Palestinian choreographer Farah Saleh holds a PhD in her discipline, and to this end her work often has an inquisitive, academic quality. Here she involves the audience in a forum of exchange to develop hypothetical reparations the UK government owes to Palestine, to atone for the Balfour Declaration of 1917 and the humanitarian catastrophes that have come about as a direct result.

The year is 2045. Saleh hands us letters on the way in, detailing the reparations that have already been paid, along with pieces of beautiful tatreez (Palestinian embroidery) for select audience members. As these individuals each read a paragraph of the letter, Saleh dances: a macho shoulder wiggle for mention of Balfour (then the UK’s Foreign Secretary), a casting of air as scholarships for Palestinian students are proposed. Words become actions and have real consequences on human bodies, just as Balfour’s did.

The piece feels like a blend of art installation and lecture, mixing video excerpts with live movement. It relies substantially on audience involvement, as a lengthy segment canvasses further reparations ideas from us. One of these concerns the notion of educating ourselves on the UK’s colonial legacy, and with this in mind Saleh’s show is essential viewing. Above all what comes across is her unending, steely but gentle hope. That takes an extraordinary amount of courage to summon in these times. 

Balfour Reparations, Summerhall, until 25 August, 4.30pm; main picture: Keni Li.