This article aims to interrogate and investigate the duel engagement with narrative and storytelling as a methodology towards collective and collaborative choreographic processes, and engages narrative as a theory of making meaning. Narrative theorists study how stories help people make sense of the world, while also studying how people make sense of stories. While narrative theory is generally located in the realm of literature and of words, this article starts to look at the interface of words, meaning and the embodiment of using the physical to tell stories. The article begins to push an understanding of Hélène Cixous’ ‘l’ecriture feminine’ to a feminist engagement that looks outside the word/logos and that turns to dance as a more open, fluid and multiple way of telling embodied stories. Further, this article – taking both the act of storytelling and the act of theorizing through narrative – frames my own autoethnographic engagement with a trilogy of connected dance work that I collaboratively created with Flatfoot Dance Company over 2016 which I refer to as the Homeland Trilogy – two performed separately in South Africa and the third performed in Senegal. The three works are connected by theme and choreographic intention and were made to stand alone but also to be read next to one another. Their connection from South to West Africa also become a point of navigation of meaning and narrating. This article offers a critical analysis/narrative of my own choreography (and the embodied process of making and doing); this is done as an act of one text (the Homeland Trilogy), written on the body with other bodies, being answered by another academic text of words and letters (also arguably embodied), responding to the constructions and play of knowledge and power.

中文翻译：

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具身的讲故事：使用叙事作为协作编舞实践的载体——扁平足舞蹈公司 2016 年家乡三部曲（南非和塞内加尔）的案例研究。

本文旨在探讨和研究将叙事和讲故事作为集体和协作编舞过程的方法论的决斗参与，并将叙事作为一种创造意义的理论。叙事理论家研究故事如何帮助人们理解世界，同时也研究人们如何理解故事。叙事理论一般属于文学和文字领域，本文开始探讨文字、意义的界面以及用实物讲故事的体现。这篇文章开始将 Hélène Cixous 的“l'ecriture Female”的理解推向一种女权主义的参与，它超越了文字/标志，转而以一种更加开放、流畅和多元化的方式讲述具体故事的方式跳舞。更多，这篇文章——通过叙事来讲述故事和理论化——将我自己的民族志参与与我在 2016 年与 Flatfoot Dance Company 合作创作的相关舞蹈作品三部曲构建起来，我称之为国土三部曲——两部表演分别在南非和第三次在塞内加尔演出。这三部作品通过主题和编舞意图相连，既独立又相互阅读。他们从南非到西非的联系也成为意义和叙述的导航点。这篇文章对我自己的编舞（以及制作和制作的具体过程）进行了批判性分析/叙述；这是作为一个文本（国土三部曲）的一个动作完成的，与其他身体一起写在身体上，