Final project for Theorizing the Dancing Body with Prof. Dr. Ananya Chatterjea.

Negotiated borders and resulting disputes produce historiographies that blur the lines of time, space, and power structures. I argue that alongside these ironically blurred borders, come circular reoccurring stories of war, pain, humiliation, and compassion. How are bodies able to construct and reconstruct this kind of historiography? How can the stories, news reports, and artistic outlets in affect of global land and border disputes be interpreted on moving bodies to represent the repetitive nature of colonial powers yet imply that power structures become ambiguous when placed in perspective lenses? Does filming bodies through a selective lens limit each story or emphasize them? When required to either cross borders or exist within them, people are obligated to perform to negotiate their identity and belonging. How can these performativities be recreated through choreography and performing moving bodies? What do the stories, written, spoken, and physical, mean on each body/how do they manifest? How do the stories change depending on the bodies present? Does the production of meaning become subject to a body’s personal historiography? Does this then become a matter of bodies and archive? Do specific archives allow space to represent circular historiographies or is it only a construction of the moving body’s archive?

**Music/Sound is by The Chemical Brothers
**Dancers: Mette Towley, Maddi Grette, Gloria Wahlroos, Elizabeth Robinson

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