Abstract
A collaboration between actors and musicians of Tashkent, Uzbekistan, and Almaty, Kazakhstan, and local electronic musician and community activist Brother El of Chicago highlights the difficulties of translating embodied performances of race and ethnicity in a transnational post–Cold War context. In a comparative reading taking up a play by the Ilkhom Theatre of Tashkent alongside its citation in the Chicago collaboration, the framework of “embodied philology” exposes the limits of post–Cold War international political alignment.
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