Notes
1 It is however important to understand Hester’s Xenofeminism not as representation of the group’s politics, but rather an extended, albeit partial and singly-written interpretation of a multivocal manifesto – “a project riven with the unresolved tensions that come from collaboration across difference” (Hester, 2).
2 For a comprehensive genealogy of this performance studies debate, and attempts to link its conversations in ontological (in)visibility, disappearance, material persistence, and refusal with materialist feminist and communist dialogues in social reproduction – particularly through the vector of the “maternal” – see Chambers-Letson’s (Citation2016). See also Shvartz, “Black Wedding,” The Brooklyn Rail, Special Issue: Polyphony (Brooklyn, February 2015) and (January Citation2015).