Abstract This is a critical response to ‘Skin Castles’, a spoken-word performance based on a rasanblaj (an assembly or regrouping, of ideas, people, things) of colonial racial classifications, postcolonial literatures, personal narrative and chants. To offer brief, nuanced analyses on the significance of incorporating the affective and the embodied as intervention in museums, I draw upon sociologist Robyn Autry’s concept of the ‘museumification of memory’ (Desegregating the Past, Columbia University Press, 2015) to mark the entangled historical foundation of museums and unsettle the complex role they play – as public institutions and seats of empire – in the re-production of collective memories. Using performative writing as articulated by Ronald J Pelias (Performance, Routledge 2014) that stems from a feminist standpoint grounded in interdisciplinary and intersectional methodologies, my aim is to illuminate the various ways my approach to the performance allows us to both confront and re-configure perspectives on coloniality in exhibitions as a prelude to ‘Remixed Ode to Rebel’s Spirit’, a commissioned response to the British Museum’s ‘Haiti and Toussaint LOuverture’ exhibition; for we are in the midst of the day of reckoning, and must inevitably contemplate where we go from here.

中文翻译：

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皮肤城堡

摘要 这是对“皮肤城堡”的批判性回应，这是一种基于殖民种族分类、后殖民文学、个人叙事和颂歌的 rasanblaj（思想、人、事物的集会或重组）的口语表演。为了对将情感和具体化作为干预博物馆的重要性进行简短、细致的分析，我借鉴了社会学家 Robyn Autry 的“记忆博物馆化”概念（Desegregating the Past，哥伦比亚大学出版社，2015 年）来标记纠缠不清的博物馆的历史基础，并解开它们在重新生产集体记忆中扮演的复杂角色——作为公共机构和帝国的席位。使用 Ronald J Pelias (Performance, Routledge 2014）源于基于跨学科和交叉方法论的女权主义立场，我的目标是阐明我的表演方法使我们能够面对和重新配置展览中殖民主义的观点，作为“混合颂歌”的前奏to Rebel's Spirit”，对大英博物馆“海地和杜桑·卢维图尔”展览的委托回应；因为我们正处于清算的日子之中，必须不可避免地思考我们从这里走向何方。对大英博物馆“海地和杜桑·卢维图尔”展览的委托回应；因为我们正处于清算的日子之中，必须不可避免地思考我们从这里走向何方。对大英博物馆“海地和杜桑·卢维图尔”展览的委托回应；因为我们正处于清算的日子之中，必须不可避免地思考我们从这里走向何方。