#DanceDiplomacy

[dancemotionusa]

Dance as Mutual Understanding

by: Sarah Horne, DMUSA Project Director

It’s difficult to reflect back on my time with DanceMotion USA℠ because I’m still processing that the program is really coming to a close. When I was first introduced to the concept of cultural diplomacy in 2014, it seemed a vehicle for political gain. When I actually experienced cultural diplomacy as the tour manager of the Mark Morris Dance Group’s DanceMotion USA℠ residency in Cambodia, Timor Leste, Taiwan, and China, I understood that it was a vehicle for change; a tool to be used to connect individuals through something as simple yet powerful as dance. I can honestly say that partaking in that residency changed my life.

Small town Massachusetts girl, never in my wildest dreams could I have foreseen travel to destinations like Cambodia; and Timor Leste, I had never even heard of it. Yet, the people I met in these destinations became my family for the 5 weeks we were abroad. We moved together, ate, laughed, shared highs and lows, connected on intimate and personal levels, and all expressed the same desire to live a happy, healthy life; to provide for our families; to take pride in our work. The world really is small and humans all need and want the same basic necessities. Whether we’re in South East Asia or America, we’re inevitably the same, this program allowed me to fully understand that.

Mark Morris and Sarah Horne at the closing ceremony of the Special Olympics in Timor Leste with a young participant

Almost a year after that residency experience, I had the opportunity to become a part of the DanceMotion USA℠ team; working to bring to fruition these residencies for other American dancers and dance companies. With the program having had such an impact on me personally, I wanted to work toward building experiences for others that would allow them the same opportunities I had. As the Project Manager for DanceMotion USA℠, I worked with embassies and cultural partners in Africa, Asia, South America, and Eurasia to build residency tours that connected American dancers with individuals who may never have met an American, or who may never have been given the opportunity to dance and move due to physical limitations and/or access to dance and dance education. Some of the vulnerable populations we worked with had caretakers who didn’t believe those in their care could dance perhaps because they were wheelchair bound or had other physical limitations. Yet, when the American residency companies were on the ground, the palpable energy of joy in the room radiated because dance really is for everyone. Those caretakers not only saw those in their care dance but they saw them light up with a happiness that comes from inclusion and the belief that we can achieve anything our hearts set out to do.

Sarah Horne being interviewed in Taiwan following a residency activity

I had the privilege to travel to Vientiane, Laos with Dance Heginbotham in 2016 and watching this company teach and exchange with individuals on the ground brought joy to my heart and tears of happiness to my eyes. I saw them experience the same transformation I had during my Mark Morris residency and I knew then that this program was more than about achieving foreign policy goals, it was about individual, person-to-person exchange; it was about the universal language of dance; it was about empowerment and joy.

John Heginbotham with Sarah Horne in Luang Prabang, Laos

In 2017, as the Project Director for the program, I traveled to Mongolia, Korea and Russia to meet with Embassy staff and cultural partners in advance of the seventh and final season of programming. Explaining the program and discussing how dance can be used as a way to connect is often harder than one would think. More often than not, those we work with expect us to want to work with professional dancers, dance students, companies, etc. and to put on performances. Yet, the power of what we do lies in the exact opposite; connecting individually with those new to dance and/or exchanging with local, traditional groups in an effort to absorb and appreciate the culture, history, and heritage of the countries we travel to.

These advance trips held an extra special meaning for me, not only did I know they would establish the residencies for the last season of DanceMotion USA℠ programming, but I was near the end of my first trimester of pregnancy, carrying with me my daughter. In her, I hope to instill not only an appreciation and love for travel but also the respect and admiration for other cultures and societies that has grown within me since my involvement with DanceMotion USA℠ began. As the world continues to grow, preserving and respecting culture and traditions is all the more important. Cultural exchange programs do that, not only by sending Americans abroad, but by bringing international artists and curators to the United States. The connections fostered through these exchanges help create space for dialogue and discussion, demonstrate shared values, and increase cross-cultural understanding.

Sarah Horne in Moscow, Russia during an advance trip

Now as the program end looms in site, I have the weight and responsibility of keeping the legacy of these residency exchanges alive for years to come so that others may understand the powerful impact of cultural diplomacy.  In bidding goodbye to this chapter of dance diplomacy, I reflect back on how dance diplomacy began during the Cold War. It was President Dwight D. Eisenhower who created the means for the State Department to facilitate cultural exchange as a way to “stimulate the presentation abroad by private firms and groups of the best American industrial and cultural achievements, in order to demonstrate the dedication of the United States to peace and human well-being [and] to offset worldwide Communist propaganda charges that the United States has no culture.” Since then, dance diplomacy has ebbed and flowed as foreign policy goals and objectives have changed. Today, dance is used as a means to foster cultural exchange and mutual understanding and to establish relationships between individuals. As we look at the next chapter of cultural diplomacy, I hope the State Department maintains these goals which I hold near and dear to my heart and continues to encourage individuals to connect through the arts because they represent a universal language equal to none. It has been a privilege and an honor to be both a participant and administrator of this program; for what it has taught me and instilled within me, I am eternally changed and grateful.

[dancemotionusa]

Lessons Learned

written by: Anna Pasmor

It's been two month since my amazing experience with the DanceMotion USASM Follow-On PDP.  I received so much information and advice, as well as so many great tips. . . you really need time to wrap your head around it all and put your thoughts in some kind of order.

Through the Creative Capital workshops, I realized that our website needed some changes. It was not very informative to our audience, using tools and information from Mathew Deleget’s workshop we updated our website. I also used my new "presentation" and "public speaking" skills in a meeting with our school’s sponsors in September. With this I convinced the sponsors and as a result my students are going to an international dance competition in Berlin! YAY!!! I never thought I could do it; DMUSA and Creative Capital made me believe in myself, believe that everything is possible.

I updated my resume using "Elevator Pitch" techniques from the sessions led by Ela Troyano and James Scruggs. I’ve created my “lifetime goals” but I am still working on creating 1 year, 5 year and 10 year goals. It's hard! J Finally, I am managing my time so much better now, not perfect! J I'm getting better using the "time tracking" sheets from the Strategic Planning Workbook. Thank you for these books, they are so helpful!!  

There will be more accomplishments in the future for sure! A big thanks to DMUSA for this experience!

[dancemotionusa]

Meet the Follow-On Professional Development Program Artists: Preeti Vasudevan & Sabina Battal

Preeti Vasudevan

Hometown: Chennai, India. Family is from southern India.

Education: Masters in dance, Laban Centre London; Certified Movement Analyst; BA Psychology

Hobbies or interests: Travel, cooking, tennis, visiting ancient sites and jungles

Your roles and responsibilities in the dance world: I am a Choreographer, Educator, Performer, and Cultural Connector.

My company Thresh is based out of NYC and collaborates with local and international artists. We also do educational work through workshops, master classes and online platforms.

Major influences: In India – my teachers VP and Shanta Dhananjayan. US Krishna Rao, Grandparents (who instilled the art of storytelling in me), R K Lakshman, Satyajit Ray; Internationally – Violette Verdy, Rudolf Laban, Grotowski, Artaud, Mary Wigman, Dominique Boivin, Bill T Jones, George Balanchine, Jacques D’Amboise, Carlos Saura, Claire Denis, Akira Kurasawa, Hisao Miyazaki

Please provide a brief artistic mission or artist statement about your work: I am an exponent of classical Indian dance (Bharatanatyam) creating new provocative contemporary works from the Indian tradition. My mission is to create experimental dance-theater that fosters a provocative dialogue with identity, and our relationship with heritage cultures and our contemporary life.

List current project(s) you are working on, if any:

Stories by Hand – premiered Nov 2017 – on tour now (touring India Aug-Sep)

Etudes – proposed premiere 2019-20 – a work with Amar Ramasar (Principal dancer at NYCB)

Favorite representation of dance in a music video/web video: I think this one summarizes it all – old and new all at once – always loved it: https://www.youtube.com/watch?v=M1F0lBnsnkE

Your definition of dance: Dance is what we are. The soul to being dynamic, curious, open, charged, awake, liberated. It cleanses you while also questioning you. It’s the only life partner and gives you true breathing. Everyone can dance and should dance, whether you are young or old, incapacitated or agile – every twitch that is in you needs to find an expression from inside out. Dance is the circle of life.

When did you choose to work in dance? (Or when did it choose you?) When I was about 5!

What do you want people to know about you, what you do, and where you come from? That I love sharing stories and finding new ones; I am a storyteller and I come from southern India but now I live in NYC and travel to many places where I learn more about myself and share my experiences with others.

What do you think of using dance as a form of diplomacy? Dance connects everyone as it does not have the issue of verbal language that can be misunderstood. Movement is in every person and the visceral feeling energizes and builds trust. This trust creates diplomacy from the heart.

What do you hope to gain from your participation in this program? Great partnerships and future opportunities to collaborate and work with and in other countries as part of a larger exchange.

Sabina Battal

Hometown: I’m from Shymkent, Kazakhstan.

Education: I study at university “Shymkent”, and I’m a kindergarten teacher.

Hobbies or interests: I like to dance very much. I have been dancing for 12 years.

Your roles and responsibilities in the dance world: I’m an artist of the “Kazyna” dance ensemble.

Can you describe the art (performing, visual, etc.) scene in your country?We are a state ensemble in Kazakhstan. Our tendency is folk dances. We have a lot of different kinds of Kazakh dances and other cultural dances such as Uzbek, Russian, Ukraine, Korean, and others.

What was the most memorable thing about working with Ririe-Woodbury Dance Company / Bebe Miler Company / Dayton Contemporary Dance Company? We worked with  Dayton Contemporary Dance Company and the most memorable thing was that we taughteach other our dances. They taught us their contemporary dances and we taught them our Kazakh dances.

Have you ever been to the United States? Have you ever been to New York City? If no, what are you most looking forward to experiencing? This is my first visit to New York. I’m a little worried about that. I would like to know other dance trends and show it to my ensemble in Kazakhstan. It’s new, it’s beginning, and I think it’s going to be quite significant.

If you have any video footage/photos of current or recent projects please provide us with links to view:

https://www.youtube.com/watch?v=Crleotdw8q8

https://www.youtube.com/watch?v=mve8JMRtwP8

Favorite representation of dance in a music video/web video:

https://www.youtube.com/watch?v=mve8JMRtwP8

[dancemotionusa]

Meet the Follow-On Professional Development Program Artists: Pablo Francisco Ruvalcaba & Luis Miguel Martinez Guarnizo

Pablo Francisco Ruvalcaba

Hometown: Born in San Diego, raised in Tijuana, Mexico

Education: Started dancing at age 18 at La Casa de la Cultura in Tijuana, Mexcio. Then studied at South Western College in San Diego, California. Continued dancing at Julliard and then in the Limón Dance Company.

Hobbies or interests: Reading, especially Borges or Neil Gaiman

Your roles and responsibilities in the dance world: Former Limón Dance Company dancer in The Moor’s Pavane, The Traitor, and the Outsider.

Co-founder/director of Higher Ground Festival

Limón Dance Company repertory re-constructor and teacher

Major influences: Limón’s philosophy/ideology. His humanity/inclusiveness of what we do and why.

Your definition of dance: Primal, something we’ve always done and will always do. It is one of the most comprehensive languages, beyond spoken. Something we inherently understand.

What do you think of using dance as a form of diplomacy? Dance is intimacy that we share. It is highly personal. It is an ideal form of diplomacy because dance allows us to be vulnerable. It is who we are and a good place to work from.

What is your most memorable moment in the dance industry, thus far? Dancing in Bosnia after the war. Our repertory was about valor in the face of adversity and coming back from a brink. The audience had a deep appreciation for our performance and sincerely digested it. It was beautiful to see this theater that had gunshot holes from war in it, but was still functioning. Another memorable moment was performing a solo for the first time at the Theater of Bellas Artes in Mexico City. It was significant because of my Mexican upbringing.

What do you hope to gain from your participation in this program? I hope to gain real perspective into the field of art administration on a global scale. I also hope to gain the ability to create a blueprint for myself as a festival administrator/director.

Luis Miguel Martinez Guarnizo

Hometown: Born and raised in Manizales, Caldas. Mother’s side of the family is from Natagaima, Tolima.

Education: University at: Universidad de Caldas, BA in Modern Languages (2019)

Artistic Education: Plastic arts at Escuela de Artes COMFAMILIARES

Hobbies or interests: Reading books, playing video games, going to theatre, dancing, listening to music (a must when I walk/run), TV and movies, drinking tea.

Your roles and responsibilities in the dance world: Primarily I am a performer. I dance with with DANZA-LAB, all of the members of the laboratory have had to become choreographers as a part of an assignment from our professor .

A while back, I started to get more involved in the public image of the group and helping the professors with some administrative duties. In that sense I would be a pseudo-assistant.

Can you describe the art (performing, visual, etc.) scene in your country Colombia has a wide range of artistic expression. Some of the most easily recognizable are the local celebrations (Carnivals and fairs) in cities all around the country, which allows many performers to converge in parades and shows. Festivals occur each year where theatre and dance meet. Street performers are very common (especially on red lights). Museums and galleries are open and lots of artists display their work (there are other venues for them to present their art, like universities, restaurants or hotels).

What was the most memorable thing about working with Bebe Miler Company? Receiving a group of complete strangers can be overwhelming. You want to show yourself at your best and do everything perfectly, but it was different working with Bebe Miller Company. Sarah, our teacher that day, was very straight forward when it came to mistakes, and that is to say “It is ok to commit mistakes, simply use them to keep creating movement and communicate.”  

Have you ever been to the United States? Have you ever been to New York City? I have never been to the States, nor NYC. I would be lying if I did not say I want to eat pizza at an authentic New York pizza parlor. Walking down the shores of the Hudson River. Crossing the Brooklyn Bridge. Visiting any museum. And experiencing the cultural exchange with like minded, passionate, dance folk.

Please provide a brief artistic mission or artist statement about your work: Being who we are isn’t a pity but a privilege. Moving like we move isn’t an automatic process but a message-filled experience. I belong to a community; they support me as I support them. Everything must be a joint effort, even if only one of us is on stage.   

Your definition of dance: Dance is an intrinsic element of human interaction; with significant development through history, it is capable of communicating without words.  

When did you choose to work in dance? (Or when did it choose you?) With my mother’s encouragement and teachings I began to get more and more interested in dancing. But it was not until I met my dance teachers that I truly started working with proper technique and dedication.

What do you think of using dance as a form of diplomacy? From my studies in linguistics I know that our bodies are capable of giving out multiple messages and transmitting a great amount of feelings. This sharing process is well suited for diplomatic instances where words are not enough to grasp some notions of a specific culture.  

What do you hope to gain from your participation in this program? First and foremost, I want to get sufficient tools to improve or boost my participation in the arts scene. International networking would be ideal. A good record that can strengthen the relationship between Colombian schools and North American ones.    

What are your goals for your future involvement in dance/the performing arts?

Participate in more programs and dance courses, share my experiences and knowledge with my students (EFL courses), keep perfecting my technique, and pursue a postgraduate degree in arts

[dancemotionusa]

Meet the Follow-On Professional Development Program Artists: Kyle Marshall & Maria Baryshnikova

Kyle Marshall

Hometown: Born: Plainfield, NJ. Currently live: Jersey City, NJ.  Father’s side: Lincolnton, GA. Mother’s side: Jamaica.

Education: BFA in Dance, Rutgers University

Hobbies or interests: Art, music, films, books, cartoons, outdoors, history, political science

Your roles and responsibilities in the dance world: Dancer, choreographer, teacher, audience member

Major influences: Malcolm X, Jimi Hendrix, Ralph Lemon, Doug Elkins, Bebe Miller, Beyonce, Trisha Brown, Kara Walker, Bill T. Jones, Donald Glover, Joan Miro

Please provide a brief artistic mission or artist statement about your work: The dancing body is a site for celebration, an igniter of social change and a container of history. Dance is an opportunity to empathize with other human beings. In sharing my work, I aim to deepen our knowledge of who we are as individuals, how we develop relationships and ultimately societies.

List current project(s) you are working on, if any: This past May, I premiered a new work called WAGE at CPR in Brooklyn. This quartet, exposes white supremacy and capitalism wound within our American bodies. The dance has original music by Jon Johnson and a lobby installation by visual artist and dancer, Myssi Robinson.

My next work is considering Christianity’s influence on our American bodies and how our culture, laws, and traditions have been shaped by a religion we do not necessarily believe in. Two working titles of the work are Ruin or Reign.

Favorite representation of dance in a music video/web video: “Single Ladies” - https://www.youtube.com/watch?v=4m1EFMoRFvY

Your definition of dance: Dance is bodies in motion. Bodies can be people or objects. Objects can dance, too. Dance is a conjuring. Heat, sweat, sensation, emotions and thoughts grow within our form. Truths unravel into questions as we take the history in our bodies and jostle it, loosing up our joints and our sense of human. The doing depletes the body while it is filled with new information from its interaction with the earth and the other bodies in space. We feel the joy dance creates when we connect to our refreshed selves and the bodies surrounding us. It is contagious.

When did you choose to work in dance? (Or when did it choose you?) When I was a child, I used to dance in my living room to Michael Jackson. When I was at least 4 years old I put stuffed animals on my couch and would dance for them. Costumes and all. Not much has changed between that kid and me. I still sometimes make work in my living room, minus the teddy bears.

It wasn’t until I went to North Carolina School of the Arts summer intensive between 8th grade and freshman year of high school did I feel my body pushed to its limits. It was then that I had a better idea of what was needed to be professional dancer.  

What do you think of using dance as a form of diplomacy? Unlike language, dance needs no translator to be understood. It is a form that comes down to people and the present time. Every culture dances in their unique way. It is a form that is both universal and variable. Dance is a way of celebrating, sharing, and remembering a culture and the people who live it.

Dance is a way to bring people together to share ideas and new ways of moving. By learning a new dance, you also embody a combination of history, etiquette, and values. Your body becomes a space for cultural exploration.

Working in the studio is a collaborative effort. The combination of people from two different cultures can be an utopian microcosm for the greater world. Filled with curiosity, sharing and growth. A new type of product would be created by the sharing of these two groups of people.  

What is your most memorable moment in the dance industry, thus far? My most memorable moment might have been presenting Colored in 2017 at the Actors Fund Arts Center. It was my first evening length work and first self produced evening. It was a year and a half of work, but it paid off. I was so happy with the performances, the people who came, and the energy of the whole weekend. It felt like the beginning of something, a shift in my life.  

What are your goals for your future involvement in dance/the performing arts? I want to grow my ideas and dance company to share my work with larger audiences. I want my choreography to be bold enough to be presented in large performance spaces and humble enough to be shared in intimate, educational settings. I want to bring in non-dance audiences to see art, from children to seniors. I see myself directing and collaborating on theatrical productions in the future. I am also curious about teaching creativity, dance, leadership in both academic and non-art world audiences, especially people of color.

Maria Baryshnikova

Hometown: Was born in Russia as all my family members, live in Moscow.

Education: After school, I studied at the College of Fine Arts. I quit after 1 year to dance. Then I attended Russian Social University, Faculty of Finance and Credit for 4 years but did not finish for several reasons.

Hobbies or interests: All the art forms, I’m studying the history of art in general. I try to learn more about living a healthy lifestyle and nutrition in particular.

Can you describe the art (performing, visual, etc.) scene in your country? I can say that Russia is very distinctive in all the areas of art. Of course, if we take a look at the street dance culture, we see that Russian dancers follow the USA, but meanwhile they bring something of their own, something that foreigners lack. I think it’s the same with the dancers of other countries.

What was the most memorable thing about working with Dayton Contemporary Dance Company while they were in Russia? The most memorable thing about working with Dayton Contemporary Dance Company is their style and originality in modern stage productions. And of course the performers themselves: such charismatic personalities, universal dancers and inspiring teachers.

Have you ever been to the United States? Have you ever been to New York City? I’ve been to the United States and I’ve been to New York City. Last time as a dancer who was keen on street dancing, I visited the Block Party in Bronx with the participation of the legendary DJ Kool Herc. I felt like I was in a movie, because I could only see this in movies before. This time I expect a lot of inspiration from this trip and participation in the program. I’m very excited!

Please provide a brief artistic mission or artist statement about your work: My mission in dance culture is to continue supporting and developing the dance industry with my projects, to create opportunities for dancers and choreographers for expressing themselves and sharing their art. The arts have always had a great influence on the world. And I hope it can make the world a better place. I’d love to be involved in this at least a little.

List current project(s) you are working on, if any: In October 2018 we will have the Respect Showcase in Russia. It will showcase the best urban and modern choreographers of the Russian dance industry. It’s not about competition, but mostly a platform to share their art. We invite international judges to choose the best choreographer and to teach dance classes.

Last year’s trailer: https://youtu.be/S8BOUUAmucM

Favorite representation of dance in a music video/web video: Justin Timberlake – Like I Love You. At that time, for us, the choreography for this video was a dance revolution

Your definition of dance: Dance is a wonderful world and dancers are happy people no matter what. Dance is an endless stream of joy; even if you’re dancing about sad things, you’re still happy that you can express your feelings through dancing. Dance is the best psychologist.

When did you choose to work in dance? (Or when did it choose you?) I started ballroom dancing when I was 6. I can say for sure that I did not like it very much, since the eternal dependence on finding partners was depressing. But when I was 13 I joined a team that studied many styles from ballet to hip-hop. It became the main thing in my life.

What do you hope to gain from your participation in this program? I hope to take with me a lot of inspiration, new ideas, and many new pleasant acquaintances. I’m pretty sure that a lot of things will change in my life after this trip. What are your goals for your future involvement in dance/the performing arts? I know that after this program my goals will be more clear. But now I just want to be useful for the dance community. And let it always be!

[dancemotionusa]

A Program for (ex)change

by: Meghan Rose Murphy, DMUSA Project Manager

I was sitting in Washington DC in a conference room at the US Department of State when I realized that I was preparing to go on a tour of a different kind. Stephen Petronio Company had been selected as one of the companies that would partake in an international residency and we were at our DanceMotion USASM orientation in Washington DC when the reality of what this program meant hit me. I had been used to touring and managing dance companies in other cities across the US and other countries, but the purpose of these events was always a performance, it was never to create a more in-depth connection with populations in other areas. As I began to engage in this tour through orientation in Washington DC, conference calls with US Embassies abroad, and meetings with the company I began to get a little nervous. This was not a “normal” tour, there were so many moving pieces; workshops, lectures, performances, press events, and on top of that we had rehearsals for the company premiere in NYC shortly after we returned. I knew I had my work cut out for me, but the time came, and I packed up the company luggage (yes I do this first. . . always) and then a suitcase for myself (half full with company items) and we were off to the airport for the 25-hour travel day(s) to Chiang Mai, Thailand!

Meghan Rose Murphy and Kyle Filley getting ready to board the long-haul flight

It truly was the tour of a lifetime, we traveled to Chiang Mai and Mahasarakham, Thailand; Ha Noi, Hai Phong and Ha Long, Vietnam; and Singapore. While everything was far from perfect - schedules constantly changing, hotel wi-fi not always working, performance adaptations - it never really mattered, because at the end of the night, as I would sit preparing everything for the following days, I felt so full knowing that we were connecting with people through the language of movement. Every place we traveled to you could feel the warmth and openness from every single person we met.

One of the most full-filling moments was walking into the room at Yardfon Vocational Rehabilitation Center for Persons with Disabilities outside Chiang Mai, Thailand. It was a full company activity that we were all nervous about; 60 students who each have a range of physical and/or mental disabilities that we led a movement workshop to. This was such a large group and with such a range of “disabilities” we were unsure how to curate a class that worked for everyone. Well, the moment we walked into the room where all of the participants were sitting waiting for us, their faces light up and a roaring applause broke out across the room. Stephen and I were both so overwhelmed by the welcome that the day could have ended there with us just speaking to each of the participants. We split the large group into two rooms based on the cognitive abilities to best target movement workshops. I ran between both rooms throughout the morning not wanting to miss a thing. While one room had a free form movement class, which our US Embassy Cultural Affairs Specialist Kanchalee (Kelly) danced along while translating; the other room worked in smaller groups creating a phrase based on the movements of an animal selected by the group. When we came together it was a spontaneous show and tell of what each group had learned with both classes trying to learn the other’s moves. The positive energy in the space was contagious, you couldn’t help but let go of everything and none of us wanted to leave the moment. After many photos and then tea and snacks we had to leave as there were 3 more workshops to lead later that day.

Stephen Petronio Company with participants following a movement workshop at  Yardfon Vocational Rehabilitation Center.

This is only a small glimpse as the many highlights from the tour, it doesn’t include the food, going to the hospital in 3 out of 6 cities in 2 different countries, the cultural performances we attended, the amazing performers we shared the stage with in Thailand and Vietnam, cleaning the Marley dance floor in Mahasarakham (I still hold my promise to the American Corner students at Mahasarakham and Laila of the US Embassy that next time we see each other I won’t make them clean), the amusement parks we stumbled upon in Vietnam, the food, the amazing production managers Cindy and Nat in Singapore whom the dancers told me were the Singaporean versions of myself, celebrating one of our dancer’s birthdays, all of the workshop participants and organizations who opened their doors, how close we all became for sharing this unique experience, and did I mention the FOOD!

It was while I was in Singapore that I found out DanceMotion USASM staffing was shifting and that the Project Manager position would be open. I knew this was something that I had to pursue as my connection to the work being done through the program was so strong.  Throughout the beginning stages of my time adjusting to the role of Project Manager I learned a lot about the history of the DanceMotion USASM program, what other residencies looked like, dance diplomacy, BAM and the US Department of State. The deep history of using the arts as a form of cultural diplomacy by the US government is extremely interesting. I felt a need to help continue the legacy of mutual understanding and highlighting that the arts can make a powerful difference.

The first event I took part in as Project Manager of the program was the Follow-On Professional Development Program in Season 6. This was a program that I wasn’t particularly familiar with, but I became quickly attached. The program targets young artists and arts managers who are trying to take that next step in their respective organizations and/or careers. Bringing together these young artists and arts managers from the US and countries that were visited by the DMUSA residency tours for professional development classes and creative time is a special way to create a bond. It is our hope that these bonds lead to continued professional relationships even after the artists have returned to their respective parts of the world. Being able to look at the up-coming artist community here in NY and select artists to have that same feeling of hope and understanding that I felt on my residency made this even more special. 

By happenstance, one of the international artists from Tunis, Tunisia, who participated in the program, was already working with a company member she had met during the Season 6 residency exchange in Tunisia. They were working to bring the American dancer’s own company, Schoen Movement Company, to Tunisia to collaborate for 2 weeks with local Tunisian dancers to create a new work. I was lucky enough to be able to help ensure this collaboration would be seen widely through a livestream of the presentation. Being in Tunis for this opened my eyes further to the collaborative process and mutual understanding between two groups of dancers all coming from different places, training mechanisms, and even styles of movement.  

As the program comes to a close, I think back to all of the exchanges that were created. The program has visited a total of 56 countries and I have been fortunate to have traveled to 7 on behalf of the program. I know I can speak for so many when I say participating in this program has changed how I approach and think about situations. While the arts may not have the exact solution for global and political issues and/or conflicts, it can help both foreign and domestic individuals, to see how the general public lives, creates, and thinks highlighting that we are all looking for the same things out of life. I say thank you, gracias, merci, shukraan jazilaan, cảm ơn bạn, khàwp khun khâ to DanceMotion USASM and here’s to incorporating what I have learned in an effort to create change and make a positive future.

Meghan Rose Murphy in Astana, Kazakhstan during an advance planning trip

[dancemotionusa]

A Step Up

Written by: Kyle Marshall

My week at BAM for the DanceMotion USA℠ Professional Development Program will change the course of my dance making. I was introduced to so many dance artist and entrepreneurs from New York and all over the world including; Colombia, Russia, Peru, Kazakhstan, and Korea! We run dance companies, own studios, are students in universities, teachers, and community organizers. Our training ran the spectrum of classical Indian dance, Contact Improvisation, and even Kazakh folk dance. Our masterclasses with Michelle Boulé and Seán Curran untied us as a dance body. Our Creative Capital professional development classes introduced me to whole new frameworks for understanding what my dance organize is and could be.  We received feedback on our public speaking, company websites, and grant writing. We were encouraged to write down goals we had for the next 2, 5, and 10 years of our lives. In my one-on-one sessions with my artist mentors, I was able to ask deep personal questions regarding my work and how to navigate the world of presenters and producers. And of course, we all thought of ways to build a better life/work balance and foster self-care. DanceMotion USA℠ has led me to think boldly about my future in dance. I see the potential of creative exchange as a powerful tool for diplomacy and peace. I know these relationships are only beginning to blossom. I am excited to see how one short week can change the trajectory of a career in dance.