Black Performance Th eory is a project of Slippage: Performance|Culture|
Technology, Th omas F. DeFrantz, director.
mit Offi ce of the Provost, mit shass Dean’s Offi ce, and especially Philip S.
Khoury, who funded Slippage and Black Performance Th eory as we
wound our way around the country.
All of the participants in the Black Performance Th eory working group
over the years, and especially the “witnesses” who held productive
silence and participated in the working group via the stamina of sus-
tained gestures of stillness.
Th e outstanding emotional generosity of Venus Opal Reese, Sandra
Richards, and Mae G. Henderson, each of whom helped us conjure
this work forward in her own special way.
D. Soyini Madison, whose writing inspires us all.
Th e many artists who performed at the various bpt working group ses-
sions: Th addeus Bennett, Th ema Bryant, Mark A. Davis, Kim Fowler,
Amatul Hannan, Adrienne Hawkins, Craig Hickman, Th omasi
McDonald, Carl Hancock Rux, Pamela Sneed, and Cristalyn Wright.
Th e hosts of the bpt working group from 1998 to 2015: Richard C. Green,
Th omas F. DeFrantz, Ananya Chatterjea, Annemarie Bean, E. Patrick
Johnson, Daphne Brooks, Stephanie Batiste, Omi Osun / Joni L. Jones,
Tavia Nyong’o, Awam Amkpa.
Courtney Berger, and the staff at Duke University Press, for an unprec-
edented responsiveness.
Colleagues at Duke University, especially Dean Srinivas Aravamudan and
Vice Provost for the Arts Scott Lindroth.
And most important, Richard C. Green, who created the inciting space
for this event through his startling scholarly imagination, and encour-
aged us all to vibrate in another key.
ACKNOWLEDGMENTS
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