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In the borders and borderlands of coloniality with Hélène Cixous and Gloria Anzaldúa: An ethnomusicological theory-story of intercultural music-making
Book chapter   Peer reviewed

In the borders and borderlands of coloniality with Hélène Cixous and Gloria Anzaldúa: An ethnomusicological theory-story of intercultural music-making

Elizabeth Mackinlay
Musical Collaboration Between Indigenous and Non-Indigenous People in Australia: Exchanges in The Third Space, pp.141-154
Routledge, 1
2022
DOI: https://doi.org/10.4324/9781003288572-10

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Abstract

Arts
This chapter sets up a critical provocation for those of us working in the context of borderland music making, to think deeply about what it means personally-politically-philosophically to perform between and beyond the borders of our colonial differences. In Australia, the differences between us as Indigenous and non-Indigenous peoples are grounded in the relationships with coloniality and questions of complicity, collaboration, conversation, and celebration sit alongside us in the performative borderlands of our practice. As well as being moved by the feminist critical thinking and wondering of Gloria Anzaldua and Helene Cixous, the author is inspired by the creative-criticality of their writing in and of itself which dangerously and deliberately sits on the borders, in the margins, in-between, and into-(inter)possibilities of theory-as-story-as-theory. The chapter is about writing in and of the borders and borderlands of coloniality as it is about researching, and the creative-critical approach the author pay attention to writing as a personal-political-philosophical and poethical kind of performativity.

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