Book: Moving (across) Borders: Performing Translation, Intervention, Participation
Edited by:Gabriele Brandstetter and Holger Hartung
Published by: transcript Verlag, 2017
In their edited book titled ‘Moving (across) Borders:Performing Translation, Intervention, Participation’ Gabriele Brandstetter and Holge Hartung explore the relation between movements of borders in various forms: political, geographical and/or conceptual borders, concrete or latent distinctions, and their visible or invisible lines of separation. These borders encompass geographical and conceptual distinctions, both explicit and implicit. The authors raise questions about how we can understand and analyze these categories of borders within the realm of dance and other artistic forms. They also challenge us to think beyond the idea of borders, as constraints and restraints.
The book explores the nuances and dualities inherent within the realm of ‘Moving (Across) Borders’ through two methodological lenses — ‘Translating Differences,’ and ‘Institutions, Interventions, and Participation.’ Each of these sections comprises six chapters. The first section explores different cultures, theories, concepts and images of moving bodies, or, conversely, how the later produce different forms of culture. How are these fundamental concepts and images translated? How are they set in motion, and transformed as they move across borders? Among the contributors, Gabriele studies the notion of borders that open up a field of discussion in a wide, encompassing sense bringing up humans, animals and things together, while Nancy introduces a philosophical perspective that delves into the interplay between dance and imagery. In a parallel vein, Linyekula studies borders, colonial histories, and ways of negotiating relationships through dance.Cristina Rosa examines the choreographies of protest and Navtej Johar looks at how yoga and dance training influence forms of urban activism.
“From a perspective of dance and performance: How are the borders related to our understanding of corporeality and various bodily practices, i.e. to forms and performances of movement in acts of transfer and translation?”(p.11)