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Publications of Thomas F. DeFrantz    :chronological  alphabetical  combined listing:

%% Books   
@book{fds353086,
   Author = {Perkins, KA and Richards, SL and Craft, RA and De Frantz,
             TF},
   Title = {The Routledge Companion to African American Theatre and
             Performance},
   Pages = {1-426},
   Publisher = {Routledge},
   Year = {2018},
   Month = {January},
   ISBN = {9781138726710},
   url = {http://dx.doi.org/10.4324/9781315191225},
   Abstract = {The Routledge Companion to African American Theatre and
             Performance is an outstanding collection of specially
             written essays that charts the emergence, development, and
             diversity of African American Theatre and Performance—from
             the nineteenth-century African Grove Theatre to
             Afrofuturism. Alongside chapters from scholars are
             contributions from theatre makers, including producers,
             theatre managers, choreographers, directors, designers, and
             critics. This ambitious Companion includes: A "Timeline of
             African American theatre and performance." Part I "Seeing
             ourselves onstage" explores the important experience of
             Black theatrical self-representation. Analyses of diverse
             topics including historical dramas, Broadway musicals, and
             experimental theatre allow readers to discover expansive
             articulations of Blackness. Part II "Institution building"
             highlights institutions that have nurtured Black people both
             on stage and behind the scenes. Topics include Historically
             Black Colleges and Universities (HBCUs), festivals, and
             black actor training. Part III "Theatre and social change"
             surveys key moments when Black people harnessed the power of
             theatre to affirm community realities and posit new
             representations for themselves and the nation as a whole.
             Topics include Du Bois and African Muslims, women of the
             Black Arts Movement, Afro-Latinx theatre, youth theatre, and
             operatic sustenance for an Afro future. Part IV "Expanding
             the traditional stage" examines Black performance traditions
             that privilege Black worldviews, sense-making, rituals, and
             innovation in everyday life. This section explores
             performances that prefer the space of the kitchen,
             classroom, club, or field. This book engages a wide audience
             of scholars, students, and theatre practitioners with its
             unprecedented breadth. More than anything, these invaluable
             insights not only offer a window onto the processes of
             producing work, but also the labour and economic issues that
             have shaped and enabled African American
             theatre.},
   Doi = {10.4324/9781315191225},
   Key = {fds353086}
}

@book{fds305872,
   Title = {Black Performance Theory},
   Pages = {296 pages},
   Publisher = {Duke University Press},
   Editor = {DeFrantz, TF and Gonzalez, A},
   Year = {2014},
   Month = {April},
   ISBN = {0822377012},
   Abstract = {This collection of new essays by some of its pioneering
             thinkers—many of whom are performers—demonstrates the
             breadth, depth, innovation, and critical value of black
             performance theory.},
   Key = {fds305872}
}

@book{fds291716,
   Author = {DeFrantz, TF},
   Title = {Dancing Revelations: Alvin Ailey's Embodiment of African
             American Culture},
   Pages = {1-320},
   Publisher = {Oxford University Press},
   Year = {2011},
   Month = {October},
   ISBN = {9780195301717},
   url = {http://dx.doi.org/10.1093/acprof:oso/9780195301717.001.0001},
   Abstract = {In the early 1960s, the Alvin Ailey American Dance Theater
             was a small, multi-racial company of dancers that performed
             the works of its founding choreographer and other emerging
             artists. By the late 1960s, the company had become a
             well-known African American artistic group closely tied to
             the civil rights struggle. This book chronicles the troupe's
             journey from a small modern dance company to one of the
             premier institutions of African American culture. The book
             not only charts this rise to national and international
             renown, but also contextualizes this progress within the
             civil rights, women's rights, and gay rights struggles of
             the late 20th century. It examines the most celebrated Ailey
             dances, drawing on video recordings of Ailey's dances,
             published interviews, oral histories, and interviews with
             former Ailey company dancers. The book reveals the
             relationship between Ailey's works and African American
             culture as a whole. It illuminates the dual achievement of
             Ailey as an artist and as an arts activist committed to
             developing an African American presence in dance. It also
             addresses concerns about how dance performance is
             documented, including issues around spectatorship and the
             display of sexuality, the relationship of Ailey's dances to
             civil rights activism, and the establishment and maintenance
             of a successful, large-scale Black Arts institution.
             Throughout, the book illustrates how Ailey combined elements
             of African dance with motifs adapted from blues, jazz, and
             Broadway to choreograph his dances, arguing that Ailey
             played a significant role in defining the African American
             cultural canon.},
   Doi = {10.1093/acprof:oso/9780195301717.001.0001},
   Key = {fds291716}
}

@book{fds305873,
   Title = {Dancing Many Drums},
   Pages = {384 pages},
   Publisher = {Univ of Wisconsin Press},
   Editor = {Defrantz, TF},
   Year = {2002},
   Month = {April},
   ISBN = {0299173135},
   Abstract = {Abundantly illustrated, the volume includes images of a wide
             variety of dance forms and performers, from ring shouts,
             vaudeville, and social dances to professional dance
             companies and Hollywood movie dancing.},
   Key = {fds305873}
}


%% Essays, Articles, Chapters in Books   
@article{fds364099,
   Author = {DeFrantz, TF},
   Title = {Black dance and technologies of wellness},
   Journal = {Theatre, Dance and Performance Training},
   Volume = {13},
   Number = {2},
   Pages = {212-213},
   Year = {2022},
   Month = {January},
   url = {http://dx.doi.org/10.1080/19443927.2022.2066380},
   Doi = {10.1080/19443927.2022.2066380},
   Key = {fds364099}
}

@article{fds358324,
   Author = {Defrantz, TF},
   Title = {Intermediality and queer African American improvisation:
             Dianne mcintyre, sounds in motion},
   Journal = {Theatre Research International},
   Volume = {46},
   Number = {2},
   Pages = {115-127},
   Year = {2021},
   Month = {July},
   url = {http://dx.doi.org/10.1017/S0307883321000055},
   Abstract = {This article explores the work of choreographer Dianne
             McIntyre as an improvisational artist entangled in questions
             of intermedial relations among sounds and motions. It
             discusses the terms of performance in relation to emergent
             paradigms of Afro-pessimism, and argues for a black regard
             as a method of engaging with experimental performances by
             artists of African descent. The article explores theoretical
             terms of witness and encounter with black performance in
             relation to queer alterities, and non-normative modes of
             physical expression. The article suggests further need for
             research into the work of an outstanding black American
             female artist of theatre and dance.},
   Doi = {10.1017/S0307883321000055},
   Key = {fds358324}
}

@article{fds358729,
   Author = {DeFrantz, TF},
   Title = {The race of contemporary ballet: Interpellations of
             africanist aesthetics},
   Pages = {562-580},
   Booktitle = {The Oxford Handbook of Contemporary Ballet},
   Year = {2021},
   Month = {January},
   ISBN = {9780190871499},
   url = {http://dx.doi.org/10.1093/oxfordhb/9780190871499.013.7},
   Abstract = {This chapter considers the tripartite formation of who,
             what, and how in considerations of Africanist aesthetics and
             Black mobilizations that fuel contemporary ballet. Who
             dances contemporary ballet, and are they Black? What sorts
             of Black dance movements are deployed in contemporary
             ballet? And, most important, how does a Black attitude mark
             performances within ballet as belonging to a contemporary
             moment? The chapter presumes that contemporary ballet
             emerges in direct relationship to Africanist aesthetics. It
             considers work by William Forsythe, Alonzo King, and Twyla
             Tharp as a trio of artists whose work continues to circulate
             with different relationships to questions of Black dancers,
             dances, dancing, and the contemporary.},
   Doi = {10.1093/oxfordhb/9780190871499.013.7},
   Key = {fds358729}
}

@article{fds355182,
   Author = {DeFrantz, TF},
   Title = {The talking},
   Journal = {Theater},
   Volume = {50},
   Number = {3},
   Pages = {63-67},
   Year = {2020},
   Month = {November},
   url = {http://dx.doi.org/10.1215/01610775-8651207},
   Doi = {10.1215/01610775-8651207},
   Key = {fds355182}
}

@article{fds355183,
   Author = {DeFrantz, TF},
   Title = {Soundz at the back of my head},
   Journal = {Theater},
   Volume = {50},
   Number = {3},
   Pages = {69-85},
   Year = {2020},
   Month = {November},
   url = {http://dx.doi.org/10.1215/01610775-8651221},
   Doi = {10.1215/01610775-8651221},
   Key = {fds355183}
}

@article{fds359081,
   Author = {Defrantz, TF},
   Title = {Training Beyond: ‘Curating the End of the World’ (Part I
             and Part II) by New York Live ArtsGoogle Arts & Culture,
             2020 1, Organized by Reynaldo Anderson, Tiffany
             E. Barber and Stacey Robinson with the Black Speculative
             Arts Movement},
   Journal = {Performance Research},
   Volume = {25},
   Number = {8},
   Pages = {176-177},
   Year = {2020},
   Month = {January},
   url = {http://dx.doi.org/10.1080/13528165.2020.1930793},
   Doi = {10.1080/13528165.2020.1930793},
   Key = {fds359081}
}

@article{fds364328,
   Author = {Coleman, G and Defrantz, TF},
   Title = {Reach, Robot: AfroFuturist Technologies},
   Pages = {53-67},
   Booktitle = {We Travel the Space Ways: Black Imagination, Fragments, and
             Diffractions},
   Year = {2019},
   Month = {January},
   ISBN = {9783837646016},
   Key = {fds364328}
}

@article{fds340747,
   Author = {Defrantz, TF},
   Title = {White privilege},
   Journal = {Theater},
   Volume = {48},
   Number = {3},
   Pages = {23-37},
   Publisher = {Duke University Press},
   Year = {2018},
   Month = {November},
   url = {http://dx.doi.org/10.1215/01610775-7084669},
   Doi = {10.1215/01610775-7084669},
   Key = {fds340747}
}

@article{fds336247,
   Author = {DeFrantz, TF and Badejo, P},
   Title = {Forewords},
   Pages = {vii-xii},
   Publisher = {Springer International Publishing},
   Year = {2018},
   Month = {January},
   ISBN = {9783319703138},
   url = {http://dx.doi.org/10.1007/978-3-319-70314-5},
   Doi = {10.1007/978-3-319-70314-5},
   Key = {fds336247}
}

@article{fds340491,
   Author = {DeFrantz, TF},
   Title = {Them: Recombinant aesthetics of restaging experimental
             performance},
   Pages = {268-292},
   Booktitle = {The Sentient Archive: Bodies, Performance, and
             Memory},
   Year = {2018},
   Month = {January},
   ISBN = {9780819577740},
   Key = {fds340491}
}

@article{fds326975,
   Author = {DeFrantz, TF},
   Title = {I Am Black: (You have to be willing to not
             know)},
   Journal = {Theater},
   Volume = {47},
   Number = {2},
   Pages = {9-21},
   Publisher = {Duke University Press},
   Year = {2017},
   Month = {January},
   url = {http://dx.doi.org/10.1215/01610775-3785122},
   Doi = {10.1215/01610775-3785122},
   Key = {fds326975}
}

@article{fds326587,
   Author = {DeFrantz, TF},
   Title = {Identifying the endgame},
   Journal = {Theater},
   Volume = {47},
   Number = {1},
   Pages = {3-15},
   Publisher = {Duke University Press},
   Year = {2017},
   Month = {January},
   url = {http://dx.doi.org/10.1215/01610775-3710429},
   Doi = {10.1215/01610775-3710429},
   Key = {fds326587}
}

@article{fds317906,
   Author = {Defrantz, TF},
   Title = {Bone-breaking, black social dance, and queer corporeal
             orature},
   Journal = {The Black Scholar},
   Volume = {46},
   Number = {1},
   Pages = {66-74},
   Publisher = {Informa UK Limited},
   Year = {2016},
   Month = {January},
   url = {http://dx.doi.org/10.1080/00064246.2015.1119624},
   Doi = {10.1080/00064246.2015.1119624},
   Key = {fds317906}
}

@article{fds317907,
   Author = {DeFrantz, TF and Willis, TA},
   Title = {Introduction: Black moves: New research in black dance
             studies},
   Journal = {The Black Scholar},
   Volume = {46},
   Number = {1},
   Pages = {1-3},
   Publisher = {Informa UK Limited},
   Year = {2016},
   Month = {January},
   url = {http://dx.doi.org/10.1080/00064246.2016.1119632},
   Doi = {10.1080/00064246.2016.1119632},
   Key = {fds317907}
}

@article{fds291714,
   Author = {DeFrantz, T},
   Title = {Hip Hop in Hollywood: Encounter, Community,
             Resistance},
   Pages = {476 pages},
   Booktitle = {The Oxford Handbook of Dance and the Popular
             Screen},
   Publisher = {Oxford University Press},
   Editor = {Borelli, MB},
   Year = {2014},
   Month = {July},
   ISBN = {0199897824},
   Key = {fds291714}
}

@article{fds291715,
   Author = {DeFrantz, T},
   Title = {Hip Hop Habitus v.2.0},
   Pages = {223-242},
   Booktitle = {Black Performance Theory: An Anthology of Critical
             Readings},
   Publisher = {Duke University Press},
   Editor = {DeFrantz, TF and Gonzalez, A},
   Year = {2014},
   Month = {April},
   ISBN = {0822377012},
   Abstract = {This collection of new essays by some of its pioneering
             thinkers—many of whom are performers—demonstrates the
             breadth, depth, innovation, and critical value of black
             performance theory.},
   Key = {fds291715}
}

@article{fds291717,
   Author = {DeFrantz, T},
   Title = {Unchecked Popularity: Neoliberal Circulations of Black
             Social Dance},
   Pages = {128-140},
   Booktitle = {Neoliberalism and Global Theatres: Performance
             Permutations},
   Publisher = {Palgrave Macmillan},
   Editor = {Nielson, L and Ybarra, P},
   Year = {2012},
   Month = {August},
   ISBN = {9781137035530},
   Key = {fds291717}
}

@article{fds291713,
   Author = {DeFrantz, T},
   Title = {Unchecked Popularity: Neoliberal Circulations of Black
             Social Dance},
   Pages = {328 pages},
   Booktitle = {Neoliberalism and Global Theatres},
   Publisher = {Palgrave Macmillan},
   Editor = {Nielsen, LD and Ybarra, P},
   Year = {2012},
   Month = {July},
   ISBN = {1137035536},
   Abstract = {Given the economic violence so clearly present in our
             contemporary moment throughout the globe, this volume
             provides crucial analysis of how we got here, looking at
             performances from the 18th century to the
             present.},
   Key = {fds291713}
}

@article{fds291718,
   Author = {DeFrantz, T},
   Title = {Theorizing Connectivity: African American Women in Concert
             Dance},
   Journal = {Journal of Pan African Studies},
   Volume = {4},
   Number = {6},
   Pages = {56-74},
   Year = {2011},
   Month = {September},
   url = {http://www.jpanafrican.com/vol4no6.htm},
   Keywords = {American modern dance • dance theory • Judy
             Dearing • Thelma Hill • Carole Johnson •
             Edisa Weeks},
   Abstract = {This essay explores genealogies of Black women’s presence
             in American modern dance to theorize connectivity as a
             methodology to appreciate their creative work. The legacies
             of more familiar dance artists, including Pearl Primus and
             Katherine Dunham, are discussed in relation to achievements
             and interventions by less-discussed, but no less important,
             African American women including Joan Myers Brown, Judy
             Dearing, Thelma Hill, Carole Johnson, and Edisa Weeks. The
             essay offers evidence of a radical creative tradition within
             these genealogies; one that has been less widely appreciated
             by mainstream histories of dance, but surely influential in
             the creation of American concert dance.},
   Key = {fds291718}
}

@article{fds291720,
   Author = {DeFrantz, TF},
   Title = {Movement in the age of globalization: A Panel},
   Journal = {Theater},
   Volume = {40},
   Number = {1},
   Pages = {39-45},
   Publisher = {Duke University Press},
   Year = {2010},
   Month = {April},
   ISSN = {0161-0775},
   url = {http://dx.doi.org/10.1215/01610775-2009-019},
   Doi = {10.1215/01610775-2009-019},
   Key = {fds291720}
}

@article{fds291712,
   Author = {DeFrantz, T},
   Title = {'Popular Dances of the 1920s and early 30s: From Animal
             Dance Crazes to the Lindy Hop' and 'Popular African American
             Dance of the 1950s and 60s.'},
   Pages = {66-70},
   Booktitle = {Ain't Nothing LIke the Real Thing},
   Publisher = {Smithsonian Inst Press (Natl Museum of African American
             History and Culture)},
   Editor = {Carlin, R and Conwill, K},
   Year = {2010},
   Month = {April},
   ISBN = {1588342697},
   Abstract = {Celebrates the seventy-five years of the Apollo Theater,
             from the Harlem Renaissance to the present, discussing its
             significance in African American entertainment and its role
             in social and political racial issues.},
   Key = {fds291712}
}

@article{fds291725,
   Author = {DeFrantz, T},
   Title = {Performing The Breaks: African American Aesthetic
             Structures},
   Journal = {Theatre Journal},
   Volume = {40},
   Number = {1},
   Pages = {31-37},
   Publisher = {Duke University Press},
   Year = {2010},
   Month = {January},
   ISSN = {0192-2882},
   url = {http://dx.doi.org/10.1215/01610775-2009-017},
   Doi = {10.1215/01610775-2009-017},
   Key = {fds291725}
}

@article{fds291711,
   Author = {DeFrantz, T},
   Title = {Donald Byrd: Re/Making 'Beauty'},
   Pages = {221-235},
   Booktitle = {Dance discourses},
   Publisher = {Routledge},
   Editor = {Franco, S and France, CNDLD},
   Year = {2007},
   Month = {December},
   ISBN = {0415423082},
   url = {http://dx.doi.org/10.4324/9781315539171-24},
   Abstract = {What are the terms of “beauty” as an action that may be
             achieved in dance? How do African-American artists approach
             the performance of “beauty?" In a preliminary
             consideration of these questions, this paper offers a
             case-study analysis of two works by choreographer Donald
             Byrd: The Harlem Nutcracker (1996), a revision of the
             Petipa-Ivanov ballet set to Duke Ellington’s swing
             adaptation of Tchaikovsky’s score, and Life Situations:
             Daydreams on Giselle (1995), a postmodern version of the
             quintessential Romantic ballet. Working through prisms of
             feminist and Africanist aesthetic theory, I suggest
             strategies to critique identity formation within dance
             performance as a function of aggressive irony, inversion,
             and the triumph of technical precision. Byrd’s
             choreography constructs “beauty” as a function of black
             Atlantic1 performance practice, as an act that may be
             socially progressive in its intentions, and an action that
             may hold material consequences for its performers and
             audiences.},
   Doi = {10.4324/9781315539171-24},
   Key = {fds291711}
}

@article{fds291710,
   Author = {DeFrantz, T},
   Title = {Hip Hop Sexualities},
   Pages = {512 pages},
   Booktitle = {Handbook of the New Sexuality Studies},
   Publisher = {Routledge},
   Editor = {Seidman, S and Fischer, N and Meeks, C},
   Year = {2007},
   Month = {March},
   ISBN = {113416923X},
   Key = {fds291710}
}

@article{fds291719,
   Author = {DeFrantz, TE},
   Title = {Composite Bodies of dance: The repertory of the Alvin Ailey
             American dance theater},
   Journal = {Theatre Journal},
   Volume = {57},
   Number = {4},
   Pages = {659-678},
   Publisher = {Johns Hopkins University Press},
   Year = {2005},
   Month = {December},
   ISSN = {0192-2882},
   url = {http://dx.doi.org/10.1353/tj.2006.0012},
   Doi = {10.1353/tj.2006.0012},
   Key = {fds291719}
}

@article{fds291709,
   Author = {DeFrantz, T},
   Title = {On the Presence of the Body: Essays on Dance and Performance
             Theory},
   Pages = {64-81},
   Publisher = {Wesleyan University Press},
   Editor = {Lepecki, A},
   Year = {2004},
   Key = {fds291709}
}

@article{fds291703,
   Author = {DeFrantz, T},
   Title = {Believe the Hype! Hype Williams and Afro-Futurist
             Filmmaking},
   Journal = {Refractory: a Journal of Entertainment Media},
   Volume = {4},
   Year = {2003},
   ISSN = {1447-4905},
   url = {http://refractory.unimelb.edu.au/2003/08/27/believe-the-hype-hype-williams-and-afrofuturist-filmmaking-thomas-f-defrantz/},
   Key = {fds291703}
}

@article{fds291708,
   Author = {DeFrantz, T},
   Title = {African American Dance: A Complex History},
   Pages = {384 pages},
   Booktitle = {Dancing Many Drums},
   Publisher = {Univ of Wisconsin Press},
   Editor = {Defrantz, TF},
   Year = {2002},
   Month = {April},
   ISBN = {0299173135},
   Abstract = {Abundantly illustrated, the volume includes images of a wide
             variety of dance forms and performers, from ring shouts,
             vaudeville, and social dances to professional dance
             companies and Hollywood movie dancing.},
   Key = {fds291708}
}

@article{fds343286,
   Author = {Defrantz, TF},
   Title = {IV. Blacking Queer Dance},
   Journal = {Dance Research Journal},
   Volume = {34},
   Number = {2},
   Pages = {102-105},
   Year = {2002},
   Month = {January},
   url = {http://dx.doi.org/10.2307/1478465},
   Doi = {10.2307/1478465},
   Key = {fds343286}
}

@article{fds291701,
   Author = {DeFrantz, T},
   Title = {Being Savion Glover: Translocation, Black Masculinity, and
             Hip Hop Tap Dance},
   Journal = {Discourses in Dance},
   Pages = {102-105},
   Editor = {Burt, R and Foster, SL},
   Year = {2002},
   ISSN = {1474-533X},
   Key = {fds291701}
}

@article{fds291702,
   Author = {DeFrantz, T},
   Title = {Blacking Queer Dance},
   Journal = {Dance Research Journal},
   Volume = {34},
   Number = {2},
   Pages = {102-105},
   Publisher = {JSTOR},
   Year = {2002},
   url = {http://dx.doi.org/10.2307/1478465},
   Doi = {10.2307/1478465},
   Key = {fds291702}
}

@article{fds291700,
   Author = {DeFrantz, T},
   Title = {Black Bodies Dancing Black Culture: Black Atlantic
             Transformations},
   Journal = {Embodying Liberation: the Black Body in American
             Dance},
   Volume = {4},
   Pages = {11-16},
   Year = {2001},
   Key = {fds291700}
}

@article{fds291724,
   Author = {DeFrantz, T},
   Title = {Demons of Disorder: Early Blackface Minstrels and Their
             World. By Dale Cockrell. New York: Cambridge University
             Press, 1997; 256 pp.; $59.95 cloth, $19.95 paper. Inside
             the Minstrel Mask: Readings in Nineteenth-Century Blackface
             Minstrelsy. Edited by Annemarie Bean, James V. Hatch,
             and Brooks McNamara. Hanover, NH: Wesleyan University Press,
             UPNE, 1996; 310 pp.; 25 illustrations, $22.95 paper.
             Resistance, Parody, and Double Consciousness in African
             American Theatre, 1895–1910. By David Krasner. New
             York: St. Martin's Press, 1997; 252 pp.; $55.00 cloth,
             $16.95 paper.},
   Journal = {Tdr/The Drama Review},
   Volume = {44},
   Number = {3},
   Pages = {183-188},
   Publisher = {MIT Press - Journals},
   Year = {2000},
   Month = {September},
   ISSN = {1054-2043},
   url = {http://gateway.webofknowledge.com/gateway/Gateway.cgi?GWVersion=2&SrcApp=PARTNER_APP&SrcAuth=LinksAMR&KeyUT=WOS:000088956700014&DestLinkType=FullRecord&DestApp=ALL_WOS&UsrCustomerID=47d3190e77e5a3a53558812f597b0b92},
   Doi = {10.1162/dram.2000.44.3.183},
   Key = {fds291724}
}

@article{fds291707,
   Author = {DeFrantz, T},
   Title = {Ballet In Black: Louis Johnson and Vernacular
             Humor},
   Pages = {178-195},
   Booktitle = {Dancing Bodies, Living Histories},
   Publisher = {Banff Centre Press},
   Editor = {Doolittle, L and Flynn, A},
   Year = {2000},
   ISBN = {0920159699},
   Key = {fds291707}
}

@article{fds291706,
   Author = {DeFrantz, T},
   Title = {To Make Black Bodies Strange: Social Protest in Concert
             Dance of the Black Arts Movement},
   Pages = {83-93},
   Booktitle = {African American Performance: A Sourcebook},
   Publisher = {Routledge},
   Editor = {Bean, A},
   Year = {1999},
   Key = {fds291706}
}

@article{fds291705,
   Author = {DeFrantz, T},
   Title = {Stoned Soul Picnic: Alvin Ailey and the Struggle to Define
             Official Black Culture},
   Pages = {216-227},
   Booktitle = {Soul: Black Power, Politics, and Pleasure},
   Publisher = {NYU Press},
   Editor = {Guillory, M and Green, R},
   Year = {1998},
   Key = {fds291705}
}

@article{fds291722,
   Author = {DeFrantz, T},
   Title = {Black dance confab focuses on education +
             Dallas-Black-Dance-Theatre hosts the 10th annual conference
             of the International-Association-of-Blacks-in-Dance},
   Journal = {Dance Magazine},
   Volume = {71},
   Number = {5},
   Pages = {20-&},
   Year = {1997},
   Month = {May},
   ISSN = {0011-6009},
   url = {http://gateway.webofknowledge.com/gateway/Gateway.cgi?GWVersion=2&SrcApp=PARTNER_APP&SrcAuth=LinksAMR&KeyUT=WOS:A1997WT45400007&DestLinkType=FullRecord&DestApp=ALL_WOS&UsrCustomerID=47d3190e77e5a3a53558812f597b0b92},
   Key = {fds291722}
}

@article{fds291704,
   Author = {DeFrantz, T},
   Title = {Simmering Passivity: The Black Male Body in Concert
             Dance},
   Pages = {216-227},
   Booktitle = {Moving Words: New Directions in Dance Criticism},
   Publisher = {Routledge},
   Editor = {Morris, G},
   Year = {1996},
   Key = {fds291704}
}


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