This essay explores the intersection of concert dance, cultural memory, Black womanhood, and non-linear spacetime from an Afro-European perspective. Inspired by Black feminist methodologies, the text interweaves performance analysis, historical context, interdisciplinary theory including my own concept of perforMemory, and auto-ethnographic experience gained through participant observation. My writing moves along three lines of inquiry tuned in the key of C: contextualizing, conjuring and contemplating. The article offers a case study of I Step on Air, a contemporary dance piece created by Nigerian-German dancer-choreographer Oxana Chi (Berlin/New York) and dedicated to Ghanian-German poet and activist May Ayim. By including an interlude with the choreographer's own creative writing about the piece, the article also provides the reader with the precious perspective of Oxana Chi on her process. The article is a reflection on/of the resonances between movement, writing, and activism. Let's celebrate the power of Black women to resistDance, step by step, move by move, breath by breath…

中文翻译：

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死后之舞：黑人女性抵抗舞蹈的灵活时空

这篇文章从非洲-欧洲的角度探讨了音乐会舞蹈、文化记忆、黑人女性和非线性时空的交集。受黑人女权主义方法论的启发，本书将表演分析、历史背景、包括我自己的表演记忆概念在内的跨学科理论以及通过参与观察获得的自我民族志经验交织在一起。我的写作沿着 C 调调整的三个探究方向进行：语境化、召唤和沉思。这篇文章提供了一个案例研究我踩空气，由尼日利亚-德国舞蹈家兼编舞家 Oxana Chi（柏林/纽约）创作的当代舞蹈作品，献给加纳-德国诗人和活动家 May Ayim。通过插曲编舞者自己对作品的创造性写作，文章还为读者提供了 Oxana Chi 对她的过程的宝贵视角。这篇文章反映了运动、写作和行动主义之间的共鸣。让我们庆祝黑人女性抵抗舞蹈的力量，一步一步，一步一步，一步一步地呼吸……