With contributions from theater and dance scholars such as Layla Zami, Leon Gabriel & Julia Schade or Pedzisai Maedza, this issue is a collection of approaches and practices for disrupting and decentering dominant hegemonic perspectives in theater/scholarship. Academic positions from decolonial and postcolonial and/or queerfeminist theory meet positions by artists from the field of independent performing arts (including Angela Alves, Joana Tischkau and Anuja Ghosalkar), which are conceived as decidedly dialogic or as collaborative polyphony. In this way, current discourses of crip theory, critical whiteness and queer theory are interwoven in academic and artistic practice.

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