Edited by Gabriele Brandstetter and Holger Hartung, Moving (Across) Borders: Performing Translation, Intervention, Participation (2017) comes at a time of global conflicts over borders and identities: President Trump has threatened a physical wall separating the United States from Mexico, and European nations have experienced the lack of physical borders since the Schengen Agreement, thus creating a “border fetishism.” Therefore, the questions asked by Moving (Across) Borders are crucial: How and what purposes do borders perform? How can body language and acts of translation help us find new forms of agency? Or, as Sandra Noeth asks in her essay, “A New War on Borders: Artistic Movements in Contested Spaces,” “Can and should art develop tools and attention, offer space and initiatives to rehearse protest and to develop cultures of resistance to these bordering processes?” (p. 118). Questioning the border in its relationship to movement allows scholars to interrogate how border transformations may be inscribed into the body and how dance might express these metamorphoses. These questions also allow me to reflect on my personal experience as a white, European woman living in the United States in times of anti-immigration laws and a migrant crisis in my home country. Unlike many of my fellow immigrants, I have never felt like an “intruder.” Freedom of motion is about race. If Moving (Across) Borders does not make an equally strong statement as the preceding, the volume, nonetheless testifies to a global shifting of the idea of “being in motion,” in a global economy that encourages the transfer of goods while it restrains the mobility of human bodies. A collection of texts by and interviews of scholars and choreographers, Moving (Across) Borders drew my attention to three important points: borders are (im)material, the moving body is an entity of “remembrance,” and motion may be linked to an ideal of physical—therefore national—purity.

中文翻译：

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在危机时刻行动起来

由 Gabriele Brandstetter 和 Holger Hartung 编辑，Moving (Across) Borders: Performing Translation, Intervention, Participation (2017) 正值全球边界和身份冲突之际：特朗普总统威胁要建立隔离美国和墨西哥的实体墙，以及自申根协定签署以来，欧洲国家经历了实体边界的缺失，从而造成了“边界拜物教”。因此，Moving (Across) Borders 提出的问题至关重要：边界如何执行以及执行什么目的？肢体语言和翻译行为如何帮助我们找到新的代理形式？或者，正如桑德拉·诺斯 (Sandra Noeth) 在她的文章“边界新战争：竞争空间中的艺术运动”中所提出的那样，“艺术可以而且应该开发工具和注意力，提供空间和倡议来排练抗议并发展对这些边界进程的抵抗文化？” （第 118 页）。通过质疑边界与运动的关系，学者们可以探究边界转换如何被铭刻在身体中，以及舞蹈如何表达这些变形。这些问题也让我能够反思我作为一名白人欧洲女性在反移民法和我祖国的移民危机时期生活在美国的个人经历。与我的许多移民同胞不同，我从来没有觉得自己是“入侵者”。行动自由与种族有关。如果Moving (Across) Borders 没有像前面那样做出同样强烈的声明，那么这本书仍然证明了“在运动中，”在鼓励货物转移同时限制人体流动的全球经济中。学者和编舞者的文集和采访，Moving (Across) Borders 提请我注意三个要点：边界是（im）物质，运动的身体是“记忆”的实体，运动可能与理想的身体——因此是国家——纯洁。