Building Meaningful Cultural Exchanges Through Chinese Dance – A Case of Hong Kong Dance Company

ABSTRACTThis article focuses on the pioneer generation of amateur Chinese dancers in the People's Association Dance Company and the National Dance Company, who mark the emergence of Singaporean Chinese dance in the public sphere during the 1960s and 1970s. Relying mainly on primary sources, I analyze the development of Singaporean Chinese dance, showing how Chinese dance as a hybrid cultural form is constituted through the actions of the ruling elite and individual efforts. The rise of amateur Chinese dance can be seen as an outcome of a politicized node of fusion and interaction. Discussion focuses on three aspects of the development: (1) cultural policy that served the ideology of nation building, (2) the lack of state funding for dance, and (3) the slow accumulation of cultural capital by Singaporean Chinese dance practitioners.

This study investigates opportunities for and challenges faced by Chinese dance and movement educators at the higher education level in the United States, drawing from interviews with seven influential Chinese dance and movement academics. The article probes the boundaries of what is considered Chinese dance in the US context, including Chinese interdisciplinary xiqu (often mistranslated as Chinese opera) and martial arts. Background information gathered from US dance and theater departments indicates the lack of Chinese dance and movement courses overall and describes the common formats for including these forms in higher education curricula. The interview discussion highlights the navigation involved in teaching Chinese dance and movement in the United States via four major categories: Institutional, Curricular, Pedagogical, and Cultural issues.

Chinese dance, rooted in a diverse cultural heritage, encompasses various styles reflecting the traditions of different ethnic groups in China. Among these, Dai Ethnic Folk Dance, originating from the Dai people of southwestern China, is notable for its intricate movements, vibrant costumes, and rhythmic music. As a means of preserving cultural identity and fostering community cohesion, Dai Ethnic Folk Dance plays a significant role in Dai cultural expression, particularly during festive occasions and traditional ceremonies. With China's modernization and globalization, there is a growing interest in blending traditional dance forms with contemporary artistic expressions, presenting an opportunity to revitalize ethnic dance traditions while stimulating creativity in Chinese dance. This research investigates the integration of Dai Ethnic Folk Dance into contemporary choreography, focusing on practitioners' perceptions and approaches to this fusion. Through qualitative interviews with students and teachers from Chinese dance programs at prominent universities, this study explores the implications of incorporating Dai Ethnic Folk Dance into modern dance practices. Findings reveal a shared belief in the potential for blending traditional Dai dance elements with modern choreographic techniques, enriching the Chinese dance landscape and promoting intercultural dialogue. Recommendations include incorporating Dai Ethnic Folk Dance into dance curriculum, fostering interdisciplinary collaborations, and promoting awareness of Dai culture and dance traditions.

Chinese dance is part of the world cultural heritage. This study aims to consider the opinion of respondents who have not studied Chinese dance directly, and thus obtain new data on the attitude to Chinese dance culture among the young generation of students of higher educational institutions. A total of 500 fourth-year students participated in the survey. The issue of the intercultural perspective of dance education in China is solved through cultural cooperation between Chinese universities through lectures on Chinese culture, thematic events and the arrangement of dance classes. Studying the introduction of Chinese dance to young up-to-date students should contribute to the formation of tolerance of other cultures, aesthetic education, and humanization of interpersonal relations, the development of mutual understanding between peoples. Despite the modern realities of modernization and acceleration of cultural development, Chinese traditional dance contributes to the preservation of past traditions and cultural identity, as well as strengthening social cohesion. According to the results obtained, 43% of students are interested in other cultures. In addition, 7% of respondents believe that Chinese dance is boring while 93% treat it positively considering it to be bright and colorful.

The use of martial arts in Japan’s cultural diplomacy, as well as the history of Japanese martial arts in Norway, remain underexplored. Despite its peripheral status in Japan’s cultural diplomacy, Japan actively influenced Norwegian judo from 1945 to 1980 by dispatching instructors and ‘goodwill’ judo delegations to Europe. These visits aimed not only to promote judo but also to align the international development of judo with Japan’s own martial arts discourse and cultural diplomacy strategies. In 1965 and 1968 the delegations worked to cement judo’s status as a modern Olympic sport while reinforcing the image of ‘New Japan’ – a nation that is peaceful, democratic and economically strong. In 1979 and 1980 similar delegations sought to secure a Japanese presidency in the International Judo Federation, while highlighting judo’s traditional cultural roots as a form of self-defence and character development. This discursive shift paralleled Japan’s economic rise and the growth of nihonjinron – a discourse affirming Japan’s unique culture. The Norwegian judo community adopted the sports discourse, but largely rejected the orientalised nihonjinron discourse.

Images of music and dance on the frescoes in Dunhuang are a valuable legacy of ancient Chinese culture. The complexity of studying Dunhuang fresco painting and translating its elements into the language of the body lies in a comprehensive analysis of dance art, which captured the influence of religion, as well as the development and evolution of Chinese dance as a result of the exchange and fusion of Chinese and European cultures. Since the second half of the 20th century, modern dance artists, choreographers, and educators in China have returned to the history of Dunhuang dances. Currently, the deepening of the problematic is happening both along the line of identifying the connection between the historical past of Dunhuang and in the area of analyzing the foundations of multiculturalism. The aim of this study is to identify the reasons and show the specifics of the stages of the formation of Dunhuang dance as a phenomenon of cultural and artistic transformation. The work clarifies the methodology for the development of Dunhuang dance, which constitutes the scientific novelty of the study. The author theorizes the connection between the images of the Dunhuang frescoes and the plastic language of modern Chinese dance theater. For the first time, the importance of three historical stages in the formation of the expressive means of the traditional Dunhuang dance style is emphasized for art history. This approach, on the one hand, introduces a new subject of study for the visual reconstruction of Dunhuang choreography, and, on the other hand, its scenic integration into ballet art. The author's translation of texts from scientific, popular science, and artistic Chinese literature is included in the field of art historical research for the first time. On this basis, an analysis of the choreographic methods and approaches taught by the Soviet ballet master and educator P. A. Gusev in China and which were used to create the folk dance drama "Silk Road, Flowers Rain" was conducted. As a result, in this study, the ballet "Dunhuang" is defined as a representative form of synthesis: a) traditional Chinese art and b) classical ballet - for the first time on the basis of adapting historical evidence, scientific and artistic approaches of Chinese scientists for Russian art history in the field of choreographic education, culture and art.

This paper studies how the movement elements of Chinese dance are integrated into sports dance, and discusses the path of integration. By analyzing the characteristics of traditional Chinese dance and the requirements of sports dance, it is found that there is a certain fit between the two. In the context of cultural inheritance and innovation, this article proposes some feasible paths, including cultivating the cross-domain ability of dance coaches and athletes, strengthening the cross-integration of dance and physical education, and promoting innovative dance creation. These paths are expected to promote the better integration of Chinese dance movement elements in sports dance, and provide new ideas and methods for the development of Chinese sports dance.

Purpose – The study presents an in-depth investigation into the industrialization pathways of dance, with a focus on the promotion of Chinese dance textbooks, as a symbol of cultural exchange in the era of globalization. The aim is to explore the potential and methods of industrializing dance while emphasizing its significance for the dissemination of Chinese culture. Design/Methodology/Approach – The paper examines the intersection of artistic creation and commercial operation, proposing a strategy that harmonizes the two through the inductive summary of practical bases and rational thinking, accompanied by forward-looking speculation. It discusses the critical role of Chinese dance textbook promotion in the industrialization of dance and sets specific developmental goals over different periods: short-term (2 years), medium-term (10 years), and long-term (20 years). Findings – By setting stage-specific targets for the dissemination of Chinese dance textbooks, this research not only offers a practical guide to the industrialization of dance but also proposes beneficial strategies and insights for promoting Chinese dance culture. The study articulates detailed promotional strategies across various spectrums like market expansion, unique selling propositions, enrollment diversification, and performance marketing, aiming to widen the influence of Chinese dance textbooks effectively. Research Implications – This paper enriches the theoretical and practical understanding of dance industrialization. By emphasizing Chinese dance as an integral component of Chinese culture, the study advocates for dance education and industrial models, contributing to the diversification of global cultural development. It also anticipates the prospective landscape of promoting Chinese dance textbooks and cultural propagation through industrialization.

of the Chinese Folk Dance Association in San Francisco and a solo dancer of the East/West Dance Company in Boston. She has also helped these groups to organize demonstration workshops for local communities. Ruth Yee’s research interest is in Chinese music in gender context. In 1994 she published a two-part review article on the definitions of Chinese folk songs in

Cultural diplomacy plays a pivotal role in international relations, enabling states to project their soft power and shape their global image. This paper explores the current state of Moroccan cultural diplomacy, highlighting the need to go beyond official approaches and embrace unofficial cultural diplomacy. While extensive research exists on official cultural diplomacy, little attention has been given to the contribution of Moroccan study-abroad students in bolstering their country's cultural diplomacy and soft power. More specifically, this paper argues that Morocco's cultural diplomacy is primarily politically oriented and institutionally based, relying heavily on the monarchy and the Ministry of Foreign Affairs. The strategic utilization of Morocco's cultural and religious heritage and diaspora politics showcases the government's efforts to secure its regional and global influence. However, these initiatives are largely driven by official institutions and lack the involvement of ordinary citizens. By examining the limitations of official cultural diplomacy, this paper argues for the inclusion of Moroccan study-abroad students as unofficial ambassadors in the service of their country’s cultural diplomacy. Drawing inspiration from successful examples of unofficial diplomacy, this paper advocates for the active participation of Moroccan study-abroad students as unofficial cultural ambassadors. Their unique perspectives, connections, and grassroots status can offer valuable contributions that official diplomats may not possess. This research paper contends that Moroccan study-abroad students have many resources of power that qualify them to leverage their country’s cultural diplomacy. These resources are informality and grassroots engagement, volunteering and community service, and the power of the virtual sphere. By utilizing these power resources, these students have the potential to foster cross-cultural understanding, build relationships, and enhance Morocco's soft power. In conclusion, this paper highlights the need for a paradigm shift in Morocco's cultural diplomacy, advocating for a combination of both official and unofficial cultural diplomacies.

Reviewed by: Terracotta Warriors Jr. Kevin J. Wetmore Terracotta Warriors. Written, produced, and directed by Dennis K. Law, MD. Cerritos Center for the Performing Arts, Los Angeles, California. 23 September 2006. Terracotta Warriors, which tells the story of emperor Qin Shi Huang (259–210 bce), who united China and was buried with seven thousand terracotta warriors, is a "World Premiere Action Musical" (information and descriptive quotations are all taken from the Terracotta Warriors program). The production first premiered 29 May 2002 at the Centre in Vancouver for Performing Arts in Canada, and has been touring ever since. Its creator, Dennis K. Law, MD, claims that it is fusion Chinese theatre, but the reality is more complex. The production features both original Western and Chinese music, composed by Hao Wei Ya, combining recorded music with live singing and percussion, Western and Chinese dance (for example, in one scene, a ballet is performed side-by-side with a traditional water sleeve dance), and Western and Chinese theatre techniques. The original project was a Chinese-Canadian production, conceived, written, and directed by Law, who oversaw every single aspect of production. Law was a surgeon in Denver, Colorado, who retired, bought the Centre in Vancouver for the Performing Arts, and developed three action musicals: Tang Concubines, Of Heaven and Earth, and, of course, the production under review here. Law is the inventor of the "action musical," a term he coined and which the program defines as "the most sophisticated combination of human movement ever put on stage!" The action musical is designed to appeal to Broadway [End Page 169] audiences, but uses both Chinese and Western movement techniques, dwelling on "the technical virtuosity and expression of the human body" over "acting ability, comedic qualities, and pleasing western tunes." Terracotta Warriors is an episodic musical in twenty-four scenes. Beginning with the defeat of the Qi army by Qui Shi Huang, who is then crowned emperor of a unified China, the audience is shown a variety of often unrelated scenes. Episodes range from the selection of Meng Ying as the emperor's concubine; to the unification of currency, measures, and irrigation systems; to the exposure of conspiracies to assassinate Qui; to the affair of Meng Ying with her original fiancé (Yang Ming); to the arrival of Qui into the afterlife with his army of terracotta warriors. The actual appearance of the terracotta warriors figurines for which Qui is known (due to their inclusion in his tomb) is anticlimactic at best. Most of the warriors are painted on a backdrop and the rest, a squad of perhaps two dozen, marching out of step at this performance, seemed small and uninspiring. It reminded me of Shakespeare's apologies in Henry V, asking pardon for attempting to represent something huge on a paltry stage and requesting the audience "into a thousand parts divide one man" (prologue, 1.24). Given these warriors are the titular characters, it is remarkable that they appear only in the last five minutes of a three-hour performance, and their sole purpose is to march in place. The action musical in general and Terracotta Warriors in particular is fusion theatre for a fusion audience, a blend of Chinese expatriates, martial arts film aficionados, Chinese theatre enthusiasts, and musical fans of many different ethnicities and socioeconomic backgrounds. Law said to Lynne Heffley in an 18 September interview for the Los Angles Times, "I decided to use my Western perspective and take the fantastic elements of Chinese musical theatrical arts and weave them together in a way that can be appreciated by international audiences and doesn't depend on language being translated" (2006: E3). To that end, there is no dialogue. While the concept of a fusion theatre not rooted in spoken language is not original to Law, the production also features Chinese and English subtitles on electronic light boards to the sides of the stage, which translate the songs and summarizes the action. The production thus never escapes the dominance of language. The action itself is so stylized as to make following the narrative difficult unless one follows the subtitles or the program. The production seems much more a historical pageant than narrative dance-drama...

As China’s economy soars, Chinese culture becomes prevalent in the planet. But one of the traditional culture is underrepresented, it’s Chinese classical dance. The Chinese classical dance culture established on the five-thousand-year-old foundation with charm and mystery beyond imagination. It’s time to break the silence around the national condition of our traditional dance culture, now I put some opinions on the development of Chinese classical dance.

This paper explores the fusion of modern dance and traditional dance, focusing on how this integration maintains a balance between innovation and heritage. The study begins by examining the historical context and cultural significance of traditional dance, emphasizing its role in preserving cultural identity across different societies. It then analyzes the evolution of modern dance and its growing incorporation of traditional elements, resulting in hybrid dance forms that reflect both innovation and tradition. The paper highlights case studies of renowned choreographers and dance companies who have successfully merged these two dance styles, showcasing the potential for creativity and cultural preservation in their works. Additionally, the paper addresses the challenges of preserving authenticity while embracing modernity and explores the role of technology and cross-cultural exchange in dance fusion. Finally, it considers the future directions of dance fusion, exploring how technology and globalization may continue to shape the evolution of dance forms in the 21st century.

Many multinational corporations use their corporate brand to endorse their products but thereby attract international consumers differently. Therefore, it is important to analyze whether corporations profit from endorsed branding strategies across nations or whether they must rely on country-specific factors. The authors propose a theory-based framework and apply multilevel mediation structural equation modeling with cross-level interactions to analyze the typical direct and indirect effects of global corporate brand image and global product brand image on product purchase intention across nations. The authors rely on hierarchical data from 7660 consumer evaluations of a multinational corporation’s global corporate and product brands in 35 countries. Importantly, the results provide insights into country-specific moderators, i.e., the degree of country development and national culture, and the respective country portfolio. They further contribute to the application of theory and show a positive indirect effect of global corporate brand image on product purchase intention via global product brand image across nations. Additionally, a positive, although weaker, direct effect of global corporate brand image on product purchase intention is found. However, the degree of country development and national culture moderate both effects differently. This study provides new theoretical implications and shows that a country portfolio offers concrete hints for managers.

Purpose: The purpose of this article was to role of homestay tourism in enhancing cultural exchange in coastal Kenya Methodology: This study adopted a desk methodology. A desk study research design is commonly known as secondary data collection. This is basically collecting data from existing resources preferably because of its low cost advantage as compared to a field research. Our current study looked into already published studies and reports as the data was easily accessed through online journals and libraries. Findings: The study found that homestay tourism significantly strengthens direct interactions between tourists and host families, allowing visitors to experience authentic aspects of life in coastal Kenya. Through shared daily routines, guests gained a deeper appreciation of local traditions, including cuisine, language, and cultural practices. Homestay hosts also benefited from the exchanges, noting that they acquired fresh perspectives and knowledge from their visitors. The findings further showed that organized cultural activities such as storytelling, traditional dances, and craft demonstrations enhanced visitors’ understanding of coastal heritage. Overall, the research concluded that homestay tourism is an effective avenue for fostering meaningful cultural exchange, promoting mutual respect, and supporting the preservation of coastal Kenya’s cultural identity. Unique Contribution to Theory, Practice and Policy: Social Exchange Theory, Contact Hypothesis and Theory of Cultural Authenticity may be used to anchor future studies on Role of Homestay Tourism in Enhancing Cultural Exchange in Coastal Kenya. For homestay operators and associations, enhancing authentic exchange requires moving from ad-hoc hosting to a deliberate, professionally supported "Cultural Exchange Management" system. County and national governments must transition from regulating homestays solely as accommodation providers to recognizing and incentivizing their role as Critical Infrastructure for Intangible Cultural Heritage (ICH) Safeguarding.