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This article examines the dance sequences from Beyoncé's 2013 video "***Flawless" to highlight the centrality of popular black dance within contemporary culture. Further, it looks beyond Beyoncé's corpus to critically examine the dance remake, a forum in which dancers harness "media power" (Carroll) within the YouTube archive to re-signify Beyoncé's work through collective choreographed dance. In this environment, dancers construct alternative biopolitics grounded by localized and participatory modes of identification. In short, this article argues that Beyoncé's deeply personal and multifaceted poetics, when remixed via collective articulations, prompt non-essentialist negotiations of black culture's intersectionality. Ultimately such intersectional responses to Beyoncé's videos complicate recent debates about feminism, resilience, and sexuality within the music industry. It is also within the YouTube archive where the choreographer has assumed an elevated yet precarious status.

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Autism spectrum disorder (ASD) is a pervasive developmental disorder characterized by deficits in social communication skills as well as repetitive, restricted or stereotyped behaviors (1). Early interventionists are often found at the forefront of assessment, evaluation, and early intervention services for children with ASD. The role of an early intervention specialist may include assessing developmental history, providing group and individual counseling, working in partnership with families on home, school, and community environments, mobilizing school and community resources, and assisting in the development of positive early intervention strategies (2, 3). The commonality among these roles resides in the importance of providing up-to-date, relevant information to families and children. The purpose of this review is to provide pertinent up-to-date knowledge for early interventionists to help inform practice in working with individuals with ASD, including common behavioral models of intervention.

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