In this article, the three co-authors collaboratively address practices of queering in relation to the Parisian choreographer of color Nyota Inyoka (1896–1971), whose biography and identity remain mysterious even after extensive research. Writing from three different research perspectives and relating to three different aspects of her life and work, the co-authors analyze Nyota Inyoka and practices of Queering the Archive, her staging of Shiva as a performance of (culturally) “queer possibility,” and the act of remembering Nyota Inyoka in a contemporary context in terms of queering ethnicity and “cultural belonging.” Juxtaposing and interweaving notions and practices of queering and créolité/creolizing over the course of the article, the co-authors attempt to respect Nyota Inyoka's “right to opacity” (Glissant [1996] 2020, 45) and remember her on her own terms.

中文翻译：

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记住 Nyota Inyoka：舞蹈、档案和传记的酷儿叙事

在这篇文章中，三位合著者共同探讨了与巴黎有色人种编舞家 Nyota Inyoka（1896-1971 年）相关的酷儿实践，即使经过广泛研究，其传记和身份仍然是个谜。合著者从三个不同的研究视角以及与她生活和工作的三个不同方面相关的写作，分析了 Nyota Inyoka 和酷儿档案的实践，她将 Shiva 上演作为（文化上的）“酷儿可能性”的表现，以及在酷儿种族和“文化归属感”方面，在当代背景下纪念 Nyota Inyoka 的行为。在文章的过程中并列和交织酷儿和 créolité/creolizing 的概念和实践，合著者试图尊重 Nyota Inyoka 的“不透明权”（Glissant [1996] 2020，