NOTES
INTRODUCTION
1. C. Riley Snorton, Nobody Is Supposed to Know: Black Sexuality on the Down Low
(Minneapolis: University of Minnesota Press, 2014), 39.
2. Dwight Conquergood, “Per for mance Studies: Interventions and Radical Research,”
tdr 46, no. 2 (Summer 2002): 148.
3. Joseph Roach, Cities of the Dead: Circum- Atlantic Per formance (New York: Colum-
bia University Press, 1996), 1079, 1081.
4. Robin Bern stein, Performing American Childhood from Slavery to Civil Rights
(New York: New York University Press, 2011), 12–13.
5. Diana Taylor, “Per for mance and/as History,” tdr 50, no. 1 (Spring 2006): 83.
6. The modern archive is often invoked as a technical cipher for what Sven Spieker
calls the “modern dream of total control and all- encompassing administrative discipline,
a giant filing cabinet at the center of a real ity founded on ordered rationality”: Sven
Spieker, The Big Archive: Art from Bureaucracy (Cambridge, MA: mit Press, 2008), 1.
This archive’s evidentiary power is thought to derive from its ability to simply register
specific moments in time, ignoring the fact that the archive produces its own meaning.
7. Anjali Arondekar, For the Rec ord: On Sexuality and the Colonial Archive in India
(Durham, NC: Duke University Press, 2009), 2.
8. Arondekar, For the Rec ord, 1.
9. Arondekar, For the Rec ord, 3.
10. Jennifer Wenzel defines “afterlife” as the “denot[ation of ] relationships of people
to time that produce multilayered dynamics of presence and absence, anticipation
and retrospection”: Jennifer Wenzel, Bulletproof: Afterlives of Anticolonial Prophecy in
South Africa and Beyond (Chicago: University of Chicago Press, 2009), 5.
11. Alexander G. Weheliye, Habeas Viscus: Racializing Assemblages, Biopolitics, and
Black Feminist theories of the Human (Durham, NC: Duke University Press, 2014), 18–19.
12. Weheliye, Habeas Viscus, 29–30.
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