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| Publications of Thomas F. DeFrantz :recent first alphabetical combined listing:
%% Books
@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}
}
@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{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{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}
}
%% Essays, Articles, Chapters in Books
@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}
}
@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},
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{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{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{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{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{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{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{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{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{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{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{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{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{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{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{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{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{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{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{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{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{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{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{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{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{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{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{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{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{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{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{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}
}
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