1. Gayl Jones, Corregidora (Boston: Beacon Press, 1975), 132.
2. G. Jones, Corregidora, 132.
3. Richard Schechner, Performance Studies: An Introduction (New York: Routledge, 2002), 5.
4. Joseph Roach and Janelle Reinelt, “Introduction,” in Critical Theory and Performance.
(Ann Arbor: University of Michigan Press, 2007), 5.
5. André Lepecki, “Mutant Enunciations,” tdr 50, no. 4 (Winter 2006): 19.
6. G. Jones, Corregidora, 61.
7. Michel de Certeau, The Practice of Everyday Life (Berkeley: University of California Press,
1988), 97–98; E. Beneviste, Problèmes de linquistique générale (Paris: Seiul Points, 1974),
11, 79–88.
8. Susan Leigh Foster, “Walking and Other Choreographic Tactics: Danced Inventions of
Theatricality and Performativity,” SubStance 31, nos. 2 and 3 (2002): 129.
9. Talal Asad, Formations of the Secular: Christianity, Islam, Modernity (Stanford, CA: Stan-
ford University Press, 2003), 78–79; de Certeau, The Practice of Everyday Life.
10. Jayna Brown, Babylon Girls: Black Women Performers and the Shaping of the Modern
(Durham, NC: Duke University Press, 2008), 60.
11. Kolender v. Lawson, 461 U.S. 352 (1983). See the transcribed ruling of this Supreme Court
case at the Legal Institute Information Institute, Cornell University Law School, http://
12. Denise Ferreira da Silva, Toward a Global Theory of Race (Minneapolis: University of
Minnesota Press, 2007), xxxix.
13. André Lepecki, Exhausting Dance: Performance and the Politics of Movement (New York:
Routledge, 2006), 13.
14. Da Silva’s work is crucial in my thinking about the racialized figurations of the post-
Enlightenment subject and the ways that these figurations index kinetic investments: “Al-
though the white female subject has been written in domesticity (as wife and mother) in
the patriarchal (moral) domain, which has kept her outside the public (male) domain, the
female racial subaltern has consistently been written to inhabit the public (non- European
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