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Gaunt invites readers to "broaden their interpretation of black musical experience" to include race, gender and body, and the experience of double dutch can be a path to understanding hip hop culture through a black girl's perspective . Gaunt wrote that double-dutch was an essential part of black
370:
Gaunt also compares the sport of double dutch to hip hop, citing "hip and pelvic thrusts" and "rhythmic complexity" as elements that are vital to both. She emphasizes double-dutch is a way of "experiencing black feminism" through its connection to staying on time to keep the movements going.
331:, where she teaches classes on topics such as music, gender sexuality, and other topics in her research area. Gaunt has spoken about her research and the concepts that surround it in multiple platforms that include a 2018 appearance at
1797:
722:"Roundtable: VH1's (White) Rapper Show: Intrusions, Sightlines, and Authority", Journal of Popular Music Studies 20:1, Blackwell Publishing, pp 44–78, 2008. (with Cheryl L Keyes, Timothy R Mangin, Wayne Marshall, Joe Schloss)
339:. Her research focuses on the musical play of black girls at the "intersections of race, gender, and the body in the age of hip-hop" and the "critical study of the unintended consequences of race, gender, and technology from
520:. Her exploration centers around the basic examination and concealed musicianship in dark young ladies' melodic play at the crossing points of race, sexual orientation, and the body in the time of hip-bounce.
367:
girl culture in the U.S.: "If double-dutch dies in neighborhoods, that's bad news for black culture". As the sport became incorporated into public schools, "casual interest in neighborhoods" saw a decline.
1127:
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In 2019, Gaunt was invited to speak at the
University of Miami to present her research on the racial oppression and sexploitation of young, black girls who appear in YouTube videos.
1074:
1748:
O'Meara, Jennifer (2017-10-20). "Voicing
Girlhood in Popular Music: Performance, Authority, Authenticity ed. by Jacqueline Warwick, Allison Adrian (review)".
1822:
729:
30:4, UoC Press
Journals, 2018. (With Carol Vernallis, Jason King, Maeve Sterbenz, Gabriel Ellis, Gabrielle Lochard, Daniel Oore, Eric Lyon, Dale Chapman)
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may have been born there. Gaunt's maternal great-great-grandmother Annie Ford and great-great-grandfather
Sheridan Ford escaped his enslavement in
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1621:"Joe Austin and Michael Nevin Willard, eds. Generations of Youth: Youth Cultures and History in Twentieth-Century America. (review)"
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196:. Her current research focuses on "the unintended consequences of gender, race, and technology from YouTube to Knowledge."
160:
in New York State. Gaunt's research focuses on the hidden musicianship of black girls' musical play at the intersections of
600:"YouTube, bad bitches and an MIC (mom-in-chief): On the digital seduction of Black girls in participatory hip-hop spaces",
485:
Connecting People campaign that showed the impact of TED Fellows around the world. The mini-doc featured an project called
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Woodruff, Jennifer A. (2007). "Review of The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop".
447:
505:
407:
161:
1710:
Love, Bettina L. (2013). "Chapter 6 Visionary
Response: Biracial Identity, Spiritual Wholeness, and Black Girlhood".
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about the challenges and misconceptions behind the net worth and value of young black and
African American girls who
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379:
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517:
441:
355:
1517:
Best, Amy L. (2007). "Review of The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop".
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938:
614:"YouTube, Twerking, and You: Context Collapse and the Handheld Copresence of Black Girls and Miley Cyrus", in
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Baitz, Dana (2008). "Review of The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop".
332:
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713:"Got Rhythm?: difficult encounters in theory and practice and other participatory discrepancies in music",
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Performing Arts Center and self produced an album of original R&B/jazz oriented songs (co-written with
30:
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908:
557:"Dancin' in the Streets to a Black Girl's Beat: Music, Gender and the "Ins and Outs" of Double-Dutch", in
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832:
607:"Truly Professin' Hip-hop--The Rewind (1996): Makin' Black Girls Embodied Musical Play the Teacher", in
435:
1340:
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732:"The Disclosure, Disconnect, and Digital Sexploitation of Tween Girls' Aspirational YouTube Videos",
669:"The veneration of James Brown and George Clinton in hip-hop music: Is it live! Or is it re-memory",
487:
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704:"The Two O'Clock Vibe": Embodying the Jam of Musical Blackness in and out of Its Everyday Context",
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638:"African American Women Between Hopscotch and Hip-Hop: "Must Be the Music (That's Turnin' Me On)""
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was innovated by young
African American girls in urban areas after World War II. In her book,
586:""Double Forces Has Got the Beat": Reclaiming Girls' Music in the Sport of Double-Dutch", in
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564:"Translating Double-Dutch to Hip-Hop: The Musical Vernacular of Black Girls' Play", in
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In 2009 Gaunt was honored as one of the inaugural TED Fellows. Gaunt spoke at the 2015
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Gaunt is also a vocalist and singer-songwriter. She has performed her one-woman show
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575:"‘One Time 4 Your Mind’: Embedding Nas and Hip-Hop into a Gendered State of Mind",
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683:"Plenty of Good Women Dancers: African American Women Hoofers from Philadelphia",
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designed to encourage access to learning in developing countries by providing an
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884:"A powerful letter from my great-great-grandfather, who escaped slavery in 1855"
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as her committee members. She also studied classical voice with operatic tenor
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Generations of Youth: Youth
Cultures and History in Twentieth-Century America
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Gaunt has published many works during her career. Her publications include:
400:
The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop.
344:
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The Games Black Girls Play: Learning the Ropes from Double-dutch to Hip-hop
1040:
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The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop
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was enslaved in
Rockville and there is some evidence that religious leader
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The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop
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The games black girls play learning the ropes from Double-dutch to Hip-hop
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Gaunt began working in higher education as a professor of hip-hop at the
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1128:"'Black girl magic': D.C. Retro Jumpers remind D.C. how to double Dutch"
466:
on YouTube. In 2018, Kyra appeared in a video for the TED Design series
623:
Voicing
Girlhood in Popular Music: Performance, Authority, Authenticity
340:
193:
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for Outstanding Production. Among other significant publications, her
1581:
497:
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169:
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The Games Black Girls Play: Learning the Ropes from Double-Dutch to
337:
Race, Work and Leadership: Learning from and about Black experience
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University of Michigan School of Music, Theatre & Dance alumni
860:"Escape | A Portsmouth slave is faced with a life-altering choice"
501:
482:
283:
chair her dissertation committee with Janet Hart, Steven Whiting,
248:
129:
676:"Wade in the Water: African American Sacred Music Traditions",
189:
295:. She also holds a master's and associate degree in voice from
1365:"Kyra Gaunt Is on a Mission - Campus Stories - Baruch College"
335:
Gender and Work Symposium, where she spoke about her research
316:
642:
Feminism, Multiculturalism, and the Media: Global Diversities
593:"Forward: Truly Professin' Hip-Hop and Black Girl 'Hood", in
588:
The Girls' History and Culture Reader: The Twentieth Century
962:"Kyra Gaunt speaks at the 2018 Gender & Work Symposium"
694:
48:1, University of Illinois Press, pp. 127–131, 2004.
687:
44:2, University of Illinois Press, pp. 359–361, 2000.
769:"University at Albany Music Department Faculty Kyra Gaunt"
697:"Girls’ Game-Songs and Hip-Hop: Music Between the Sexes",
35:
Crazy Horse and Gaunt on a panel at the 2008 EMP Pop Conf
1443:"Kyra Gaunt | SUNY: University at Albany - Academia.edu"
347:." Gaunt has also edited Knowledge since 2007 and hosts
602:
Remixing Change: Hip Hop & Obama, A Critical Reader
1016:"So no one told us the internet was gonna be this way"
590:(2011, pp. 279–299, University of Illinois Press)
1090:"How an Archive of the Internet Could Change History"
481:
Gaunt was featured in a short documentary ad for the
327:
in the CUNY system, and is currently a professor at
1625:
ARIEL: A Review of International English Literature
719:
14:1, Blackwell Publishing, pp. 119–140, 2002.
114:
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83:
71:
57:
52:
40:
21:
504:. Dr. Gaunt's scholarship has been funded by the
414:Book Award finalist. It inspired a work by fellow
1419:"Kyra D. Gaunt, Ph.D. - Google Scholar Citations"
470:, where she used her research to discuss how the
16:American ethnomusicologist, activist and academic
1750:Women and Music: A Journal of Gender and Culture
595:Wish to Live: A Hip Hop Feminist Pedagogy Reader
710:86:3, Macmillan, pp. 372–397, Autumn 2002.
909:"Meet A.D. Carson, UVA's Professor of Hip-Hop"
8:
734:Journal of Black Sexuality and Relationships
566:That's the Joint! The Hip-Hop Studies Reader
271:from 1988-1997, where she earned a Ph.D. in
577:Born to Use Mics: Reading Nas’s “Illmatic,”
1073:: CS1 maint: location missing publisher (
267:Gaunt attended the School of Music at the
110:Ethnomusicologist, social media researcher
29:
18:
1042:Lurking : how a person became a user
215:Black community founded in 1891. Notable
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134:Gaunt, attending the 2008 Pop Conference
1395:"'Who isn't impacted by social media?'"
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402:Her book was awarded the distinguished
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1644:"Scholars capture essence of hip-hop"
1293:"Broadcasting Black Girls' Net Worth"
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510:National Endowment for the Humanities
7:
989:"Who Isn't Impacted by Social Media"
762:
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690:"Music and the Racial Imagination",
644:, SAGE Publications, Inc., pp.
1399:University of Miami News and Events
269:University of Michigan in Ann Arbor
149:advocate, social media researcher,
78:University of Michigan in Ann Arbor
1823:University at Albany, SUNY faculty
1126:Moyer, Justin (October 18, 2017).
552:Chapters, volumes, and anthologies
315:in 1996. She held appointments at
14:
803:exhibitions.letterformarchive.org
671:Popular Music: Style and Identity
621:"YouTube, Twerking, and You", in
616:Voicing Girlhood in Popular Music
448:Journal for Popular Music Studies
425:, which was nominated for a 2016
1642:Hall, Katori (October 7, 2004).
1321:How the jump rope got its rhythm
937:. Baruch College. Archived from
736:5:1, UoN Press, pp 91–132, 2018.
727:Journal of Popular Music Studies
618:(2016, pages 218-242, Routledge)
561:(1998, pages 272-292, NYU Press)
1818:People from Rockville, Maryland
701:8, CREA, pp. 97–128, 2012.
1150:Gaunt, Kyra Danielle. (2006).
678:Yearbook for Traditional Music
611:(2015, pp 103–118, Peter Lang)
579:(2010, pp. 151–78, 2010,
1:
1318:Gaunt, Kyra (15 March 2018),
1208:Gaunt, Kyra D. (2006-02-06).
1154:. New York University Press.
1088:Wortham, Jenna (2016-06-21).
960:Gaunt, Kyra (30 April 2018).
823:Still, William (2022-02-15).
410:. It was also nominated as a
398:In 2007 Kyra Gaunt published
1813:Binghamton University alumni
1681:10.1080/09589236.2012.636644
1240:"Kyra Gaunt | Speaker | TED"
935:"Kyra Gaunt is on a Mission"
597:(2012, pp ix-xv, Peter Lang)
406:Book Prize presented by the
394:Awards, honors, and projects
251:. She currently resides in
1803:American ethnomusicologists
609:Black Feminism in Education
423:BLACK GIRL: Linguistic Play
408:Society for Ethnomusicology
1844:
1264:"Kyra Gaunt UAlbany Music"
1184:"Kyra Gaunt UAlbany Music"
1045:(1st ed.). New York.
329:University at Albany, SUNY
1669:Journal of Gender Studies
1480:10.1017/S0261143008008039
968:. Harvard Business School
725:"Introduction: APES**T",
699:Parcours anthropologiques
673:, pp. 117–122, 1995.
654:10.4135/9781483345383.n13
442:Parcours anthropologiques
333:Harvard Business School's
275:with a specialization in
124:
48:
28:
1808:Women ethnomusicologists
1531:10.1177/0891243207299724
518:Ms. Foundation for Women
1299:. TEDTalk. 6 April 2015
1039:McNeil, Joanne (2020).
636:Gaunt, Kyra D. (1995),
630:Select journal articles
301:The American University
199:She is a native of the
156:, and professor at the
141:is an African American
66:The American University
1341:"Small Thing Big Idea"
840:Cite journal requires
568:(2004, pages 251-263,
412:PEN/Beyond the Margins
388:Be the True Revolution
380:University at Albany's
313:University of Virginia
135:
1762:10.1353/wam.2017.0012
1619:Pedersen, BT (2001).
995:. University of Miami
680:30:189, January 1998.
468:Small Thing, Big Idea
376:Education, Liberation
239:) finding freedom in
235:on the U.G.G.R. (the
133:
1675:(1): 107–120. 2012.
488:One Laptop Per Child
354:According to Gaunt,
237:Underground Railroad
158:University at Albany
1447:albany.academia.edu
1369:www.baruch.cuny.edu
864:The Virginian-Pilot
581:Basic Civitas Books
433:articles appear in
139:Kyra Danielle Gaunt
53:Academic background
23:Kyra Danielle Gaunt
1519:Gender and Society
1423:scholar.google.com
1094:The New York Times
716:City & Society
289:Robin D. G. Kelley
211:, that began as a
154:performance artist
136:
1052:978-0-374-19433-8
779:on 19 August 2017
707:Musical Quarterly
625:(2016, Routledge)
604:(Oxford UP, 2015)
506:Mellon Foundation
436:Musical Quarterly
143:ethnomusicologist
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1371:. Archived from
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502:school-age child
419:Camille A. Brown
303:, respectively.
203:neighborhood in
147:girlhood studies
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1570:Ethnomusicology
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799:"Strikethrough"
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692:Ethnomusicology
685:Ethnomusicology
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514:Ford Foundation
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297:SUNY Binghamton
277:ethnomusicology
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186:kinetic-orality
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62:SUNY Binghamton
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1576:(2): 347–349.
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1161:978-0814731208
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1014:Kulwin, Noah.
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993:news.miami.edu
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321:Baruch College
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293:George Shirley
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192:in the age of
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1468:Popular Music
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1375:on 2019-05-02
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1274:on 2017-08-19
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