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Notes
1. Katherine Verdery, The Political Lives of Dead Bodies: Reburial and Postsocialist Change, The Harriman Lectures (New York: Columbia University Press, 1999), 27.
2. Jacques Derrida, Diacritics 25, no. 2 (1995): 2.
3. Ariella Azoulay, ‘Archiyon (Archive)’, Mafteach, no. 7 (2014): 17–37.
4. Sara Ahmed, Queer Phenomenology: Orientations, Objects, Others (Durham; Duke University Press, 2006), 136.
5. Ibid., 161.
6. Ibid., 171.
7. Patrick Wolfe, Settler Colonialism and the Transformation of Anthropology: The Politics and Poetics of an Ethnographic Event (London ; New York: Continuum, 1999); Lorenzo Veracini, Settler Colonialism: A Theoretical Overview (Basingstoke: Palgrave Macmillan, 2010); Marcelo Svirsky, After Israel: Collaborative Struggle and Cultural Innovation (London: Zed Books 2014); Areej Sabbagh-Khoury, ‘Kolonialism Hityashvooti, Nekudat Hamabat Hylidit VeHasotzyologiah Shell Itzur Yeda Be-Israel/Falastin’, Teoria VeBikoret 50 (2018).
8. Sukanya Krishnamurthy, ‘Rituals and the Participation of Urban Form: Informal and Formal Image Making Processes’, City, Culture and Society 7, no. 3 (September 2016): 139.
9. מוזיאון בית העיר Beit Ha’ir Museum, ‘Odot Beit Ha’ir’, Beit Ha’ir Museum, 2019, https://beithair.org/he/about (accessed May 15, 2020).
10. Beit Ha’ir Museum.
11. UNESCO World Heritage Centre, 2019. https://whc.unesco.org/en/list/1096/ (accessed May 15, 2020).
12. Sharon Rotbard, White City, Black City: Architecture and War in Tel Aviv and Jaffa (London: Pluto Press, 2015), 14.
13. The book was first published in Hebrew in 2005, following the declaration of the White City, and in English in 2015.
14. madison moore, Fabulous: The Rise of the Beautiful Eccentric (New Haven, CT: Yale University Press, 2018), 14. Emphasis in the original.
15. Sukanya Krishnamurthy, ‘Rituals and the Participation of Urban Form: Informal and Formal Image Making Processes’, City, Culture and Society 7, no. 3 (September 2016): 138.
16. All of the historical information is based on the research that was conducted by historian Ilan Sheizaf for the project ‘Who Killed Arlosoroff? The Musical!’ and commissioned by Beit Ha’Ir Museum. The research included mainly the Central Zionist Archives and the Israel State Archive in Jerusalem, and the Archive of The Zionist Labour Movement (The Lavon Centre) and the Archive of the Revisionist Movement (Metzudat Ze’ev) in Tel-Aviv. Its findings are presented here solely as an indication of the material that formed the archive of the performance and not as historical findings or historiographic research.
17. One of Begin’s first initiatives after being elected Prime Minister in 1977 was to launch an official commission of inquiry that revisited the Arlosoroff case. The only official conclusion of the committee published in the early 1980s was that the murderers could not have been the right-wing activists who were blamed for it.
18. Ronit Lentin, Traces of Racial Exception: Racializing Israeli Settler Colonialism (Bloomsbury Academic, 2018).
19. Sabra; Hebrew for prickly pear, a symbol of the ideal Zionist settler, see Oz Almog, The Sabra: The Creation of the New Jew (Berkeley: University of California Press, 2000).
20. Elizabeth Freeman, Time Binds: Queer Temporalities, Queer Histories (Durham, NC: Duke University Press Books, 2010), 61.
21. Jack (Judith) Halberstam, The Queer Art of Failure (Durham, NC: Duke University Press, 2011), 11.
22. Ibid., 2.
23. Ibid., 6.
24. Ibid., 16.
25. Ibid., 6.
26. Patricia Nguyen, ‘Project 0395A.ĐC | Performing Disorientation’, Women & Performance: A Journal of Feminist Theory 29, no. 1 (January 2, 2019): 91.