Editorial: The Muses Roar from the Margin

Anika Marschall and Ann-Christine Simke's article focuses on the work of the Turner Prize-nominated independent research organization Forensic Architecture, and its counterinvestigation into the racially motivated murder of Halit Yozgat in Kassel, Germany, in 2006 by the terrorist organization NSU (Nationalist Socialist Underground). In their analysis of Forensic Architecture's presentation of Yozgat's murder case at the ICA gallery in London in 2018 and at the people's tribunal, entitled Tribunal NSU-Komplex auflösen (Tribunal Unravelling the NSU-Komplex), held at Schauspiel Köln in 2017, Marschall and Simke analyse the entanglement of forensic aesthetics, performance, social justice and arts institutions. [...]Marschall and Simke warn that this potential is not to be taken as a given – foregrounding how theatre and gallery spaces, modes of representation and structures of knowledge production (through both art institutions and academia) reproduce modes of violence and micro-aggression as they aim at countering them – they stress the urgent need for a wider counterhegemonic strategy. By challenging the mind/body binary in the concepts and strategies of embodied cognition within theatre and performance research, through a deep examination of existing scholarship, de Wet proposes new ways to think about the application of the methodology of cognitive science in both research and pedagogical processes by reconfiguring what we mean by embodiment.