Abstract

Themba Mbuli's SOLD! integrates differently abled dancers in a performance that remembers the 1904–08 Namibian genocide. SOLD! pays homage to four unnamed women and a young boy whose mortal remains were among the first skulls repatriated from Berlin to Windhoek in 2011, as it animates the excesses of colonial officials who obtained body parts for use in eugenics, phrenology, and other racial-hygiene sciences.

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