The idea centers on what occurs when barriers are absent. For thirty years, Border Crossings has promoted the notion that uniting individuals from varied backgrounds fosters understanding instead of separation. Established in 1995, the London theatre company creates intercultural productions that connect artists and audiences worldwide. This approach forms the core of Checkpoint: 30 Years of Border Crossings, a recent publication marking the group’s milestone. Co-written by artistic director Michael and researcher Jasmin ‘Ofamo’oni, the book examines the partnerships and exchanges that defined the company’s global efforts. In an interview with DESIblitz, the authors addressed the role of culture and the ongoing focus on migration and belonging. Michael’s early visit to India in the mid-1990s proved pivotal. Collaboration with playwright Mahesh Dattani on a staging of The Tempest altered his view of performance. He noted arriving from outside the Western context and finding the environment transformed. The three-month immersion in Indian theatre and traditions showed that artistic development arises from engaging with other viewpoints. Time spent at a Bharatanatyam studio linked to pioneers Krishna Rao and Chandra Devi, including an encounter with dancer Ram Gopal, laid the groundwork for the company’s emphasis on cross-cultural work. Jasmin compiled the company’s records into the volume. Her initial encounter involved a suitcase of materials representing only a portion of the archive. Drawing on her Tongan and New Zealand roots, she applied the Pacific idea of va, which stresses relationships and shared responsibility, to interpret the group’s values. She described the narrative as one of people from different cultures building trust through joint creation. Recurring elements included cross-cultural exchange, language, relationship development, and creative experimentation. The company maintained long-term ties with communities, allowing early partnerships to influence current projects. A key theme holds that borders function as points of encounter rather than division. Michael stated the focus remains on what arises without obstacles. The group deliberately pairs participants from contrasting cultural settings to generate interaction, which he views as essential for addressing how societies coexist. Jasmin observed the same emphasis on dialogue and learning through connections during her research. With migration discussions active in Britain and elsewhere, the authors see the book’s topics gaining relevance. Michael’s personal connection involves his wife from Mauritius, who holds permanent residency in the UK. Jasmin noted that attending a performance of The Suppliants of Syria in 2026 provided direct insight into the material she had studied.
