Over a decade ago Julie Kerr-Berry wrote the editorial for this journal, "The Skin We Dance, The Skin We Teach: Appropriation of Black Content in Dance Education" (Kerr-Berry 2004). In it, she argued the importance of integrating multiple legacies into dance education, particularly into the historical narrative. She also contended that her whiteness need not be a barrier if she knew the history because the blackness, brownness, and whiteness in U.S. dance was an undertold story. To this end, she could use the privilege of her skin color to help further this discourse by filling in the missing pieces. However, in this 2016 article Kerr-Berry reflects that now she knows there was a larger narrative than what she wrote about in 2004. Herein, she explains how this realization came with the reality of her students' lives. In addition she talks about how "Critical Race Theory" (Delgado and Stefancic 2012) provided her with tools to navigate challenges she did not understand in 2004.