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==Research== |
==Research== |
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Gaunt has made many appearances on platforms to speak about her research and about the concepts she surrounds her research with. in 2018 she made an appearance at Harvard Business School's 2018 Gender and Work Symposium, where she spoke about her research ''Race, Work and Leadership: Learning from and about Black experience''<ref>{{cite web |last1=Gaunt |first1=Kyra |title=Kyra Gaunt speaks at the 2018 Gender & Work Symposium |url=https://www.youtube.com/watch?v=qGov8hKJy5o |website=Youtube.come |publisher=Harvard Business School |accessdate=3 May 2019}}</ref>. |
Gaunt has made many appearances on platforms to speak about her research and about the concepts she surrounds her research with. in 2018 she made an appearance at Harvard Business School's 2018 Gender and Work Symposium, where she spoke about her research ''Race, Work and Leadership: Learning from and about Black experience''<ref>{{cite web |last1=Gaunt |first1=Kyra |title=Kyra Gaunt speaks at the 2018 Gender & Work Symposium |url=https://www.youtube.com/watch?v=qGov8hKJy5o |website=Youtube.come |publisher=Harvard Business School |accessdate=3 May 2019}}</ref>. |
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In 2009, Gaunt was honored as one of the inaugural TED Fellows.<ref name=":0" /> In 2015, Gaunt appeared on stage at popular media conference, [[TED]] where she tackled the challenges and misconceptions behind the net worth and value of young black and African American girls.<ref name=":2">{{cite web |title=Broadcasting Black Girls' Net Worth |url=https://www.youtube.com/watch?v=m8MYjvP_wrs |website=Youtube.com |publisher=TEDTalk |accessdate=2 May 2019}}</ref> Gaunt has held several other conferences where she spoke about her work including at the University of Miami where she delivered a talk about her research ''into the racial oppression and sexploitation of black girls in online videos''<ref name=":3">{{cite web |last1=Bell |first1=Maya |title=Who Isn't Impacted by Social Media |url=https://news.miami.edu/stories/2019/02/who-isnt-impacted-by-social-media.html |website=news.miami.edu |publisher=University of Miami |accessdate=2 May 2019}}</ref> |
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Based on her research, double dutch was innovated by young, African American girls in urban areas after World War II, even though there are claims of Egyptian or Chinese origins.<ref name=":4">{{Cite web|url=https://www.washingtonpost.com/local/black-girl-magic-dc-retro-jumpers-remind-dc-how-to-double-dutch/2017/10/18/7ae22176-b364-11e7-add3-da4b781e34b1_story.html?utm_term=.b41b670468df|title='Black girl magic': D.C. Retro Jumpers remind D.C. how to double Dutch|last=Moyer|first=Justin|date=October 18, 2017|website=Washington Post|archive-url=|archive-date=|dead-url=|access-date=}}</ref> In her book, ''The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop,'' Gaunt takes the male perspective of double dutch and makes a comparison between girls "bouncing in the air" playing double dutch and women in rap videos only seen as "eye candy for male consumption". Gaunt has received several positive reviews of her book.<ref name=":5">{{Cite book|url=http://worldcat.org/oclc/704614113|title=The games black girls play learning the ropes from Double-dutch to Hip-hop|last=Gaunt, Kyra Danielle.|date=2006|publisher=New York University Press|isbn=0814731201|oclc=704614113}}</ref> Gaunt believes that double dutch is an essential part of black girl culture in America. "If Double dutch dies in neighborhoods, that's bad news for black culture",Gaunt says.<ref name=":4" /> As the sport became incorporated into public schools, "casual interest in neighborhoods" saw a decline.<ref name=":4" /> |
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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.<ref name=":5" /> Gaunt emphasizes double dutch is a away of "experiencing black feminism" through it's connection to staying on time to keep the movements going.<ref name=":5" /> |
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==Awards and Honors== |
==Awards and Honors== |
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Kyra Gaunt is an American ethnomusicologist, social media researcher, social justice activist, and professor at the University of Albany. Gaunt's research focuses on the critical study and hidden musicianship in black girls' musical play at the intersections of race, gender, and the body in the age of hip-hop. Her current research involves the critical study of the unintended consequences of race, gender, and technology from YouTube to Wikipedia.[1] She is a native of Rockville, Maryland.[1]
Education
Gaunt attended the School of Music at the University of Michigan in Ann Arbor from 1979-1981, where she earned a Ph.D. in musicology with a specialization in ethnomusicology. During this time she also studied voice with tenor George Shirley. She holds additional degrees in voice from SUNY Binghamton and The American University.[1]
Careers
Gaunt began working in higher education in 1996, working at institutions such as the University of Virginia.[2] In 2012 she worked in the departments of sociology, anthropology, Black and Latino studies, and the performing arts at Baruch College-CUNY.[2] Four years later Gaunt taught Africana, Puerto Rican and Latino studies at Hunter College-CUNY; the following year she joined the University at Albany as an Assistant Professor.[1]
Publications
Gaunt has published many works over the duration of her career. Her publications include:[3][4][5]
1. The games black girls play: learning the ropes from double-dutch to hip-hop
(Publication date: 2006, Source: Learning the Ropes from Double-Dutch, Publisher: NYUP)
2. Dancin' in the Streets to a Black Girl's Beat: Music, Gender and the "Ins and Outs" of Double-Dutch
(Publication date: 1998/6/1, Book: Generations of youth: Youth cultures and history in twentieth-century America, ed. by Joe Austin, Pages: 272-292, Publisher: NYU Press)
3. Translating Double-Dutch to Hip-Hop: The Musical Vernacular of Black Girls' Play
(Publication date: 2004/5/, Book: That's the Joint: the hip-hop studies reader, edited by Mark Anthony Neal and Murray Forman, Pages: 251-263, Publisher: Routledge)
4. YouTube, Twerking, and You: Context Collapse and the Handheld Copresence of Black Girls and Miley Cyrus
(Publication date: 2016/6/10, Book: Voicing Girlhood in Popular Music, Pages: 218-242, Publisher: Routledge)
5. African American Women Between Hopscotch and Hip-Hop
( Publication date: 1995/9/27, Journal: Feminism, multiculturalism, and the media: Global diversities, Pages: 277, Publisher: Sage Publications, Incorporated)
6. The veneration of James Brown and George Clinton in hip-hop music: Is it live! Or is it re-memory
(Publication date: 1995, Journal: Popular music: Style and identity, Pages: 117-22)
7. Girls’ Game-Songs and Hip-Hop: Music Between the Sexes
(Publication date: 2012/10/31, Journal: Parcours anthropologiques, Issue: 8, Pages: 97-128, Publisher: Centre de recherche et d'études anthropologiques (CREA); http://pa.revues.org/116)
8. "The Two O'Clock Vibe": Embodying the Jam of Musical Blackness in and out of Its Everyday Context
(Publication date: 2002/10/1, Journal: Musical Quarterly, Volume: 86, Issue: 3 (Autumn, 2002), Pages: 372-397, Publisher: Macmillan)
9. Got Rhythm?: difficult encounters in theory and practice and other participatory discrepancies in music
(Publication date: 2002/6/1, Journal: City & Society, Volume: 14, Issue: 1, Pages: 119-140, Publisher: Blackwell Publishing Ltd)
10. YouTube, bad bitches and an MIC (mom-in-chief): On the digital seduction of Black girls in participatory hip-hop spaces
(Publication date: 2015,Journal: Remixing Change: Hip Hop & Obama, A Critical Reader, Publisher: Oxford UP)
11. ‘One Time 4 Your Mind’: Embedding Nas and Hip-Hop into a Gendered State of Mind
(Publication date: 2010, Journal: Born to Use Mics: Reading Nas’s “Illmatic,” ed. Michael Eric Dyson and Sohail Daulatzai, Pages: 151-78)
12. Roundtable: VH1's (White) Rapper Show: Intrusions, Sightlines, and Authority
(Additional Authors: Cheryl L Keyes, Timothy R Mangin, Wayne Marshall, Joe Schloss, Publication date: 2008/3, Journal: Journal of Popular Music Studies, Volume: 20, Issue: 1, Pages: 44-78, Publisher: Blackwell Publishing Ltd)
13. Music grooves: Essays and dialogues (book review)
(Publication date: 2000/1/1, Source: YEARBOOK FOR TRADITIONAL MUSIC, Volume: 32, Pages: 178-181, Publisher: INT COUNCIL TRADITIONAL MUSIC)
14. Introduction: APES** TStuck In A Time Loop: Notes On APES** TAmbiguity in “APES** T” On APESHIT’s “Trapness” Tracing the Carters Through the GalleriesIntroduction: APES** TAPES …
(Additional Authors: Carol Vernallis, Jason King, Maeve Sterbenz, Gabriel Ellis, Gabrielle Lochard, Daniel Oore, Eric Lyon, Dale Chapman, Publication date: 2018/12/4, Journal: Journal of Popular Music Studies, Volume: 30, Issue: 4, Pages: 11-70, Publisher: University of California Press Journals)
15. The Disclosure, Disconnect, and Digital Sexploitation of Tween Girls' Aspirational YouTube Videos
(Publication date: 2018, Journal: Journal of Black Sexuality and Relationships, Volume: 5, Issue: 1, Pages: 91-132, Publisher: University of Nebraska Press)
16. 10 YouTube, Twerking, and You
(Publication date: 2016/6/10, Journal: Voicing Girlhood in Popular Music: Performance, Authority, Authenticity, Publisher: Routledge)
17. Truly Professin' Hip-hop--The Rewind (1996): Makin' Black Girls Embodied Musical Play the Teacher
(Publication date: 2015, Book: Black Feminism in Education, edited by Venus E. Evans-Winters and Bettina L. Love, Volume: 69, Pages: 103-118, Publisher: Peter Lang)
18. Forward: Truly Professin' Hip-Hop and Black Girl 'Hood
(Publication date: 2012, Pages: ix-xv, Publisher: Peter Lang)
19. "Double Forces Has Got the Beat": Reclaiming Girls' Music in the Sport of Double-Dutch
(Publication date: 2011, Book: The Girls' History and Culture Reader: The Twentieth Century, ed. M. Forman-Brunell and L. Paris, Pages: 279-299, Publisher: University of Illinois Press)
20. Music and the Racial Imagination
(Publication date: 2004/1/1, Source: Ethnomusicology, Volume: 48, Issue: 1, Pages: 127-131, Publisher: University of Illinois Press)
21. Plenty of Good Women Dancers: African American Women Hoofers from Philadelphia
(Publication date: 2000/4/1, Source: Ethnomusicology, Volume: 44, Issue: 2, Pages: 359-361, Publisher: University of Illinois Press)
22. Just My Soul Responding: Rhythm and Blues, Black Consciousness, and Race Relations (Book Review).
(Publication date: 2000, Journal: Notes, Volume: 56, Issue: 3, Pages: 673-676, Publisher: Music Library Association Inc.)
23. Wade in the Water: African American Sacred Music Traditions. Volumes I-IV: I. African American Spirituals: The Concert Tradition, II. African American …
(Publication date: 1998, Journal: Yearbook for Traditional Music, Volume: 30, Pages: 189-191, Publisher: Cambridge University Press)
Research
Gaunt has made many appearances on platforms to speak about her research and about the concepts she surrounds her research with. in 2018 she made an appearance at Harvard Business School's 2018 Gender and Work Symposium, where she spoke about her research Race, Work and Leadership: Learning from and about Black experience[6].
In 2009, Gaunt was honored as one of the inaugural TED Fellows.[1] In 2015, Gaunt appeared on stage at popular media conference, TED where she tackled the challenges and misconceptions behind the net worth and value of young black and African American girls.[7] Gaunt has held several other conferences where she spoke about her work including at the University of Miami where she delivered a talk about her research into the racial oppression and sexploitation of black girls in online videos[8] Based on her research, double dutch was innovated by young, African American girls in urban areas after World War II, even though there are claims of Egyptian or Chinese origins.[9] In her book, The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop, Gaunt takes the male perspective of double dutch and makes a comparison between girls "bouncing in the air" playing double dutch and women in rap videos only seen as "eye candy for male consumption". Gaunt has received several positive reviews of her book.[10] Gaunt believes that double dutch is an essential part of black girl culture in America. "If Double dutch dies in neighborhoods, that's bad news for black culture",Gaunt says.[9] As the sport became incorporated into public schools, "casual interest in neighborhoods" saw a decline.[9]
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.[10] Gaunt emphasizes double dutch is a away of "experiencing black feminism" through it's connection to staying on time to keep the movements going.[10]
Awards and Honors
References
- ^ a b c d e Gaunt, Kyra. "University at Albany Music Department Faculty Kyra Gaunt". Albany.edu. Albany.edu. Retrieved 2 May 2019.
- ^ a b Gaunt, Kyra. "Kyra Gaunt is on a Mission". Baruch College. Retrieved 2 May 2019.
- ^ "Kyra D. Gaunt, Ph.D. - Google Scholar Citations". scholar.google.com. Retrieved 2019-05-05.
- ^ "Kyra Gaunt | SUNY: University at Albany - Academia.edu". albany.academia.edu. Retrieved 2019-05-05.
- ^ Gaunt, Kyra. Linked In https://www.linkedin.com/in/kyragauntphd. Retrieved 5/2/2019.
{{cite web}}: Check date values in:|access-date=(help); Cite has empty unknown parameter:|dead-url=(help); Missing or empty|title=(help) - ^ Gaunt, Kyra. "Kyra Gaunt speaks at the 2018 Gender & Work Symposium". Youtube.come. Harvard Business School. Retrieved 3 May 2019.
- ^ "Broadcasting Black Girls' Net Worth". Youtube.com. TEDTalk. Retrieved 2 May 2019.
- ^ Bell, Maya. "Who Isn't Impacted by Social Media". news.miami.edu. University of Miami. Retrieved 2 May 2019.
- ^ a b c Moyer, Justin (October 18, 2017). "'Black girl magic': D.C. Retro Jumpers remind D.C. how to double Dutch". Washington Post.
{{cite web}}: Cite has empty unknown parameter:|dead-url=(help) - ^ a b c Gaunt, Kyra Danielle. (2006). The games black girls play learning the ropes from Double-dutch to Hip-hop. New York University Press. ISBN 0814731201. OCLC 704614113.