The focus of this article is the cross-cultural translation space of bicultural bilingual performance of Inma, traditional Pitjantjatjara song and dance. The article structure reflects the two languages and cultural concepts of storytelling, song and dance in which the Kungkarangkalpa Inma—Seven Sisters performance was presented at the Centenary of Canberra Indigenous Festival in 2013. This method of bilingual bicultural translation of words, song, dance and choreography was intrinsic to the many acts of translation involved in communicating the power, passion and meaning of a traditional Indigenous Inma performance to a western city audience. Inma song and dance conveys the connectivity of people to their Tjukurpa, the Law and Dreaming of their country. The performance space of translation is one in which people choose to share their culture by performing it in language, written or spoken, song, dance or mime, and translation occurs through intermediaries with some knowledge of both cultures who translate each to the other. The authors acknowledge that the acts of translation involved in translocating the desert Inma to the Canberra stage and the presentation of this in the secondary formats of a dialogue at an academic conference and now in a written article are all abstractions from the real performance of meaning in country of the Tjukurpa. Translation is but a reflection of meaning, a narrowing of the breadth of cultural referends of language, time and place. In this case, through several portals: a condensed city performance, a film of this performance, an oral bilingual conference dialogue and now a written account. This article references these portals and incorporates direct and indirect bilingual speech and reflection in an attempt to convey the importance of Inma song and dance in the cross-cultural communication of Indigenous knowledge of country.

本文的重点是Inma的双文化双语表演，传统Pitjantjatjara歌舞的跨文化翻译空间。文章结构反映了2013 年堪培拉土著节百年庆典上呈现的Kungkarangkalpa Inma —七姐妹表演的故事、歌曲和舞蹈两种语言和文化概念。编排是许多翻译行为所固有的，这些行为涉及将传统土著印第安人表演的力量、激情和意义传达给西方城市的观众。Inma歌曲和舞蹈传达了人们与Tjukurpa的联系，法律和梦想他们的国家。翻译的表演空间是人们选择通过语言、书面或口头、歌曲、舞蹈或哑剧表演来分享他们的文化的空间，翻译是通过对两种文化都有一定了解的中间人进行的，这些中间人可以相互翻译。作者承认，将沙漠Inma转移到堪培拉阶段所涉及的翻译行为以及在学术会议上以对话的次要形式呈现，现在在书面文章中都是对意义的真实表现的抽象。楚库尔巴人之国. 翻译只是意义的反映，是语言、时间和地点的文化参照范围的缩小。在这种情况下，通过几个门户：浓缩的城市表演、表演的电影、口头双语会议对话以及现在的书面记录。本文引用了这些门户网站，并结合了直接和间接的双语演讲和反思，试图传达Inma歌曲和舞蹈在国家土著知识跨文化交流中的重要性。