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of resistance (...) marking disruption to the violence of normative order". Natasha Tinsley
Omise’eke, “Black Atlantic, Queer Atlantic: Queer Imaginings of the Middle Passage,” GLQ: A
Journal of Lesbian and Gay Studies 14, no. 2–3 (2008): 199.
13
Oxana Chi, Personal Communication, 2013.
14
See Jill Green and Susan W. Stinson, “Postpositivist Research in Dance,” in Researching Dance
− Evolving Modes of Inquiry, ed. Sondra Horton Fraleigh and Penelope Hanstein (Pittsburgh:
University of Pittsburgh Press, 1999).
15
Susan L. Foster, “Choreographies of Writing” (Performed Lecture presented at the Pew
Center for Arts & Heritage, Philadelphia, March 22, 2011), http://danceworkbook.pcah.us/susan‐
foster/choreographies‐of‐writing.html
16
I understand "People of Color" as an empowering political concept for and by all people
experiencing past and present racism. This includes people with African, Asian, South American,
Arabic, Jewish, Indigena, Pacific cultural background. This notion acknowledges differences while
focusing on the solidarity required to resist oppression. See Kien Nghi Ha, “People of Color’ Als
Solidarisches Bündnis,” Migrazine.at, 2009, http://www.migrazine.at/artikel/people‐color‐alssolidarisches‐b‐ndnis.
17
Linda Caruso Haviland, “Reflections on ‘Choreographies of Writing,’” Pew Center for Arts &
Heritage, Danceworkbookseries, March 22, 2011, http://danceworkbook.pcah.us/susan‐
foster/choreographies‐of‐writing.html
18
Grada Kilomba, Plantation Memories, 27.
19
Jacqueline Shea Murphy, The People Have Never Stopped Dancing ‐ Native American Modern
Dance Histories (Minneapolis: University of Minnesota Press, 2007), 10. The author reflects her
own white positioning.
20
Infos about the EDEWA exhibition can be found online at : http://www.edewa.info/i‐step‐onair‐oxana‐chi/
21
fatima eL‐tayeb, European Others, 47. Here the author refers to poetry by Audre Lorde who
was a close friend of May Ayim. Both fatima eL‐tayeb and Michelle Wright both offer a very
insightful analysis of the subversive power of art and literature, which I believe can also be
applied to dance.
22
bell hooks, “Choosing the Margin as a Space of Radical Openness,” in The Feminist
Standpoint Theory Reader ‐ Intellectual and Political Controversies (New York: Routledge, 2004),
159.
23
Tera W. Hunter quoted by George‐Graves, Urban Bush Women, vi.
24
Hélène Marquié, Danser : Un Travail Permanent, Une Visibilité Intermittente (Paper
presented at the meeting Micadanses, Paris, France, October 24, 2006). I thank the author for
sharing her presentation notes with me.
25
Omise’eke, "Black Atlantic, Queer Atlantic", 194.
26
George‐Graves, Urban Bush Women, 40‐41.
27
Heidi Safia Mirza, Black British Feminism: A Reader, 2nd ed. (London: Routledge, 1998), Intro,
19.
28 Nicola Lauré al‐Samarai, “Inspirited Topography. Über/Lebensräume, Heim‐Suchungen und die
Verortung der Erfahrung in Schwarzen Deutschen Kultur‐ und Wissenstraditionen,” in Mythen,
Masken Und Subjekte. Kritische Weißseinsforschung in Deutschland, ed. Maureen Maisha Eggers
et al., (Münster: Unrast‐Verlag, 2009), 121.
29
Chi, Personal communication, 2013.
30 José Esteban Muñoz, DISIDENTIFICATIONS. Queers of Color and the Performance of Politics,
(Minneapolis: University of Minnesota Press, 1999), 31.
31
Chi, Personal communication, 2013. See the booklet published by Oxana Chi for the "Dancing
Memories" exhibition at Salon Qi Berlin, 2011, archived at Tanzarchiv Köln and at feminist art
archive Bildwechsel.
32
Nefertiti's original name is : "Neferet iti" which means "The Beauty has come".
33
Brenda Dixon‐Gottschild, Digging the Africanist Presence in American Performance: Dance
and Other Contexts, (Westport: Greenwood Press, 1996), 6.
34
Omise’eke, "Black Atlantic, Queer Atlantic", 193.
35
George‐Graves, Urban Bush Women, 70. Choreographer Jawole Willa Jo Zollar, as cited by
George‐Graves, explained how combining dance and storytelling made her feel out of