [Color figure can be viewed at wileyonlinelibrary.com|] " class="figure-slide-image" src="https://figures.academia-assets.com/58671160/figure_002.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/49220811/figure-3-view-from-the-bus-stop-at-gratiot-and-mack-the"><img alt="Figure 3. View from the #34 bus stop at Gratiot and Mack. The vacant Goeschell Building is pictured in the view. Photo courtesy of the author, March 2016. [Color figure can be viewed at wileyonlinelibrary.com] " class="figure-slide-image" src="https://figures.academia-assets.com/58671160/figure_003.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/49220821/figure-4-view-from-the-bus-stop-at-alexandrine-and-woodward"><img alt="Figure 4. View from the #53 bus stop at Alexandrine and Woodward Avenue. You can just make out the 933-1300 number Bridges refers to. Photo courtesy of the author, March 2016. [Color figure can be viewed at wileyonlinelibrary.com] " class="figure-slide-image" src="https://figures.academia-assets.com/58671160/figure_004.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/49220830/figure-5-view-of-construction-related-flooding-from-the-bus"><img alt="Figure 5. View of M1 construction-related flooding from the #53 bus stop, Woodward and Canfield. Photo courtesy of the author, March 2016. [Color figure can be viewed at wileyonlinelibrary.com] " class="figure-slide-image" src="https://figures.academia-assets.com/58671160/figure_005.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/49220839/figure-6-women-bus-riders-and-additional-people-waiting-at"><img alt="Figure 6. Women bus riders and additional people waiting at the #53 bus stop on Woodward at Warren. M1 construction has shifted the bus stop into the street. Photo courtesy of the author, March 2016. [Color figure can be viewed at wileyon linelibrary.com] I offer that mental models of meaning making (Anderson 1983) are more useful when they are not applied to large groups of people; but rather, on a personal level (Strauss 2006) of individual subjectivity. More to the point, the idea of philo- sophical wandering (Cervenak 2014) by which African American women create their own under- standings that are beyond the physical, allows an ontology of space and place—what I name the paradox of place (Stovall 2018)—that can bend expectation and yet remain attuned to intersection- ality. That is, an understanding of space and place where subjects are keenly aware of, but not Zizek, on Marx and Freud’s analyses o dreams and commodities, offers that both philoso phers move beyond the surface—beyond com modities and beyond dreams—into the realm o what Zizek calls “the secret” (1989, 295) or the underlying reason why. In this article, I’m inter- ested in the “the secret” Zizek posits as beyond the realm of formalized commodities and physica environments. I shall argue that the space o " class="figure-slide-image" src="https://figures.academia-assets.com/58671160/figure_006.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/49220854/figure-7-close-up-view-of-the-textures-on-the-street-created"><img alt="Figure 7. Close-up view of the textures-on-the-street created by M1 construction, rains, and a winding-down Detroit win ter. March 2016. Photo courtesy the author. [Color figure can be viewed at wileyonlinelibrary.com] The ethnographic accounts presented in this article demonstrate the wealth of sensory experi- ence, context, and the subjective details that emerge through ethnography at these bus stop field sites. I was interested in documenting ethno- graphic surprises (Fortun 2012; Soukup 2013) that complicate our notions of social life in cities. By his, I refer to particular contradictions that may be present between, and at the interstices of, pub- ic discourse around contested topics, and actual houghts and experiences of those closest to the action, like the women I hung out with in this arti- cle. The surprises lend to the critical moments in an anthropological research process, as you listen closely and hear not what you expect to hear but what your informant wishes to say or not say. It is The bus stops analyzed in this project repre- sent portals through which people’s experiences on the streets of Detroit may be accessed—but not assumed homogenous on the basis of perceived group membership. In Detroit, bus stops are a cul- tural symbol (Holleran 2015) that depicts symbolic " class="figure-slide-image" src="https://figures.academia-assets.com/58671160/figure_007.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/49220869/figure-8-view-of-construction-and-passing-traffic-from-the"><img alt="Figure 8. View of M1 construction and passing traffic from the #53 bus stop at Woodward and Canfield. Photo courtesy of the author, March 2016. [Color figure can be viewed at wileyonlinelibrary.com|] " class="figure-slide-image" src="https://figures.academia-assets.com/58671160/figure_008.jpg" /></a></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-profile-work-38596411-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b3d7755f0dc18a0eeac6ed92912393ac" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58671160,"asset_id":38596411,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58671160/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38596411"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38596411"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38596411; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38596411]").text(description); $(".js-view-count[data-work-id=38596411]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38596411; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38596411']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "b3d7755f0dc18a0eeac6ed92912393ac" } } $('.js-work-strip[data-work-id=38596411]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38596411,"title":"“It’s The ‘Hood. But That Means It’s Home!” African American Feminist Critical Geographic Wanderings in the Anthropology of Space and Place.","translated_title":"","metadata":{"doi":"10.1111/traa.12142","grobid_abstract":"This article pursues an African American feminist critical geographic approach in locating experiential geographies that help shape people's perceptions of city life. I center the culturally symbolic site of Detroit bus stops as point of ethnographic departure. With my choreography as strategy approach to ethnography, I hang out at the site of the bus stop itself, finding perceptions of city life are shaped by people's subjective-geographic understandings, and reflect the paradox of place. In other words, people's perceptions exist both within and beyond built environment and prefigured assumptions of group membership. However, the philosophical, the choreographic, and the paradox do not substitute for historical-materialist, political economic analysis. Rather, I suggest that people's subjectivities and philosophical stances be considered alongside the political economic in an anthropology of cities. Demonstrative of such an approach, I offer several ethnographic sketches and some of the nuances that emerge as I wander bus stops in Detroit. Ultimately, I argue for an approach to urban anthropological research that prioritizes people's complex subjectivities alongside onto-historical context. [cultural anthropology, urban anthropology, feminist studies, African American studies, critical geography]","publication_date":{"day":null,"month":null,"year":2019,"errors":{}},"publication_name":"Transforming Anthropology","grobid_abstract_attachment_id":58671160},"translated_abstract":null,"internal_url":"https://www.academia.edu/38596411/_It_s_The_Hood_But_That_Means_It_s_Home_African_American_Feminist_Critical_Geographic_Wanderings_in_the_Anthropology_of_Space_and_Place","translated_internal_url":"","created_at":"2019-03-21T01:36:55.734-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":28979054,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":58671160,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/58671160/thumbnails/1.jpg","file_name":"Stovall-2019-Transforming_Anthropology.pdf","download_url":"https://www.academia.edu/attachments/58671160/download_file","bulk_download_file_name":"It_s_The_Hood_But_That_Means_It_s_Home.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/58671160/Stovall-2019-Transforming_Anthropology-libre.pdf?1553165713=\u0026response-content-disposition=attachment%3B+filename%3DIt_s_The_Hood_But_That_Means_It_s_Home.pdf\u0026Expires=1743603774\u0026Signature=SDSs~~dVck7C9tnsPCHV1jq7n-AB9xmAJLLWFMJxgOPQ11JbhU4j93nv1wjrqKW2Zz-tO1ugZXasVvqytwMGlBZdnJI0UGguTd4txmW5BEy770N60oEfYtbhcFzwzQsz2TG~WtjGW~8Utaju5MqUBBKOH28RRfSJxIwsFGluS-4lZQsNL19caYvZPMuF1k9KgchVKO3D2UjCyRtKlNN-gqyv4tvhWgBUmZ5G~N1CAMKIlcZ3djknqjJCC4AMBKpHu~T0NA22hGvMBB8mipQlsONK7-loY5sqvMYHVHj5oq11nRIyHoQMW-esTKgt9-nq2-vXecGU8Ltr~cVLlkSjNA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"_It_s_The_Hood_But_That_Means_It_s_Home_African_American_Feminist_Critical_Geographic_Wanderings_in_the_Anthropology_of_Space_and_Place","translated_slug":"","page_count":18,"language":"en","content_type":"Work","summary":"This article pursues an African American feminist critical geographic approach in locating experiential geographies that help shape people's perceptions of city life. I center the culturally symbolic site of Detroit bus stops as point of ethnographic departure. With my choreography as strategy approach to ethnography, I hang out at the site of the bus stop itself, finding perceptions of city life are shaped by people's subjective-geographic understandings, and reflect the paradox of place. In other words, people's perceptions exist both within and beyond built environment and prefigured assumptions of group membership. However, the philosophical, the choreographic, and the paradox do not substitute for historical-materialist, political economic analysis. Rather, I suggest that people's subjectivities and philosophical stances be considered alongside the political economic in an anthropology of cities. Demonstrative of such an approach, I offer several ethnographic sketches and some of the nuances that emerge as I wander bus stops in Detroit. Ultimately, I argue for an approach to urban anthropological research that prioritizes people's complex subjectivities alongside onto-historical context. [cultural anthropology, urban anthropology, feminist studies, African American studies, critical geography]","owner":{"id":28979054,"first_name":"Maya","middle_initials":null,"last_name":"Stovall Dumas","page_name":"MayaStovallPhD","domain_name":"cpp","created_at":"2015-04-03T10:54:38.308-07:00","display_name":"Maya Stovall Dumas","url":"https://cpp.academia.edu/MayaStovallPhD"},"attachments":[{"id":58671160,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/58671160/thumbnails/1.jpg","file_name":"Stovall-2019-Transforming_Anthropology.pdf","download_url":"https://www.academia.edu/attachments/58671160/download_file","bulk_download_file_name":"It_s_The_Hood_But_That_Means_It_s_Home.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/58671160/Stovall-2019-Transforming_Anthropology-libre.pdf?1553165713=\u0026response-content-disposition=attachment%3B+filename%3DIt_s_The_Hood_But_That_Means_It_s_Home.pdf\u0026Expires=1743603774\u0026Signature=SDSs~~dVck7C9tnsPCHV1jq7n-AB9xmAJLLWFMJxgOPQ11JbhU4j93nv1wjrqKW2Zz-tO1ugZXasVvqytwMGlBZdnJI0UGguTd4txmW5BEy770N60oEfYtbhcFzwzQsz2TG~WtjGW~8Utaju5MqUBBKOH28RRfSJxIwsFGluS-4lZQsNL19caYvZPMuF1k9KgchVKO3D2UjCyRtKlNN-gqyv4tvhWgBUmZ5G~N1CAMKIlcZ3djknqjJCC4AMBKpHu~T0NA22hGvMBB8mipQlsONK7-loY5sqvMYHVHj5oq11nRIyHoQMW-esTKgt9-nq2-vXecGU8Ltr~cVLlkSjNA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":1192,"name":"Feminist Theory","url":"https://www.academia.edu/Documents/in/Feminist_Theory"},{"id":3499,"name":"Social and Cultural Anthropology","url":"https://www.academia.edu/Documents/in/Social_and_Cultural_Anthropology"},{"id":5676,"name":"Choreography","url":"https://www.academia.edu/Documents/in/Choreography"},{"id":7725,"name":"Urban Studies","url":"https://www.academia.edu/Documents/in/Urban_Studies"},{"id":12194,"name":"Critical Geography","url":"https://www.academia.edu/Documents/in/Critical_Geography"},{"id":14412,"name":"Black feminism","url":"https://www.academia.edu/Documents/in/Black_feminism"},{"id":14912,"name":"African American Studies","url":"https://www.academia.edu/Documents/in/African_American_Studies"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (true) { Aedu.setUpFigureCarousel('profile-work-38596411-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="36559162"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/36559162/Liquor_Store_Theatre_Ethnography_and_Contemporary_Art_in_Detroit"><img alt="Research paper thumbnail of Liquor Store Theatre: Ethnography and Contemporary Art in Detroit" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">Liquor Store Theatre: Ethnography and Contemporary Art in Detroit</div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Liquor Store Theatre is a study of the struggle for the city in contemporary Detroit. An ethnogra...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Liquor Store Theatre is a study of the struggle for the city in contemporary Detroit. An ethnography completed over several years in an east side Detroit neighborhood called McDougall Hunt, the project exists in a variety of registers, working across contemporary art, performance, urban anthropology, critical geography, visual studies, film and new media, African American studies, and urban studies. The visual work of Liquor Store Theatre includes a four-volume, twenty-plus video episode meditation on city life included in the Whitney Museum of American Art Biennial 2017. The works were produced as I staged and video-documented dance performances and conversations on city life in the streets and sidewalks surrounding liquor stores in the neighborhood where I also lived. In addition to the publicly known moving and still image works associated with the project, Liquor Store Theatre was a classical neighborhood ethnography. From the liquor store performances and conversations as points of departure, I orbited with my willing neighbors into their lives up and down our blocks. I ended up in their breakfast nooks, at their cocktail parties, in their backyards and public gardens, together on the sidewalks of Heidelberg Project, and at neighborhood meetings, hanging out and tracing daily living in the zone. Despite the racist/capitalist economic system and regionalist/post-industrial economic decline evident in Detroit broadly and in the zone, people found ways of making the city move. Over my fieldwork, I found that residents used the forces of art, labor, and movement to shape and interpret city life.  Understanding McDougall Hunt required fresh thinking due to its seemingly bizarre contradictions—a gorgeous geography, near the river, with complex and intelligent long-time residents, artists galore, eight liquor stores in 0.39 of a square mile, and a median income of $13,000 USD at 2010 Census. I was searching for a new way of thinking about old questions of power and struggle for the city. In this search, I located an analytic I called the paradox of place. With paradox of place, I prioritized both the affect and desire of the day-to-day, and the abstract, philosophical possibilities of space, along with attention to the historical materialist, empirical realities that shaped political economy of space and place. From the quiet art and writing of neighbors, to alternative modes of labor keeping the block going, to movement of capital, people, water, and development, the project that started with a dancerly prompt landed squarely in the everyday; touching the affect and desire of the mundane, the paradox of place, and documenting visually and ethnographically the rich complexities in the present moment.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36559162"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36559162"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36559162; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36559162]").text(description); $(".js-view-count[data-work-id=36559162]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36559162; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36559162']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=36559162]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36559162,"title":"Liquor Store Theatre: Ethnography and Contemporary Art in Detroit","translated_title":"","metadata":{"abstract":"Liquor Store Theatre is a study of the struggle for the city in contemporary Detroit. An ethnography completed over several years in an east side Detroit neighborhood called McDougall Hunt, the project exists in a variety of registers, working across contemporary art, performance, urban anthropology, critical geography, visual studies, film and new media, African American studies, and urban studies. The visual work of Liquor Store Theatre includes a four-volume, twenty-plus video episode meditation on city life included in the Whitney Museum of American Art Biennial 2017. The works were produced as I staged and video-documented dance performances and conversations on city life in the streets and sidewalks surrounding liquor stores in the neighborhood where I also lived. In addition to the publicly known moving and still image works associated with the project, Liquor Store Theatre was a classical neighborhood ethnography. From the liquor store performances and conversations as points of departure, I orbited with my willing neighbors into their lives up and down our blocks. I ended up in their breakfast nooks, at their cocktail parties, in their backyards and public gardens, together on the sidewalks of Heidelberg Project, and at neighborhood meetings, hanging out and tracing daily living in the zone. Despite the racist/capitalist economic system and regionalist/post-industrial economic decline evident in Detroit broadly and in the zone, people found ways of making the city move. Over my fieldwork, I found that residents used the forces of art, labor, and movement to shape and interpret city life. Understanding McDougall Hunt required fresh thinking due to its seemingly bizarre contradictions—a gorgeous geography, near the river, with complex and intelligent long-time residents, artists galore, eight liquor stores in 0.39 of a square mile, and a median income of $13,000 USD at 2010 Census. I was searching for a new way of thinking about old questions of power and struggle for the city. In this search, I located an analytic I called the paradox of place. With paradox of place, I prioritized both the affect and desire of the day-to-day, and the abstract, philosophical possibilities of space, along with attention to the historical materialist, empirical realities that shaped political economy of space and place. From the quiet art and writing of neighbors, to alternative modes of labor keeping the block going, to movement of capital, people, water, and development, the project that started with a dancerly prompt landed squarely in the everyday; touching the affect and desire of the mundane, the paradox of place, and documenting visually and ethnographically the rich complexities in the present moment. \n"},"translated_abstract":"Liquor Store Theatre is a study of the struggle for the city in contemporary Detroit. An ethnography completed over several years in an east side Detroit neighborhood called McDougall Hunt, the project exists in a variety of registers, working across contemporary art, performance, urban anthropology, critical geography, visual studies, film and new media, African American studies, and urban studies. The visual work of Liquor Store Theatre includes a four-volume, twenty-plus video episode meditation on city life included in the Whitney Museum of American Art Biennial 2017. The works were produced as I staged and video-documented dance performances and conversations on city life in the streets and sidewalks surrounding liquor stores in the neighborhood where I also lived. In addition to the publicly known moving and still image works associated with the project, Liquor Store Theatre was a classical neighborhood ethnography. From the liquor store performances and conversations as points of departure, I orbited with my willing neighbors into their lives up and down our blocks. I ended up in their breakfast nooks, at their cocktail parties, in their backyards and public gardens, together on the sidewalks of Heidelberg Project, and at neighborhood meetings, hanging out and tracing daily living in the zone. Despite the racist/capitalist economic system and regionalist/post-industrial economic decline evident in Detroit broadly and in the zone, people found ways of making the city move. Over my fieldwork, I found that residents used the forces of art, labor, and movement to shape and interpret city life. Understanding McDougall Hunt required fresh thinking due to its seemingly bizarre contradictions—a gorgeous geography, near the river, with complex and intelligent long-time residents, artists galore, eight liquor stores in 0.39 of a square mile, and a median income of $13,000 USD at 2010 Census. I was searching for a new way of thinking about old questions of power and struggle for the city. In this search, I located an analytic I called the paradox of place. With paradox of place, I prioritized both the affect and desire of the day-to-day, and the abstract, philosophical possibilities of space, along with attention to the historical materialist, empirical realities that shaped political economy of space and place. From the quiet art and writing of neighbors, to alternative modes of labor keeping the block going, to movement of capital, people, water, and development, the project that started with a dancerly prompt landed squarely in the everyday; touching the affect and desire of the mundane, the paradox of place, and documenting visually and ethnographically the rich complexities in the present moment. \n","internal_url":"https://www.academia.edu/36559162/Liquor_Store_Theatre_Ethnography_and_Contemporary_Art_in_Detroit","translated_internal_url":"","created_at":"2018-05-03T12:46:58.558-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":28979054,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"Liquor_Store_Theatre_Ethnography_and_Contemporary_Art_in_Detroit","translated_slug":"","page_count":null,"language":"en","content_type":"Work","summary":"Liquor Store Theatre is a study of the struggle for the city in contemporary Detroit. An ethnography completed over several years in an east side Detroit neighborhood called McDougall Hunt, the project exists in a variety of registers, working across contemporary art, performance, urban anthropology, critical geography, visual studies, film and new media, African American studies, and urban studies. The visual work of Liquor Store Theatre includes a four-volume, twenty-plus video episode meditation on city life included in the Whitney Museum of American Art Biennial 2017. The works were produced as I staged and video-documented dance performances and conversations on city life in the streets and sidewalks surrounding liquor stores in the neighborhood where I also lived. In addition to the publicly known moving and still image works associated with the project, Liquor Store Theatre was a classical neighborhood ethnography. From the liquor store performances and conversations as points of departure, I orbited with my willing neighbors into their lives up and down our blocks. I ended up in their breakfast nooks, at their cocktail parties, in their backyards and public gardens, together on the sidewalks of Heidelberg Project, and at neighborhood meetings, hanging out and tracing daily living in the zone. Despite the racist/capitalist economic system and regionalist/post-industrial economic decline evident in Detroit broadly and in the zone, people found ways of making the city move. Over my fieldwork, I found that residents used the forces of art, labor, and movement to shape and interpret city life. Understanding McDougall Hunt required fresh thinking due to its seemingly bizarre contradictions—a gorgeous geography, near the river, with complex and intelligent long-time residents, artists galore, eight liquor stores in 0.39 of a square mile, and a median income of $13,000 USD at 2010 Census. I was searching for a new way of thinking about old questions of power and struggle for the city. In this search, I located an analytic I called the paradox of place. With paradox of place, I prioritized both the affect and desire of the day-to-day, and the abstract, philosophical possibilities of space, along with attention to the historical materialist, empirical realities that shaped political economy of space and place. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-36559162-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="34084871"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/34084871/The_Detroitists_Reflections_of_Detroit_Ethnographers_at_the_Anniversary_of_the_1967_Rebellion"><img alt="Research paper thumbnail of The Detroitists: Reflections of Detroit Ethnographers at the Anniversary of the 1967 Rebellion" class="work-thumbnail" src="https://attachments.academia-assets.com/54018102/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/34084871/The_Detroitists_Reflections_of_Detroit_Ethnographers_at_the_Anniversary_of_the_1967_Rebellion">The Detroitists: Reflections of Detroit Ethnographers at the Anniversary of the 1967 Rebellion</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://cpp.academia.edu/MayaStovallPhD">Maya Stovall Dumas</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://wayne.academia.edu/AlexBHill">Alex B Hill</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="62169515e00eded85b6c6bffd60803af" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":54018102,"asset_id":34084871,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/54018102/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="34084871"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="34084871"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 34084871; 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It analyzes ongoing socio-economic issues in Detroit, particularly related to food access and racial inequalities, while connecting historical events to current challenges faced by the community. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-34084871-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="26220153"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/26220153/Dance_the_City"><img alt="Research paper thumbnail of Dance the City" class="work-thumbnail" src="https://attachments.academia-assets.com/46538933/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/26220153/Dance_the_City">Dance the City</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">How might an anthropologist use dance to study cities? How about dance ethnography as method? The...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">How might an anthropologist use dance to study cities? How about dance ethnography as method? The Liquor Store Theatre project (LST) is a series of choreographed dance performances and ethnographic conversations on the sidewalks and spaces in and around liquor stores on Detroit's east side. LST started in a moment where you feel tears begin to form: a solitarily emotional place of anguish, release, and sometimes joy. A moment of holding on and of letting go, where something indescribable but so incredibly recognizable is speeding to the surface, rushing at you full throttle, and all you can do is let go and let it happen, whatever it may be. It lands on the shale-and dust-coated sidewalks of the city, dancing to bizarre rhythms as it seeks to connect with people. LST sets forth choreography/ethnography as research method. It uses staged dance performances in the spaces of my neighborhood as the point where ethnographic conversations begin. In this way, creativity and improvisation are at the center of ethnographic encounters. Working in an east side neighborhood in Detroit, LST investigates the complexities of blackness in a small, unique zone of an American city in transition.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="681b430fe3c0d6d833dc092d8ef034f5" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":46538933,"asset_id":26220153,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/46538933/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="26220153"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="26220153"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 26220153; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=26220153]").text(description); $(".js-view-count[data-work-id=26220153]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 26220153; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='26220153']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "681b430fe3c0d6d833dc092d8ef034f5" } } $('.js-work-strip[data-work-id=26220153]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":26220153,"title":"Dance the City","translated_title":"","metadata":{"abstract":"How might an anthropologist use dance to study cities? How about dance ethnography as method? The Liquor Store Theatre project (LST) is a series of choreographed dance performances and ethnographic conversations on the sidewalks and spaces in and around liquor stores on Detroit's east side. LST started in a moment where you feel tears begin to form: a solitarily emotional place of anguish, release, and sometimes joy. A moment of holding on and of letting go, where something indescribable but so incredibly recognizable is speeding to the surface, rushing at you full throttle, and all you can do is let go and let it happen, whatever it may be. It lands on the shale-and dust-coated sidewalks of the city, dancing to bizarre rhythms as it seeks to connect with people. LST sets forth choreography/ethnography as research method. It uses staged dance performances in the spaces of my neighborhood as the point where ethnographic conversations begin. In this way, creativity and improvisation are at the center of ethnographic encounters. 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LST sets forth choreography/ethnography as research method. It uses staged dance performances in the spaces of my neighborhood as the point where ethnographic conversations begin. In this way, creativity and improvisation are at the center of ethnographic encounters. Working in an east side neighborhood in Detroit, LST investigates the complexities of blackness in a small, unique zone of an American city in transition.","internal_url":"https://www.academia.edu/26220153/Dance_the_City","translated_internal_url":"","created_at":"2016-06-16T06:39:19.890-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":28979054,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":21388380,"work_id":26220153,"tagging_user_id":28979054,"tagged_user_id":28979054,"co_author_invite_id":4791961,"email":"m***l@wayne.edu","affiliation":"California State Polytechnic University at Pomona","display_order":0,"name":"Maya Stovall Dumas","title":"Dance the City"}],"downloadable_attachments":[{"id":46538933,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/46538933/thumbnails/1.jpg","file_name":"Dance_the_City___Anthropology-News.pdf","download_url":"https://www.academia.edu/attachments/46538933/download_file","bulk_download_file_name":"Dance_the_City.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/46538933/Dance_the_City___Anthropology-News-libre.pdf?1466084618=\u0026response-content-disposition=attachment%3B+filename%3DDance_the_City.pdf\u0026Expires=1743603775\u0026Signature=W9F8aLL~oSknCg-t~R91cBQFKigFiWk7LIoBOl6cx~ZP4Q0GmppBMCGlAZ0Yl0acDN66aIvbSUEDIbT9-hfS-IPN2m5W1g6CW1izYeX15DiYMgr1P1beEX0FUI82dg52NYoCWGqs2ZuXo55NYAwnpB4eFyKJEYrP1t4QkL0Fam4tcNofPizLOCeJvCbUTVQR9sQ03c6cLTTwfxOmSJDCCK0bOySs3FKTawGwsp2i3QsPIYFFC5u9JViLUtZ5p-T6tc1txmViW9EbxLYfFxk5~ee8cSDlZ7sTU~AKq9yKQXiz2SyqcahR2FOx2tNIMSzUOG24n8Dbud9Uqmlu4RMLoA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Dance_the_City","translated_slug":"","page_count":12,"language":"en","content_type":"Work","summary":"How might an anthropologist use dance to study cities? How about dance ethnography as method? The Liquor Store Theatre project (LST) is a series of choreographed dance performances and ethnographic conversations on the sidewalks and spaces in and around liquor stores on Detroit's east side. LST started in a moment where you feel tears begin to form: a solitarily emotional place of anguish, release, and sometimes joy. A moment of holding on and of letting go, where something indescribable but so incredibly recognizable is speeding to the surface, rushing at you full throttle, and all you can do is let go and let it happen, whatever it may be. It lands on the shale-and dust-coated sidewalks of the city, dancing to bizarre rhythms as it seeks to connect with people. LST sets forth choreography/ethnography as research method. It uses staged dance performances in the spaces of my neighborhood as the point where ethnographic conversations begin. In this way, creativity and improvisation are at the center of ethnographic encounters. 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Liquor Store Theater negotiates the right to the city while inserting discussions of race, privilege, and access into Detroit's current trends of real estate speculation, modes of gentrification, and projects of place-making within its post-bankruptcy context. Her choreo-ethnographic project deflects, refracts, and resists the ethnographic gaze by blurring the roles of "participant," "researcher," and "performer," unconventionally engages her own background in dance and performance to create a space where the stories of the city's transformation might be gathered and given a greater voice and increased visibility. In her own and adjacent neighborhoods on Detroit's eastside, the liquor store remains one of the primary hubs for meeting and greeting, for street-side and parking lot centered encounters. The backdrop of the liquor store creates a theatrical frame for Stovall's sidewalk ballet, an often hand-painted façade whose focal point resides in the stories of its neighbors and whose horizon of possibility involves a certain kind of dancerly sharing that can only happen with both feet that plant, pivot, and pause upon its cracked, concrete yet fertile ground. In our conversation, which will additionally lead to an in-depth piece on her work for the upcoming issue of Detroit Research, Stovall discusses her primary artistic and theoretical interlocutors, the topographical politics of "spatial taint," the artist as activist, choreographies of ethnography, and a day in the life of Liquor Store Theater.</span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-12522774-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-12522774-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/29443597/figure-10-maya-stovall-liquor-store-theater-vol-no-video"><img alt="Maya Stovall, Liquor Store Theater, Vol. 1, no 4 (2014); video still: Eric Johnston / Martha Johnston Biba: It blurs your roles even more and your working methodologies, maybe less your role as a figure but the kind of methodologies that you’re using and activating. I think about that transition for you between performing and... I’ve just performed, I turn around and I start asking questions and interviewing... that shift, that transition, that moment is so strange. It’s weird enough just finishing a performance and then facing the audience and being like “Hey, nice to see you.” That shift of focus and being together. But it really is different ways of being together in a sense, and the way in which those interactions, that level of participation in the dancing itself... it’s really great. " class="figure-slide-image" src="https://figures.academia-assets.com/41067398/figure_010.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/29443527/figure-1-subscribe-to-critical-correspondence"><img alt="subscribe to Critical Correspondence " class="figure-slide-image" src="https://figures.academia-assets.com/41067398/figure_001.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/29443538/figure-2-biba-bell-ive-been-looking-at-the-liquor-store"><img alt="Biba Bell: I’ve been looking at the Liquor Store Theater videos on your website and there are so many things that I want to talk about, but I also want this conversation to give me a sense of the sort of nuts and bolts, the overarching structures and thoughts that have been moving you, moving with you, and coming out of this process. " class="figure-slide-image" src="https://figures.academia-assets.com/41067398/figure_002.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/29443545/figure-3-maya-stovall-liquor-store-theater-vol-no-video"><img alt="Maya Stovall, Liquor Store Theater, Vol. 1, no 3 (2014); video still: Eric Johnston / Martha Johnston So, that’s how the ethnographic gaze comes into play. Another element is notions of surveillance and appropriation. People have talked about the public space a lot recently. [David] Madden is one person who has written on it—this idea of surveillance as ending the ‘myth of the public space’ and how urban space is contested through this ongoing daily struggle. So, what I’m doing is I’m marrying different strands of theory into this intellectual underpinning, but it also becomes this crazy art project on the street, where I don’t know what’s going to happen from event to event! " class="figure-slide-image" src="https://figures.academia-assets.com/41067398/figure_003.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/29443553/figure-4-maya-stovall-liquor-store-theater-vol-no-video"><img alt="Maya Stovall, Liquor Store Theater, Vol. 1, no 2 (2014); video still: Eric Johnston / Martha Johnston performance of ethnography in urban commons, it’s playing with this idea of the choreographed ethnic encounter and the choreographed performance. It’s playing in this seam/scene and attempting, through methodological technique, to deepen the experience, deepen the connection between the performers, the researcher, and the participants through this temporality of places and bodies that’s being navigated with the choreography as tool. Biba: Can you say a little bit more about the choreography both of the dance and the ethnographic encounter? Wha that is? What it looks like? " class="figure-slide-image" src="https://figures.academia-assets.com/41067398/figure_004.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/29443560/figure-5-maya-stovall-liquor-store-theater-vol-no-video"><img alt="Maya Stovall, Liquor Store Theater, Vol. 1, no 1 (2014); video still: Eric Johnston / Martha Johnston " class="figure-slide-image" src="https://figures.academia-assets.com/41067398/figure_005.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/29443566/figure-6-maya-stovall-liquor-store-theater-vol-no-video"><img alt="Maya Stovall, Liquor Store Theater, Vol. 1, no 5 (2014); video still: Eric Johnston / Martha Johnston [hen on the flip-side, there’s this really amazing text I love, by bell hooks, she starts off talking about the porch, she aas this whole thing about the porch in relationship to the home, but also its presence and proximity to the street. This way in which it becomes a transposition of zones of the street and also of the home. But then she also straight up talks about the street, especially in relationship to being a female body, what it means to be placing yourself on this street, and the possibility for the kinds of propositions one might have to negotiate or endure, and then there’s this “move ilong, no loitering” scenario, from a very different point of view. And then also, for dance, to then shift those conditions, those pre-determined movements, the possibility for certain movements to happen, for dance to be a way ‘o shift that, and turn it and derail it a little. You’re there, you’re standing there, you’re staying there, how much time Jo you spend there? Enough time so that these encounters can start to accumulate, so that they can happen multiple ‘imes. I guess that’s really coming at it—this question of occupying space, of mobilizing space, of dancing throughout— ’'m really coming at it from three different angles. " class="figure-slide-image" src="https://figures.academia-assets.com/41067398/figure_006.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/29443575/figure-7-maya-stovall-liquor-store-theater-vol-no-video"><img alt="Maya Stovall, Liquor Store Theater, Vol. 1, no 2 (2014); video still: Eric Johnston / Martha Johnston Maya: Yeah. May 17th is the first video of the summer of this year of the project and it’s happening at the liquor store that is a really interesting theater, it’s already a theater in its own right. You go by there and you'll see vendors, people gathering sitting on crates, holding court, everyday once the weather gets decent. So, May 17th is our first shoot of the year and discussion with people over at that store. Biba: This is a good moment to tell me what that entails. What is a day in the life while you’re doing a shoot? How does it work? What’s the general time-frame and the course of events? " class="figure-slide-image" src="https://figures.academia-assets.com/41067398/figure_007.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/29443584/figure-8-maya-stovall-liquor-store-theater-vol-no-video"><img alt="Maya Stovall, Liquor Store Theater, Vol. 1, no 3 (2014); video still: Eric Johnston / Martha Johnston " class="figure-slide-image" src="https://figures.academia-assets.com/41067398/figure_008.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/29443592/figure-9-maya-stovall-liquor-store-theater-vol-no-video"><img alt="Maya Stovall, Liquor Store Theater, Vol. 1, no 1 (2014); video still: Eric Johnston / Martha Johnston Maya: The longest piece that we have set is about seven minutes. Typically we do at least four stagings of the full piece or pieces depending. In total I’d say we end up performing for about 30-40 minutes, as far as performing with the music on, with the videographer shooting. We'll repeat. We'll do several shots—he might shoot us over the shoulder, etc. The goal of this is to get as many people to see us as we can, so that we can have a dialogue with those individuals who may be interested in talking with us. The way that it will work is, say we’re doing a three minute piece, and then we've got people standing around, and then people say, “What’re you doing?” and we say, “Oh we’re doing a dance anc performance project in Detroit. Would you talk to us?” At that point we shift the gaze the videographer is filming whil I’m off camera interviewing individuals. That’s the format. Sometimes it’s interesting, sometimes we’ve had in the pas a line of people who want to be interviewed and then at other times just one person will come and then other people will decline. There’s no set format that it takes... it’s based on the store and the vibe and everything, but overall the choreography is effective at starting a dialogue. Biba: There was one video where I think... I don’t think this is the liquor store on Gratiot and Mt. Elliott, or is that... because you are in one over there right? Maybe it’s the video before that. " class="figure-slide-image" src="https://figures.academia-assets.com/41067398/figure_009.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/29443601/figure-11-maya-stovall-liquor-store-theater-vol-no-video"><img alt="Maya Stovall, Liquor Store Theater, Vol. 1, no 1. Video still: Eric Johnston / Martha Johnston Biba: No! When you talk about the fragility and the precarity of that moment of it unfolding... that is so real. And then I also, I think so much about dance, the sort of act of dancing taking place, landing in a place...how were you articulating it? Landing in a place, yeah? Maya: Yeah, that’s really after Ralph Lemon. I heard him say those exact words in his 2013 residency that I participated in at Wayne State University. He was talking about “Where can dance land?” and “Where can it land for you?” and “Where can it land as an art form?” From a big perspective and where can it land for you. So, answering Ralph Lemon’s question, this is where it lands for me. This theme of exploring the very existential philosophical but still sociologically- and anthropologically-based question of how is performance deployed in a struggle for the right t the city. How is dance deployed in classification struggles, identification tensions, and urban marginality? And how i performance deployed in post-bankruptcy, gentrifying Detroit? " class="figure-slide-image" src="https://figures.academia-assets.com/41067398/figure_011.jpg" /></a></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-profile-work-12522774-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="225b5b57da24c9201912b34bbcb2917c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":41067398,"asset_id":12522774,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/41067398/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="12522774"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="12522774"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 12522774; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=12522774]").text(description); $(".js-view-count[data-work-id=12522774]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 12522774; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='12522774']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "225b5b57da24c9201912b34bbcb2917c" } } $('.js-work-strip[data-work-id=12522774]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":12522774,"title":"Maya Stovall on Liquor Store Theatre, in Conversation with Biba Bell","translated_title":"","metadata":{"grobid_abstract":"A \"radical ballerina,\" PhD candidate in anthropology at Wayne State University, and fourth generation Detroiter, Maya Stovall re-imagines the politics and aesthetics of dance through the question of where it might land on/as site of the liquor store. Liquor Store Theater negotiates the right to the city while inserting discussions of race, privilege, and access into Detroit's current trends of real estate speculation, modes of gentrification, and projects of place-making within its post-bankruptcy context. Her choreo-ethnographic project deflects, refracts, and resists the ethnographic gaze by blurring the roles of \"participant,\" \"researcher,\" and \"performer,\" unconventionally engages her own background in dance and performance to create a space where the stories of the city's transformation might be gathered and given a greater voice and increased visibility. In her own and adjacent neighborhoods on Detroit's eastside, the liquor store remains one of the primary hubs for meeting and greeting, for street-side and parking lot centered encounters. The backdrop of the liquor store creates a theatrical frame for Stovall's sidewalk ballet, an often hand-painted façade whose focal point resides in the stories of its neighbors and whose horizon of possibility involves a certain kind of dancerly sharing that can only happen with both feet that plant, pivot, and pause upon its cracked, concrete yet fertile ground. In our conversation, which will additionally lead to an in-depth piece on her work for the upcoming issue of Detroit Research, Stovall discusses her primary artistic and theoretical interlocutors, the topographical politics of \"spatial taint,\" the artist as activist, choreographies of ethnography, and a day in the life of Liquor Store Theater.","grobid_abstract_attachment_id":41067398},"translated_abstract":null,"internal_url":"https://www.academia.edu/12522774/Maya_Stovall_on_Liquor_Store_Theatre_in_Conversation_with_Biba_Bell","translated_internal_url":"","created_at":"2015-05-22T02:55:22.922-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":28979054,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":604349,"work_id":12522774,"tagging_user_id":28979054,"tagged_user_id":2392019,"co_author_invite_id":null,"email":"b***a@hotmail.com","affiliation":"New York University","display_order":null,"name":"Biba Bell","title":"Maya Stovall on Liquor Store Theatre, in Conversation with Biba Bell"}],"downloadable_attachments":[{"id":41067398,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/41067398/thumbnails/1.jpg","file_name":"StovallBellMovementResearchJournal.pdf","download_url":"https://www.academia.edu/attachments/41067398/download_file","bulk_download_file_name":"Maya_Stovall_on_Liquor_Store_Theatre_in.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/41067398/StovallBellMovementResearchJournal-libre.pdf?1452655741=\u0026response-content-disposition=attachment%3B+filename%3DMaya_Stovall_on_Liquor_Store_Theatre_in.pdf\u0026Expires=1743603631\u0026Signature=RVJrqs94AlvHUJFuNHgy~oeK14on6r2y7uQ6DjgY0x-alqyKdFe7myLDv59Bbsa6mWFhtlk3zfVSq86ieAG7udnIGoZoqnigof3OIvcpgFD49G58cZaLBXQiPekxOe-uHYKjnXyiNvBIjfsCgQcYmYbjpdKJOYG1sWSa2InyuWwYZl9p3IQ8rRNMNIZAXoeXgzTw52INJy8~x1hNunESPSANCjLnaQZacWC-tS8POWJ8bmNYytTin~g5rBs7PE1v0dp5-dBwFE4wzh-PuBB2DFBAWWoyJrF9ZDGb05b7mvtvxL68KQrkATnMSFWvpM1Z6oUgHx0iP2DwoOaktgeIzw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Maya_Stovall_on_Liquor_Store_Theatre_in_Conversation_with_Biba_Bell","translated_slug":"","page_count":9,"language":"en","content_type":"Work","summary":"A \"radical ballerina,\" PhD candidate in anthropology at Wayne State University, and fourth generation Detroiter, Maya Stovall re-imagines the politics and aesthetics of dance through the question of where it might land on/as site of the liquor store. Liquor Store Theater negotiates the right to the city while inserting discussions of race, privilege, and access into Detroit's current trends of real estate speculation, modes of gentrification, and projects of place-making within its post-bankruptcy context. Her choreo-ethnographic project deflects, refracts, and resists the ethnographic gaze by blurring the roles of \"participant,\" \"researcher,\" and \"performer,\" unconventionally engages her own background in dance and performance to create a space where the stories of the city's transformation might be gathered and given a greater voice and increased visibility. In her own and adjacent neighborhoods on Detroit's eastside, the liquor store remains one of the primary hubs for meeting and greeting, for street-side and parking lot centered encounters. The backdrop of the liquor store creates a theatrical frame for Stovall's sidewalk ballet, an often hand-painted façade whose focal point resides in the stories of its neighbors and whose horizon of possibility involves a certain kind of dancerly sharing that can only happen with both feet that plant, pivot, and pause upon its cracked, concrete yet fertile ground. In our conversation, which will additionally lead to an in-depth piece on her work for the upcoming issue of Detroit Research, Stovall discusses her primary artistic and theoretical interlocutors, the topographical politics of \"spatial taint,\" the artist as activist, choreographies of ethnography, and a day in the life of Liquor Store Theater.","owner":{"id":28979054,"first_name":"Maya","middle_initials":null,"last_name":"Stovall Dumas","page_name":"MayaStovallPhD","domain_name":"cpp","created_at":"2015-04-03T10:54:38.308-07:00","display_name":"Maya Stovall Dumas","url":"https://cpp.academia.edu/MayaStovallPhD"},"attachments":[{"id":41067398,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/41067398/thumbnails/1.jpg","file_name":"StovallBellMovementResearchJournal.pdf","download_url":"https://www.academia.edu/attachments/41067398/download_file","bulk_download_file_name":"Maya_Stovall_on_Liquor_Store_Theatre_in.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/41067398/StovallBellMovementResearchJournal-libre.pdf?1452655741=\u0026response-content-disposition=attachment%3B+filename%3DMaya_Stovall_on_Liquor_Store_Theatre_in.pdf\u0026Expires=1743603631\u0026Signature=RVJrqs94AlvHUJFuNHgy~oeK14on6r2y7uQ6DjgY0x-alqyKdFe7myLDv59Bbsa6mWFhtlk3zfVSq86ieAG7udnIGoZoqnigof3OIvcpgFD49G58cZaLBXQiPekxOe-uHYKjnXyiNvBIjfsCgQcYmYbjpdKJOYG1sWSa2InyuWwYZl9p3IQ8rRNMNIZAXoeXgzTw52INJy8~x1hNunESPSANCjLnaQZacWC-tS8POWJ8bmNYytTin~g5rBs7PE1v0dp5-dBwFE4wzh-PuBB2DFBAWWoyJrF9ZDGb05b7mvtvxL68KQrkATnMSFWvpM1Z6oUgHx0iP2DwoOaktgeIzw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":8,"name":"Critical Theory","url":"https://www.academia.edu/Documents/in/Critical_Theory"},{"id":925,"name":"Visual Anthropology","url":"https://www.academia.edu/Documents/in/Visual_Anthropology"},{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies"},{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies"},{"id":5247,"name":"Critical Race Theory","url":"https://www.academia.edu/Documents/in/Critical_Race_Theory"},{"id":7725,"name":"Urban Studies","url":"https://www.academia.edu/Documents/in/Urban_Studies"}],"urls":[{"id":4801679,"url":"http://www.movementresearch.org/criticalcorrespondence/blog/?p=10004"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (true) { Aedu.setUpFigureCarousel('profile-work-12522774-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="13929645"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/13929645/African_American_Cultural_Technology_The_Lindy_Hop_the_King_of_Pop_and_the_Factory_Workers_Experience"><img alt="Research paper thumbnail of African American Cultural Technology: The Lindy Hop, the King of Pop, and the Factory Worker's Experience" class="work-thumbnail" src="https://attachments.academia-assets.com/38162081/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/13929645/African_American_Cultural_Technology_The_Lindy_Hop_the_King_of_Pop_and_the_Factory_Workers_Experience">African American Cultural Technology: The Lindy Hop, the King of Pop, and the Factory Worker's Experience</a></div><div class="wp-workCard_item"><span>Transforming Anthropology</span><span>, 2015</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">African Americans have been integral in shaping the aesthetics of modernity generally, and with r...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">African Americans have been integral in shaping the aesthetics of modernity generally, and with respect to dance in particular. Through labor, art, cultural technology , and social life, African American aesthetics have breathed life into modern and contemporary American culture. The stress and fatigue of machines, labor, capitalism, and racism, imposed on bodies during the industrial revolution and in the postindustrial era have provided raw material for black artistic expressions during the mid–to-late twentieth century. Furthermore, this artistic expression, fueled by the angst of changing times generally and tensions facing African Americans in particular, has served as American catharsis through the creation of innovative cultural expressions. This article analyzes the dialectical relationships of industrialization, racism, and modern aesthetics, through the lens of the innovative African American social dance form, the Lindy Hop; and the virtuosic pop performances of Michael Jackson. The important contributions of theLindy Hop as a dance style and Michael Jackson as a performer have had a profound impact on the aesthetics of modernity in American social and popular concert dance. To better understand the relationship between industrialization and the African American shaping of aesthetics of modernity, this article analyzes black experiences and embodiment of industrial labor and the ways that African Americans drew from their particular experiences of industrial labor toward the creation of critical cultural technology.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3ebb71bd4d633e312765496e9242a625" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":38162081,"asset_id":13929645,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/38162081/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="13929645"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="13929645"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 13929645; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=13929645]").text(description); $(".js-view-count[data-work-id=13929645]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 13929645; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='13929645']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "3ebb71bd4d633e312765496e9242a625" } } $('.js-work-strip[data-work-id=13929645]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":13929645,"title":"African American Cultural Technology: The Lindy Hop, the King of Pop, and the Factory Worker's Experience","translated_title":"","metadata":{"abstract":"African Americans have been integral in shaping the aesthetics of modernity generally, and with respect to dance in particular. Through labor, art, cultural technology , and social life, African American aesthetics have breathed life into modern and contemporary American culture. The stress and fatigue of machines, labor, capitalism, and racism, imposed on bodies during the industrial revolution and in the postindustrial era have provided raw material for black artistic expressions during the mid–to-late twentieth century. Furthermore, this artistic expression, fueled by the angst of changing times generally and tensions facing African Americans in particular, has served as American catharsis through the creation of innovative cultural expressions. This article analyzes the dialectical relationships of industrialization, racism, and modern aesthetics, through the lens of the innovative African American social dance form, the Lindy Hop; and the virtuosic pop performances of Michael Jackson. The important contributions of theLindy Hop as a dance style and Michael Jackson as a performer have had a profound impact on the aesthetics of modernity in American social and popular concert dance. To better understand the relationship between industrialization and the African American shaping of aesthetics of modernity, this article analyzes black experiences and embodiment of industrial labor and the ways that African Americans drew from their particular experiences of industrial labor toward the creation of critical cultural technology.","publication_date":{"day":null,"month":null,"year":2015,"errors":{}},"publication_name":"Transforming Anthropology"},"translated_abstract":"African Americans have been integral in shaping the aesthetics of modernity generally, and with respect to dance in particular. Through labor, art, cultural technology , and social life, African American aesthetics have breathed life into modern and contemporary American culture. 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To better understand the relationship between industrialization and the African American shaping of aesthetics of modernity, this article analyzes black experiences and embodiment of industrial labor and the ways that African Americans drew from their particular experiences of industrial labor toward the creation of critical cultural technology.","internal_url":"https://www.academia.edu/13929645/African_American_Cultural_Technology_The_Lindy_Hop_the_King_of_Pop_and_the_Factory_Workers_Experience","translated_internal_url":"","created_at":"2015-07-11T19:07:57.525-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":28979054,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":38162081,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/38162081/thumbnails/1.jpg","file_name":"Stovall-2015-Transforming_Anthropology.pdf","download_url":"https://www.academia.edu/attachments/38162081/download_file","bulk_download_file_name":"African_American_Cultural_Technology_The.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/38162081/Stovall-2015-Transforming_Anthropology-libre.pdf?1436667690=\u0026response-content-disposition=attachment%3B+filename%3DAfrican_American_Cultural_Technology_The.pdf\u0026Expires=1743603775\u0026Signature=XWBlpkXANZDiaHfh6MgoK7CKYQRZ81dvKPd0WTH1CVN~eTNRPFTjr6NivicvLgj8kn2tv-njIcHEIEjK6eCNOAfBwYE~-oBmrbD3ScrvW9qmHklUvuJBQyL5KfhQfKUbzGFJiYmdC6Wmo~rVSfQ8s6DDc2XCJeVBgS0W57zVomAigKQqgDrLOvtclTGuP7ru8m2MF9foB~~mDCQnVANTb4OXWsMoABLVhiQzxofgg8wAIz~FkNGtpkzjt90appX2YJLciWEm8YxL4U5ykoXbL3iUbdeWBw~EPUO6Dcy0ChY3N-oR7bhTe-OfgMbc6PNkv4hc2TfxXXMTK4~AAwYx5Q__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"African_American_Cultural_Technology_The_Lindy_Hop_the_King_of_Pop_and_the_Factory_Workers_Experience","translated_slug":"","page_count":13,"language":"en","content_type":"Work","summary":"African Americans have been integral in shaping the aesthetics of modernity generally, and with respect to dance in particular. 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The important contributions of theLindy Hop as a dance style and Michael Jackson as a performer have had a profound impact on the aesthetics of modernity in American social and popular concert dance. To better understand the relationship between industrialization and the African American shaping of aesthetics of modernity, this article analyzes black experiences and embodiment of industrial labor and the ways that African Americans drew from their particular experiences of industrial labor toward the creation of critical cultural technology.","owner":{"id":28979054,"first_name":"Maya","middle_initials":null,"last_name":"Stovall Dumas","page_name":"MayaStovallPhD","domain_name":"cpp","created_at":"2015-04-03T10:54:38.308-07:00","display_name":"Maya Stovall Dumas","url":"https://cpp.academia.edu/MayaStovallPhD"},"attachments":[{"id":38162081,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/38162081/thumbnails/1.jpg","file_name":"Stovall-2015-Transforming_Anthropology.pdf","download_url":"https://www.academia.edu/attachments/38162081/download_file","bulk_download_file_name":"African_American_Cultural_Technology_The.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/38162081/Stovall-2015-Transforming_Anthropology-libre.pdf?1436667690=\u0026response-content-disposition=attachment%3B+filename%3DAfrican_American_Cultural_Technology_The.pdf\u0026Expires=1743603775\u0026Signature=XWBlpkXANZDiaHfh6MgoK7CKYQRZ81dvKPd0WTH1CVN~eTNRPFTjr6NivicvLgj8kn2tv-njIcHEIEjK6eCNOAfBwYE~-oBmrbD3ScrvW9qmHklUvuJBQyL5KfhQfKUbzGFJiYmdC6Wmo~rVSfQ8s6DDc2XCJeVBgS0W57zVomAigKQqgDrLOvtclTGuP7ru8m2MF9foB~~mDCQnVANTb4OXWsMoABLVhiQzxofgg8wAIz~FkNGtpkzjt90appX2YJLciWEm8YxL4U5ykoXbL3iUbdeWBw~EPUO6Dcy0ChY3N-oR7bhTe-OfgMbc6PNkv4hc2TfxXXMTK4~AAwYx5Q__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies"},{"id":296,"name":"Black Studies Or African American Studies","url":"https://www.academia.edu/Documents/in/Black_Studies_Or_African_American_Studies"},{"id":767,"name":"Anthropology","url":"https://www.academia.edu/Documents/in/Anthropology"},{"id":945,"name":"Performing Arts","url":"https://www.academia.edu/Documents/in/Performing_Arts"},{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies"},{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies"},{"id":3499,"name":"Social and Cultural Anthropology","url":"https://www.academia.edu/Documents/in/Social_and_Cultural_Anthropology"},{"id":3870,"name":"African Diaspora Studies","url":"https://www.academia.edu/Documents/in/African_Diaspora_Studies"},{"id":4260,"name":"Anthropology Of Dance","url":"https://www.academia.edu/Documents/in/Anthropology_Of_Dance"},{"id":9705,"name":"Capitalism","url":"https://www.academia.edu/Documents/in/Capitalism"},{"id":14912,"name":"African American Studies","url":"https://www.academia.edu/Documents/in/African_American_Studies"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-13929645-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="29530155"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/29530155/Blackness_in_Post_Bankruptcy_Detroit_Racial_Politics_and_Public_Discourse"><img alt="Research paper thumbnail of Blackness in Post-Bankruptcy Detroit: Racial Politics and Public Discourse" class="work-thumbnail" src="https://attachments.academia-assets.com/49971158/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/29530155/Blackness_in_Post_Bankruptcy_Detroit_Racial_Politics_and_Public_Discourse">Blackness in Post-Bankruptcy Detroit: Racial Politics and Public Discourse</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://wayne.academia.edu/AlexBHill">Alex B Hill</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://cpp.academia.edu/MayaStovallPhD">Maya Stovall Dumas</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Public discourse narrative positions Detroit's post-bankruptcy revitalization as a rapid process ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Public discourse narrative positions Detroit's post-bankruptcy revitalization as a rapid process of business and investment descending upon the city. In spite of this narrative, Detroit today remains a city of intense poverty and inequality. Between 2009 and 2013, an estimated 39 percent of Detroit residents were living below the Federal Poverty Line. This figure renders Detroit as statistically the poorest city in the country. In addition to a mythical narrative of rapid-fire investment, popular media representations of Detroit are peppered with racialized references to white business investment. These references position whiteness as " saving " Detroit and center whiteness in the urban process. This racialized narrative is false and divisive in a city that is upwards of 83 percent African American. In this paper, we map the disparity between the racial politics of Detroit and the anti-black public discourse narrative currently surrounding the city. We demonstrate that the public discourse valorization of a profit-driven urban process results in an anti-black prioritization of whiteness in Detroit's post-bankruptcy redevelopment process. This narrative, if unchecked, will have serious consequences in the city's present and future. As such, we propose a re-centering of the blackness of the city and the racial politics of generations that have shaped current conditions , toward a more equitable recovery process.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8c6147a94d13a5e4f87e6a97c1dfffb0" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":49971158,"asset_id":29530155,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/49971158/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="29530155"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="29530155"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 29530155; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=29530155]").text(description); $(".js-view-count[data-work-id=29530155]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 29530155; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='29530155']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8c6147a94d13a5e4f87e6a97c1dfffb0" } } $('.js-work-strip[data-work-id=29530155]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":29530155,"title":"Blackness in Post-Bankruptcy Detroit: Racial Politics and Public Discourse","translated_title":"","metadata":{"abstract":"Public discourse narrative positions Detroit's post-bankruptcy revitalization as a rapid process of business and investment descending upon the city. In spite of this narrative, Detroit today remains a city of intense poverty and inequality. Between 2009 and 2013, an estimated 39 percent of Detroit residents were living below the Federal Poverty Line. This figure renders Detroit as statistically the poorest city in the country. In addition to a mythical narrative of rapid-fire investment, popular media representations of Detroit are peppered with racialized references to white business investment. These references position whiteness as \" saving \" Detroit and center whiteness in the urban process. This racialized narrative is false and divisive in a city that is upwards of 83 percent African American. In this paper, we map the disparity between the racial politics of Detroit and the anti-black public discourse narrative currently surrounding the city. We demonstrate that the public discourse valorization of a profit-driven urban process results in an anti-black prioritization of whiteness in Detroit's post-bankruptcy redevelopment process. This narrative, if unchecked, will have serious consequences in the city's present and future. As such, we propose a re-centering of the blackness of the city and the racial politics of generations that have shaped current conditions , toward a more equitable recovery process.","ai_title_tag":"Racial Politics and Discourse in Post-Bankruptcy Detroit"},"translated_abstract":"Public discourse narrative positions Detroit's post-bankruptcy revitalization as a rapid process of business and investment descending upon the city. In spite of this narrative, Detroit today remains a city of intense poverty and inequality. Between 2009 and 2013, an estimated 39 percent of Detroit residents were living below the Federal Poverty Line. 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As such, we propose a re-centering of the blackness of the city and the racial politics of generations that have shaped current conditions , toward a more equitable recovery process.","internal_url":"https://www.academia.edu/29530155/Blackness_in_Post_Bankruptcy_Detroit_Racial_Politics_and_Public_Discourse","translated_internal_url":"","created_at":"2016-10-29T18:10:14.948-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":49539138,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":25559415,"work_id":29530155,"tagging_user_id":49539138,"tagged_user_id":28979054,"co_author_invite_id":null,"email":"m***l@wayne.edu","affiliation":"California State Polytechnic University at Pomona","display_order":1,"name":"Maya Stovall Dumas","title":"Blackness in Post-Bankruptcy Detroit: Racial Politics and Public Discourse"}],"downloadable_attachments":[{"id":49971158,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/49971158/thumbnails/1.jpg","file_name":"10.1111-nad.12046_STOVALL_HILL.pdf","download_url":"https://www.academia.edu/attachments/49971158/download_file","bulk_download_file_name":"Blackness_in_Post_Bankruptcy_Detroit_Rac.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/49971158/10.1111-nad.12046_STOVALL_HILL-libre.pdf?1477790169=\u0026response-content-disposition=attachment%3B+filename%3DBlackness_in_Post_Bankruptcy_Detroit_Rac.pdf\u0026Expires=1743603775\u0026Signature=K9eRib-Z0tMNzFh76T5YdGcuBxb5KGEYic0BI0CiTB4QAHRzeoiefstGoHLIbJfkc6qqQ1kO5dcM5VkmMoO1d6gOg6K5sDVR9ox3mvgxweYF7yTVI7THQqJuUPLbmUh7MDP1iMfHWPtHvxF1l2msP2NcDC8nksZDCskUiVcWN8rzvWbivFg8IwOlz~ufEz5YP5TaM7x7RhGPabbndwtr90BT9AULo3BIPghwqVsQEesVHbe4N3EWkQfGtUBkp02yOSbXv-SQ35SCOp86Bzvd4~hMV4Rx3FUW9Pcjr4WBDU3flJFrNXlhiFswxhpf~5PcgQS32vzAxkRDm4OVvHrdcg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Blackness_in_Post_Bankruptcy_Detroit_Racial_Politics_and_Public_Discourse","translated_slug":"","page_count":11,"language":"en","content_type":"Work","summary":"Public discourse narrative positions Detroit's post-bankruptcy revitalization as a rapid process of business and investment descending upon the city. 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We demonstrate that the public discourse valorization of a profit-driven urban process results in an anti-black prioritization of whiteness in Detroit's post-bankruptcy redevelopment process. This narrative, if unchecked, will have serious consequences in the city's present and future. 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In spite of this narrative, Detroit today remains a city of intense poverty and inequality. Between 2009 and 2013, an estimated 39 percent of Detroit residents were living below the Federal Poverty Line. This figure renders Detroit as statistically the poorest city in the country. In addition to a mythical narrative of rapid-fire investment, popular media representations of Detroit are peppered with racialized references to white business investment. These references position whiteness as " saving " Detroit and center whiteness in the urban process. This racialized narrative is false and divisive in a city that is upwards of 83 percent African American. In this paper, we map the disparity between the racial politics of Detroit and the anti-black public discourse narrative currently surrounding the city. We demonstrate that the public discourse valorization of a profit-driven urban process results in an anti-black prioritization of whiteness in Detroit's post-bankruptcy redevelopment process. This narrative, if unchecked, will have serious consequences in the city's present and future. As such, we propose a re-centering of the blackness of the city and the racial politics of generations that have shaped current conditions , toward a more equitable recovery process.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b2e24baa6ac8a688dbee6e36cbb22df1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":49969672,"asset_id":29529322,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/49969672/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="29529322"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="29529322"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 29529322; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=29529322]").text(description); $(".js-view-count[data-work-id=29529322]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 29529322; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='29529322']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "b2e24baa6ac8a688dbee6e36cbb22df1" } } $('.js-work-strip[data-work-id=29529322]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":29529322,"title":"Blackness in Post-Bankruptcy Detroit: Racial Politics and Public Discourse","translated_title":"","metadata":{"abstract":"Public discourse narrative positions Detroit's post-bankruptcy revitalization as a rapid process of business and investment descending upon the city. 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We demonstrate that the public discourse valorization of a profit-driven urban process results in an anti-black prioritization of whiteness in Detroit's post-bankruptcy redevelopment process. This narrative, if unchecked, will have serious consequences in the city's present and future. As such, we propose a re-centering of the blackness of the city and the racial politics of generations that have shaped current conditions , toward a more equitable recovery process.","publication_date":{"day":null,"month":null,"year":2016,"errors":{}},"publication_name":"Journal of the Anthropology of North America (JANA)"},"translated_abstract":"Public discourse narrative positions Detroit's post-bankruptcy revitalization as a rapid process of business and investment descending upon the city. In spite of this narrative, Detroit today remains a city of intense poverty and inequality. Between 2009 and 2013, an estimated 39 percent of Detroit residents were living below the Federal Poverty Line. 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We demonstrate that the public discourse valorization of a profit-driven urban process results in an anti-black prioritization of whiteness in Detroit's post-bankruptcy redevelopment process. This narrative, if unchecked, will have serious consequences in the city's present and future. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-29529322-figures'); } }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Books" id="Books"><h3 class="profile--tab_heading_container">Books by Maya Stovall Dumas</h3></div></div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="2815371" id="papers"><div class="js-work-strip profile--work_container" data-work-id="102042859"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/102042859/Notes_on_All_That_Was_Not_Her"><img alt="Research paper thumbnail of Notes on All That Was Not Her" class="work-thumbnail" src="https://attachments.academia-assets.com/102415481/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/102042859/Notes_on_All_That_Was_Not_Her">Notes on All That Was Not Her</a></div><div class="wp-workCard_item"><span>Somatosphere</span><span>, 2023</span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-102042859-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-102042859-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/43115449/figure-1-notes-on-all-that-was-not-her"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/102415481/figure_001.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/43115470/figure-2-notes-on-all-that-was-not-her"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/102415481/figure_002.jpg" /></a></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-profile-work-102042859-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="cdac1737b09fe466ed4146f4d2f3cedb" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":102415481,"asset_id":102042859,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/102415481/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="102042859"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="102042859"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 102042859; 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It explores the dichotomy between the negative and the vandalization of meaning, emphasizing the ethnographer's personal struggles in capturing the essence of Beverly's existence amidst societal prejudices. Through a fragmented narrative, it examines themes of identity, loss, and the limitations of language in conveying the lived realities of those who are often rendered voiceless.","ai_title_tag":"Representing Marginalized Voices in Writing","publication_date":{"day":null,"month":null,"year":2023,"errors":{}},"publication_name":"Somatosphere"},"translated_abstract":null,"internal_url":"https://www.academia.edu/102042859/Notes_on_All_That_Was_Not_Her","translated_internal_url":"","created_at":"2023-05-19T13:37:02.415-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":28979054,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":39881468,"work_id":102042859,"tagging_user_id":28979054,"tagged_user_id":941067,"co_author_invite_id":null,"email":"d***r@gmail.com","affiliation":"Pratt Institute","display_order":1,"name":"DeShawn Dumas","title":"Notes on All That Was Not Her"}],"downloadable_attachments":[{"id":102415481,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/102415481/thumbnails/1.jpg","file_name":"Book_forum_All_That_Was_Not_Her.pdf","download_url":"https://www.academia.edu/attachments/102415481/download_file","bulk_download_file_name":"Notes_on_All_That_Was_Not_Her.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/102415481/Book_forum_All_That_Was_Not_Her-libre.pdf?1684542906=\u0026response-content-disposition=attachment%3B+filename%3DNotes_on_All_That_Was_Not_Her.pdf\u0026Expires=1743603774\u0026Signature=XXBs0Zw1YRY5y5qdr4NQ4i9FXAvi0miw28KS9P7epXcjkpqZ6WoRSO~V1F-2SHWCk~3Z5Wes~bYbDkYEpaZO7aTbZ3Qlwj4O7buvL3ruzeACM~wB-28AjVYEEZ-SXOlv518jzPm4pgAcD-ENbS3NEgKj3EJ0T1pP7rN1DElqRtlmDMbnuYxMnEfSmBK~wIy6ytTs3AsNKI~ChHFKR4yCIII5fe8KFT7xJVCka0aEPgW703lu3q6-~gfZGwIJbDEKS3ldpVA4zeLTqF0JkdLlZP762-UoiEZNc7iE5rYGvBmypSC3omTcaZY9T25uFuB3WlqGMmdbtgwoNaOoNvUUYw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Notes_on_All_That_Was_Not_Her","translated_slug":"","page_count":26,"language":"en","content_type":"Work","summary":null,"owner":{"id":28979054,"first_name":"Maya","middle_initials":null,"last_name":"Stovall Dumas","page_name":"MayaStovallPhD","domain_name":"cpp","created_at":"2015-04-03T10:54:38.308-07:00","display_name":"Maya Stovall Dumas","url":"https://cpp.academia.edu/MayaStovallPhD"},"attachments":[{"id":102415481,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/102415481/thumbnails/1.jpg","file_name":"Book_forum_All_That_Was_Not_Her.pdf","download_url":"https://www.academia.edu/attachments/102415481/download_file","bulk_download_file_name":"Notes_on_All_That_Was_Not_Her.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/102415481/Book_forum_All_That_Was_Not_Her-libre.pdf?1684542906=\u0026response-content-disposition=attachment%3B+filename%3DNotes_on_All_That_Was_Not_Her.pdf\u0026Expires=1743603774\u0026Signature=XXBs0Zw1YRY5y5qdr4NQ4i9FXAvi0miw28KS9P7epXcjkpqZ6WoRSO~V1F-2SHWCk~3Z5Wes~bYbDkYEpaZO7aTbZ3Qlwj4O7buvL3ruzeACM~wB-28AjVYEEZ-SXOlv518jzPm4pgAcD-ENbS3NEgKj3EJ0T1pP7rN1DElqRtlmDMbnuYxMnEfSmBK~wIy6ytTs3AsNKI~ChHFKR4yCIII5fe8KFT7xJVCka0aEPgW703lu3q6-~gfZGwIJbDEKS3ldpVA4zeLTqF0JkdLlZP762-UoiEZNc7iE5rYGvBmypSC3omTcaZY9T25uFuB3WlqGMmdbtgwoNaOoNvUUYw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":767,"name":"Anthropology","url":"https://www.academia.edu/Documents/in/Anthropology"},{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy"},{"id":3499,"name":"Social and Cultural Anthropology","url":"https://www.academia.edu/Documents/in/Social_and_Cultural_Anthropology"},{"id":16031,"name":"Immanuel Kant","url":"https://www.academia.edu/Documents/in/Immanuel_Kant"}],"urls":[{"id":31581851,"url":"http://somatosphere.net/forumpost/notes-on-all-that-was-not-her/"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (true) { Aedu.setUpFigureCarousel('profile-work-102042859-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="101577071"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/101577071/Resisting_the_threat_of_violence_A_conversation_between_Maya_Stovall_and_Josef_Cadwell"><img alt="Research paper thumbnail of Resisting the threat of violence: A conversation between Maya Stovall and Josef Cadwell" class="work-thumbnail" src="https://attachments.academia-assets.com/102080395/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/101577071/Resisting_the_threat_of_violence_A_conversation_between_Maya_Stovall_and_Josef_Cadwell">Resisting the threat of violence: A conversation between Maya Stovall and Josef Cadwell</a></div><div class="wp-workCard_item"><span>Critical Correspondence, Movement Research Journal</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This critical correspondence is primarily composed by Maya Stovall. Her thoughts, insights, and c...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This critical correspondence is primarily composed by Maya Stovall. Her thoughts, insights, and commentary are interwoven with her brother, Josef Cadwell's poems and reflections. It is a correspondence, but their timeline is asynchronous. Their communication is dictated by the prison system and the surveillance, bureaucracy, and neglect this system rewards. Despite and through each challenge these siblings find each other and call out for a different way of being together, a more cohesive movement, a creative future-not fiction-that requires all of us.-Londs and Nicole, CC Co-editors Screenshot of a blue-toned gmail inbox with categories along the left and featured in the center, an incoming email notification from JPay: You have received a message from your loved one Josef Cadwell.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="58588fb71a4c224d4024baf99cfa4e72" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":102080395,"asset_id":101577071,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/102080395/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="101577071"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="101577071"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 101577071; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=101577071]").text(description); $(".js-view-count[data-work-id=101577071]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 101577071; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='101577071']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "58588fb71a4c224d4024baf99cfa4e72" } } $('.js-work-strip[data-work-id=101577071]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":101577071,"title":"Resisting the threat of violence: A conversation between Maya Stovall and Josef Cadwell","translated_title":"","metadata":{"abstract":"This critical correspondence is primarily composed by Maya Stovall. 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The Public Library, vol. 1, no. 1 (2018). HD video still; the performance of choreographed dance sequences. Saskatoon, Saskatchewan. (Image courtesy of Maya Stovall) I stare beyond my camera in front of me as I pull my left leg forward into (in ballet-speak) a rond de jambe en dedans a terre—that is, a counter-clockwise circling of the leg on the ground. The rond de jambe propels me forward; I advance toward the street facing City Hall. A breath; hold-hold-hold, right leg in plié, left leg stretched to reach far beyond this sliver of a moment. Slowly gathering myself. Standing up straight. Clash vertigo. " class="figure-slide-image" src="https://figures.academia-assets.com/63387608/figure_002.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/43284615/figure-3-public-library-crystal-meth-choreography-conceptual"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/63387608/figure_003.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/43284616/figure-4-public-library-crystal-meth-choreography-conceptual"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/63387608/figure_004.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/43284617/figure-5-public-library-crystal-meth-choreography-conceptual"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/63387608/figure_005.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/43284619/figure-6-public-library-crystal-meth-choreography-conceptual"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/63387608/figure_006.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/43284622/figure-7-public-library-crystal-meth-choreography-conceptual"><img alt="" class="figure-slide-image" src="https://figures.academia-assets.com/63387608/figure_007.jpg" /></a></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-profile-work-43129449-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a945d9a728687bbf40bd2ea969704cb3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63387608,"asset_id":43129449,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63387608/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="43129449"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="43129449"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43129449; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43129449]").text(description); $(".js-view-count[data-work-id=43129449]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 43129449; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='43129449']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a945d9a728687bbf40bd2ea969704cb3" } } $('.js-work-strip[data-work-id=43129449]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":43129449,"title":"Public Library: Crystal Meth, Choreography, Conceptual Art","translated_title":"","metadata":{"ai_abstract":"Maya Stovall, an artist and anthropologist, explores the intersections of public space, artistic performance, and the socio-political implications of drug culture in her work. 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But That Means It’s Home!” African American Feminist Critical Geographic Wanderings in the Anthropology of Space and Place." class="work-thumbnail" src="https://attachments.academia-assets.com/58671160/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38596411/_It_s_The_Hood_But_That_Means_It_s_Home_African_American_Feminist_Critical_Geographic_Wanderings_in_the_Anthropology_of_Space_and_Place">“It’s The ‘Hood. But That Means It’s Home!” African American Feminist Critical Geographic Wanderings in the Anthropology of Space and Place.</a></div><div class="wp-workCard_item"><span>Transforming Anthropology</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article pursues an African American feminist critical geographic approach in locating experi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article pursues an African American feminist critical geographic approach in locating experiential geographies that help shape people's perceptions of city life. I center the culturally symbolic site of Detroit bus stops as point of ethnographic departure. With my choreography as strategy approach to ethnography, I hang out at the site of the bus stop itself, finding perceptions of city life are shaped by people's subjective-geographic understandings, and reflect the paradox of place. In other words, people's perceptions exist both within and beyond built environment and prefigured assumptions of group membership. However, the philosophical, the choreographic, and the paradox do not substitute for historical-materialist, political economic analysis. Rather, I suggest that people's subjectivities and philosophical stances be considered alongside the political economic in an anthropology of cities. Demonstrative of such an approach, I offer several ethnographic sketches and some of the nuances that emerge as I wander bus stops in Detroit. Ultimately, I argue for an approach to urban anthropological research that prioritizes people's complex subjectivities alongside onto-historical context. [cultural anthropology, urban anthropology, feminist studies, African American studies, critical geography]</span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-38596411-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-38596411-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/49220796/figure-1-signage-announces-the-coming-rail-in-front-of-the"><img alt="Figure 1. Signage announces the coming M1 rail in front of the HopCat Restaurant (out of the frame of the image). Kitty-corner across the way, the #53 Woodward at Canfield bus stop can be viewed amidst the construction barriers and blockages. Photo courtesy the author, March 2016. [Color figure can be viewed at wileyonlinelibrary.com] Moreover, Detroit is internationally known as The Motor City; the luster and gleam of Detroit muscle has long captured the hearts of Americana: Jay Leno collects Ford Mustangs; Jay-Z has a record entitled Little Red Corvette, and nearly all dwellers of a certain age of the United States of America know the chorus to Bye, Bye, Ms. Ameri- can Pie, at the center of which is a certain Detroit- steel-muscle-breed known as the Chevy. Since 1994, Detroit’s Woodward Avenue Dream Cruise has attracted an estimated twenty to thirty thou- sand classic cars and over one million people every year in sweltering Detroit-August.'*> The Dream Cruise, a procession of tweezed, pruned Detroit steel up and down Woodward Avenue from Eight Mile Road to the northern suburb, Pontiac, Michigan, demonstrates both Detroit’s love of cars and its fraught, regionalist divisions.'* Eight Mile Road is the city-suburb divide—a_racialized, classed, regionalized economic border that exists both in the imagination, and in reality, regarding Scholars write that in this post-industrial rust- belt city, saluted as the automotive capital of the world, mass transportation has been deliberately eschewed (Dreier, Mollenkopf, and Swanstrom 2016; Gallagher 2013; Sugrue 2014) and_ that urban sustainability won’t happen without a sutur- ing of the class-based transit gap across the region (Vojnovic and Darden 2013). Urban theorists posit that Detroit’s post-war Fordist design features, such as the freeway system, were deliberately unfriendly to accessible mass transportation (Ryan and Campo 2013; Whitt 2014) in an effort to sup- port the interests of Ford, General Motors, and Chrysler—known as the Detroit Big Three Automakers—and to support regionalized segrega- tion. The swirling forces of classed, racialized, and racist geographies of bus stops in Detroit can’t be ignored. In Figure 1, an image of the coming M1 rail figured prominently next to a new national " class="figure-slide-image" src="https://figures.academia-assets.com/58671160/figure_001.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/49220803/figure-2-view-of-the-bus-stop-at-gratiot-and-mack-avenue-the"><img alt="Figure 2. View of the #34 bus stop at Gratiot and Mack Avenue. The bus bench was crafted by Todd Stovall. Notice there is no city-provided signage indicating this is a bus stop. The author’s studio loft is the building on the far right of the image directly behind the bus bench. Photo courtesy of the author, March 2016. [Color figure can be viewed at wileyonlinelibrary.com|] " class="figure-slide-image" src="https://figures.academia-assets.com/58671160/figure_002.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/49220811/figure-3-view-from-the-bus-stop-at-gratiot-and-mack-the"><img alt="Figure 3. View from the #34 bus stop at Gratiot and Mack. The vacant Goeschell Building is pictured in the view. Photo courtesy of the author, March 2016. [Color figure can be viewed at wileyonlinelibrary.com] " class="figure-slide-image" src="https://figures.academia-assets.com/58671160/figure_003.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/49220821/figure-4-view-from-the-bus-stop-at-alexandrine-and-woodward"><img alt="Figure 4. View from the #53 bus stop at Alexandrine and Woodward Avenue. You can just make out the 933-1300 number Bridges refers to. Photo courtesy of the author, March 2016. [Color figure can be viewed at wileyonlinelibrary.com] " class="figure-slide-image" src="https://figures.academia-assets.com/58671160/figure_004.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/49220830/figure-5-view-of-construction-related-flooding-from-the-bus"><img alt="Figure 5. View of M1 construction-related flooding from the #53 bus stop, Woodward and Canfield. Photo courtesy of the author, March 2016. [Color figure can be viewed at wileyonlinelibrary.com] " class="figure-slide-image" src="https://figures.academia-assets.com/58671160/figure_005.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/49220839/figure-6-women-bus-riders-and-additional-people-waiting-at"><img alt="Figure 6. Women bus riders and additional people waiting at the #53 bus stop on Woodward at Warren. M1 construction has shifted the bus stop into the street. Photo courtesy of the author, March 2016. [Color figure can be viewed at wileyon linelibrary.com] I offer that mental models of meaning making (Anderson 1983) are more useful when they are not applied to large groups of people; but rather, on a personal level (Strauss 2006) of individual subjectivity. More to the point, the idea of philo- sophical wandering (Cervenak 2014) by which African American women create their own under- standings that are beyond the physical, allows an ontology of space and place—what I name the paradox of place (Stovall 2018)—that can bend expectation and yet remain attuned to intersection- ality. That is, an understanding of space and place where subjects are keenly aware of, but not Zizek, on Marx and Freud’s analyses o dreams and commodities, offers that both philoso phers move beyond the surface—beyond com modities and beyond dreams—into the realm o what Zizek calls “the secret” (1989, 295) or the underlying reason why. In this article, I’m inter- ested in the “the secret” Zizek posits as beyond the realm of formalized commodities and physica environments. I shall argue that the space o " class="figure-slide-image" src="https://figures.academia-assets.com/58671160/figure_006.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/49220854/figure-7-close-up-view-of-the-textures-on-the-street-created"><img alt="Figure 7. Close-up view of the textures-on-the-street created by M1 construction, rains, and a winding-down Detroit win ter. March 2016. Photo courtesy the author. [Color figure can be viewed at wileyonlinelibrary.com] The ethnographic accounts presented in this article demonstrate the wealth of sensory experi- ence, context, and the subjective details that emerge through ethnography at these bus stop field sites. I was interested in documenting ethno- graphic surprises (Fortun 2012; Soukup 2013) that complicate our notions of social life in cities. By his, I refer to particular contradictions that may be present between, and at the interstices of, pub- ic discourse around contested topics, and actual houghts and experiences of those closest to the action, like the women I hung out with in this arti- cle. The surprises lend to the critical moments in an anthropological research process, as you listen closely and hear not what you expect to hear but what your informant wishes to say or not say. It is The bus stops analyzed in this project repre- sent portals through which people’s experiences on the streets of Detroit may be accessed—but not assumed homogenous on the basis of perceived group membership. In Detroit, bus stops are a cul- tural symbol (Holleran 2015) that depicts symbolic " class="figure-slide-image" src="https://figures.academia-assets.com/58671160/figure_007.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/49220869/figure-8-view-of-construction-and-passing-traffic-from-the"><img alt="Figure 8. View of M1 construction and passing traffic from the #53 bus stop at Woodward and Canfield. Photo courtesy of the author, March 2016. [Color figure can be viewed at wileyonlinelibrary.com|] " class="figure-slide-image" src="https://figures.academia-assets.com/58671160/figure_008.jpg" /></a></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-profile-work-38596411-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b3d7755f0dc18a0eeac6ed92912393ac" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58671160,"asset_id":38596411,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58671160/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38596411"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38596411"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38596411; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38596411]").text(description); $(".js-view-count[data-work-id=38596411]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38596411; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38596411']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "b3d7755f0dc18a0eeac6ed92912393ac" } } $('.js-work-strip[data-work-id=38596411]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38596411,"title":"“It’s The ‘Hood. 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I center the culturally symbolic site of Detroit bus stops as point of ethnographic departure. With my choreography as strategy approach to ethnography, I hang out at the site of the bus stop itself, finding perceptions of city life are shaped by people's subjective-geographic understandings, and reflect the paradox of place. In other words, people's perceptions exist both within and beyond built environment and prefigured assumptions of group membership. However, the philosophical, the choreographic, and the paradox do not substitute for historical-materialist, political economic analysis. Rather, I suggest that people's subjectivities and philosophical stances be considered alongside the political economic in an anthropology of cities. Demonstrative of such an approach, I offer several ethnographic sketches and some of the nuances that emerge as I wander bus stops in Detroit. Ultimately, I argue for an approach to urban anthropological research that prioritizes people's complex subjectivities alongside onto-historical context. [cultural anthropology, urban anthropology, feminist studies, African American studies, critical geography]","owner":{"id":28979054,"first_name":"Maya","middle_initials":null,"last_name":"Stovall Dumas","page_name":"MayaStovallPhD","domain_name":"cpp","created_at":"2015-04-03T10:54:38.308-07:00","display_name":"Maya Stovall Dumas","url":"https://cpp.academia.edu/MayaStovallPhD"},"attachments":[{"id":58671160,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/58671160/thumbnails/1.jpg","file_name":"Stovall-2019-Transforming_Anthropology.pdf","download_url":"https://www.academia.edu/attachments/58671160/download_file","bulk_download_file_name":"It_s_The_Hood_But_That_Means_It_s_Home.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/58671160/Stovall-2019-Transforming_Anthropology-libre.pdf?1553165713=\u0026response-content-disposition=attachment%3B+filename%3DIt_s_The_Hood_But_That_Means_It_s_Home.pdf\u0026Expires=1743603774\u0026Signature=SDSs~~dVck7C9tnsPCHV1jq7n-AB9xmAJLLWFMJxgOPQ11JbhU4j93nv1wjrqKW2Zz-tO1ugZXasVvqytwMGlBZdnJI0UGguTd4txmW5BEy770N60oEfYtbhcFzwzQsz2TG~WtjGW~8Utaju5MqUBBKOH28RRfSJxIwsFGluS-4lZQsNL19caYvZPMuF1k9KgchVKO3D2UjCyRtKlNN-gqyv4tvhWgBUmZ5G~N1CAMKIlcZ3djknqjJCC4AMBKpHu~T0NA22hGvMBB8mipQlsONK7-loY5sqvMYHVHj5oq11nRIyHoQMW-esTKgt9-nq2-vXecGU8Ltr~cVLlkSjNA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":1192,"name":"Feminist Theory","url":"https://www.academia.edu/Documents/in/Feminist_Theory"},{"id":3499,"name":"Social and Cultural Anthropology","url":"https://www.academia.edu/Documents/in/Social_and_Cultural_Anthropology"},{"id":5676,"name":"Choreography","url":"https://www.academia.edu/Documents/in/Choreography"},{"id":7725,"name":"Urban Studies","url":"https://www.academia.edu/Documents/in/Urban_Studies"},{"id":12194,"name":"Critical Geography","url":"https://www.academia.edu/Documents/in/Critical_Geography"},{"id":14412,"name":"Black feminism","url":"https://www.academia.edu/Documents/in/Black_feminism"},{"id":14912,"name":"African American Studies","url":"https://www.academia.edu/Documents/in/African_American_Studies"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (true) { Aedu.setUpFigureCarousel('profile-work-38596411-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="36559162"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/36559162/Liquor_Store_Theatre_Ethnography_and_Contemporary_Art_in_Detroit"><img alt="Research paper thumbnail of Liquor Store Theatre: Ethnography and Contemporary Art in Detroit" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title">Liquor Store Theatre: Ethnography and Contemporary Art in Detroit</div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Liquor Store Theatre is a study of the struggle for the city in contemporary Detroit. An ethnogra...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Liquor Store Theatre is a study of the struggle for the city in contemporary Detroit. An ethnography completed over several years in an east side Detroit neighborhood called McDougall Hunt, the project exists in a variety of registers, working across contemporary art, performance, urban anthropology, critical geography, visual studies, film and new media, African American studies, and urban studies. The visual work of Liquor Store Theatre includes a four-volume, twenty-plus video episode meditation on city life included in the Whitney Museum of American Art Biennial 2017. The works were produced as I staged and video-documented dance performances and conversations on city life in the streets and sidewalks surrounding liquor stores in the neighborhood where I also lived. In addition to the publicly known moving and still image works associated with the project, Liquor Store Theatre was a classical neighborhood ethnography. From the liquor store performances and conversations as points of departure, I orbited with my willing neighbors into their lives up and down our blocks. I ended up in their breakfast nooks, at their cocktail parties, in their backyards and public gardens, together on the sidewalks of Heidelberg Project, and at neighborhood meetings, hanging out and tracing daily living in the zone. Despite the racist/capitalist economic system and regionalist/post-industrial economic decline evident in Detroit broadly and in the zone, people found ways of making the city move. Over my fieldwork, I found that residents used the forces of art, labor, and movement to shape and interpret city life.  Understanding McDougall Hunt required fresh thinking due to its seemingly bizarre contradictions—a gorgeous geography, near the river, with complex and intelligent long-time residents, artists galore, eight liquor stores in 0.39 of a square mile, and a median income of $13,000 USD at 2010 Census. I was searching for a new way of thinking about old questions of power and struggle for the city. In this search, I located an analytic I called the paradox of place. With paradox of place, I prioritized both the affect and desire of the day-to-day, and the abstract, philosophical possibilities of space, along with attention to the historical materialist, empirical realities that shaped political economy of space and place. From the quiet art and writing of neighbors, to alternative modes of labor keeping the block going, to movement of capital, people, water, and development, the project that started with a dancerly prompt landed squarely in the everyday; touching the affect and desire of the mundane, the paradox of place, and documenting visually and ethnographically the rich complexities in the present moment.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36559162"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36559162"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36559162; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36559162]").text(description); $(".js-view-count[data-work-id=36559162]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36559162; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36559162']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=36559162]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36559162,"title":"Liquor Store Theatre: Ethnography and Contemporary Art in Detroit","translated_title":"","metadata":{"abstract":"Liquor Store Theatre is a study of the struggle for the city in contemporary Detroit. An ethnography completed over several years in an east side Detroit neighborhood called McDougall Hunt, the project exists in a variety of registers, working across contemporary art, performance, urban anthropology, critical geography, visual studies, film and new media, African American studies, and urban studies. The visual work of Liquor Store Theatre includes a four-volume, twenty-plus video episode meditation on city life included in the Whitney Museum of American Art Biennial 2017. The works were produced as I staged and video-documented dance performances and conversations on city life in the streets and sidewalks surrounding liquor stores in the neighborhood where I also lived. In addition to the publicly known moving and still image works associated with the project, Liquor Store Theatre was a classical neighborhood ethnography. From the liquor store performances and conversations as points of departure, I orbited with my willing neighbors into their lives up and down our blocks. I ended up in their breakfast nooks, at their cocktail parties, in their backyards and public gardens, together on the sidewalks of Heidelberg Project, and at neighborhood meetings, hanging out and tracing daily living in the zone. Despite the racist/capitalist economic system and regionalist/post-industrial economic decline evident in Detroit broadly and in the zone, people found ways of making the city move. Over my fieldwork, I found that residents used the forces of art, labor, and movement to shape and interpret city life. Understanding McDougall Hunt required fresh thinking due to its seemingly bizarre contradictions—a gorgeous geography, near the river, with complex and intelligent long-time residents, artists galore, eight liquor stores in 0.39 of a square mile, and a median income of $13,000 USD at 2010 Census. I was searching for a new way of thinking about old questions of power and struggle for the city. In this search, I located an analytic I called the paradox of place. With paradox of place, I prioritized both the affect and desire of the day-to-day, and the abstract, philosophical possibilities of space, along with attention to the historical materialist, empirical realities that shaped political economy of space and place. From the quiet art and writing of neighbors, to alternative modes of labor keeping the block going, to movement of capital, people, water, and development, the project that started with a dancerly prompt landed squarely in the everyday; touching the affect and desire of the mundane, the paradox of place, and documenting visually and ethnographically the rich complexities in the present moment. \n"},"translated_abstract":"Liquor Store Theatre is a study of the struggle for the city in contemporary Detroit. An ethnography completed over several years in an east side Detroit neighborhood called McDougall Hunt, the project exists in a variety of registers, working across contemporary art, performance, urban anthropology, critical geography, visual studies, film and new media, African American studies, and urban studies. The visual work of Liquor Store Theatre includes a four-volume, twenty-plus video episode meditation on city life included in the Whitney Museum of American Art Biennial 2017. The works were produced as I staged and video-documented dance performances and conversations on city life in the streets and sidewalks surrounding liquor stores in the neighborhood where I also lived. In addition to the publicly known moving and still image works associated with the project, Liquor Store Theatre was a classical neighborhood ethnography. From the liquor store performances and conversations as points of departure, I orbited with my willing neighbors into their lives up and down our blocks. I ended up in their breakfast nooks, at their cocktail parties, in their backyards and public gardens, together on the sidewalks of Heidelberg Project, and at neighborhood meetings, hanging out and tracing daily living in the zone. Despite the racist/capitalist economic system and regionalist/post-industrial economic decline evident in Detroit broadly and in the zone, people found ways of making the city move. Over my fieldwork, I found that residents used the forces of art, labor, and movement to shape and interpret city life. Understanding McDougall Hunt required fresh thinking due to its seemingly bizarre contradictions—a gorgeous geography, near the river, with complex and intelligent long-time residents, artists galore, eight liquor stores in 0.39 of a square mile, and a median income of $13,000 USD at 2010 Census. I was searching for a new way of thinking about old questions of power and struggle for the city. In this search, I located an analytic I called the paradox of place. With paradox of place, I prioritized both the affect and desire of the day-to-day, and the abstract, philosophical possibilities of space, along with attention to the historical materialist, empirical realities that shaped political economy of space and place. From the quiet art and writing of neighbors, to alternative modes of labor keeping the block going, to movement of capital, people, water, and development, the project that started with a dancerly prompt landed squarely in the everyday; touching the affect and desire of the mundane, the paradox of place, and documenting visually and ethnographically the rich complexities in the present moment. \n","internal_url":"https://www.academia.edu/36559162/Liquor_Store_Theatre_Ethnography_and_Contemporary_Art_in_Detroit","translated_internal_url":"","created_at":"2018-05-03T12:46:58.558-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":28979054,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"Liquor_Store_Theatre_Ethnography_and_Contemporary_Art_in_Detroit","translated_slug":"","page_count":null,"language":"en","content_type":"Work","summary":"Liquor Store Theatre is a study of the struggle for the city in contemporary Detroit. An ethnography completed over several years in an east side Detroit neighborhood called McDougall Hunt, the project exists in a variety of registers, working across contemporary art, performance, urban anthropology, critical geography, visual studies, film and new media, African American studies, and urban studies. The visual work of Liquor Store Theatre includes a four-volume, twenty-plus video episode meditation on city life included in the Whitney Museum of American Art Biennial 2017. The works were produced as I staged and video-documented dance performances and conversations on city life in the streets and sidewalks surrounding liquor stores in the neighborhood where I also lived. In addition to the publicly known moving and still image works associated with the project, Liquor Store Theatre was a classical neighborhood ethnography. From the liquor store performances and conversations as points of departure, I orbited with my willing neighbors into their lives up and down our blocks. I ended up in their breakfast nooks, at their cocktail parties, in their backyards and public gardens, together on the sidewalks of Heidelberg Project, and at neighborhood meetings, hanging out and tracing daily living in the zone. Despite the racist/capitalist economic system and regionalist/post-industrial economic decline evident in Detroit broadly and in the zone, people found ways of making the city move. Over my fieldwork, I found that residents used the forces of art, labor, and movement to shape and interpret city life. Understanding McDougall Hunt required fresh thinking due to its seemingly bizarre contradictions—a gorgeous geography, near the river, with complex and intelligent long-time residents, artists galore, eight liquor stores in 0.39 of a square mile, and a median income of $13,000 USD at 2010 Census. I was searching for a new way of thinking about old questions of power and struggle for the city. In this search, I located an analytic I called the paradox of place. With paradox of place, I prioritized both the affect and desire of the day-to-day, and the abstract, philosophical possibilities of space, along with attention to the historical materialist, empirical realities that shaped political economy of space and place. From the quiet art and writing of neighbors, to alternative modes of labor keeping the block going, to movement of capital, people, water, and development, the project that started with a dancerly prompt landed squarely in the everyday; touching the affect and desire of the mundane, the paradox of place, and documenting visually and ethnographically the rich complexities in the present moment. \n","owner":{"id":28979054,"first_name":"Maya","middle_initials":null,"last_name":"Stovall Dumas","page_name":"MayaStovallPhD","domain_name":"cpp","created_at":"2015-04-03T10:54:38.308-07:00","display_name":"Maya Stovall Dumas","url":"https://cpp.academia.edu/MayaStovallPhD"},"attachments":[],"research_interests":[{"id":8,"name":"Critical Theory","url":"https://www.academia.edu/Documents/in/Critical_Theory"},{"id":2170,"name":"Ethnography","url":"https://www.academia.edu/Documents/in/Ethnography"},{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies"},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art"},{"id":23342,"name":"Cultural Anthropology","url":"https://www.academia.edu/Documents/in/Cultural_Anthropology"}],"urls":[{"id":8493574,"url":"https://search.proquest.com/openview/ffc386ba57a1cdf71945034e5243c174/1?pq-origsite=gscholar\u0026cbl=18750\u0026diss=y"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-36559162-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="34084871"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/34084871/The_Detroitists_Reflections_of_Detroit_Ethnographers_at_the_Anniversary_of_the_1967_Rebellion"><img alt="Research paper thumbnail of The Detroitists: Reflections of Detroit Ethnographers at the Anniversary of the 1967 Rebellion" class="work-thumbnail" src="https://attachments.academia-assets.com/54018102/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/34084871/The_Detroitists_Reflections_of_Detroit_Ethnographers_at_the_Anniversary_of_the_1967_Rebellion">The Detroitists: Reflections of Detroit Ethnographers at the Anniversary of the 1967 Rebellion</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://cpp.academia.edu/MayaStovallPhD">Maya Stovall Dumas</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://wayne.academia.edu/AlexBHill">Alex B Hill</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="62169515e00eded85b6c6bffd60803af" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":54018102,"asset_id":34084871,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/54018102/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="34084871"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="34084871"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 34084871; 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It analyzes ongoing socio-economic issues in Detroit, particularly related to food access and racial inequalities, while connecting historical events to current challenges faced by the community. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-34084871-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="26220153"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/26220153/Dance_the_City"><img alt="Research paper thumbnail of Dance the City" class="work-thumbnail" src="https://attachments.academia-assets.com/46538933/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/26220153/Dance_the_City">Dance the City</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">How might an anthropologist use dance to study cities? How about dance ethnography as method? The...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">How might an anthropologist use dance to study cities? How about dance ethnography as method? The Liquor Store Theatre project (LST) is a series of choreographed dance performances and ethnographic conversations on the sidewalks and spaces in and around liquor stores on Detroit's east side. LST started in a moment where you feel tears begin to form: a solitarily emotional place of anguish, release, and sometimes joy. A moment of holding on and of letting go, where something indescribable but so incredibly recognizable is speeding to the surface, rushing at you full throttle, and all you can do is let go and let it happen, whatever it may be. It lands on the shale-and dust-coated sidewalks of the city, dancing to bizarre rhythms as it seeks to connect with people. LST sets forth choreography/ethnography as research method. It uses staged dance performances in the spaces of my neighborhood as the point where ethnographic conversations begin. In this way, creativity and improvisation are at the center of ethnographic encounters. Working in an east side neighborhood in Detroit, LST investigates the complexities of blackness in a small, unique zone of an American city in transition.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="681b430fe3c0d6d833dc092d8ef034f5" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":46538933,"asset_id":26220153,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/46538933/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="26220153"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="26220153"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 26220153; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=26220153]").text(description); $(".js-view-count[data-work-id=26220153]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 26220153; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='26220153']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "681b430fe3c0d6d833dc092d8ef034f5" } } $('.js-work-strip[data-work-id=26220153]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":26220153,"title":"Dance the City","translated_title":"","metadata":{"abstract":"How might an anthropologist use dance to study cities? How about dance ethnography as method? The Liquor Store Theatre project (LST) is a series of choreographed dance performances and ethnographic conversations on the sidewalks and spaces in and around liquor stores on Detroit's east side. LST started in a moment where you feel tears begin to form: a solitarily emotional place of anguish, release, and sometimes joy. A moment of holding on and of letting go, where something indescribable but so incredibly recognizable is speeding to the surface, rushing at you full throttle, and all you can do is let go and let it happen, whatever it may be. It lands on the shale-and dust-coated sidewalks of the city, dancing to bizarre rhythms as it seeks to connect with people. LST sets forth choreography/ethnography as research method. It uses staged dance performances in the spaces of my neighborhood as the point where ethnographic conversations begin. In this way, creativity and improvisation are at the center of ethnographic encounters. 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LST sets forth choreography/ethnography as research method. It uses staged dance performances in the spaces of my neighborhood as the point where ethnographic conversations begin. In this way, creativity and improvisation are at the center of ethnographic encounters. Working in an east side neighborhood in Detroit, LST investigates the complexities of blackness in a small, unique zone of an American city in transition.","internal_url":"https://www.academia.edu/26220153/Dance_the_City","translated_internal_url":"","created_at":"2016-06-16T06:39:19.890-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":28979054,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":21388380,"work_id":26220153,"tagging_user_id":28979054,"tagged_user_id":28979054,"co_author_invite_id":4791961,"email":"m***l@wayne.edu","affiliation":"California State Polytechnic University at Pomona","display_order":0,"name":"Maya Stovall Dumas","title":"Dance the City"}],"downloadable_attachments":[{"id":46538933,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/46538933/thumbnails/1.jpg","file_name":"Dance_the_City___Anthropology-News.pdf","download_url":"https://www.academia.edu/attachments/46538933/download_file","bulk_download_file_name":"Dance_the_City.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/46538933/Dance_the_City___Anthropology-News-libre.pdf?1466084618=\u0026response-content-disposition=attachment%3B+filename%3DDance_the_City.pdf\u0026Expires=1743603775\u0026Signature=W9F8aLL~oSknCg-t~R91cBQFKigFiWk7LIoBOl6cx~ZP4Q0GmppBMCGlAZ0Yl0acDN66aIvbSUEDIbT9-hfS-IPN2m5W1g6CW1izYeX15DiYMgr1P1beEX0FUI82dg52NYoCWGqs2ZuXo55NYAwnpB4eFyKJEYrP1t4QkL0Fam4tcNofPizLOCeJvCbUTVQR9sQ03c6cLTTwfxOmSJDCCK0bOySs3FKTawGwsp2i3QsPIYFFC5u9JViLUtZ5p-T6tc1txmViW9EbxLYfFxk5~ee8cSDlZ7sTU~AKq9yKQXiz2SyqcahR2FOx2tNIMSzUOG24n8Dbud9Uqmlu4RMLoA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Dance_the_City","translated_slug":"","page_count":12,"language":"en","content_type":"Work","summary":"How might an anthropologist use dance to study cities? How about dance ethnography as method? The Liquor Store Theatre project (LST) is a series of choreographed dance performances and ethnographic conversations on the sidewalks and spaces in and around liquor stores on Detroit's east side. LST started in a moment where you feel tears begin to form: a solitarily emotional place of anguish, release, and sometimes joy. A moment of holding on and of letting go, where something indescribable but so incredibly recognizable is speeding to the surface, rushing at you full throttle, and all you can do is let go and let it happen, whatever it may be. It lands on the shale-and dust-coated sidewalks of the city, dancing to bizarre rhythms as it seeks to connect with people. LST sets forth choreography/ethnography as research method. It uses staged dance performances in the spaces of my neighborhood as the point where ethnographic conversations begin. In this way, creativity and improvisation are at the center of ethnographic encounters. 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Liquor Store Theater negotiates the right to the city while inserting discussions of race, privilege, and access into Detroit's current trends of real estate speculation, modes of gentrification, and projects of place-making within its post-bankruptcy context. Her choreo-ethnographic project deflects, refracts, and resists the ethnographic gaze by blurring the roles of "participant," "researcher," and "performer," unconventionally engages her own background in dance and performance to create a space where the stories of the city's transformation might be gathered and given a greater voice and increased visibility. In her own and adjacent neighborhoods on Detroit's eastside, the liquor store remains one of the primary hubs for meeting and greeting, for street-side and parking lot centered encounters. The backdrop of the liquor store creates a theatrical frame for Stovall's sidewalk ballet, an often hand-painted façade whose focal point resides in the stories of its neighbors and whose horizon of possibility involves a certain kind of dancerly sharing that can only happen with both feet that plant, pivot, and pause upon its cracked, concrete yet fertile ground. In our conversation, which will additionally lead to an in-depth piece on her work for the upcoming issue of Detroit Research, Stovall discusses her primary artistic and theoretical interlocutors, the topographical politics of "spatial taint," the artist as activist, choreographies of ethnography, and a day in the life of Liquor Store Theater.</span></div><div class="wp-workCard_item"><div class="carousel-container carousel-container--sm" id="profile-work-12522774-figures"><div class="prev-slide-container js-prev-button-container"><button aria-label="Previous" class="carousel-navigation-button js-profile-work-12522774-figures-prev"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_back_ios</span></button></div><div class="slides-container js-slides-container"><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/29443597/figure-10-maya-stovall-liquor-store-theater-vol-no-video"><img alt="Maya Stovall, Liquor Store Theater, Vol. 1, no 4 (2014); video still: Eric Johnston / Martha Johnston Biba: It blurs your roles even more and your working methodologies, maybe less your role as a figure but the kind of methodologies that you’re using and activating. I think about that transition for you between performing and... I’ve just performed, I turn around and I start asking questions and interviewing... that shift, that transition, that moment is so strange. It’s weird enough just finishing a performance and then facing the audience and being like “Hey, nice to see you.” That shift of focus and being together. But it really is different ways of being together in a sense, and the way in which those interactions, that level of participation in the dancing itself... it’s really great. " class="figure-slide-image" src="https://figures.academia-assets.com/41067398/figure_010.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/29443527/figure-1-subscribe-to-critical-correspondence"><img alt="subscribe to Critical Correspondence " class="figure-slide-image" src="https://figures.academia-assets.com/41067398/figure_001.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/29443538/figure-2-biba-bell-ive-been-looking-at-the-liquor-store"><img alt="Biba Bell: I’ve been looking at the Liquor Store Theater videos on your website and there are so many things that I want to talk about, but I also want this conversation to give me a sense of the sort of nuts and bolts, the overarching structures and thoughts that have been moving you, moving with you, and coming out of this process. " class="figure-slide-image" src="https://figures.academia-assets.com/41067398/figure_002.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/29443545/figure-3-maya-stovall-liquor-store-theater-vol-no-video"><img alt="Maya Stovall, Liquor Store Theater, Vol. 1, no 3 (2014); video still: Eric Johnston / Martha Johnston So, that’s how the ethnographic gaze comes into play. Another element is notions of surveillance and appropriation. People have talked about the public space a lot recently. [David] Madden is one person who has written on it—this idea of surveillance as ending the ‘myth of the public space’ and how urban space is contested through this ongoing daily struggle. So, what I’m doing is I’m marrying different strands of theory into this intellectual underpinning, but it also becomes this crazy art project on the street, where I don’t know what’s going to happen from event to event! " class="figure-slide-image" src="https://figures.academia-assets.com/41067398/figure_003.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/29443553/figure-4-maya-stovall-liquor-store-theater-vol-no-video"><img alt="Maya Stovall, Liquor Store Theater, Vol. 1, no 2 (2014); video still: Eric Johnston / Martha Johnston performance of ethnography in urban commons, it’s playing with this idea of the choreographed ethnic encounter and the choreographed performance. It’s playing in this seam/scene and attempting, through methodological technique, to deepen the experience, deepen the connection between the performers, the researcher, and the participants through this temporality of places and bodies that’s being navigated with the choreography as tool. Biba: Can you say a little bit more about the choreography both of the dance and the ethnographic encounter? Wha that is? What it looks like? " class="figure-slide-image" src="https://figures.academia-assets.com/41067398/figure_004.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/29443560/figure-5-maya-stovall-liquor-store-theater-vol-no-video"><img alt="Maya Stovall, Liquor Store Theater, Vol. 1, no 1 (2014); video still: Eric Johnston / Martha Johnston " class="figure-slide-image" src="https://figures.academia-assets.com/41067398/figure_005.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/29443566/figure-6-maya-stovall-liquor-store-theater-vol-no-video"><img alt="Maya Stovall, Liquor Store Theater, Vol. 1, no 5 (2014); video still: Eric Johnston / Martha Johnston [hen on the flip-side, there’s this really amazing text I love, by bell hooks, she starts off talking about the porch, she aas this whole thing about the porch in relationship to the home, but also its presence and proximity to the street. This way in which it becomes a transposition of zones of the street and also of the home. But then she also straight up talks about the street, especially in relationship to being a female body, what it means to be placing yourself on this street, and the possibility for the kinds of propositions one might have to negotiate or endure, and then there’s this “move ilong, no loitering” scenario, from a very different point of view. And then also, for dance, to then shift those conditions, those pre-determined movements, the possibility for certain movements to happen, for dance to be a way ‘o shift that, and turn it and derail it a little. You’re there, you’re standing there, you’re staying there, how much time Jo you spend there? Enough time so that these encounters can start to accumulate, so that they can happen multiple ‘imes. I guess that’s really coming at it—this question of occupying space, of mobilizing space, of dancing throughout— ’'m really coming at it from three different angles. " class="figure-slide-image" src="https://figures.academia-assets.com/41067398/figure_006.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/29443575/figure-7-maya-stovall-liquor-store-theater-vol-no-video"><img alt="Maya Stovall, Liquor Store Theater, Vol. 1, no 2 (2014); video still: Eric Johnston / Martha Johnston Maya: Yeah. May 17th is the first video of the summer of this year of the project and it’s happening at the liquor store that is a really interesting theater, it’s already a theater in its own right. You go by there and you'll see vendors, people gathering sitting on crates, holding court, everyday once the weather gets decent. So, May 17th is our first shoot of the year and discussion with people over at that store. Biba: This is a good moment to tell me what that entails. What is a day in the life while you’re doing a shoot? How does it work? What’s the general time-frame and the course of events? " class="figure-slide-image" src="https://figures.academia-assets.com/41067398/figure_007.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/29443584/figure-8-maya-stovall-liquor-store-theater-vol-no-video"><img alt="Maya Stovall, Liquor Store Theater, Vol. 1, no 3 (2014); video still: Eric Johnston / Martha Johnston " class="figure-slide-image" src="https://figures.academia-assets.com/41067398/figure_008.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/29443592/figure-9-maya-stovall-liquor-store-theater-vol-no-video"><img alt="Maya Stovall, Liquor Store Theater, Vol. 1, no 1 (2014); video still: Eric Johnston / Martha Johnston Maya: The longest piece that we have set is about seven minutes. Typically we do at least four stagings of the full piece or pieces depending. In total I’d say we end up performing for about 30-40 minutes, as far as performing with the music on, with the videographer shooting. We'll repeat. We'll do several shots—he might shoot us over the shoulder, etc. The goal of this is to get as many people to see us as we can, so that we can have a dialogue with those individuals who may be interested in talking with us. The way that it will work is, say we’re doing a three minute piece, and then we've got people standing around, and then people say, “What’re you doing?” and we say, “Oh we’re doing a dance anc performance project in Detroit. Would you talk to us?” At that point we shift the gaze the videographer is filming whil I’m off camera interviewing individuals. That’s the format. Sometimes it’s interesting, sometimes we’ve had in the pas a line of people who want to be interviewed and then at other times just one person will come and then other people will decline. There’s no set format that it takes... it’s based on the store and the vibe and everything, but overall the choreography is effective at starting a dialogue. Biba: There was one video where I think... I don’t think this is the liquor store on Gratiot and Mt. Elliott, or is that... because you are in one over there right? Maybe it’s the video before that. " class="figure-slide-image" src="https://figures.academia-assets.com/41067398/figure_009.jpg" /></a></figure><figure class="figure-slide-container"><a href="https://www.academia.edu/figures/29443601/figure-11-maya-stovall-liquor-store-theater-vol-no-video"><img alt="Maya Stovall, Liquor Store Theater, Vol. 1, no 1. Video still: Eric Johnston / Martha Johnston Biba: No! When you talk about the fragility and the precarity of that moment of it unfolding... that is so real. And then I also, I think so much about dance, the sort of act of dancing taking place, landing in a place...how were you articulating it? Landing in a place, yeah? Maya: Yeah, that’s really after Ralph Lemon. I heard him say those exact words in his 2013 residency that I participated in at Wayne State University. He was talking about “Where can dance land?” and “Where can it land for you?” and “Where can it land as an art form?” From a big perspective and where can it land for you. So, answering Ralph Lemon’s question, this is where it lands for me. This theme of exploring the very existential philosophical but still sociologically- and anthropologically-based question of how is performance deployed in a struggle for the right t the city. How is dance deployed in classification struggles, identification tensions, and urban marginality? And how i performance deployed in post-bankruptcy, gentrifying Detroit? " class="figure-slide-image" src="https://figures.academia-assets.com/41067398/figure_011.jpg" /></a></figure></div><div class="next-slide-container js-next-button-container"><button aria-label="Next" class="carousel-navigation-button js-profile-work-12522774-figures-next"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">arrow_forward_ios</span></button></div></div></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="225b5b57da24c9201912b34bbcb2917c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":41067398,"asset_id":12522774,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/41067398/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="12522774"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="12522774"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 12522774; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=12522774]").text(description); $(".js-view-count[data-work-id=12522774]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 12522774; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='12522774']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "225b5b57da24c9201912b34bbcb2917c" } } $('.js-work-strip[data-work-id=12522774]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":12522774,"title":"Maya Stovall on Liquor Store Theatre, in Conversation with Biba Bell","translated_title":"","metadata":{"grobid_abstract":"A \"radical ballerina,\" PhD candidate in anthropology at Wayne State University, and fourth generation Detroiter, Maya Stovall re-imagines the politics and aesthetics of dance through the question of where it might land on/as site of the liquor store. Liquor Store Theater negotiates the right to the city while inserting discussions of race, privilege, and access into Detroit's current trends of real estate speculation, modes of gentrification, and projects of place-making within its post-bankruptcy context. Her choreo-ethnographic project deflects, refracts, and resists the ethnographic gaze by blurring the roles of \"participant,\" \"researcher,\" and \"performer,\" unconventionally engages her own background in dance and performance to create a space where the stories of the city's transformation might be gathered and given a greater voice and increased visibility. In her own and adjacent neighborhoods on Detroit's eastside, the liquor store remains one of the primary hubs for meeting and greeting, for street-side and parking lot centered encounters. The backdrop of the liquor store creates a theatrical frame for Stovall's sidewalk ballet, an often hand-painted façade whose focal point resides in the stories of its neighbors and whose horizon of possibility involves a certain kind of dancerly sharing that can only happen with both feet that plant, pivot, and pause upon its cracked, concrete yet fertile ground. In our conversation, which will additionally lead to an in-depth piece on her work for the upcoming issue of Detroit Research, Stovall discusses her primary artistic and theoretical interlocutors, the topographical politics of \"spatial taint,\" the artist as activist, choreographies of ethnography, and a day in the life of Liquor Store Theater.","grobid_abstract_attachment_id":41067398},"translated_abstract":null,"internal_url":"https://www.academia.edu/12522774/Maya_Stovall_on_Liquor_Store_Theatre_in_Conversation_with_Biba_Bell","translated_internal_url":"","created_at":"2015-05-22T02:55:22.922-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":28979054,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":604349,"work_id":12522774,"tagging_user_id":28979054,"tagged_user_id":2392019,"co_author_invite_id":null,"email":"b***a@hotmail.com","affiliation":"New York University","display_order":null,"name":"Biba Bell","title":"Maya Stovall on Liquor Store Theatre, in Conversation with Biba Bell"}],"downloadable_attachments":[{"id":41067398,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/41067398/thumbnails/1.jpg","file_name":"StovallBellMovementResearchJournal.pdf","download_url":"https://www.academia.edu/attachments/41067398/download_file","bulk_download_file_name":"Maya_Stovall_on_Liquor_Store_Theatre_in.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/41067398/StovallBellMovementResearchJournal-libre.pdf?1452655741=\u0026response-content-disposition=attachment%3B+filename%3DMaya_Stovall_on_Liquor_Store_Theatre_in.pdf\u0026Expires=1743603631\u0026Signature=RVJrqs94AlvHUJFuNHgy~oeK14on6r2y7uQ6DjgY0x-alqyKdFe7myLDv59Bbsa6mWFhtlk3zfVSq86ieAG7udnIGoZoqnigof3OIvcpgFD49G58cZaLBXQiPekxOe-uHYKjnXyiNvBIjfsCgQcYmYbjpdKJOYG1sWSa2InyuWwYZl9p3IQ8rRNMNIZAXoeXgzTw52INJy8~x1hNunESPSANCjLnaQZacWC-tS8POWJ8bmNYytTin~g5rBs7PE1v0dp5-dBwFE4wzh-PuBB2DFBAWWoyJrF9ZDGb05b7mvtvxL68KQrkATnMSFWvpM1Z6oUgHx0iP2DwoOaktgeIzw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Maya_Stovall_on_Liquor_Store_Theatre_in_Conversation_with_Biba_Bell","translated_slug":"","page_count":9,"language":"en","content_type":"Work","summary":"A \"radical ballerina,\" PhD candidate in anthropology at Wayne State University, and fourth generation Detroiter, Maya Stovall re-imagines the politics and aesthetics of dance through the question of where it might land on/as site of the liquor store. Liquor Store Theater negotiates the right to the city while inserting discussions of race, privilege, and access into Detroit's current trends of real estate speculation, modes of gentrification, and projects of place-making within its post-bankruptcy context. Her choreo-ethnographic project deflects, refracts, and resists the ethnographic gaze by blurring the roles of \"participant,\" \"researcher,\" and \"performer,\" unconventionally engages her own background in dance and performance to create a space where the stories of the city's transformation might be gathered and given a greater voice and increased visibility. In her own and adjacent neighborhoods on Detroit's eastside, the liquor store remains one of the primary hubs for meeting and greeting, for street-side and parking lot centered encounters. The backdrop of the liquor store creates a theatrical frame for Stovall's sidewalk ballet, an often hand-painted façade whose focal point resides in the stories of its neighbors and whose horizon of possibility involves a certain kind of dancerly sharing that can only happen with both feet that plant, pivot, and pause upon its cracked, concrete yet fertile ground. In our conversation, which will additionally lead to an in-depth piece on her work for the upcoming issue of Detroit Research, Stovall discusses her primary artistic and theoretical interlocutors, the topographical politics of \"spatial taint,\" the artist as activist, choreographies of ethnography, and a day in the life of Liquor Store Theater.","owner":{"id":28979054,"first_name":"Maya","middle_initials":null,"last_name":"Stovall Dumas","page_name":"MayaStovallPhD","domain_name":"cpp","created_at":"2015-04-03T10:54:38.308-07:00","display_name":"Maya Stovall Dumas","url":"https://cpp.academia.edu/MayaStovallPhD"},"attachments":[{"id":41067398,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/41067398/thumbnails/1.jpg","file_name":"StovallBellMovementResearchJournal.pdf","download_url":"https://www.academia.edu/attachments/41067398/download_file","bulk_download_file_name":"Maya_Stovall_on_Liquor_Store_Theatre_in.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/41067398/StovallBellMovementResearchJournal-libre.pdf?1452655741=\u0026response-content-disposition=attachment%3B+filename%3DMaya_Stovall_on_Liquor_Store_Theatre_in.pdf\u0026Expires=1743603631\u0026Signature=RVJrqs94AlvHUJFuNHgy~oeK14on6r2y7uQ6DjgY0x-alqyKdFe7myLDv59Bbsa6mWFhtlk3zfVSq86ieAG7udnIGoZoqnigof3OIvcpgFD49G58cZaLBXQiPekxOe-uHYKjnXyiNvBIjfsCgQcYmYbjpdKJOYG1sWSa2InyuWwYZl9p3IQ8rRNMNIZAXoeXgzTw52INJy8~x1hNunESPSANCjLnaQZacWC-tS8POWJ8bmNYytTin~g5rBs7PE1v0dp5-dBwFE4wzh-PuBB2DFBAWWoyJrF9ZDGb05b7mvtvxL68KQrkATnMSFWvpM1Z6oUgHx0iP2DwoOaktgeIzw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":8,"name":"Critical Theory","url":"https://www.academia.edu/Documents/in/Critical_Theory"},{"id":925,"name":"Visual Anthropology","url":"https://www.academia.edu/Documents/in/Visual_Anthropology"},{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies"},{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies"},{"id":5247,"name":"Critical Race Theory","url":"https://www.academia.edu/Documents/in/Critical_Race_Theory"},{"id":7725,"name":"Urban Studies","url":"https://www.academia.edu/Documents/in/Urban_Studies"}],"urls":[{"id":4801679,"url":"http://www.movementresearch.org/criticalcorrespondence/blog/?p=10004"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (true) { Aedu.setUpFigureCarousel('profile-work-12522774-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="13929645"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/13929645/African_American_Cultural_Technology_The_Lindy_Hop_the_King_of_Pop_and_the_Factory_Workers_Experience"><img alt="Research paper thumbnail of African American Cultural Technology: The Lindy Hop, the King of Pop, and the Factory Worker's Experience" class="work-thumbnail" src="https://attachments.academia-assets.com/38162081/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/13929645/African_American_Cultural_Technology_The_Lindy_Hop_the_King_of_Pop_and_the_Factory_Workers_Experience">African American Cultural Technology: The Lindy Hop, the King of Pop, and the Factory Worker's Experience</a></div><div class="wp-workCard_item"><span>Transforming Anthropology</span><span>, 2015</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">African Americans have been integral in shaping the aesthetics of modernity generally, and with r...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">African Americans have been integral in shaping the aesthetics of modernity generally, and with respect to dance in particular. Through labor, art, cultural technology , and social life, African American aesthetics have breathed life into modern and contemporary American culture. The stress and fatigue of machines, labor, capitalism, and racism, imposed on bodies during the industrial revolution and in the postindustrial era have provided raw material for black artistic expressions during the mid–to-late twentieth century. Furthermore, this artistic expression, fueled by the angst of changing times generally and tensions facing African Americans in particular, has served as American catharsis through the creation of innovative cultural expressions. This article analyzes the dialectical relationships of industrialization, racism, and modern aesthetics, through the lens of the innovative African American social dance form, the Lindy Hop; and the virtuosic pop performances of Michael Jackson. The important contributions of theLindy Hop as a dance style and Michael Jackson as a performer have had a profound impact on the aesthetics of modernity in American social and popular concert dance. To better understand the relationship between industrialization and the African American shaping of aesthetics of modernity, this article analyzes black experiences and embodiment of industrial labor and the ways that African Americans drew from their particular experiences of industrial labor toward the creation of critical cultural technology.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3ebb71bd4d633e312765496e9242a625" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":38162081,"asset_id":13929645,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/38162081/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="13929645"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="13929645"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 13929645; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=13929645]").text(description); $(".js-view-count[data-work-id=13929645]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 13929645; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='13929645']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "3ebb71bd4d633e312765496e9242a625" } } $('.js-work-strip[data-work-id=13929645]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":13929645,"title":"African American Cultural Technology: The Lindy Hop, the King of Pop, and the Factory Worker's Experience","translated_title":"","metadata":{"abstract":"African Americans have been integral in shaping the aesthetics of modernity generally, and with respect to dance in particular. Through labor, art, cultural technology , and social life, African American aesthetics have breathed life into modern and contemporary American culture. The stress and fatigue of machines, labor, capitalism, and racism, imposed on bodies during the industrial revolution and in the postindustrial era have provided raw material for black artistic expressions during the mid–to-late twentieth century. Furthermore, this artistic expression, fueled by the angst of changing times generally and tensions facing African Americans in particular, has served as American catharsis through the creation of innovative cultural expressions. This article analyzes the dialectical relationships of industrialization, racism, and modern aesthetics, through the lens of the innovative African American social dance form, the Lindy Hop; and the virtuosic pop performances of Michael Jackson. The important contributions of theLindy Hop as a dance style and Michael Jackson as a performer have had a profound impact on the aesthetics of modernity in American social and popular concert dance. To better understand the relationship between industrialization and the African American shaping of aesthetics of modernity, this article analyzes black experiences and embodiment of industrial labor and the ways that African Americans drew from their particular experiences of industrial labor toward the creation of critical cultural technology.","publication_date":{"day":null,"month":null,"year":2015,"errors":{}},"publication_name":"Transforming Anthropology"},"translated_abstract":"African Americans have been integral in shaping the aesthetics of modernity generally, and with respect to dance in particular. Through labor, art, cultural technology , and social life, African American aesthetics have breathed life into modern and contemporary American culture. 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To better understand the relationship between industrialization and the African American shaping of aesthetics of modernity, this article analyzes black experiences and embodiment of industrial labor and the ways that African Americans drew from their particular experiences of industrial labor toward the creation of critical cultural technology.","internal_url":"https://www.academia.edu/13929645/African_American_Cultural_Technology_The_Lindy_Hop_the_King_of_Pop_and_the_Factory_Workers_Experience","translated_internal_url":"","created_at":"2015-07-11T19:07:57.525-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":28979054,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":38162081,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/38162081/thumbnails/1.jpg","file_name":"Stovall-2015-Transforming_Anthropology.pdf","download_url":"https://www.academia.edu/attachments/38162081/download_file","bulk_download_file_name":"African_American_Cultural_Technology_The.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/38162081/Stovall-2015-Transforming_Anthropology-libre.pdf?1436667690=\u0026response-content-disposition=attachment%3B+filename%3DAfrican_American_Cultural_Technology_The.pdf\u0026Expires=1743603775\u0026Signature=XWBlpkXANZDiaHfh6MgoK7CKYQRZ81dvKPd0WTH1CVN~eTNRPFTjr6NivicvLgj8kn2tv-njIcHEIEjK6eCNOAfBwYE~-oBmrbD3ScrvW9qmHklUvuJBQyL5KfhQfKUbzGFJiYmdC6Wmo~rVSfQ8s6DDc2XCJeVBgS0W57zVomAigKQqgDrLOvtclTGuP7ru8m2MF9foB~~mDCQnVANTb4OXWsMoABLVhiQzxofgg8wAIz~FkNGtpkzjt90appX2YJLciWEm8YxL4U5ykoXbL3iUbdeWBw~EPUO6Dcy0ChY3N-oR7bhTe-OfgMbc6PNkv4hc2TfxXXMTK4~AAwYx5Q__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"African_American_Cultural_Technology_The_Lindy_Hop_the_King_of_Pop_and_the_Factory_Workers_Experience","translated_slug":"","page_count":13,"language":"en","content_type":"Work","summary":"African Americans have been integral in shaping the aesthetics of modernity generally, and with respect to dance in particular. 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The important contributions of theLindy Hop as a dance style and Michael Jackson as a performer have had a profound impact on the aesthetics of modernity in American social and popular concert dance. To better understand the relationship between industrialization and the African American shaping of aesthetics of modernity, this article analyzes black experiences and embodiment of industrial labor and the ways that African Americans drew from their particular experiences of industrial labor toward the creation of critical cultural technology.","owner":{"id":28979054,"first_name":"Maya","middle_initials":null,"last_name":"Stovall Dumas","page_name":"MayaStovallPhD","domain_name":"cpp","created_at":"2015-04-03T10:54:38.308-07:00","display_name":"Maya Stovall Dumas","url":"https://cpp.academia.edu/MayaStovallPhD"},"attachments":[{"id":38162081,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/38162081/thumbnails/1.jpg","file_name":"Stovall-2015-Transforming_Anthropology.pdf","download_url":"https://www.academia.edu/attachments/38162081/download_file","bulk_download_file_name":"African_American_Cultural_Technology_The.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/38162081/Stovall-2015-Transforming_Anthropology-libre.pdf?1436667690=\u0026response-content-disposition=attachment%3B+filename%3DAfrican_American_Cultural_Technology_The.pdf\u0026Expires=1743603775\u0026Signature=XWBlpkXANZDiaHfh6MgoK7CKYQRZ81dvKPd0WTH1CVN~eTNRPFTjr6NivicvLgj8kn2tv-njIcHEIEjK6eCNOAfBwYE~-oBmrbD3ScrvW9qmHklUvuJBQyL5KfhQfKUbzGFJiYmdC6Wmo~rVSfQ8s6DDc2XCJeVBgS0W57zVomAigKQqgDrLOvtclTGuP7ru8m2MF9foB~~mDCQnVANTb4OXWsMoABLVhiQzxofgg8wAIz~FkNGtpkzjt90appX2YJLciWEm8YxL4U5ykoXbL3iUbdeWBw~EPUO6Dcy0ChY3N-oR7bhTe-OfgMbc6PNkv4hc2TfxXXMTK4~AAwYx5Q__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies"},{"id":296,"name":"Black Studies Or African American Studies","url":"https://www.academia.edu/Documents/in/Black_Studies_Or_African_American_Studies"},{"id":767,"name":"Anthropology","url":"https://www.academia.edu/Documents/in/Anthropology"},{"id":945,"name":"Performing Arts","url":"https://www.academia.edu/Documents/in/Performing_Arts"},{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies"},{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies"},{"id":3499,"name":"Social and Cultural Anthropology","url":"https://www.academia.edu/Documents/in/Social_and_Cultural_Anthropology"},{"id":3870,"name":"African Diaspora Studies","url":"https://www.academia.edu/Documents/in/African_Diaspora_Studies"},{"id":4260,"name":"Anthropology Of Dance","url":"https://www.academia.edu/Documents/in/Anthropology_Of_Dance"},{"id":9705,"name":"Capitalism","url":"https://www.academia.edu/Documents/in/Capitalism"},{"id":14912,"name":"African American Studies","url":"https://www.academia.edu/Documents/in/African_American_Studies"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-13929645-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="29530155"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/29530155/Blackness_in_Post_Bankruptcy_Detroit_Racial_Politics_and_Public_Discourse"><img alt="Research paper thumbnail of Blackness in Post-Bankruptcy Detroit: Racial Politics and Public Discourse" class="work-thumbnail" src="https://attachments.academia-assets.com/49971158/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/29530155/Blackness_in_Post_Bankruptcy_Detroit_Racial_Politics_and_Public_Discourse">Blackness in Post-Bankruptcy Detroit: Racial Politics and Public Discourse</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://wayne.academia.edu/AlexBHill">Alex B Hill</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://cpp.academia.edu/MayaStovallPhD">Maya Stovall Dumas</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Public discourse narrative positions Detroit's post-bankruptcy revitalization as a rapid process ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Public discourse narrative positions Detroit's post-bankruptcy revitalization as a rapid process of business and investment descending upon the city. In spite of this narrative, Detroit today remains a city of intense poverty and inequality. Between 2009 and 2013, an estimated 39 percent of Detroit residents were living below the Federal Poverty Line. This figure renders Detroit as statistically the poorest city in the country. In addition to a mythical narrative of rapid-fire investment, popular media representations of Detroit are peppered with racialized references to white business investment. These references position whiteness as " saving " Detroit and center whiteness in the urban process. This racialized narrative is false and divisive in a city that is upwards of 83 percent African American. In this paper, we map the disparity between the racial politics of Detroit and the anti-black public discourse narrative currently surrounding the city. We demonstrate that the public discourse valorization of a profit-driven urban process results in an anti-black prioritization of whiteness in Detroit's post-bankruptcy redevelopment process. This narrative, if unchecked, will have serious consequences in the city's present and future. As such, we propose a re-centering of the blackness of the city and the racial politics of generations that have shaped current conditions , toward a more equitable recovery process.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8c6147a94d13a5e4f87e6a97c1dfffb0" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":49971158,"asset_id":29530155,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/49971158/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="29530155"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="29530155"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 29530155; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=29530155]").text(description); $(".js-view-count[data-work-id=29530155]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 29530155; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='29530155']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8c6147a94d13a5e4f87e6a97c1dfffb0" } } $('.js-work-strip[data-work-id=29530155]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":29530155,"title":"Blackness in Post-Bankruptcy Detroit: Racial Politics and Public Discourse","translated_title":"","metadata":{"abstract":"Public discourse narrative positions Detroit's post-bankruptcy revitalization as a rapid process of business and investment descending upon the city. In spite of this narrative, Detroit today remains a city of intense poverty and inequality. Between 2009 and 2013, an estimated 39 percent of Detroit residents were living below the Federal Poverty Line. This figure renders Detroit as statistically the poorest city in the country. In addition to a mythical narrative of rapid-fire investment, popular media representations of Detroit are peppered with racialized references to white business investment. These references position whiteness as \" saving \" Detroit and center whiteness in the urban process. This racialized narrative is false and divisive in a city that is upwards of 83 percent African American. In this paper, we map the disparity between the racial politics of Detroit and the anti-black public discourse narrative currently surrounding the city. We demonstrate that the public discourse valorization of a profit-driven urban process results in an anti-black prioritization of whiteness in Detroit's post-bankruptcy redevelopment process. This narrative, if unchecked, will have serious consequences in the city's present and future. As such, we propose a re-centering of the blackness of the city and the racial politics of generations that have shaped current conditions , toward a more equitable recovery process.","ai_title_tag":"Racial Politics and Discourse in Post-Bankruptcy Detroit"},"translated_abstract":"Public discourse narrative positions Detroit's post-bankruptcy revitalization as a rapid process of business and investment descending upon the city. In spite of this narrative, Detroit today remains a city of intense poverty and inequality. Between 2009 and 2013, an estimated 39 percent of Detroit residents were living below the Federal Poverty Line. 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As such, we propose a re-centering of the blackness of the city and the racial politics of generations that have shaped current conditions , toward a more equitable recovery process.","internal_url":"https://www.academia.edu/29530155/Blackness_in_Post_Bankruptcy_Detroit_Racial_Politics_and_Public_Discourse","translated_internal_url":"","created_at":"2016-10-29T18:10:14.948-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":49539138,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":25559415,"work_id":29530155,"tagging_user_id":49539138,"tagged_user_id":28979054,"co_author_invite_id":null,"email":"m***l@wayne.edu","affiliation":"California State Polytechnic University at Pomona","display_order":1,"name":"Maya Stovall Dumas","title":"Blackness in Post-Bankruptcy Detroit: Racial Politics and Public Discourse"}],"downloadable_attachments":[{"id":49971158,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/49971158/thumbnails/1.jpg","file_name":"10.1111-nad.12046_STOVALL_HILL.pdf","download_url":"https://www.academia.edu/attachments/49971158/download_file","bulk_download_file_name":"Blackness_in_Post_Bankruptcy_Detroit_Rac.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/49971158/10.1111-nad.12046_STOVALL_HILL-libre.pdf?1477790169=\u0026response-content-disposition=attachment%3B+filename%3DBlackness_in_Post_Bankruptcy_Detroit_Rac.pdf\u0026Expires=1743603775\u0026Signature=K9eRib-Z0tMNzFh76T5YdGcuBxb5KGEYic0BI0CiTB4QAHRzeoiefstGoHLIbJfkc6qqQ1kO5dcM5VkmMoO1d6gOg6K5sDVR9ox3mvgxweYF7yTVI7THQqJuUPLbmUh7MDP1iMfHWPtHvxF1l2msP2NcDC8nksZDCskUiVcWN8rzvWbivFg8IwOlz~ufEz5YP5TaM7x7RhGPabbndwtr90BT9AULo3BIPghwqVsQEesVHbe4N3EWkQfGtUBkp02yOSbXv-SQ35SCOp86Bzvd4~hMV4Rx3FUW9Pcjr4WBDU3flJFrNXlhiFswxhpf~5PcgQS32vzAxkRDm4OVvHrdcg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Blackness_in_Post_Bankruptcy_Detroit_Racial_Politics_and_Public_Discourse","translated_slug":"","page_count":11,"language":"en","content_type":"Work","summary":"Public discourse narrative positions Detroit's post-bankruptcy revitalization as a rapid process of business and investment descending upon the city. 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We demonstrate that the public discourse valorization of a profit-driven urban process results in an anti-black prioritization of whiteness in Detroit's post-bankruptcy redevelopment process. This narrative, if unchecked, will have serious consequences in the city's present and future. 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In spite of this narrative, Detroit today remains a city of intense poverty and inequality. Between 2009 and 2013, an estimated 39 percent of Detroit residents were living below the Federal Poverty Line. This figure renders Detroit as statistically the poorest city in the country. In addition to a mythical narrative of rapid-fire investment, popular media representations of Detroit are peppered with racialized references to white business investment. These references position whiteness as " saving " Detroit and center whiteness in the urban process. This racialized narrative is false and divisive in a city that is upwards of 83 percent African American. In this paper, we map the disparity between the racial politics of Detroit and the anti-black public discourse narrative currently surrounding the city. We demonstrate that the public discourse valorization of a profit-driven urban process results in an anti-black prioritization of whiteness in Detroit's post-bankruptcy redevelopment process. This narrative, if unchecked, will have serious consequences in the city's present and future. As such, we propose a re-centering of the blackness of the city and the racial politics of generations that have shaped current conditions , toward a more equitable recovery process.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b2e24baa6ac8a688dbee6e36cbb22df1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":49969672,"asset_id":29529322,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/49969672/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="29529322"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="29529322"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 29529322; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=29529322]").text(description); $(".js-view-count[data-work-id=29529322]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 29529322; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='29529322']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "b2e24baa6ac8a688dbee6e36cbb22df1" } } $('.js-work-strip[data-work-id=29529322]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":29529322,"title":"Blackness in Post-Bankruptcy Detroit: Racial Politics and Public Discourse","translated_title":"","metadata":{"abstract":"Public discourse narrative positions Detroit's post-bankruptcy revitalization as a rapid process of business and investment descending upon the city. 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We demonstrate that the public discourse valorization of a profit-driven urban process results in an anti-black prioritization of whiteness in Detroit's post-bankruptcy redevelopment process. This narrative, if unchecked, will have serious consequences in the city's present and future. As such, we propose a re-centering of the blackness of the city and the racial politics of generations that have shaped current conditions , toward a more equitable recovery process.","publication_date":{"day":null,"month":null,"year":2016,"errors":{}},"publication_name":"Journal of the Anthropology of North America (JANA)"},"translated_abstract":"Public discourse narrative positions Detroit's post-bankruptcy revitalization as a rapid process of business and investment descending upon the city. In spite of this narrative, Detroit today remains a city of intense poverty and inequality. Between 2009 and 2013, an estimated 39 percent of Detroit residents were living below the Federal Poverty Line. 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