Tuesday, January 27, 2026

Performing Possibility

Over the last year, Border Crossings Ireland has been leading a European Youth project called PERFORMING POSSIBILITY, working with our great friends at Teatro dell'Argine and Opera di Padre Marella in Bologna, and with the YMCA in Cork. This post takes the form of a conversation between Brenda Musiani, who works at Opera di Padre Marella, Rowan Mohan who travelled to Bologna from Cork, and two young Afghan sisters who now live in Italy: Om Hani and Hosna Yalani.

Brenda: I will start with some questions. What did you expect from the project? What was your idea of the project at the beginning? 

Rowan: I think it was a way of capturing what is like living in Europe, with young people's experiences from all over the world, whether that is people who were born in Europe or people from outside Europe coming to live in Europe. Sharing our experiences, finding similarities and differences, sharing our stories and what is like for us. 

Om Hani: The first idea of the project was the idea of meeting people from outside Italy, sharing our ideas, getting to know each other and know other cultures. 

Brenda: Do you think that meeting with people from different countries and sharing ideas strengthen our sense of belonging to Europe? 

Rowan: Definitely. I think it is really important to put different countries in communication and for everyone to see different experiences. Because without that we’re isolated, we only have our own view and things can’t be done on our own. We need a community to bring change, and I think change is important in Europe. 

Hosna and Om Hani: We agree! 

Brenda: It is very important to share thoughts and to really be together: also to be physically in one place to connect with people. 

Rowan: I think it was really important to capture that in the digital outputs, so more people can see it. And it was good from my perspective. I have experience in digital media, but Hosna and Om Hani, what was it like to have that experience with digital creativity and to have to deal with creating content?

Hosna: It was our first time doing this kind of activity, where we were the ones that needed to create the digital output. Also it is the first time that we have participated in a project like this, where people from other countries come here. It was interesting and we learned a lot of new things. 

Rowan: I have to say that one of my favourite experiences in Bologna was capturing the interviews with both of you. It was very impactful to get that account of your experiences and thank you so much for sharing that. I think that if it was the only piece of media captured in the entire week, I would have been happy with that. 

Hosna: We also had a great time with you, and we also want to say thank you. 

Rowan: I think it was really important to capture your story, not only for us but also for other people to hear and to know. It was really impactful. 

Brenda: We really can see the importance of doing all these things, for us in the project but also for all the people that will see our digital outputs and that will share those. In your opinion, is it important to share all these outputs and to do this kind of projects, also in the perspective of future generations?

Om Hani: Definitely! In this project there were many different cultures and people together, and that was very important to me. I liked the fact that we had the chance to live for a week with people from another country, and did all these activities together. 

Rowan: I completely agree.

Brenda: One last question. What are the reflections that you bring home with you after this project?

Rowan: I think I’m bringing home the perspectives of everyone I met. Seeing so many different cultures and so many people with different perspectives of the world, opinions of where they are in Europe, what being European means... I think I’m coming back home with a wider mind and a wider view of what the world is, what Europe means to other people and what it should be. 

Hosna: I’m bringing home with me the meeting of new people and new cultures. How different people from different countries get along with each other, even with cultural differences. 

Om Hani: I really liked this project because it was very nice to meet people from a different culture and to get to know them. The time spent with each other was really precious since there was no judgement and we could talk openly about our opinions. The most difficult part though was to talk in English, but even if there was a language barrier we did communicate in our own ways.

Brenda: What I see is that you all have similarities in your reflections and that’s a big thing because in my opinion this project now belongs to everyone and it became an experience that you all lived together. 






This project is funded by the Erasmus+ Programme of the European Union. However, European Commission and Irish National Agency cannot be held responsible for any use which may be made of the information contained therein. The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.


Thursday, January 01, 2026

2025

Sanam Naderi in a devising workshop
THE LEGEND OF EUROPA - Sanam Nederi

Regular readers of this blog (I know you're there - and I'm very grateful!) will know that I usually mark the turn of the year with a review of Border Crossings' activities over the previous 12 months, and a look forward into the New Year. This year it seems a slightly strange exercise, as we've already been devoting time to looking back at our work in our CHECKPOINT project, which marks 2025 as the 30th anniversary of the organisation's founding. At the end of November, we held a celebratory event at Hoxton Hall (video version coming soon), which included a series of short new plays made in response to our past work by the next generation of theatre-makers: pupils at Chiswick School, 6th formers at St Charles College, BA World Performance students from East 15, and MFA students from Rose Bruford. As the evening went on, and the pieces we were re-visiting became more distant from the present, there were new plays by the original artists: Brian Woolland re-visited Anna Kovács from DOUBLE TONGUE, to see what she was doing a quarter of a century on; and Mahesh Dattani wrote BRAVELY FIGHTS THE QUEEN, which brought the warring Trivedi sisters from BRAVELY FOUGHT THE QUEEN back together in the present day. It was one kind of great joy to have Anna performed by the Hungarian film star Dorka Gryllus, alongside Andrew French as Anna's new partner Mark; and another kind of joy to see Harvey Virdi and Siddiqua Akhtar return to the roles they had played in 1996. The final piece was one I wrote myself, to be performed by Nisha Dassyne, my dear wife who has been so crucial to the company's work in so many ways; some very visible, some known only to herself and me. THE DEATH OF PROSPERO revisited THE TEMPEST as performed in India in 1995 (not strictly a Border Crossings project, but undoubtedly the piece that generated the company's ethos and raison d'être), Dev Virahsawmy's adaptation of the same play as TOUFANN, and (more obliquely) THE GREAT EXPERIMENT. "Prospero is dead" it ended. "Where do we go from here?"

CHECKPOINT - Harvey Virdi and Siddiqua Akhtar

The question feels horribly urgent as we move into 2026. The last few decades have seen the dismantling of all the old certainties that Prospero could be held to represent: patriarchy, colonialism, hierarchy.... It's been a necessary process, and one towards which I hope we have made a genuine contribution. But, as Prospero's daughter Kordelia says in her eulogy at his funeral, we have not put anything in their place. It is that absence of vision, that failure of imagination, that has opened a political space into which the radical right has stepped, with increasing confidence and aggression during the year that has just ended. This is a global phenomenon: the Gaza genocide, Russia's ongoing attacks on Ukraine, the besieging of asylum hotels in Essex and elsewhere, the racist march in London, Trump's personalisation and privatisation of the entire American polity - all of these make manifest the total impoverishment of our public discourse, the reduction of human beings to one-word labels which in turn become pretexts for othering, prejudice and violence. As I said when I introduced the CHECKPOINT performance, this is the reason why active and deliberate remembering has become so important today: because the telling of complex, nuanced and engaged histories offers a form of resistance to the reductive and the prejudiced narratives promulgated by the "disruptors". And in resistance, there is also hope.

SUPPLIANTS OF SYRIA

So in 2026, we will continue the process of remembering that CHECKPOINT represents. Our archivist, Gary Haines, will put our records into order, while our researcher Dr. Jasmin ‘Ofamo’oni works on the book of the company's history that we'll be publishing during the year. Our next project, SUPPLIANTS OF SYRIA, arrives on the London stage in early March, and this too represents a kind of remembering. Back in 1999, we co-produced another response to Aeschylus' Suppliants, this one dealing with the Kosovo conflict as envisioned by South African writer Tamantha Hammerschlag and Greek director Elli Papakonstantinou. Both that play and the new one make use of an ancient text, the second oldest dramatic text in existence, to enable a fuller, more historicised and ethically informed discourse around current issues of warfare, displacement and gender. Standing in a long tradition of theatre as an enabler of democracy matters deeply right now.  

We'll also be continuing the major European projects that our Irish company has initiated in 2025. THE LEGEND OF EUROPA is another dialogue with the Greeks, in this case a set of contemporary variations on the continent's foundational myth, which makes it abundantly clear that Europe is defined and sustained  by what is outside its borders. The play that is evolving slowly through through workshops in Ireland, Italy, France and Sweden, involving many artists of both European and migrants backgrounds, attempts to situate itself in the current turmoil as an assertion of common humanity, redefining the continent through its mythological bases as an open and collaborative space. Of course, in order to make it, we need to generate just such a space ourselves. Being the change we want to see in the world.

A Happy New Year to you all.