In her seminal text, "Feminist Theory: From the Margin to the Center," bell hooks calls attention to the "transformative impact the eradication of sexist oppression could have on all of our lives." She goes on to say that "challenging sexist oppression is a crucial step in the struggle to eliminate all forms of oppression" (hooks 1984, 36). In the same way that the eradication of sexist oppression has the potential to eliminate oppression more broadly, Ronya-Lee LaVaune Anderson posits that reconfiguring notions of dances of the African Diaspora in the university setting has the potential to bring about real change for those who inhabit the academic halls, classrooms, studios, dorms, and offices to ultimately impact how they see the world and move in it. Providing students with curriculum that does not marginalize dances of the African Diaspora is the first step in providing them with the tools needed to engage in the work of dismantling White destruction in other areas of their lives. For this discussion, in referring to dance forms of the African Diaspora, Anderson includes the following: West African, jazz, tap, hip hop or Black street and club dance, which includes vogue, house, old school, new school, and additional sub genres. There are multiple modes of reinforcing racism in the studio and in collegiate dance programs practiced and enacted by instructors in their language, choice of music, and pedagogical approach; however, in this article, Anderson focuses on modes sanctioned by and embedded in the practice and performance of Western concert dance by institutions and their leaders, namely the university or college setting.