This article looks at a body of work, Daai za Lady, as a mode of translating complex notions of hybrid identity in South Africa. The translatability of the work lies in its inherent signature theme, that identity cannot be fixed as the body itself can access ways of knowing and being based on multiple elements, memories and origins within and beyond itself. Iterations of this work, performed over a 25-year period within different cultural, political and social contexts across the globe, are explicated. To avoid singular meanings, both visible and visceral cognitions are acknowledged in the descriptions and analyses. The article includes references to Benjamin’s theories, and draws from Spivak, Barad, Ahmed and Coetzee to argue for ongoing translation processes that require difficulty, difference, strangeness and the unknown, in order to discard hegemonic values and create new ontologies and epistemologies. The term translate(ral) is used to describe a dance vocabulary developed through Daai za Lady and its absorption of Butoh principles in both making and performance processes. Overall, the article argues for an otherworldly embodied thinking, along with an alternate and imaginative body language that affects modes of consciousness from lateral perspectives and calls for self-determination in the world.

中文翻译：

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通过 Daai za Lady 和 Butoh 翻译（ral）身体

这篇文章着眼于一部作品，Daai za Lady，作为一种在南非翻译复杂的混合身份概念的模式。作品的可译性在于其固有的标志性主题，身份无法固定，因为身体本身可以根据自身内外的多种元素、记忆和起源来获取认识和存在的方式。这项工作在 25 年的时间里在全球不同的文化、政治和社会背景下进行了迭代，并得到了解释。为避免单一意义，在描述和分析中都承认了可见的和本能的认知。这篇文章引用了 Benjamin 的理论，并从 Spivak、Barad、Ahmed 和 Coetzee 中汲取灵感，以论证需要困难、差异、陌生和未知的正在进行的翻译过程，为了摒弃霸权价值观，创造新的本体论和认识论。术语 translate(ral) 用于描述通过 Daai za Lady 开发的舞蹈词汇，并在制作和表演过程中吸收了 Butoh 原则。总的来说，这篇文章主张一种超凡脱俗的具身思维，以及另一种富有想象力的肢体语言，从侧面影响意识模式，并呼吁在世界上实现自我决定。