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.
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Thomas F. DeFrantz; Identifying the Endgame. Theater 1 February 2017; 47 (1): 3–15. doi: https://doi.org/10.1215/01610775-3710429
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