employing critical and creative cultural production. Numerous scholars describe Dunham as pivotal to the fields of Dance Education, Applied Anthropology, Humanistic Anthropology, African Diasporic Anthropology and Liberatory Anthropology. Additionally, she was named one of the most influential African American anthropologists. She was a pioneer of Dance Anthropology, established methodologies of ethnochoreology, and her work gives essential historical context to current conversations and practices of decolonization within and outside of the discipline of anthropology. Her legacy within Anthropology and Dance Anthropology continues to shine with each new day. Dance Anna Kisselgoff, a dance critic for The New York Times, called Dunham "a major pioneer in Black theatrical dance ... ahead of her time." "In introducing authentic African dance-movements to her company and audiences, Dunham—perhaps more than any other choreographer of the time—exploded the possibilities of modern dance expression." As one of her biographers, Joyce Aschenbrenner, wrote: "Today, it is safe to say, there is no American black dancer who has not been influenced by the Dunham Technique, unless he or she works entirely within a classical genre", and the Dunham Technique is still taught to anyone who studies modern dance. The highly respected Dance magazine did a feature cover story on Dunham in August 2000 entitled "One-Woman Revolution". As Wendy Perron wrote, "Jazz dance, 'fusion,' and the search for our cultural identity all have their antecedents in Dunham's work as a dancer, choreographer, and anthropologist. She was the first American dancer to present indigenous forms on a concert stage, the first to sustain a black dance company.... She created and performed in works for stage, clubs, and Hollywood films; she started a school and a technique that continue to flourish; she fought unstintingly for racial justice." Scholar of the arts Harold Cruse wrote in 1964: "Her early and lifelong search for meaning and artistic values for black people, as well as for all peoples, has motivated, created opportunities for, and launched careers for generations of young black artists ... Afro-American dance was usually in the avant-garde of modern dance ... Dunham's entire career spans the period of the emergence of Afro-American dance as a serious art." Black writer Arthur Todd described her as "one of our national treasures". Regarding her impact and effect he wrote: "The rise of American Negro dance commenced ... when Katherine Dunham and her company skyrocketed into the Windsor Theater in New York, from Chicago in 1940,