How may performative occasions animate an archive?

How might one develop methodologies that facilitate bodily encounters alongside the archive?

What may a physical archival practice look like?

Can my somatic practice inside an archival context, serve as a place of reaching towards intimate history?

What happens if rather than looking at finished films I consider outtakes, secondary materials, behind the scenes, unfinished productions and materials that were not meant to be kept but that de facto are part of it?

What happens if we look at archival materials as performative residues with a potential to resurrect forgotten histories, lost lives, colonial histories through bodily encounters?

Can these documents operate as Foucaults’ “great accidents that create cracks not only in the geology of history, but also in the simple fact of the statement”? (Foucault 2002).

Can the body function as a means of interacting with the archive beyond a source of static and cumulative information?

Can a body make different demands and illuminate different aspects of archived materials beyond their universal indexicality?

Can the body animate the dissonant relations between what is archived, who archives, who uses them, accesses them, and to what end?

How could it not only animate the archive but foreground encounters as a co-author of the archive?

Can a process of excavating this archive as a choreographer and performer explore its bodily interfaces – by situating performances within it and recreating its objects as living entities?

Does the archive thus move from documentation to a contemporary site of encounter?

Can the singularity of an archive go beyond a classical archival study?

How can the moving body find another, less determined, entry point into animating the archive otherwise?

Can an archive be considered as a place of encounter that can be transformative?

Can my practice within the archive actualize the archive through embodied acts that restate the body in relation to the archive and through that literally touch time? (Schneider 2011)

How can the residue of the gesture or the cross-temporality of the pose challenge imperial notions of knowing and archiving? (Schneider 2011)

How do these two archives, the archive of the body and the material archive relate to one another?

How to refuse imperial notions of the archive which are relying on categorization and separation of archive and body? (Azoulay 2019)

How to include modes of acting and interacting as part of the archive? (Azoulay 2019)

How to expand the limits of the archive by imagining a perspective where bodies are inseparable from it? Can embodied practices offer alternatives to violent imperial notions of an archive’s indexicality? (Azoulay, 2019).

How does the archive coercively fix time in contradiction with the fluidity documented by the films?

How does this performance as opposed to study of the archive actualise us as its viewers?

How may archival interactions such as embodied practices like re-enactments of archival materials through photography, performance, sound touch the past (Schneider 2011) moving between Bangladeshi pasts and German presents?

Is it possible to invent different sensorial encounters that shift beyond seeing towards listening to this archive, and take on Campt’s idea to “listen to” rather than “look at” images ... to challenge the equation of vision with knowledge (Campt 2017)?

Can sound help establish a deeper engagement with forgotten histories and suppressed forms of diasporic memory? (Campt 2017)

How does the body actively address questioning hierarchies of processing information exclusively through the gaze?

Can tending to frequencies and performative re-enactments of materials help re-imagining other possibilities of an archive?

What happens if I follow Lepecki and explore leaving imprints of my body in the archive?

Will it be systematized by the act of pushing myself into the archive and as such become an archive through such an act? (Lepecki 2010).

As such I wonder what happens if I place my body in physical proximity to the archive’s materials? Will the proximity allow me to leave an imprint within the archive? And how may this imprint resonate with the archive?

May proximity between bio-body and archival materials undo the separation between body and archive?

Does the idea of moving my body closer to archive materials enact the inventorying?

Can I leave visible traces on archival documents, through sketching and drawing?

May a bodily archival practice offer a possibility for potential history (Azoulay 2019)?