Who belongs to the voice and whom does the voice belong to? How much of our stories are shaped by what others have told us, and how much are shaped by our lived experiences? At what point do the stories, the voices of our ancestors, become our own, and at what point do the stories, the voices of our colleagues and contemporaries, become woven into the shared fabric of our histories? How can contemporary classical performance help shape our understanding of marginalized communities and function in reclaiming a space for their voices, and how can it re-shape our understanding of the theories and histories we have encountered about ethnic conflicts and their subjects? How does performance as resistance in marginalized communities extend beyond the boundaries of politics and nation-states?