ABSTRACT This article focuses on decolonising exhibition practices and colonial archives. It begins with a survey of literature on nineteenth-century colonial exhibitions and world’s fairs as a cultural practice and the complicity of academic disciplines such as anthropology and ethnology in promoting violent forms of pedagogy. Next, the article examines the failed Liberty’s 1885 exhibition in London, specifically analyzing the nautch dancers whose moving bodies both engaged and disrupted the scopophilia framing such live human exhibits. In the final section, the article examines how re-imagining the Liberty’s nautch experiences by embodying archival slippages might be a usefully anarchic way of exhuming the memories of those dancers forgotten by both British and Indian nationalist history. The article delineates the structural limitations of reenactments, a current trend in contemporary Euro-American dance, and it argues that historical fiction as a corporeal methodology might be a viable decolonising strategy for dance studies.

中文翻译：

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非殖民化人类展品：舞蹈、重演和历史小说

摘要 本文重点讨论非殖民化展览实践和殖民档案。它首先对作为一种文化实践的 19 世纪殖民展览和世界博览会的文献进行调查，以及人类学和民族学等学科在促进暴力教学法方面的共谋。接下来，文章考察了 1885 年在伦敦失败的 Liberty 展览，特别分析了那些移动的身体既参与又破坏了构成此类现场人类展品的窥视癖的裸体舞者。在最后一部分，文章研究了如何通过体现档案滑点来重新想象自由女神的 nautch 体验可能是一种有效的无政府主义方式，可以挖掘那些被英国和印度民族主义历史遗忘的舞者的记忆。