Abstract
German art historian Aby Warburg’s 1895–1896 trip through the southwestern US reexamined in the context of late 19th‐century colonialism interjects the ethical stakes of displacement and replacement into one of Warburg’s key theoretical terms, “survival.” Working through how power differentials in colonialism shape the way images and affects survive in performance, an unremarked‐upon Matachines dance is reinstated in this travel narrative.
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