discipline's roles in colonial knowledge production and power structures. Much of the literature calls upon researchers to go beyond bureaucratic protocols to protect communities from harm, but rather use their research to benefit communities that they work with. Six decades before this new wave of anthropological discourse began, Katherine Dunham's work demonstrated anthropology being used as a force for challenging racist and colonial ideologies. After recovering crucial dance epistemologies relevant to people of the African diaspora during her ethnographic research, she applied anthropological knowledge toward developing her own dance pedagogy (Dunham Technique) that worked to reconcile with the legacy of colonization and racism and correct sociocultural injustices. Her dance education, while offering cultural resources for dealing with the consequences and realities of living in a racist environment, also brought about feelings of hope and dignity for inspiring her students to contribute positively to their own communities, and spreading essential cultural and spiritual capital within the U.S. Just like her colleague Zora Neale Hurston, Dunham's anthropology inspired the blurring of lines between creative disciplines and anthropology. Early on into graduate school, Dunham was forced to choose between finishing her master's degree in anthropology and pursuing her career in dance. She describes this during an interview in 2002: "My problem—my strong drive at that time was to remain in this academic position that anthropology gave me, and at the same time continue with this strong drive for motion—rhythmic motion". She ultimately chose to continue her career in dance without her master's degree in anthropology. A key reason for this choice was because she knew that through dance, her work would be able to be accessed by a wider array of audiences; more so than if she continued to limit her work within academia. However, this decision did not keep her from engaging with and highly influencing the discipline for the rest of her life and beyond. As one of her biographers, Joyce Aschenbrenner, wrote: "anthropology became a life-way" for Dunham. Her choreography and performances made use of a concept within Dance Anthropology called "research-to-performance". Most of Dunham's works previewed many questions essential to anthropology's postmodern turn, such as critiquing understandings of modernity, interpretation, ethnocentrism, and cultural relativism. During this time, in addition to Dunham, numerous Black women such as Zora Neal Hurston, Caroline Bond Day, Irene Diggs, and Erna Brodber were also working to transform the discipline into an anthropology of liberation: