This article examines Hannah Arendt’s concern for remembrance in political life in light of contemporary discourses regarding the memory of slavery and colonization in the African diaspora. Arendt’s blindness to questions of exclusion within this context has given way to a set of critical debates in Arendt studies concerning the viability of her political project. In this paper, I give further contour to these debates by considering Arendt’s discourse on revolution in light of an analysis of the Haitian Revolution. In (...) so doing, my aim is to deepen and challenge Arendt’s understanding of the revolutionary tradition that she believes we are responsible for remembering and appropriating anew in political life today. (shrink)

The paper inquires the category of _performance_ in Hannah Arendt. Her concept of the political eludes the tradition-inherited approach and subtracts the praxis from instrumental reason. Arendt revisits the political experiences of ancient Greek cities, where tragedy and assembly, theater and agora, provide the propitious space for action. She avoids the instrumental approach of _homo faber_, conceptualizes action as performance and shows its connaturality with the performing arts, to the detriment of the productive ones. In “What is Freedom?” Arendt understands (...) political freedom as a “worldly fact”, and assesses the Machiavellian _virtù_ as public excellence: as _performance on stage_. (shrink)