The opening presentation of this session examines choreographer Joan Miller’s signature solos, Pass Fe White (1970) and Homestretch (1972), in the context of her work establishing Lehman College’s dance program in 1970 and in the 1960s/’70s student uprisings more broadly.  The solos “read” the desire to embody idealized, feminine whiteness within a larger critique of structures for accessing national belonging: marriage, celebrity, and education.  Performing her choreography as a form of black study (Moten and Harney 2013), I argue that Miller’s work affirmed the capacity to desire differently, provoking considerations of other terms for belonging in the world. The closing presentation of this session unpacks the transformative shifts in the Dance Program curriculum at Lehman College in the wake of the uprisings of 2020. I will use images, video, and sound to illustrate personal anecdotes that will reveal the potential impact of these curriculum changes, as a student and teacher rooted in Hip Hop culture. We will discuss the failure of multiculturalism to decenter whiteness in curriculum design, and explore how culturally relevant curriculum and critical pedagogy provide more useful frameworks. It will include the insights, challenges, and some solutions for how the Dance Program is navigating this challenging and necessary moment of change.