In “Sonic Border” (London Nov 2008) we explored the way sound crosses the border differently, provoking a rethink of the border’s location – not just in ports, and the authoritarian boot boys of the nation state, but between us all, in conversations, in ideas – an oppressive structure of language, meaning, representation, and in the cry of protest and in the music of solidarity across divides. The border echoes everywhere, it resonates and shouts from every station location, wherever you listen look. Sound problematized the geographic and visual location of the border regime.
In “Theatre Border” (Berlin April 2009) the performative, tactile and ritualistic force of the border as staged power suggests we rethink connection, touch, proximity and co-responsibility. The theatrical exclusion of others manufactures a charade populated by demons, caricatures and monstrosity. We don’t want to be cast in such dramas.
In “Border Documents” (Copenhagen Nov 2009) we will join the CPH.DOX documentary film festival to consider the border as it unfolds in time/screen based media – what does thinking about border activism and the telematic offer us? Possible topics include the border in television news, the in-focus out of focus role of CCTV in detention centres, the scanning screens of the immigration check, the civilian phone-cam exposé of deportation and ‘Torture Taxi’ (special rendition) flights, and more.
We are interested in new perspectives on the status and function of the documentary forms today, as they cross the ontological divide between fiction and truth, art and reality (objective/subjective, social, political, ethical etc) and frame alternative ways of seeing, witnessing, representing, archiving and experiencing ‘the elements of truth’ (Steyerl, 2003). Can we understand documentation not as paper passports or mere representation but as docketing the (re)construction of (new) social and political realities – we are interested in time and screen formats that offer access to critical recontextualization of the reproduction of borders, and of unfolding new agents of social and political (ex)change. On a more formalistic note, how does the documentary form carry a politic, an ethics or epistemology and how can the documentary film help us see and act differently? Does the time of the border transform its place, or its performative character? Does border activism lend itself to the cinematic? Can we film another way across?
“Border Documents” will be the third Network meeting of the Beyond Text Beyond Borders group, funded by the AHRC Beyond Text Program) and with the participation of University of Copenhagen Doctoral School in Cultural Studies, Friei University Berlin InterArts, Jadavpur University (India) Film Studies and Goldsmiths College, Centre for Cultural Studies, as well as with Clandestino Festival (Sweden), Migrant Media (UK) and, of course, now CPH.DOX (Denmark).