Abstract
The essay discusses Maya Rao's Walk and The Mothertongue Project's Walk: South Africa to explore the languages of transnational and embodied feminist politics that these performances conjure. The two performances are instances of artistic responses to sexualized violence in India and South Africa as they engage with the politics of walking in the city. Working with Chandra Talpade Mohanty's formulation of feminist solidarity (2013) and Boaventura de Sousa Santos's translation-as-dialogue (2014), I discuss the radical forms of feminist methodological imaginations attempted and nurtured by them. This essay examines the political and aesthetic potential of translatability of performance in the world of global asymmetries and the implications it holds for intersectional feminist conversations in the global South.
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