Abstract:

This autoethnographic research article delves into the intricate realm of Chinese contemporary dance practice and pedagogy in the United States, particularly within higher education. Through my journey as a Chinese international student turned dance professor, the article explores the multifaceted challenges and transformative experiences I encountered. The narrative revisits pivotal moments where my identity was scrutinized and my academic pursuits questioned, such as when I was told "all Chinese dancers move the same" or faced reservations about my focus on Chinese contemporary dance pedagogy. These experiences, along with comments questioning my authenticity like being "not Chinese enough," are analyzed to reveal the complexities of cross-cultural exchange, identity, and representation within United States dance academia. By intertwining personal narratives with scholarly reflection, this article contributes to the ongoing discourse on inclusivity in dance studies. It underscores the critical need to embrace cultural identity and challenge stereotypes in the pursuit of a more diverse and inclusive dance education. Furthermore, it aligns these personal experiences with the evolution of modern and contemporary dance as movements that have historically championed artistic freedom, individuality, and innovation. Ultimately, this autoethnography serves as both a call to action and an exploration of the broader implications of cultural diversity in the dance world. It urges educators, institutions, and students to create safer and more inclusive environments, contemplating the transformative power of cross-cultural dance exchange and its potential to enrich the landscape of dance education in the United States.

Introduction

Dance education embodies the transformative potential of movement, transcending physical, cultural, and pedagogical boundaries. This autoethnographic journey delves into the world of Chinese contemporary dance, examining its practice and pedagogy in the United States, particularly within higher education. My narrative spans continents and academic milestones, revealing a personal and scholarly odyssey, from a Chinese international student to a dance professor, driven by a quest for inclusivity and understanding.

The evolution of dance as an art form challenges convention, liberating the human body from traditional constraints and emphasizing the deep connection between natural movement and artistic expression. Modern and contemporary dance movements emerged as powerful reactions against established norms, fostering individuality, experimentation, and emotional depth. They provide a platform for diversity and innovation. Yet, within this dynamic dance landscape, questions of identity, representation, and inclusivity in academic studies of dance persist. Drawing from personal experiences, including comments such as "all Chinese dancers move the same" encountered during undergraduate studies and reservations expressed by a faculty member about my research into Chinese contemporary dance pedagogy, this article embarks on a reflective journey.

During graduate school, I started a research project focused on the pedagogy of Chinese contemporary dance techniques in the United States. A professor, who is not of Asian descent, expressed concerns about the research direction, fearing it would disrespect my culture and history. This faculty made assumptions and did not realize that my connection to Chinese culture runs deep within me, and my movement research is a source of pride and personal significance. On another occasion, a different professor made the comment that my dancing was "not Chinese enough" while doing a head-side-to-side isolation motion, indicating their preconceived assumptions about what Chinese dance should look like. These experiences underscored the complex challenges of navigating questions of identity, representation, and cultural stereotyping as a dancer and scholar from a minority background.

In the pages that follow, I want to contribute to the ongoing discourse on inclusivity in dance studies by intertwining personal narratives with scholarly reflection. I underscore the importance of embracing one's cultural identity and challenging stereotypes in the pursuit of a more diverse and inclusive dance education. Furthermore, I align these personal experiences with the evolution of modern and contemporary dance as revolutionary movements that have historically championed artistic freedom, individuality, and innovation.

Contextualizing Cross-Cultural Exchange in Dance

Modern and Contemporary Dance

The evolution of modern and contemporary dance represents a revolutionary transformation within the realm of movement and artistic expression. Modern dance, spearheaded by trailblazing figures such as Isadora Duncan and Martha Graham, emerged in the late 19th and early 20th centuries as a powerful reaction against classical ballet's formal and rigid confines (Cohen and Matheson 1992).

Building upon the foundations laid by modern dance, contemporary dance further pushed the boundaries of artistic freedom and innovation. Emerging in the mid-20th century, contemporary dance rejected strict conventions and became a platform for choreographers to blend diverse influences, styles, and techniques (Cohen and Matheson 1992). This revolutionary approach to movement artistry encouraged choreographers and dancers to explore unconventional narratives, experiment with new forms, and engage with multidisciplinary collaborations. It transformed the concept of dance into a dynamic and constantly evolving art form, where boundaries between dance, theater, music, and visual arts blur. Contemporary dance embodies the spirit of artistic revolution by challenging preconceived notions of what dance can be and how it can engage with the contemporary world.

In SanSan Kwan's article titled “When is Contemporary Dance?,” she delves into the ongoing debate and ambiguity surrounding the terms “modern” and “contemporary” within the context of dance. The term “contemporary” inherently carries a temporal element, signifying dance that exists “in the present moment.” Therefore, the challenge lies in aligning the concept of “contemporary” with specific aesthetic considerations while recognizing it as a dance form that is continually evolving. The complexity arises from the dual interpretation of contemporaneity, where it is often narrowly associated with a specific stylistic definition of what qualifies as contemporary dance. This approach runs the risk of excluding artists whose work deviates from the established contemporary definition, potentially isolating them from their artistic peers (Fabian as cited in Kwan 2017, 39).

Furthermore, Kwan argues that this issue carries a racial and ethnic dimension, drawing attention to the predominance of Euro-American artists in contemporary dance. As she pointedly questions, "Contemporary dance is dominated by Euro-American artists. Are artists who do not fit the prescribed style then not 'contemporary'?" (Kwan 2017, 39). This underscores the complexity of categorizing and defining dance styles based on aesthetics or associating them with specific historical periods, with cultural and political factors adding layers of intricacy to these classifications. It’s crucial to note that the omission of contemporary dancers from the global majority within the Euro-American “canon” necessitates a radical reevaluation of the “canon” to accurately reflect and instruct on global contemporary dance practices.

Caroline Joan S. Picart writes in her book, Critical Race Theory and Copyright in American Dance: Whiteness as Status Property, that this movement was still “dominated by white choreographers who drew from Black and non-Western sources without proper acknowledgement or compensation” (Picart 2013, 193). Copyright law at the time reinforced the notion of “whiteness as property” by making it easier for white dancers/choreographers to claim legal ownership over styles they popularized but did not necessarily invent (Picart 2013, 193).

Contemporary dance art is an open and inclusive form of art. It does not establish specific aesthetic judgment standards or rigid developmental rules. Instead, it continually incorporates new artistic elements in its language, fostering a more diverse artistic style. The concepts of culture, art, and life within contemporary and modern dance are unconventional yet beautiful, prompting deep reflection (Wei 2023, 61).

The birth of modern and contemporary dance was, in itself, a remarkable cross-cultural exchange experience that drew influences from various cultures and marked a profound departure from the constraints of classical ballet. Early modern dance pioneers like Martha Graham and Ruth Denis sought inspiration from diverse cultural sources, incorporating movements and themes from ancient Greece, India, East Asia, and beyond. This liberation from the strictures of ballet allowed for artistic freedom, individual expression, and experimentation.

Martha Graham, one of the most influential figures in the history of modern dance, drew inspiration from various sources, including Asian culture, to shape her innovative approach to dance (Dang 2016.) While Graham’s work is often associated with the development of the modern dance of the United States, her artistic exploration extended far beyond Western boundaries. She was drawn to the spiritual and philosophical underpinnings of Asian traditions, which resonated with her desire to use dance to express deeply and explore the human condition.

In 1923, she embarked on the journey of creating her distinct movement method, pioneering innovations, and amalgamating both American and Asian influences to shape her unique dance voices (Dang 2016). Her willingness to integrate elements from outside the Western tradition demonstrates her artistic vision's global and cross-cultural nature, contributing to the rich tapestry of modern dance and its ongoing evolution.

While modern dance shattered traditional norms and provided a platform for individuality, experimentation, and emotional depth, the racial dimensions of its development and practices deserve examination. As Picart argues through a Critical Race Theory lens, the erasure of Black innovators and the denial of their economic rights to dances originating from their communities perpetuated the invisibility of whiteness as a property right (Picart 2013, 193). This history underscores the complexities of categorizing and defining dance styles based on aesthetics alone, without regard for cultural and political factors.In Choreographing Copyright: Race, Gender, and Intellectual Property Rights in American Dance, Anthea Kraut details how white modern choreographers frequently appropriated styles originating from Black communities and other cultures without proper acknowledgement or compensation (Kraut, 2015). Kraut analyzes how U.S. copyright law at the time reinforced the erasure of Black innovators and denied them economic rights over dances influenced by their communities (Kraut, 2015).

However, it is worth noting that my journey of incorporating Chinese dance elements into contemporary dance techniques, as highlighted by my past experiences during graduate school, also represents a cross-cultural exchange reminiscent of the genre of contemporary dance’s origins.

In this context, concerns a professor raises about disrespecting Chinese culture and history serve as a poignant reminder of the complexities in navigating the fine line between cultural appropriation and the genuine desire to honor one's cultural heritage through innovative movement research. The professor’s reservations about incorporating Chinese dance elements into my choreography project revealed an outdated and narrow conception of authenticity that needed to recognize the globally diverse nature and interconnected history of the art form. This discounted contemporary dance's roots in hybridization and cultural exchange over time. It also dismissed my lived experience and perspective as a Chinese dancer empowered to represent my cultural traditions on my own terms. A broader, more progressive view of authenticity in contemporary dance acknowledges it as an innovative genre that enables diverse cultural voices and lineages to merge authentically into new creative works. For the field to become truly inclusive, cultural insiders must be trusted as authorities on representations of their own inheritances, not judged by superficial assumptions of inappropriate appropriation or disrespect.

Navigating the delicate line between cultural appreciation and appropriation is an ongoing discussion within the world of dance. All too often, the field suffers from a subtle yet pervasive "white savior complex" where non-minority artists and educators feel entitled to define what is considered an authentic or appropriate representation of other cultures. This was evident in the professor's assumption that my research into Chinese contemporary dance techniques needed protecting from potential disrespect, without recognizing me as the authority on my own cultural heritage. The white savior mentality promotes the flawed logic that ethnic cultures require saviors of white backgrounds to preserve and interpret them, rather than empowering cultural insiders as agents of their own traditions.

White saviorism fails to acknowledge the nuanced relationships between cultures that emerge organically through collaborative exchange over time. As a Chinese artist, I have strived to honor the foundations of my cultural practices while innovating new hybrid forms. Simultaneously, my artistry and agency were questioned or deemed inauthentic through a narrow lens of appropriation that discounts lived cross-cultural realities. Moving forward, the field must center minority voices and cultural humility, and recognize dance as a continually evolving medium without imposed limitations.

In examining the cross-cultural exchange within contemporary dance, Sweating Saris: Indian Dance as Transnational Labor (Srinivasan 2011) is particularly illuminating. Srinivasan delves into the embodied histories and migratory experiences of Indian dancers, bringing focus on the complexities of cultural representation and the performative labor of dance. Her analysis underscores the importance of understanding dance not only as an art form but also as a site of cultural and historical negotiation. This perspective aligns with the ongoing discussions about the intersection of tradition and modernity in contemporary dance and highlights the necessity of acknowledging diverse cultural contributions within the global dance landscape (Srinivasan 2011).

This process underscores the cyclical nature of cross-cultural exchanges within contemporary dance, where traditions from around the world continue to enrich the art form while demanding thoughtful and respectful engagement. Artists worldwide are allowed to engage in contemporary dance and express themselves, whether it’s inner or outer, cultural or personal, abstract or narrative, without the limitations "whiteness" imposes.

History, Artistic Evolution, and Transformation of Chinese Contemporary Dance

Before delving into the history of Chinese modern and contemporary dance, it’s important to clarify the potential confusion; I'm specifically discussing Chinese contemporary dance, not contemporary Chinese dance.

Chinese contemporary dance, marked by the "Chinese" modifier, is a form of contemporary dance deeply rooted in the realm of Chinese dance art –  in short, contemporary dance in China or by Chinese people. In contrast, contemporary Chinese dance signifies a modern interpretation of traditional Chinese dance within the context of today's society. In simpler terms, it’s a creative approach to Chinese dance that adapts it to modern sensibilities, offering a fresh perspective in today’s world.

The birth of Chinese modern dance can be traced back to 1936, a pivotal year when Xiaobang Wu, a visionary artist, drew inspiration from the Duncan technique, introducing the essence of modern dance into his creations (Liu 2016). This period coincided with the turmoil of the Second Sino-Japanese War within the broader context of World War II, providing a backdrop of profound political and wartime circumstances. Wu ingeniously fused Western modern dance techniques with the socio-political landscape of China at that time and created a repertoire of dance pieces that poignantly represented the prevailing realities. This approach served as fertile ground for the growth of modern dance in China. In 1941, Xiaobang Wu, along with fellow artists Ailian Dai and Jie Sheng, collaborated to create a groundbreaking dance performance in this unique style. This historic collaboration earned them the esteemed title of Pioneers of “New Dance” in China (Liu 2021).

In a tumultuous era of history, China faced some of its darkest moments, with its people navigating through significant historical events like World War II, the Chinese Civil War, and later, the sociopolitical upheaval of the Great Cultural Revolution, which cast a shadow over the nation for more than a decade. During these turbulent times, the arts struggled to find a foothold for development. However, a turning point arrived in 1978 when China embarked on a path of economic reform, opening its doors to the world. This pivotal moment reignited the spark of modern dance in China (Zhu 2018).

In 1986, a significant milestone was reached with the establishment of the first modern dance program at the Guangdong Dance School, eventually giving rise to the Guangdong Modern Dance Company (GMDC), marking a resurgence in creative expression (Liu 2016). The momentum continued to build with the emergence of groundbreaking institutions such as the Beijing Modern Dance Company in 1995, followed by the establishment of the first private modern dance company, the Shanghai Jin Xing Dance Company, in 1999. Then in 2005, BeijingDance / LDTX further enriched the contemporary dance landscape (Liu 2021).

Modern and contemporary dance in China boasts a nearly century-long history characterized by its resilience through ups and downs, shaped by cultural collisions and exchanges, reflecting the ever-evolving spirit of Chinese society. This remarkable journey mirrors the resilience of the people and the nation itself, as it embraces its artistic heritage while forging ahead into the future.

Postcolonialism in China, arising from its historical experience of oppressive colonization, particularly by Western powers, has played a pivotal role in kindling a renewed sense of cultural identity and nationalism. In China, postcolonial sensibilities have significantly impacted the trajectory of dance development. Throughout the 19th and into the early 20th centuries, China endured oppressive colonization and domination by Western imperial powers seeking political and economic control. This traumatic experience stirred a renewed imperative to assert Chinese cultural sovereignty and independence on its own terms (Spivak 1988).

Within this transformative landscape, Chinese artists, including those immersed in the world of dance, embarked on a deliberate mission to reestablish and vigorously affirm their unique cultural heritage and artistic expressions. This collective effort emerged as a potent means of staunchly resisting the pervasive influences of Western imperialism and colonialism.

This cultural renaissance bore witness to a remarkable resurgence in traditional Chinese art forms, carefully preserving the essence of Chineseness. Notably, classical dance styles underwent an intricate process of reinterpretation and rejuvenation, breathing new life into time-honored traditions. Kefen Wang is a former dance professor at both the Shanghai Dance Academy and the Central Academy of Drama. In his seminal work, "中国舞蹈史" (A History of Chinese Dance), he underscored the paramount importance of infusing Chinese elements into the artistic tapestry. Kefen Wang fervently championed the incorporation of quintessential Chinese traditional elements, such as leaves and folk dances, into the expansive artistic repertoire.

In her book Revolutionary Bodies: Chinese Dance and the Socialist Legacy, Emily Wilcox (2019) provides a comprehensive exploration of how dance in China was utilized as a tool for political and social change during the socialist era. This context is crucial for understanding the evolution of Chinese dance as it highlights the intersection of dance, politics, and cultural identity. Wilcox’s analysis of choreographic developments and innovations during this period offers valuable insights into how Chinese artists navigated political constraints while creatively expressing socialist ideals.

The imperative to repossess artistic ownership over Chinese representations and expressions endured as a defining undercurrent shaping dance evolution under Mao’s socialist policies and continuing into the post-Mao era. Overall, postcolonial sensibilities have enduringly impacted the trajectory of Chinese dance as an indelible manifestation of the nation’s historical experience with colonial domination. Wang’s inclusion of Chinese traditional elements exemplified his unwavering dedication to safeguarding the distinctive characteristics of local culture while maintaining an openness to the influences of the wider world (Wang 1985). Wang’s scholarly contributions underscored the fundamental role of dance culture in the multifaceted processes of artistic development and transformation.

Chinese contemporary dance draws from deep roots while innovating new hybrid forms, distinguished from dance that is contemporary but practiced within China. Cross-cultural exchange is integral to these genres’ identities, but moving forward requires centering minority voices and cultural humility and acknowledging dance as an ever-evolving space for all. Respect, as well as distrust of imposed limitations, will allow traditions worldwide to enrich the field through thoughtful exchange between equals.

When another professor critiqued a head isolation I was demonstrating by telling me it was "not Chinese enough," denying my cultural expression due to their singular narrow interpretation of what constitutes "Chineseness," it was a blatant dismissal of my ethnocultural identity grounded in racism, not a genuine attempt at providing constructive feedback. It’s important to emphasize that Chinese artists shouldn’t be obligated to constantly prove their Chineseness in their work. While acknowledging and respecting the roots of a particular art form is valuable, it’s equally important to recognize the creative freedom that artists possess to innovate and bring fresh perspectives to their work. Contemporary dance, by nature, involves pushing boundaries and exploring new avenues of expression.

The issues of cultural representation and inherent biases raised in this autoethnography relate to Edward Said's seminal work Orientalism (1978). In the book, Said discusses how Western perceptions of Eastern cultures were often imbued with romanticized and exoticized notions of the "Orient." This concept of Orientalism framed Asian cultures in binaries that depicted them as mystical, aesthetically beautiful yet politically threatening “others.” When applied to an understanding of Chinese dance, Said's framework reveals how elements became frozen in Western perceptions as emblems of an inherently foreign “Chineseness.” This promoted narrow, essentializing views that failed to account for cultural evolution and complex lived experiences. As a Chinese dancer, I frequently encountered having my artistic expressions judged according to such Orientalist preconceptions of what constituted authentic Chinese dance. Said’s critiques of the power dynamics in cultural representation are therefore integral to contextualizing the racism and stereotyping I had to navigate throughout this cross-cultural journey.

The evolution of modern and contemporary dance represents a remarkable artistic journey that continues to push boundaries and defy constraints. From its origins as a rebellion against the rigid rules of classical ballet to its ongoing spirit of experimentation and innovation, this art form embodies the human desire for creative freedom and emotional expression. The definitions and classifications of modern, contemporary, and Chinese contemporary dance remain complex and debated, shaped by aesthetic, cultural, and political dimensions.

In the article "Contemporary Chinese Dance: The Interweaving of Tradition and Modernity," Min Zhu (2015) eloquently discusses the term modernism:

Incorporating traditional Chinese dance techniques and movement aesthetics into contemporary dance demonstrates a cultural respect for Chinese culture, philosophy, and history. This integration not only promotes global awareness and appreciation of Chinese dance forms and culture but also safeguards my culture’s significance and prominence. Embracing Chinese influences within the contemporary dance vocabulary allows artists like me to genuinely express our cultural heritage and identity, thereby empowering cultural representation.

My own dance training embodied quintessential Chinese elements through studying various regional folk and classical styles at a performing arts school in China. There, a rigorous pedagogical approach ensured techniques were passed down with cultural integrity. For example, Mongolian dance demanded stretching movements and a slower breathing rhythm, seamlessly incorporating the freedom and grace inherent in the Mongolian people into the choreography (Zhang 2017). Chinese classical dancing imparted grace, beauty and symbolic cultural nuances through its deliberate postures and motions (Tang and Jin 2014). Furthermore, at the core of Chinese classical dance is the concept of shen yun, which embodies graceful, rhythmic movements reflecting beauty, strength, and fluidity. To master shen yun involves understanding the body's energy flow and directing qi through aligned movements driven by breath (Tang and Jin 2014). Applying my knowledge acquired by studying Chinese dance to diverse dance styles deepened my connection to embodied, expressive practice. Shifting from viewing dance as mere physical motions to focusing on shen yun encouraged dance infused with internal rhythm and full body articulation within my own work. My training in Chinese dance deeply influenced my dancing, my way of thinking and of course, my choreographic work.

These foundations grounded me in Chinese dance heritage while cultivating artistry, discipline, and an appreciation for cultural preservation. Even as my studies progressed in the United States into contemporary forms, I drew from this well of traditions. Blending classical roots with innovative techniques allowed honoring cultural practices without limitation. It tied me more deeply to Chinese dance lineages while empowering cross-genre expression. This balanced approach reflected scholars like Kefen Wang who advocated progressive preservation through respectful integration into evolving art forms. My training exemplified how meticulously learning quintessential elements can both honor cultural roots and fuel continual artistry when bridging styles through innovative practice. It fostered my travel along cultural pathways with an artist’s open hands and heart.

Chinese practitioners engage in the pursuit of Chinese contemporary dance and endeavor to disseminate this art form internationally by means of rigorous scholarly investigation. Such endeavors are culturally normative; however, individuals hailing from Western white backgrounds may occasionally misinterpret or misconstrue these efforts as a lack of respect. The fusion of Chinese traditions with contemporary dance enhances the diversity of language and artistic expression within the form, fostering cross-cultural exchange and mutual understanding.

Furthermore, it challenges and transcends narrow stereotypes and exoticized depictions of Chinese culture by presenting a multidimensional perspective through the medium of dance. Approaching this integration with cultural sensitivity enables the next generation of Chinese dancers to forge a meaningful connection to their cultural roots through their artistic practice. As time progresses, the incorporation of Chinese elements in innovative choreographic works will continue to shape and define Chinese contemporary dance as a distinctive art form with its own unique identity.

Contemporary dance persists as an inclusive, ever-evolving art form that crosses cultural boundaries. The early modern dance pioneers were inspired by diverse cultural influences, just as contemporary artists worldwide draw from traditions near and far to enrich their work. In China, the resilience of modern and contemporary dance mirrors the spirit of the society and people. As contemporary dance evolves worldwide, it retains its revolutionary essence – challenging conventions, honoring cultural heritage, and celebrating the beauty of unconstrained movement. Artistic expression is subjective, and diverse perspectives can coexist. I believe through open communication, and understanding, we can foster a more inclusive environment about cultural identity in the dance world.

Pedagogical Reflections and Practice

I had the opportunity to teach a Chinese dance course while pursuing my graduate dance studies at Florida State University. While this afforded me pride in sharing my cultural heritage, there were also challenges that came with representing Chinese dance in this environment. On some occasions, I faced insensitive behaviors from students, such as laughing at movements or mocking aspects of the form that seemed unfamiliar or “exotic” to them. Said’s Orientalism lays indispensable groundwork for examining how Western assumptions and power dynamics shape perceptions of Asian cultures (Said 1978). His work provides historical context for the stereotypes students initially exhibited, as well as my goal of disrupting such misconceptions.

In one unfortunate instance, students even began sexualizing some gestures. These hurtful incidents reinforced the racism and stereotyping I had long navigated, and the specific misogyny reserved for women of Asian descent. These misconceptions manifest complex power dynamics illuminated by postcolonial feminist theory. Spivak (1999) analyzes how colonized women experience layered oppressions through gendered and racialized structures that render them voiceless objects. Her framework talked about how stereotypes permitted my dances and body to become sites for projection of exoticized fantasies, denying cultural context, and positioning me as a silenced subject available for amusement or gratification.

Rather than immediately confronting students, I calmly explained cultural meanings through respectful dialogue. Through patience and open communication, many productive discussions emerged. Citing personal significance helped shift perspectives by humanizing the dances’ deeper importance to me as a Chinese artist. In Autoethnography as Method, Heewon Chang lays out an autoethnographic approach in which sharing personal narratives is a tool for promoting understanding across identities (Chang 2008). Speaking from the heart about what these dances mean to me as a Chinese artist helped students gain perspective on their actions.

Over time, the classroom environment improved as cultural understanding deepened. Influenced by Alexander (2005), I revised learning objectives and policies to cultivate cultural sensitivity, insisting students approach their studies with open and respectful minds, as Alexander advocates through “performance ethnography.”

Thankfully, most exchanges I’ve had with students in these fraught teachable moments have been highly positive. Students have expressed sincere curiosity and appreciation for learning movement qualities unlike their conservatory style training. They took to spiraling shapes and meditative breathing techniques with enthusiasm. Many students found the physical practices surprisingly meditative and talked about feeling relaxed yet energized after class. They appreciated learning methods to center themselves differently than typical Western techniques. During exams, various students shared that learning dance techniques through a cultural lens had been eye opening. They reflected on assumptions challenged through the lessons and how the lessons encouraged viewing dance, and all culture, with a more nuanced perspective. Witnessing students’ pride as they incorporated Chinese elements into their own choreography filled me with joy.

The open discussions in class and reading reviews not only provided students insights into the culture, but also seemed to ignite introspection about their own backgrounds. Teaching Chinese dance appeared to plant seeds for students to cultivate curiosity about their own cultural identities. A few spoke deeply about how the course motivated them to seek elderly relatives to learn more familial dances before those traditions were lost. Witnessing this outcome was profoundly rewarding – students did not just gain new technical skills or cultural awareness, but also seemed to strengthen affirmation of diverse heritages within themselves. The exchange truly went both ways in sparking journeys of cultural belonging.

My journey presently has culminated in joining the dance faculty at the University of Dayton, continuing my role as an educator. I aim to impart my cultural heritage while promoting diversity. In the studio, I discovered pedagogical approaches that nurture cross-cultural understanding. My program director, Dr. Michelle Hayford, has encouraged inclusive dance styles in the program curriculum, thus I have had the opportunity to teach Chinese Jazz, and Chinese contemporary dance techniques, as well as choreographic works that heavily incorporate Asian elements.

Representing my dance roots by teaching Chinese jazz and contemporary forms is a joyful experience. Students eagerly learned unique aesthetics like spiraling spine movements and flowing hand gestures. There were opportunities to explore with different props, such as fans and umbrellas. Witnessing non-Asian individuals appreciate these techniques and aspects filled me with pride in sharing Chinese dance. I curated repertoires highlighting dynamism within Chinese forms. Works displayed regional textures from folk to classical fusions, disrupting notions of a monolithic Chinese culture. Students recognizing the complexity of the choreography mirrored dance’s capacity for exposing our shared complexities beneath surface distinctions. Witnessing students autonomously blending Chinese dance elements into original choreography fostered a sense of mutual belonging through shared celebration of life through dance. Of course, there are challenges too. Corrective feedback required sensitivity to avoid imposing narrow authenticity. I affirmed identities while kindly nudging expansions, as cultural exchange demands continual growth on all sides.

These experiences underscore the importance of a reflective, empathetic approach in teaching culturally specific dance forms. By addressing challenges with theory-driven strategies and fostering open dialogue, I’ve been able to create a more inclusive environment that not only respects but celebrates cultural diversity in dance.

Contemporary Representations of Chinese Contemporary Dance

Gaoyan Jinzi is a notable example of Chinese choreographers expanding representations within Chinese contemporary dance. As artistic director of the Beijing Modern Dance Company, she creates works that blend classical and folk traditions with contemporary dance aesthetics (Zhang 2023). In her dance drama “Twenty-Four Seasonal Terms · Sounds Among the Flowers,” Gaoyan Jinzi drew upon deep cultural roots while innovating the genre. She mentioned that the inspiration for expressing seasonal changes came from animated films, depicting the terms through “the sounds of flowers” with rich costumes and multimedia elements. By interpreting the traditional seasonal calendar through fantastical portrayals of nature, Gaoyan Jinzi brought an imaginative visual style resembling animation. She seamlessly wove classical dance vocabulary into fluid contemporary choreography (Zhang 2023).

Gaoyan Jinzi also incorporated rock music, selecting a song by Chinese rock musician Cui Jian for the finale,blending popular and classical genres to represent “the rock spirit and rhythm” of resilience (Zhang 2023). Through her dynamic fusion of techniques, she demonstrated how contemporary choreographers can hybridize Chinese traditions within innovative frameworks. Her discussion of creative processes provides insights for artists advancing representation of ethnic roots through contemporary dance. More diversity is still needed in dance leadership and programming (Zhang 2023).

Shen Wei, another luminary in Chinese contemporary dance, has left an indelible mark on the global stage through his visionary choreography and innovative approach. Shen Wei stands as a trailblazer in expanding the representation of Chinese contemporary dance on the global stage. Shen Wei's artistic journey is a testament to his continuous evolution and adaptability. Transitioning seamlessly from being a researcher to a visual artist and from a Chinese performer to an international contemporary choreographer, Shen Wei defies conventional categorizations. At the heart of Shen Wei's artistic philosophy is a rejection of dichotomies between Western and Eastern influences. His work, as he passionately expresses, is not about conforming to predefined categories but rather a relentless exploration of the unknown. This philosophy underscores his dedication to discovering new forms of communication that transcend cultural stereotypes and preconceptions. His ability to re-contextualize aesthetic traditions and reshape his own identity showcases a profound commitment to pushing artistic boundaries (Gerdes 2010b).

What sets Shen Wei apart is his deliberate incorporation of Chinese philosophical and artistic elements into his choreography. This intentional infusion adds layers of depth and cultural richness to his creations. By seamlessly blending tradition with contemporary expression, Shen Wei contributes to a nuanced representation of Chinese dance that goes beyond mere aesthetic exploration. Shen Wei’s creative process is marked by an infectious delight in innovation. With each new work, he joyfully explores novel techniques for working with the body, challenging traditional notions of dance. His commitment to expanding the audience’s definition of dance demonstrates not only his artistic prowess but also his dedication to pushing the limits of the art form (Gerdes 2010a).

In the choreographic masterpiece “Re-I,” Shen Wei showcases his ability to craft mesmerizing visual narratives. The quartet set, performed over a confetti mandala, becomes a canvas for storytelling through movement, color, and symbolism. This visual richness is a hallmark of Shen Wei’s work, captivating audiences and transcending linguistic and cultural barriers (Warren 2019). Shen Wei's dedication to preserving Chinese culture is evident in works like “Second Visit to the Empress,” where he takes on the challenge of making traditional Chinese opera accessible through modern dance. His innovative use of modern dance techniques, combined with multimedia elements, breathes new life into ancient forms, ensuring their continued relevance to contemporary audiences.

While luminaries like Jinzi and Wei have advanced representation, more diversity is still needed in leadership and programming of Chinese contemporary dance (Zhang 2023). Diversity of gender, ethnicity, body type and movement aesthetic should all be priorities going forward. Increased support and representation for underrepresented voices within the genre could help challenge preconceptions and drive new innovations. Appointing more women and non-binary artists, and minority and disabled directors and choreographers could bring important new perspectives that expand the understanding of Chinese and diasporic cultures. Broadening programming to regularly feature independent companies and artists would likewise enrich the landscape of Chinese contemporary dance through a less mainstream lens. Overall, continued progress addressing gaps in diversity will be key to the genre’s fulfillment of its potential for cultural exchange and better reflection of varied Chinese identities.

Reflections on Autoethnography

My interpretation and recollections, though grounded in archival data and observations, represent only my situated perspective within these complex cultural dynamics. My positionality as a new, first-generation, Chinese immigrant woman means my analysis intuitively centered certain intersectional lenses over others. For instance, capturing the experiences of my classmates and colleagues from various racial and cultural backgrounds during this period may have revealed intersecting challenges or nuances that impacted our shared journey. Further, in order to protect the privacy of professors and students, I had to leave certain contextual layers out of the text, limiting my ability to describe encounters and potentially limiting readers’ understanding.

Moreover, no single narrative can hope to speak for all of a cultural community’s diversity of experiences. Rather than assume definitive authority, my intent is to offer an authentic perspective for opening respectful dialogue.
 

Cultural Significance

Embracing diversity through representation and inclusive practices holds the potential to profoundly enhance the landscape of dance education. As articulated by Nicolini and Rylance (2001), the act of centering marginalized voices serves as a gateway to a richer understanding of historical nuances and aesthetics, thus expanding the tapestry available to dance students. This shift is more than a mere acknowledgment; it is an active commitment to fostering an environment where every individual feels empowered to contribute authentically, transforming dance into a medium that reflects the diversity of its participants.

The significance of this transformation becomes evident when considering the impact of regularly featuring choreography from diverse cultural backgrounds. This practice not only challenges and dismantles narrow stereotypes but also plays a crucial role in cultivating cultural understanding. Hanstein’s (2018) research underscores this by demonstrating how the incorporation of global dance histories broadens artistic horizons and simultaneously strengthens students’ cultural competence. Furthermore, Livingston’s (2019) findings accentuate the transformative potential of such practices, showcasing how they can maximize dance education’s role as an art form that unites humanity through the universal language of movement. The act of featuring choreography from various cultural traditions not only diversifies the dance repertoire but also serves as a bridge, allowing students to engage with and appreciate the rich tapestry of global movement traditions.

Livingston’s perspective suggests that, through inclusive practices, dance education can play a pivotal role in breaking down barriers and fostering a sense of shared humanity. The universal language of movement becomes a means of communication that transcends linguistic, cultural, and societal differences. In this way, dance becomes a powerful vehicle for cultural exchange, mutual understanding, and the celebration of the human experience in all its diversity (Livingston 2019).

To truly embody inclusivity, it is imperative to view varied identities and traditions as central components rather than relegating them to niche categories. This perspective serves as a catalyst for continual evolution, firmly grounded in pluralistic aesthetics (Bicker 2020). A pivotal step towards fostering inclusivity is reflected in prioritizing faculty hiring from underrepresented communities. By doing so, dance education provides students with role models who not only excel in their artistic endeavors but also serve as mentors, nurturing a sense of belonging across diverse student identities (Thomas et al. 2021).

Nicolini and Rylance’s (2001) observation that inclusive pedagogies help dismantle barriers to full artistic exploration and equity in education further underscores the transformative potential of embracing diversity. This extends to revising program requirements with global perspectives, aligning dance education with its roots as a powerful tool for empowering self-expression through cultural exchange (Livingston 2019). The inclusion of an array of leadership voices, as noted by Hanstein (2018), not only enriches the narrative but also fosters innovation drawn from histories that have often been left untapped.

In conclusion, the commitment to embracing diversity in dance education goes beyond the realms of artistic expression. It aligns with the transformative social power of dance, presenting an opportunity to connect people from all walks of life. By recognizing, celebrating, and integrating this myriad of voices and experiences, dance education can truly become a force that unites and uplifts all of humanity through the beauty of movement.

Recommendations for Progress:

To enact meaningful progress stemming from this research, regular mandatory anti-bias training for all faculty should be established. These trainings should cover issues like cultural competence, navigating microaggressions, and embracing diverse representation in the field. Cultural diversity evaluations should also be incorporated into regular program reviews conducted by external assessors. This would help assess inclusion efforts over time.

Core curriculum requirements also need revising to include global dance history and theory coursework highlighting non-Western traditions. Partnerships with local ethnically diverse dance companies could provide off-campus learning opportunities to expose students to these lineages. These community partnerships would also help strengthen bonds between the program and underrepresented artists.

Faculty searches must be diversified through inclusive job postings and unbiased selection committees to better reflect the student population. Dedicated mentoring programs should also be created, linking students from marginalized backgrounds with supportive role models within the department.

Workplace policies need reforms such as offering retroactive tenure consideration and paid caregiver leave to enhance long-term gender and ethnic diversity in senior faculty ranks. Cultural competence policies should focus on fostering inclusive practices by requiring DEI professional development for annual reviews, integrating inclusive pedagogical practices, and incorporating global content into curricula. This approach supports respectful cross-cultural exchanges, promotes mutual understanding, and ensures that faculty are equipped to engage with diverse perspectives in both academic and community settings.

Through implementation of these concrete action steps, academia can make tangible strides towards fulfilling dance education’s potential to dismantle biases, nourish cultural belonging, and inspire empathy through movement for all. Ongoing assessment ensures realization of diversity as more than performative rhetoric.

In addition to these measures, dance and performing arts programs, especially those following conservatory styles, should broaden their technique requirements. Including classes in jazz, hip-hop, African, East Asian, South Asian, and other diverse dance forms alongside ballet and modern or contemporary styles can provide a more comprehensive training experience. This expansion not only embraces the richness of global dance traditions but also caters to the diverse backgrounds and interests of the student body.

Moreover, there should be a deliberate effort to encourage and select more works that incorporate cultural elements and aspects. This includes costumes, music, sets, and, of course, movement qualities. By showcasing a variety of cultural influences in performances, dance programs can contribute to a more inclusive and representative artistic landscape, fostering a deeper appreciation for diversity in dance education.

Acknowledgments

In this section, I express my gratitude to individuals, institutions, or organizations that have contributed to the completion of this research project. Acknowledgments are a way to recognize and thank those who provided support, guidance, or resources during the research process.

I want to extend my heartfelt gratitude to the following individuals and entities for their

invaluable contributions to this research:

Dr. Michelle Hayford, for her unwavering support and mentorship throughout the

research journey.

The participants of this study, whose insights and experiences were instrumental in

shaping my findings.

University of Dayton, for providing access to resources and facilities that facilitated my

research.