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Shanita Mitchell

Shanita Mitchell currently serves as the Assistant Director for the Rappahannock Scholars Program at the University of Mary Washington. Since graduating from UMW with her B.A. in 2012, she has continued to pursue her passion for providing underserved and underrepresented student populations with college access opportunities and scholarships by working in and with the Office of Admissions, Financial Aid, and serving as the advisor for various multicultural and performance organizations on campus. That same passion recently led Shanita to acquire her M.A. in English from Southern New Hampshire University with the intent to expand beyond the administrative side of higher ed and into the classroom. Shanita also works as a dance instructor at The Courthouse School of Ballet and Umbiance Dance Studio. In her spare time, Shanita enjoys portrait painting, amateur photography, costuming, video editing, and advancing her study of Black feminist thought, Critical Race Theory, and autoethnography as a meaningful expression of self.

Showing: 3 RESULTS

Photo of black woman in red dress by Shanita Mitchell for The AutoEthnographer

All Multimedia

The Twerking Academic: “My Stuff”, a Multimedia Performance

“In recent light of the Texas Abortion Law, I had to confront the fact that somebody did almost walk away with all of my stuff…and I am equal parts disgusted, exhausted, and pissed about it.”

Photo of man in ocean with mask by Alex Iby for Unsplash

Æ: Musings from the Editors All

What Do Editors Look for When Reviewing Evocative Autoethnographies?

“When I review submissions I look out for that layer in the contribution that will hold my attention, provoke, entertain and more so how the theme connects to a cultural issue. – A. Kaminju”

Photo of a face within a face by Shanita Mitchell for The AutoEthnographer

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The Twerking Academic: “A Seat at the Table”, an Autoethnographic Dance Performance

“Though “A Seat at the Table” does not make explicit visual reference to my experience as a Black female academic, the underlying sentiment of the piece is very much driven by my experiences in higher education, academia, and the literary world.”

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