Forthcoming. “Black Leadership at the Crossroads: Unfixing Martin Luther King, Jr. in Katori Hall’s the Mountaintop.” South Atlantic Quarterly. 112.2 (March 2013): 261-283. Reprinted in Contemporary Women Playwrights: Into the Twenty-First Century. New York: Palgrave, Dec. 2013. “Drama in the Harlem Renaissance.” In Harvey Young, ed. The Cambridge Companion to African American Theatre. Cambridge: Cambridge University Press, Dec. 2012. 85-102. “‘When I Die, I Won’t Stay Dead’: the Future of the Human in Suzan-Lori Parks’ The Death of the Last Black Man in the Whole Entire World.” Boundary 2. 39.3 (Fall 2012): 191-220. (peer reviewed). “On Tradition: Response to Kenneth Warren’s What Was African American Literature.” African American Review. 44.4 (June 2012): 575-578. (peer reviewed). “‘If We Must Die’: Violence as History Lesson in Seven Guitars and King Hedley II.” In Alan
Nadel, ed. August Wilson: Completing the Cycle. Iowa City: University of Iowa Press, 2010. 97-
109. “A Pedagogical Approach to Understanding Rioting as Revolutionary Action in Alice
Childress’s Wine in the Wilderness.” Theatre Topics 19.1. (2009): 77-85. (peer reviewed). “Reparations: Repairing the Damages Suffered During the Middle Passage in August Wilson’s Joe Turner’s Come and Gone.” New England Theater Journal—Special Issue “August Wilson.” 19.1 (2008): 45-60. (peer reviewed).
“Dialectical Dialogues: Performing Blackness in the Drama of Alice Childress.” InPhilip
Kolin, ed. Contemporary African American Women Playwrights: A Casebook. New York: Routledge,
2007. 28-46. “The Sound of a Ghastly Sight: James Baldwin’s Blues for Mister Charlie, a Neo-Lynching
Narrative.” In Sylvia Mieszkowski, Joy Smith, and Marijke de Valck, eds. Sonic Interventions.
Amsterdam/New York:Rodopi Press, 2007. 193-210. Edited Volumes: Editor of special issue on Performance for the peer-reviewed journal African American Review,
45.3 (Fall 2012).
Work in Progress: Black Movements: Performance, Politics, and Migration [book] Fame: Harlem Renaissance Celebrity [book]
“Don’t You Want to be Well?”: Trauma, Healing, and Black Subjectivity [book]
“Baldwin’s Sermons.” In Michele Elam. The Cambridge Companion to James Baldwin. Cambridge: Cambridge University Press, 2014.
“Changing Optics: Harlem Renaissance Theater and Performance.” In Cherene Sherrard-Johnson. A Companion to the Harlem Renaissance. Oxford: Wiley-Blackwell, 2014.
“Black Feminist Collectivity in Ntozake Shange’s for colored girls who have considered suicide
when the rainbow is enuf.” S&F Online. (Fall 2013). Forthcoming. Theater and Book Reviews and Encyclopedia Entries: Book Review: The Problem of the Color[blind], Modern Drama, (Summer 2013), forthcoming. Book Review: The Scene of Harlem Cabaret / The Amalgamation Waltz, TDR, T213 (Spring 2012), 158-160. “A New Branch of the United States’ Miscegenated Family Tree: Lynn Nottage’s By the Way, Meet Vera Stark.” The Feminist Wire (April 29, 2011), np. “Ti-Jean and His Brothers.” SX Salon: a Small Axe Literary Platform, 4 (April 2011), np.
“The Book of Grace.” Theater Journal, 62.3 (2010): 666-668. “Lorraine Hansberry.” North American Women’s Drama Collection, Alexander Street Press, 2004,
np. “Suzan-Lori Parks.” North American Women’s Drama Collection, Alexander Street Press, 2004,
np. “The Utopia Players.” In Cary D. Wintz and Paul Finkelman, eds. Encyclopedia of the Harlem
Renaissance, New York: Routledge, 2004. Invited Lectures
“Black Feminist Collectivity in Ntozake Shange’s for colored girls who have considered suicide when the rainbow is enuf.” Barnard College. Feb. 2013.
“For Colored Girls.” Barnard College. Nov. 2012.
“Looking Forward as Looking Back: the Prophetic in Octavia Butler’s Parable Series.” The Futures of American Studies Institute. Dartmouth College. June 2012.
“Race: an American Hustle.” Georgetown University. March 2012.
“The History, Literature, and Theater of the Great Migration.” Museum of Fine Arts, Boston, MA. Feb. 2012.
“After the Rapture: Doing Black Studies in the 21st Century.” Panel: Africana Studies and
the Fate of the Humanities. Brown University. Dec. 2011. “Life After Death: African American Studies in the 21st Century.” The Futures of American
Studies Institute. Dartmouth College. June 2011. “Black Movements.” Duke University. April 2011. “Performing Empire: Paul Robeson, Josephine Baker, and Marcus Garvey.” International
Conference on Narrative. St. Louis, MO. April 2011. “Ocular Acts: Paul Robeson’s The Emperor Jones.” Dartmouth College. April 2011. “Black Movements: Flying Africans in Spaceships.” Northeastern University. April 2010. “Sounding Civil Rights: James Baldwin’s Blues for Mister Charlie.” The Futures of American Studies Institute. Dartmouth College. June 2009. “Nina Simone’s ‘Mississippi Goddam.’” Black Performance Theory Group. Yale University. May 2009. “Let Freedom Ring': Art and Democracy in the King Years, 1954-1968,” moderator. Lannan Symposium. Georgetown University. April 2008. “Suzan-Lori Parks’ Fucking A.” Looking Through Colored Glasses: Writings by Women of Color. Stanford University. May 2007. “Looking for the (W)holes: Suzan Lori-Parks’ Getting Mother’s Body.” Black Performance Theory Group. Northwestern University. May 2007. Conference Presentations and Participation “The Democratic in Katori Hall’s The Mountaintop.” College Language Association
Conference. Lexington, KY, April 2013. “ASTR Plenary: A Web of Traditions: Black Performance and Politics in George C. Wolfe’s The Colored Museum.” Nashville, TN. Nov. 2012.
“Spotlight on New Works: The African American Theatrical Body.” Association of Theater in Higher Education Conference. Washington, DC. Aug. 2012.
“Response to What Was African American Literature.” Modern Language Association. Seattle,
WA. Jan. 2012. “Rituals of Repair.” American Studies Association. Baltimore, MD. Oct. 2011. “What Happens to Desire Deferred?: Tarell Alvin McCraney’s In the Read and Brown
Water.” Celebrating African American Literature. Pennsylvania State University. Sept. 2011.
“Lorraine Hansberry’s Political Movements.” Association of Theater in Higher Education.
Chicago, IL. Aug. 2011. “Unchaining the Body from the Place.” American Studies Association. San Antonio, TX. Nov. 2010. “Spectacular Spectacles: Beyoncé, Coco Fusco, and Suzan-Lori Parks’s Venus.” Black Theatricality Conference. Dartmouth College. April 2010. Black Theatricality Conference. Conference Co-organizer. Dartmouth College. April 2010. “New Millennial Primitivisms: Coco Fusco, Suzan Lori Parks, Kara Walker, and Beyoncé.”
Modern Language Association. Philadelphia, PA. Dec. 2009.
“Rites that Render Repairing.” American Society for Theater Research. San Juan, Puerto
Rico. Nov. 2009. “Black Theatricality: Rendering Repair.” Association for Theater in Higher Education. New
York, NY. Aug. 2009. “Translating the Freedom Cries in Aimé Césaire’s A Tempest.”Modern Language Association. San Francisco, CA. Dec. 2008 “In-Between Spaces in A Tempest and A Grain of Wheat.” American Society for Theater Research. Boston, MA. Nov. 2008.
“Spiritual and Ideological Revolution in Aimé Césaire’s A Tempest.” Black Theater Network. Orlando, FL. Aug. 2008. “‘Ease on Down the Road’: Movement in The Wiz.” Association for Theater in Higher
Education. Denver, CO. July 2008. “‘If We Must Die’: History, Family, and Violence in August Wilson’s King Hedley II.” August
Wilson: The Second Half of the Cycle. University of Kentucky. April 2008. “Performing Race/ Performing America,” co-convener. American Society for Theater Research. Phoenix, AZ. Nov. 2007. “‘Can I Get an Amen?’: The African American Female Preacher in Langston Hughes’s
Tambourines to Glory.” Modern Language Association. Philadelphia, PA. Dec. 2006. “Loss, Mourning, and Historical Production: Performing Reparation in August Wilson’s Joe
Turner’s Come and Gone.” American Society for Theater Research. Chicago, IL. Nov. 2006. “Out with the Old and in with the New: Performativity and the New Negro in Zora Neale Hurston’s Color Struck.” Women and Society Seminar. Columbia University. Nov. 2005. “Imagining the Sound of a Ghastly Sight: James Baldwin’s Blues for Mister Charlie.” Sonic Interventions: Pushing the Boundaries of Cultural Analysis. Amsterdam School for Cultural Analysis, Universiteit van Amsterdam. March 2005. “Sounding a Response, Evoking a Sight/Site Unseen: Black Drama as Racial Performance.” Thirteenth Annual Central New York Conference on Language and Literature. Cortland State University. Oct. 2003. “Imagining New Possibilities for Reading Across Disciplinary Boundaries: Negotiating
Psychic Plenitude in Jean Toomer’s Cane.” Why We Write: the Politics and History of
Writing for Social Change. Columbia University, March 2003. Classes Taught African American Literature: From the Colonial Period to 1930
Black Women Writers
Contemporary Playwrights of Color
The Drama of August Wilson and Suzan-Lori Parks
Fame: The Harlem Renaissance
Harlem Renaissance: Black Paris
Introduction to African American Studies
Performing Black Citizenship
Principles of Literary Study: Representations of Community in American Literature
Race and Performance
Spoken Word Poetry Media Appearances “Talk Back: Lynn Nottage’s Ruined,” the Huntington Theater, Boston MA. PBS/NPR Forum Network. Season 2011, Episode 02.23.11.