Travelling Muses. Women, Ancient Grammars and Contemporary ARTivism in Refugees’ Tales


Abstract


This essay reflects on the issue of cultural translation as a ‘third space’, a site where, as Bhabha suggests, translation, decolonisation, and location or relocation are tied together (Bhabha, Rutherford 1990). A specific political stance is taken, and flexible critical tools – drawing on translation studies and cultural studies, migration studies, performance studies, visual studies, and film studies – are adopted to show some of the ways in which many contemporary artists have been trying to account for the risks, losses, difficulties, and hopes implied in forced migration. Within the context of the constant relocation that migrant people experience, the effort at developing a dialogic relationship between languages and cultures has been gradually shaping a ‘grammar’ of representation that is new but built on familiar signs and images. Particularly in the Mediterranean Sea, forced migration has been going on since ancient times, though the changes in its nature have multiplied the number of stranger-in-need, whatever their country of origin. The representation of the migrants of today through the alphabet provided by classical Greek literature is one of the strategies currently used in activist creative and political practices. It helps to translate the experience of migration adapting and reshaping stories that belong to the Western reservoir of myths and traditions and combining the creative drive with the need to be active in the political field. In what is currently defined ‘ARTivism’, the text/work of art becomes a political gesture and draws its meaning from a commitment to social justice (Pulitano 2022, pp. 1-21). The analysis that follows is primarily focused on two documentary films resulting from two theatrical experiences, both inspired by classical tragedies (Sophocles’s Antigone and Euripides’s The Trojan Women). It aims at showing how the blueprint offered by the classics builds up as a shared semiotic system connecting ancient Greece, contemporary Middle East, and the European audience of today.

DOI Code: 10.1285/i22390359v64p15

Keywords: cultural translation; migrant theatre; documentary filmmaking; Syrian women; ARTivism

References


Almaraz C.D. 1976, The Artist as a Revolutionary, in “ChismeArte” 1, pp. 47-55.

Baer B.J. 2020, From Cultural Translation to Untraslatability: Theorizing Translation Outside Translation Studies, in “Alif” 40, pp. 139-163.

Bertacco S. and Vallorani N. 2021, The Relocation of Culture. Translations, Migrations, Borders, Bloomsbury Academic, New York/London/New Delhi/Sydney.

Bhabha H.K. 1994, How Newness Enters the World: Postmodern Space, Postcolonial Times and the Trials of Cultural Translation, in The Location of Culture, Routledge, London/New York, pp. 212-235.

Bhabha H.K. 2021, Foreword: Translation’s Foreign Relations, in Bertacco S. and Vallorani N., The Relocation of Culture. Translations, Migrations, Borders, Bloomsbury Academic, New York/London/New Delhi/Sydney, pp. x-xvii.

Bhabha H.K. and Rutheford J. 1990, The Third Space. Interview to Homi Bhabha, in Rutheford J. (ed.), Identity: Community, Culture, Difference, Lawrence and Wishart, London, pp. 207-222.

Chambers I. 2008, Mediterranean Crossings: The Politics of an Interrupted Modernity, Duke University Press, Durham (NC).

Erpenbeck J. 2015, Gehen, ging, gegangen, Knaus, Munich.

Farrier D. 2011, Post-Colonial Asylum: Seeking Sanctuary Before the Law, University Press Liverpool, Liverpool.

Frassinelli P. 2021, Borders, Media Crossing and The Politics of Translation: The Gaze from Southern Africa, Routledge, London.

Gilroy P. 2014, Lecture II. Humanities and a New Humanism, in Tanner Lectures on Human Values, Yale University Press, Cambridge (MA).

Hall S. 1993, Encoding, Decoding, in During S. (ed.), The Cultural Studies Reader, Routledge, London/New York, pp. 90-103.

Hall S. 1994, Cultural Identity & Diaspora, in Wlliams P. and Chrisman L. (eds.), Colonial Discourse and Post-Colonial Theory: A Reader, Columbia University Press, New York.

Inghilleri M. 2017, Translation and Migration, Routledge, London/New York.

Lustgarten A. 2015, Lampedusa, Bloomsbury Methuen Drama, London.

Malkin I. 1998. The Returns of Odysseus: Colonization and Ethnicity, University of California Press, Berkeley (CA).

Mignolo W. 2007, DELINKING: The Rhetoric of Modernity, The Logic of Coloniality, and The Grammar of De-Coloniality, in “Cultural Studies” 21 [2/3], pp. 449-514.

Mignolo W. 2009, Epistemic Disobedience, Independent Thought and Decolonial Freedom, in “Theory, Culture & Society” 26 [2/3], pp. 1-23

Polezzi L. 2012, Translation and Migration, in “Translation Studies” 5 [3], pp. 345-368.

Pulitano V. 2022, Mediterranean ARTivism: Art, Activism, and Migration in Europe, Palgrave Macmillan, London.

Rizzo A. 2018, Transcreating the myth. “Voiceless voiced” migrants in the Queens of Syria Project, in Spinzi C. et al. (eds.), Translation or Transcreation? Discourses, Texts and Visuals, Cambridge Scholars Publishing, Newcastle upon Tyne, pp. 150-179.

Starosta A. 2013, Accented Criticism: Translation and Global Humanities, in “Boundary 2”, 40 [3], pp.163-180.

Vallorani N. 2017, Nessun Kurtz. Cuore di tenera e le parole dell’occidente, Mimesis, Milano.


Full Text: PDF

Refbacks

  • There are currently no refbacks.
کاغذ a4

Creative Commons License
This work is licensed under a Creative Commons Attribuzione - Non commerciale - Non opere derivate 3.0 Italia License.