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Notes
1. Yancy argues that Richards was ambushed by his white body at this point. The point is profoundly intertwined with how questions of how whiteness exerts a violence within and upon white bodies as they are violent toward non-white bodies. What supports this proposition seems to be that his ambush is performed relative to the scene where he is onstage, in mid-performance, in a decidedly white space and not that simply that his white body stood in relation to non-white or black bodies.
2. This use of a collective mitsein is as much a reference to Simone de Beauvoir as it is a reference to Judith Butler’s notion of precarity. She writes, ‘If I am to live a good life, it will be a life lived with others, a life that is no life without those others …’. See Notes Toward a Performative Theory of Assembly, p. 218.
3. It is also important to see a parallel between the moment–momentlessness of the white gaze and that of the term lynching. The verb, to lynch, has no precise etymology in English. In his 1905 Investigation of the History of Lynching in the United States, James Elbert Cutler points out that the closest word, linch, (with an i) meant to ‘beat severely with a pliable instrument, to chastise, or to maltreat.’ See Pinar’s (Citation2001, 160–167).
4. This question is in reference to both Walter Mignolo’s notion of temporal lags and displacements and Achille Mbembe’s notion of a postcolony temporality defined as entangled. See Walter Mignolo’s, ‘Post-Occidental Reason: The Crisis of Occidentalism and the Emergenc(y)e of Border Thinking,’ in Local Histories/Global Designs: Coloniality, Subaltern Knowledges, and Border Thinking and Achille Mbembe’s On the Postcolony.