SUMMARY
In this essay, I delve into the research project I am busy with, which departs from the dancing experience in processes of migration.
Frictioning different dance traditions understood as “folkloric”, “popular” and “academic” from the souths and norths, these lines inquire about the potential of translation in dances and what mother tongues could be in dancing/performing. By trying to embrace the complexity of the untranslatable, I aim to unfold Conflicted Embodiment as a research device from the question: How does a body navigate migration, colonialism and dancing?
You are warmly welcome to move desacatadamente with me.
