Running head: MOVIE REVIEW 1MOVIE REVIEW 15

Movie Review: Student Development in DrumlineWillie GoreLoyola University Chicago

AbstractFilm is a very interesting medium to examine student development theory. Both Theory and film are able to illuminate and, often times, mirror specific norms expectations and patterns that exist within a given society. Therefore, understanding the connections or disconnections between theory and film can enrich ones understanding of student development and better inform the work of student affairs practitioners. This paper will examine student development in Austin and Finermans (2002) film Drumline, utilizing the framework of Crosss Nigrescence Theory (1971, 1978) and Lawrence Kohlbergs Theory of Moral Development (1971). The films primary characters, Laila, Sean, and Devon each experience dissonance that is triggered by their interpersonal relationships. Assessing these experiences and considering my own positionality will ultimately will help me to think practically about my role as a student affairs practitioner.

Drumline Synopsis and Plot OverviewAustin and Finermans (2002) film Drumline tells the story of a young, Black, Harlem drummer named Devon Miles (played by Nick Cannon). Devon is a recent high school graduate who earns a full musical band scholarship from Atlanta A&T, a fictional Historically Black College or University (HBCU) located in Atlanta, GA. Learning under the tutelage of Dr. Lee (played by Orlando Jones), the schools musical director, Devon is challenged to relinquish his individualistic mindset in order to incorporate a more interpersonal reliance that is more conducive to the unity of the band. Dr. Lee, a proponent of tradition, harmony, and group solidarity, encourages his students to be collectivists and unified through the repeated use of his slogan, One band, one sound (Austin and Finerman, 2002, 12:54, 13:07, 27:33, 101:42). One of Dr. Lees greatest challenges to establishing this unified culture is the confrontational relationship between Devon, and Sean (played by Leonard Roberts), a lead drum major. Devons brash arrogance coupled with Seans truculent criticism creates a competitive dissonance between the two drummers breeding both jealousy and discord within the band. As two developing Black male students, both Devon and Sean must learn to respect one another in spite of their assumed differing backgrounds.As the film progresses, Devon establishes a romantic relationship with Laila (played by Zoe Saldana), the dance captain of the marching band. Devon wins her over with his persistence and confidence and they appear to establish a healthy relationship. However, conflict arises between the two when Laila is forced to choose between her commitment to Devon and sustaining the pride of her parents. Laila struggles to find balance between chasing her own dreams and meeting her parents expectations. All this occurs while the Atlanta A&T marching band is preparing to compete in the Southern Classic, an annual competition where they will face their archrivals Morris Brown College. Dr. Lee is ultimately forced to decide whether to allow Devon to perform, despite his attitude. Devon has to prove that he is able to showcase his skills while also putting the team first. Crosss Nigrescence Theory (1971, 1978) and Lawrence Kohlbergs Theory of Moral Development (1971) provide an interesting framework for assessing the development of Devon, Sean, and Laila.Cross Nigrescence TheoryThe first stage in Cross Nigrescence Theory is pre-encounter, involves two identity types: low race salience (pre-encounter assimilation) and internalized racism (pre-encounter anti-black) (Cross, 1978, p. 16). Pre-encounter assimilation seems to suggest that race lacks importance and significance and has caused the individual to accept societal norms. Pre-encounter anti-Black also suggests a sense of assimilation in addition to self-degradation. Both of these dispositions appear are likely to occur because the individual has yet to experience the encounter stage, which may cause the dissonance necessary to further ones racial development. The second stage of Cross Nigrescence theory is the encounter stage which describes a shocking personal or social event that temporarily dislodges the person from his old worldview, making the person receptive (vulnerable) to a new interpretation of his identity andcondition (Cross, 1978, p. 17). In this stage dissonance results in development. The third stage within Cross Nigrescence Theory is immersion-emersion, which he describes as the vortex of psychological metamorphosis (Cross, 1978, p. 17). According to Cross (1978), immersion-emersion is the period of transition in which the struggle to destroy all vestiges of the old perspective occurs simultaneously with an equally intense concern to clarify the personal implications of the new frame of reference (p. 17). Within this stage the old self and new self are two conflicting notions that must be resolved before further development can take place. Internalization is the fourth stage of Crosss Nigrescence Theory, which signals the resolution of conflicts between the old and new worldviews. Tension, emotionality, and defensiveness are replaced by a calm, secure demeanor (Cross, 1978, p. 18). This stage represents both confidence and security regarding ones racial identity. Individuals within this stage have pride, confidence, and the ability to address racial conflict constructively.In the final stage of this theory there is a distinction made between persons who have simply internalized the new identity but discontinue involvement in the movement (development levels off at stage four), and those who continue to be social activists (Cross, 178, p. 18). These individuals transition from concerning only about their own racial identity to concerning about the collective race; an individualistic mindset becomes a group based mindset. Kohlbergs Moral Development TheoryLawrence Kohlberg (1971) focuses on the opposing concepts of individualism and universalism in his theory of moral development. According to Evans, Forney, Guido, Patton, & Renn (2010) this theory focuses on the process of how individuals make moral judgments, not the content of these decisions (p. 101). Kohlberg saw such judgments as having three qualities: an emphasis on value rather than fact, an effect on a person or persons, and requirement that action be taken (Evans et al., 2010, p. 101). Kohlbergs theory claimed that moral reasoning develops through a six-stage sequence grouped into three levels (Kohlberg, 1971). The first level, pre-conventional, consists of the first two stages where the individual is responsive to cultural rules and labels of good and bad, right or wrong (Kohlberg, 1971), but interprets these labels in terms of physical consequences or reciprocity. The second level, conventional, consists of the third and fourth stages, in which the individual perceives the maintenance of the expectations of his [or her] family, group, or nation as valuable regardless of immediate and obvious consequences (Kohlberg, 1971). The third level, post-conventional, consists of the final two stages, where individuals make a clear effort to define moral values and principles that have validity and application apart from the authority of the groups of persons holding them and apart from the individual's own identification with the group (Kohlberg, 1971). Within these stages individuals invoke self-authorship constructing their own sense of moral reasoning.Within the first stage of Kohlbergs theory, heteronomous morality The physical consequences of action determine its goodness or badness (Kohlberg, 1971) and rules are seen as being fixed and absolute; individuals obey rules to avoid punishment. In stage two, individualistic instrumental morality, individuals begin to see that other people have their own goals and preferences and right action consists of what instrumentally satisfies one's own needs and occasionally the needs of others (Kohlberg, 1971). Decisions are made regarding reciprocity, and what one get gain from a situation. Within the third stage, interpersonal normative morality, there is an emphasis on living up to social expectations and there is much conformity to stereotypical images of what is majority or natural behavior (Kohlberg, 1971). The fourth stage of the theory, social system morality, involves individuals considering society as a whole and maintaining law and order when making judgments. The individual is oriented toward authority, fixed rules, and the maintenance of the social order (Kohlberg, 1971).The last two stages are encompassed in the post-conventional level of the theory. Within the fifth stage, human rights and social welfare morality, right action is a matter of personal values and opinions (Kohlberg, 1971). Individuals understand that there are differing opinions on what is right and wrong and right action is a matter of personal values and opinions (Kohlberg, 1971). Few people operate within the sixth and final stage of the theory known as morality of unversalizable, reversible, and prescriptive general ethical principles (Kohlberg, 1971). Right is defined by the decision of conscience in accord with self-chosen ethical principles that appeal to logical comprehensiveness, universality, and consistency (Kohlberg, 1971). This stage involves equal consideration of the points of view of all individuals in a moral situation. These individuals have a principled, conscience, and will follow universal ethical principles regardless of the official laws.Devons Moral DevelopmentObserving Devons interactions with his parents was an interesting way to examine his moral development regarding Kohlbergs (1971) research. It is evident that Devin values the relationship he has with his mother. After his high school graduation Devin expresses his gratitude by saying, Im just saying I wouldnt be here if it wasnt for you. I wouldnt have made it without youYoure gonna be ok right? I mean, I feel kind of weird leaving you by yourself (Austin and Finerman, 2002, 3:08). While away at school, Devon still keeps in touch with his mother, periodically calling to let her know that things are its all good (Austin and Finerman, 2002, 33:03). Not only does Devin value his own mother but he also appears to have a positive perception of motherhood in general. After failing to wake his roommate up for boot camp, Dr. Lee asks Devon, Well why didnt you wake him? (Austin and Finerman, 2002, 12:33) and Devon responds with Im not his mother sir (Austin and Finerman, 2002, 12:34). Interestingly enough, he refers to his mother rather than his father. It may have been more logical for Devon, as a male, to suggest that he was not his father. However, instead he associates the loyalty and dependability of waking his roommate up to motherhood. Through the value that he associates with his mother, and motherhood in general he expresses behavior that both pleases and is helpful (Kohlberg, specifically to his mother, which would place him in the third stage of Kohlbergs (1971) theory, interpersonally normative morality. However, Devon does not exhibit stage three behaviors when it comes to all his interactions. There is a significant difference regarding how he interacts with the male authority figures in the film.Devons first interaction with a male authority figure comes when he confronts his father after his high school graduation. Devon approaches his absent father in the train station and hands him an invitation to his graduation before stating, Im Devon. Ive been coming down here every day for the last two weeks, thinking if I should give you that ticket to my graduation and I changed my mind. Look man I just wanna let you know that I got my diploma (Austin and Finerman, 2002, 3:58). Devon concludes the conversation by saying, I hope that youre proud because I made it without you (Austin and Finerman, 2002, 4:50). Devon then walks away whipping tears from his eyes. It is evident that this is a pivotal moment signifying both independence and growth. However, this moment is also an indication of the pain that he has experienced due to the absence of his father. Stating that I hope youre proud (Austin and Finerman, 2002, 4:50) refers to his stage three interpersonally normative morality, exhibiting his value of relationships and desire to please others. However, the discourse that he experiences with his father seems to effect his moral development and impact his future interactions with male authority figures.After Devon refuses to shave his head for not reading the rulebook. Sean asks, What do you want me to tell Dr. Lee? (Austin and Finerman, 2002, 28:35) Devon responds by saying, I dont care what you tell him. Dr. Lee aint my daddy (Austin and Finerman, 2002, 28:41). With this statement Devon, again, references parenting. However, his characterization of the notion of fatherhood in this seen is much different than his, previously mentioned, reference to motherhood. Devon associates fatherhood with punishment by saying that Dr. Lee aint my daddy (Austin and Finerman, 2002, 28:41), suggesting that he is not concerned with the possible consequences. The disobedience that he expresses by not reading the rulebook suggests an overall lack of concern with consequences, which ultimately disassociates him with stage one, heteronomous morality. Devon challenges male authority throughout the film. Upon his arrival to campus the drum major gives out the following orders Starting tomorrow, white t-shirts at all times. Get up to your dorms. Get well acquainted with the rulebook. Dinner is at 6:00 PM in the cafeteria. After that, its night-night. Youre dismissed (Austin and Finerman, 2002, 8:52). Devon immediately responds by telling his peers Man I aint trying to have no curfew (Austin and Finerman, 2002, 9:11) Not only does Devon exhibit disobedience by failing to go to bed on time, but he also was the only person not wearing a white shirt the following morning during camp. Later, Devon gets into a confrontation with Sean about using the newer drums. Sean informs Devon that These are for A&T drumline only, P-1s. You are not a P-1. You are a crab. Take it off (Austin and Finerman, 2002, 15:48). To the apparent shock of his fellow band members, Devon responds by saying Ill take it off when you calm down (Austin and Finerman, 2002, 15:55). After Sean demands that Devon respects him, Devon states, You gotta give respect to get it (Austin and Finerman, 2002, 16:26). The two statements made my Devon along with his continued disobedience signify his value of reciprocity and negotiation suggesting a stage two, individualistic application of moral reasoning (Kohlberg, 1971). Devon fails to listen to male authority figures throughout the film. This lack of obedience may be a result of the relationship that he has with his father. Growing up in a household without a father may have caused him to resist guidance from male authority, which ultimately could limit his moral development. Lailas Moral DevelopmentThroughout the film, Laila is an important source of support and guidance for Devon. As an experienced upperclassman, Laila is able to challenge Devon in ways that encourages him to overcome obstacles and follow his passion. While Devon is deciding whether he should take an additional class in order to learn how to read music, Laila asks If music is what you love, why wouldnt you go to class? (Austin and Finerman, 2002, 57:00). Laila ends the discussion by saying Please take that class (Austin and Finerman, 2002, 58:25). After their conversation Devon decides to go to class and sustains his commitment to the band. Although Laila is able to encourage Devon to follow his dreams, she struggles to pursue her own passion. When Devon asks why she is not studying dance Laila says, My parents are paying for my education. To them, dance is not a real major (Austin and Finerman, 2002, 57:13). Lailas statement suggests that she would rather obey her parents than do what truly makes her happy. She later states, Its not always about doing what you love all the time (Austin and Finerman, 2002, 57:30). This obedience and emphasis on living up to social expectations (Kohlberg, 1971) associates her with Kohlbergs (1971) stage three, interpersonally normative morality. Lailas hesitance to follow her passion of dancing also appears to be correlated with the possible ramifications from her parents. Laila shows similar apprehensions when she decides not to introduce Devon to her parents after he gets involved in a fight during a performance. She later tells Devon, Look I panicked. My parents were talking all that crap about that hoodlum who started a fight and I just, Im sorry (Austin and Finerman, 2002, 76:30). Laila, once again, prioritizes meeting her parents expectations over her own personal desires, expressing a strong sense of stage three interpersonally normative morality. Nonetheless, by the end of the film, Laila appears to show some signs of development when she indicates that she has changed her major to dance (Austin and Finerman, 2002, 94:28).Devon and Seans Racial Identity DevelopmentCharles Austin and Finermans (2002) film Drumline offers an interesting depiction of the Black male students racial identity development at a Historically Black College or University through the experiences of both Devon and Sean. The competitive and confrontational relationship between these two characters fosters the means for a comparative analysis. Much of Seans criticism regarding Devon have racialized undertones and can be considered microaggressions. Sean often uses names such as boy (Austin and Finerman, 2002, 17:36, 16:22), boys in the hood (Austin and Finerman, 2002, 27:40) wannabe gangster (Austin and Finerman, 2002, 81:50), and fake thug (Austin and Finerman, 2002, 82:05) when referring to Devon. Each of these terms are associated with negative stereotypes regarding Black men. As Sean reinforces these stereotypes through his degradation of Devon, he expresses a sense of self-hatred as a fellow Black man. Assessing Seans racial identity development with regard to Cross Negrescence theory is challenging. No stage explicitly refers to the self-degradation that Sean exhibits throughout the film. However, one could infer that Sean is facing the encounter sector which involves experiencing, marginalization, racism, or any situation that may enhance the salience of ones racial identity (Cross, 1978, p. 17). It is evident that Sean has internalized some of the negative stereotypical perceptions of Black men which could be a result of Cross (1971) encounter sector and his overall socialization. Devon is also very aware of the racial stereotypes that exist in society. During the scene that he is confronting his father Devon states, I aint never been arrested and I dont have a whole bunch of kids running around and unlike yourself Im doing something with my music (Austin and Finerman, 2002, 3:58). Devons father epitomizes the dominant narrative of Black fatherhood, absence, incarceration, and laziness. Devons statement suggests that he is willing to challenge this stigma by not conforming and learning from the mistakes of his father. His willingness to break the cycle could be evidence of an intense sense of intimacy toward Black life (Cross, 1978, p. 17), which would associate him with Cross (1978) immersion-emersion stage. Interventions and Practical ApplicationTwo fundamental components of Kohlbergs (1971) Moral Development theory are sequence criterion, which which indicates that stages appear in a specific order, regardless of setting or experience (Evans et al., 2010, p. 102) and hierarchy criterion, which suggests that each successive stage is more highly developed than the previous one because it incorporates aspects of all earlier stages (Evans et al., 2010, p. 102). Therefore, when referring to practical applications of this theory one must consider the linear progression from individualism to universalism (Kohlberg, 1971). Throughout most of the film, Laila operates within stage three, interpersonally normative morality and is restricted by her parents expectations. An effective way to help her develop toward stage four, social system morality, would be to provide her the tools to recognize that she can be oriented toward authority, fixed rules, and the maintenance of the social order (Kohlberg, 1971) while also being true to her own desires. Finding this balance may prove to be challenging. However, creating the space to talk about where her parents expectations and her own personal passions intersect could be an effective starting point. Throughout the film, Devon appears to operate within stages two and three of Kohlbergs (1971) Moral Development Theory. It is evident that Devon has persevered through numerous challenges in his life. When faced with conflict, Devon continuously displays the ability to find a way to succeed. Harnessing that determination could be the key to progressing both his racial and moral development. Even as arguably the most gifted drummer in the marching band, Dr. Lee constantly challenges Devon to further develop and value the teams overall success over his individual talent. This is evident when he tells Devon that You have to learn to follow before you can lead Mr. Miles (Austin and Finerman, 2002, 25:17). In order for Devon to progress toward a stage four, a societal system morality level of reasoning, he must be willing to consider the greater collective implications of his actions. As Devons advisor, I would discuss the importance of structure and discipline regarding the success of the marching band, allowing him to define these notions and explain what they may look like both in and outside of the band. I would focus on the sentiments of Dr. Lee, When one of us is late, we are all late. When one of us looks or sounds bad, we all look and sound bad (Austin and Finerman, 2002, 12:57). This may help Devon to understand the importance of doing one's duty and respecting authority while acknowledging that social systems are made of a consistent set of rules and procedures, which are key components of stage four (Kohlberg, 1971).Devon and Seans confrontational relationship illuminates the existence of internalized racial tension between the two characters. As undergraduate Black male students, both are experiencing racial identity development, which is impacted by their interactions. As both students appear to be experiencing the middle stages of Cross (1971, 1978) Nigrescence theory, having an intergroup dialogue may help them to further develop their racial identity. Toward the end of the film, Sean breaks the tension by saying, Youre the man. So go ahead and be the man without the band. Youre the best Devon, but when youre on the field nobody hears you. They hear the band, one band (Austin and Finerman, 2002, 82:40). In this scene, both Devon and Sean express sincerity and support for one another. This may have occurred, partly because they were alone and more willing to be vulnerable, but also because of the ways that Dr. Lee challenges them throughout the film. Participating in more dialogue would help both students to process their thoughts and experiences, possibly resulting in the willingness to exhibit a pluralistic nonracist perspective (Cross, 1978, p. 18) and translate personal identity into activities that are meaningful to the group (p. 18), behavior associated with the final stage of Cross (1971, 1978) Nigrescence theory.My Personal LensThe depiction of Devon and Sean as Black male students attending a HBCU greatly differs from what I experienced as an undergraduate student. As a Black male who graduated from a predominantly White institution, there were particular challenges that I faced which are not relevant to the characters experiences in Drumline (2002). I was forced to adapt to an environment where there were very few other self-identified Black male students, faculty, or staff. The marginalization of our small population invoked unity, support, and an intense sense of intimacy toward Black life (Cross, 1978, p. 17). Black men at my undergraduate institution were few in number. However, it was not difficult for us to standout. Whereas, both Devon and Sean appear to be searching for legitimacy and particular ways to distinguish themselves from the other Black men on campus. The presence of Dr. Lee, a student affairs practitioner, enables both Devon and Sean to have the proper guidance to grow and develop. My understanding of both moral and racial identity development is predicated on the journey towards authenticity and a strong self-concept. There are numerous parental, environmental, and institutional factors that influence students to conform and assimilate to societal norms. As student affairs practitioners, it is our responsibility to offer up more options than the dominant narrative and to help students be true to themselves despite external expectations. ReferencesAustin, D.(Producer),Finerman, W. (producer), & Stone, C. III. (Director). (2002).Drumline[Motion picture]. United States: Fox 2000 Pictures.Cross, W. E., Jr. (1971). Negro-to-Black conversion experience: Toward a psychology of black liberation. Black World, 20(9), 13-27. Cross, W. E., Jr. (1978). The Thomas and Cross models of psychological nigrescence: A review. Journal of Black Psychology, 5, 1331.Kohlberg, L. (1971). Stages of moral development. In C. M. Beck, B. S. Crittenden, & E. V. Sullivan (Eds.), Moral education. Toronto: University of Toronto Press.