ABSTRACT
This article focuses on Farida Nabibaks’s dancetheatre performance Radiant Shadow to discuss how dance can be a means to create an affective understanding of the endurance of the Dutch colonial and slavery past. We build on the notion of the body as an incorporated colonial archive of feelings, explain how the dance performance “moves” and “touches” its audience, and explore audience responses to the location, performance, and workshop that we held at Castle Cannenburgh in Vaassen (Gelderland), as part of our research project “Feeling the Traces of the Colonial Past.” We close by identifying three ways in which the public debate about the colonial past can be moved forward through the integration of bodily knowledge.
