Questions on transnational exchanges

I am in need of feedback on methods and ways of considering what happens in transnational creative exchanges: while there are many books, articles, and even dances on this process of transit and transmission between bodies of different “cultural and political practices: I am curious what Danscross choreographers, researchers, dancers, and administrators found (during or after) as the points of ”transformation” (focusing here about the space between not in opposition to):

1) What changes did you notice in what the dancers or choreographers or researchers did, directly related to the circumstances of being in Beijing, with Beijing-based dancers, trained at the Beijing Dance Academy? No matter how small and specific or broad and general: what caused a known pattern to shift, transfer, disengage, remain silent, empty out, or burst, self-destruct, or disappear?

2) Because “change” can be very difficult to know or write about except in retrospect, what was new or unprecedented or unusual in your dancing or dance making or observation process that was (again) directly related to these place/time circumstances of Danscross? In this case, could you describe what that was and what were the circumstances surrounding that moment?

3) While the larger and cumbersome “differences” of dance cultures may seem obvious to some of you, I think it may be still helpful to hear some of these. What were some of the first, most impressive, and continuing differences in this transnational encounter?

Leave a Reply




You can use these HTML tags

<a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>