From Representation to Redistribution: Border Crossings

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Notes

1 Petra Kuppers, “Crip/Mad Archive Dances: Arts-Based Methods in and out of the Archive.” Theater 52, no. 2 (2022): 70. https://doi.org/10.1215/01610775-9662255.

2 Saidiya Hartman, Wayward Lives, Beautiful Experiments: Intimate Histories of Riotous Black Girls, Troublesome Women, and Queer Radicals (New York: W. W. Norton & Company, 2019), xiii-xiv; “Venus in Two Acts.” Small Axe 12, no. 2 (2008): 11; Aimee Meredith Cox, Tiye Giraud, Anita Gonzalez, Petra Kuppers, and Carrie Sandahl, “The Anarcha Project” Liminalities: A Journal of performance Studies 4.2 (2008), http://liminalities.net/4-2/anarcha/.

3 Hartman, Wayward Lives, xvi.

4 This word is considered offensive because it places negative focus on a person’s “deficit,” relative to what is considered to be a “normative” or “typical” body/brain. This contributes to the dismissal/erasure of disabled people in ableist societies that rely on physical productivity according to capitalist models. When Kate saw the exhibit, she referred to the parking spot using this word. She was corrected by a Disabled artist: a more appropriate term is “accessible parking spot” or “reserved parking.”

5 Catherine Damman, “Saidiya Hartman on insurgent histories and abolitionist imaginaries,” Artforum, July 14, 2020, https://www.artforum.com/interviews/saidiya-hartman-83579.

6 See Melanie George’s chapters in Rooted Jazz Dance: Africanist Aesthetics and Equity in the Twenty-First Century edited by Lindsay Guarino, Carlos R.A. Jones, and Wendy Oliver (Gainesville: University Press of Florida, 2021).

7 Exhibition Guide for Border Crossings: Exile and American Modern Dance, 16. Available at https://drupal.nypl.org/sites-drupal/default/files/2023-06/LPA_Border%20Crossings_Educator%20Guide_2023.pdf

8 SanSan Kwan and Yutian Wong, “Dancing in the Aftermath of Asian-American Violence,” Conversations Across the Field of Dance Studies, 42. doi.org/10.3998/conversations.3645. Available at https://journals.publishing.umich.edu/conversations/article/id/3645/.

9 Wong, “Dancing in the Aftermath.”