This essay begins by outlining the forces of assimilation and dissent within the history of black American performance artistry since the 1960s. DeFrantz proposes a shift in curators' priorities away from representing multiculturalism in national presenting organizations in favor of a dynamic engagement with existing communities and publics. He calls for a recentering on minoritarian forms, a shift that would embody a new ethics and reflect new American demographic and cultural realities.
performance curation, black arts movement, multiculturalism, publics and counterpublics, audience development, slippage, minoritarian art, communities of color
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© 2017 by Thomas F. DeFranz
2017
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