This book debates questions of place and praxis. How are geographical, cultural and artistic identities created and sustained with/in different places? How have colonial pasts, and the ways they mark and are mapped in the present, affected the performances produced there? In Australia, for example, performance owes much to the colonial past and present: to a psychology of edges, of enforced comings and goings and to a history of repression and genocide. How are such aspects expressed in performance practices?