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Black Performance Theory edited by Thomas F. DeFrantz and Anita Gonzalez. 2014. Durham, NC: Duke University Press. ix + 279 pp., foreword, 22 b/w photographs, bibliography, index. $89.95 cloth, $24.95 paper.

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Black Performance Theory edited by Thomas F. DeFrantz and Anita Gonzalez. 2014. Durham, NC: Duke University Press. ix + 279 pp., foreword, 22 b/w photographs, bibliography, index. $89.95 cloth, $24.95 paper.

Published online by Cambridge University Press:  27 July 2015

Joanna Dee Das
Joanna Dee Das*
Affiliation:
Stanford University
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Abstract

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Type
Book Reviews
Information
Dance Research Journal , Volume 47 , Issue 2 , August 2015 , pp. 91 - 93
Copyright
Copyright © Congress on Research in Dance 2015 

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References

Works Cited

Baker, Houston A. Jr. 1984. Blues, Ideology, and Afro-American Literature: A Vernacular Theory. Chicago: University of Chicago Press, 1984.CrossRefGoogle Scholar
DeFrantz, Thomas F. 2001. “Foreword: Black Bodies Dancing Black Culture—Black Atlantic Transformations.” In EmBODYing Liberation: The Black Body in American Dance, edited by Fischer-Hornung, Dorothea and Goeller, Alison D., 11–16. Piscataway, NJ: Transaction Press/Rutgers University.Google Scholar
DeFrantz, Thomas F. 2002. “African American Dance: A Complex History.” In Dancing Many Drums: Excavations in African American Dance, edited by DeFrantz, Thomas, 3–38. Madison, WI: University of Wisconsin Press.Google Scholar
DeFrantz, Thomas F. 2004. “The Black Beat Made Visible: Hip Hop Dance and Body Power.” In Of the Presence of the Body: Essays on Dance and Performance Theory, edited by Lepecki, André, 64–81. Middletown, CT: Wesleyan University Press.Google Scholar
Eidsheim, Nora Sun. 2011. “Marian Anderson and ‘Sonic Blackness’ in American Opera.” American Quarterly 63(3): 641–671.CrossRefGoogle Scholar