Running head: MOVIE REVIEW

Movie Review: Student Development in Drumline

Willie Gore
Loyola University Chicago

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Abstract

Film 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.

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Drumline Synopsis and Plot Overview

Austin 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

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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 Theory
The first stage in Cross Nigrescence Theory is pre-encounter, involves two identity
types: low race salience (pre-encounter assimilation) and internalized racism (pre-encounter antiblack) (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. Preencounter 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

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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 Theory
Lawrence 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

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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

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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 Development
Observing 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

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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

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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.

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Lailas Moral Development

Throughout 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.

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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 Development
Charles 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 selfdegradation 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

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(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 Application
Two 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

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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

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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 Lens
The 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.

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References

Austin, 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.