Rho Chung interviews theatremakers Diana Feng from Don’t Call Me China Doll and Sierra Sevilla from For the Love of Spam about their Edinburgh Fringe shows, unpacking racial stereotypes, tropes, and the histories that have maintained them.

Anthony V. Capildeo responds to Precious Cargo, a story about the children affected by Operation Babylift during the Vietnam war, by Australian writer-performer Barton Williams (Huynh van Cuong) and Hebridean composer Andy Yearley (Nguyen Tang).

Katie Goh responds to A History of Fortune Cookies by Sean Wai Keung, looking back on previous iterations of the performer’s work and of her own writing to find value in repetition.

Anahit Behrooz responds to Cosmos, a solo performance by Palestinian contortionist and aerial acrobat dancer, Ashtar Muallem. “My body is my country,” she explains, minutes into her Edinburgh Fringe show. “After all, the first place we live is our bodies.”

Shivanee Ramlochan discusses Michelle Mohabeer’s Coconut/Cane & Cutlass, a mythic/poetic rumination on exile, displacement, and nationhood from the perspective of an Indo-Caribbean lesbian who migrated to Canada twenty years ago.

Shirine Shah responds to Flesh and Paper (1990), a lyrical exploration of the sense and sensibilities of Indian lesbian poet and writer, Suniti Namjoshi, directed by Pratibha Parmar.

Deborah Chu responds to Mourad Kourbaj’s striking tale of a family escaping the horrors of the Argentine dictatorship and 'La Junta Militar' in Una Muerte y Un Nacimiento//A Death and A Birth.

Nasim Rebecca Asl responds to Violeta & Sofia, a film by Noah Berhitu and Alejandra Rogghé Pérez on the power of food to maintain generational links to culture and place after migration.

Hayley Wu (胡禧怡)

“It feels like there’s no good place to be these days,” my friend tells me over lunch. We are in a quiet corner of Hong Kong, thinking about the dozens of friends and acquaintances who in the past year have left the city, looking for a new home. From what we hear, no one has found one elsewhere yet.

Ojo Taiye

I was a thirsty traveller in the bustling city of Benin, Nigeria, when I was sent Back on Home Soil to watch. At first, unable to wait, I skipped through the reel, and then finally home, sitting in my parlour after dinner, I settled to watch it.

Hayley Wu (胡禧怡) responds to Thulani Rachia’s ixwa blue, a film that traces several colonial architectural sites in Cachoeira Brazil, investigating Rachia’s paternal line of ancestry. A Fringe of Colour 2021 commission.

Kieren-Paul Brown responds to The Elephant in the Room, a powerful mediation on colonialism and racism, written by Alix Harris and produced by Helen Bovey for Beyond Face CIC.

Memuna Konteh responds to schwarz (Black), a documentary by Amuna Wagner that intertwines poetry, photography and film to present a series of intimate and stimulating conversations between 17 young, Black Germans.

Nathaniel Brimmer-Beller responds to Agudas, a film by Amber Akaunu that tries to make sense of a painful family history linking Afro-Brazilians to Nigeria, mixing poetry, animation and the archive.

Anahit Behrooz responds to Mahenderpal Sorya’s experimental film Saeculum, which beautifully explores his father’s life’s work in the construction industry, migration and parenthood.

Xandra Robinson-Burns responds to On The Surface, an animated film by Fan Sissoko that follows a young Black woman swimming in the Icelandic sea and reflecting on her experience of having a baby in a country that feels nothing like home.

Theophina Gabriel responds to Black Exodus by Daniel Bailey, a powerful political documentary that captures the seemingly eternal and yet fragmented sense of diasporic yearning.

Georgina Quach responds to Margot Conde Arenas’ Aunque Me Vaya Lejos (Even If I Go Far), which shares the stories of Venezuelan immigrants, refugees and ‘caminantes’ (walkers) in their own voices.

Hayley Wu (胡禧怡) responds to Spring Steps by Hazel Lam who, through serene episodic dances, tries to establish a relationship with a Hong Kong she no longer recognises after a long time away.

Hayley Wu (胡禧怡) responds to Jinling Wu’s short film One Day Summer Collapses into Autumn, in which cognitive neuroscientist Lee relocates to Scotland, facing inevitable changes in his personal life and an uncertain future.