Dance and creative Industries (fashion, media, movie, ...)
Gender in motion: attentive relations, Body integrity
and self esteem
Dancing across borders: international cooperations
DanceDiplomacy: Dance Arts for Peace, lectures and workshops
Dance history, research and literacy, storytelling dance workshops
Dance and Airpower: exchange of practices about aerodynamic awareness among dancers and flying aerobatic teams
ACD-SDG-Strategy: SDG 4+ SDG (1-16)+SDG 17~SDG 1, 2, 2,3.......
Dance ples igra Tanz danza danse ...
ACD– Dance Arts platform has been launched with the aim to promote the Dance Arts education and practice as a holistic LifeArts practice and as a form of cultural diplomacy which supports development of international and intercultural relations. Dance arts practitioners across countries are developing the vital potential for peace building and for improvement of the Sustainable Development Goals (SDG´s)
Dance arts as a form of Cultural Diplomacy influences public attitudes and international relations and builds attractive frame for presentation, representation, exchange of interests and connection of cultural and traditional values within the global and national context, in all its varieties.
Dance education and practice can be used as a deterrent by teaching the values of teamwork, respect and communication skills needed to reduce tensions and prevent conflict.
Dance refers to physical activity that is fun and participatory and becomes more organized and structured as we move towards creativity. In addition, dance can empower individuals and help foster self-esteem, body-mind_spirit integrity and offers an avenue to learn skills such as (self)discipline, confidence and leadership.
In this regard, ACD-president has created the ACD-Dance Arts as an international platform for theoretical and practical research on dance arts aiming to support development of the regional and international cooperations, projects and productions in this field, and actively contribute to intercultural dialogue and peace building through cooperation, interdisciplinary collaborations, exchange of experiences and trust building through direct envolvment of artists into current debates. Dance & poetry workshops and composition classes for youth groups, scholars and students will support the process ofsocial integration, intercultural communication and inclusion of refugees into educational, societal, political and economical debates through creative activities.
One remarkable example about dancers as cultural ambassadors, founded by program Dance Motion USA is delivered by the Battery dance company from NYC which performances are characterized by choreography and music inspired by worldwide sources, reflecting American society and its multiplicity of cultures, and is committed to promoting socially relevant arts programs.
Since 1992, Battery Dance Company has facilitated dynamic cultural exchange with international artists. In this context, the Company has organized over 10 U.S. tours by prominent performers from India; and in New York City, has hosted dance companies from Poland, Hungary, Finland, Slovakia, Bermuda, Sri Lanka and Malaysia. Battery Dance Company has also hosted hundreds of individual international artists, providing access to the New York City arts community, training in arts management, and first-hand experience in American values and principles. Also the Dancing to Connect program has been implemented in 25 countries and territories throughout the world since 2006. Battery Dance Company plans on expanding to 50 countries by 2017. The Dancing to Connect Program has been generously sponsored worldwide by the U.S. Department of State, Bureau of Educational and Cultural Affairs, African Regional Services, and by dozens of U.S. Embassies and Consulates. Additional support has been provided by hundreds of corporations, NGO’s, and international organizations on the local level.
At the grassroots of community level Dance can bring people together, while promoting respect, tolerance and cooperation with others, even by compatitions and within the concurrent positions.
Dance compatitions can also positively contribute to strengthening the national pride and forming a cohesive national identity within the global context, regarding the representation of countries by dancers from various nationalities and backgrounds.
ACD supports the Dance compatition European Ballett Grand Prix which has been founded and created by our partners Simona Noja- Nebyla and Boris Nebyla. By inclusion of cooperative activities and cultural diplomacy into compatition ACD will show an innovative way of creating an environment for cooperation among competitors, in which dancers come together to work towards the same goal, share their knowledge and learn about place and culture where they come to perform.
Dance projects up to 2017 initiated and supported by ACD:
"Smiljana Mandukic- Gertrud Bodenwieser: Demonen.Machinen.Spuren. Intercultural ties and inter(national) Dance Arts Heritage" for the Festival Koreografskih Minijatura 2017 in Belgrade, Serbia
LiLa dance for scholars and students, teachers, trainers, professionals from various fields
LiLa dance workshops for improvement of gender sensitive relations and violence prevention
LiLa Dance workshops for professional dancers, musicians and actors
ACD- supports Tirana dance festival which has been initiated by the forthcoming ACD- cultural ambassador for Dance arts Antonio Fini arts through the frame of cultural diplomacy by logo and theoretical insight
More about dance practice:
Beside its other historical meanings, dance has been also recognized as an important spiritual experience:
Dance in Hinduism, for example is a part of a sacred temple ritual, through the elaborate language of mime and gestures.
The Torah, the Psalms, and many other Scriptures also refere to dance:
For example in Ecclesiastes 3:4: „There is a time for everything and a season for every activity under the heavens: a time to weep and a time to laugh; a time to mourn and a time to dance. Dance has been used by Jews for a long time as a medium for the expression of joy and other communal emotions.
The spiritual path of sacred dances can open space for interfaith dialogue and for excange of the universal values in a variety of expressions.
Folk dances on the other hand have a social purpose and are performed to traditional music.
Every culture can boast of their charming folk dances. Croatian folk-dance, for example, traditionally refers to a series of the circle dance („kolo“), which is regarded as the oldest form of dance, and can be seen as an expression of community.
When performed abroad, traditional dances have more representative role: as performance of traditions, customs and national brends of the country, in the most attractive way.
Modern and contemporary dance styles otherwise, has been primarly arising from Germany and the USA as a response to socioeconomic changes and industrialization. During the First and Second World Wars, the rise of fascism, the Great Depression (in the US), modern dance became medium for resistance and social excange. The concept of dance as a discursive practice, based on „Free movement “ have became the new aesthetic convention in both- technical and theoretical part of dance education and practice: not only as a way of emanciaption, but as a way to express contemporary social concerns and as a potential agent for change.
Disturbed by the rising threat of fascism in Europe, modern dance pioneers such as Hanya Holm, Rudolf Laban, Harald Kerutzberg, Smiljana Mandukic, Gertrud Bodenwieser, Rosalia Chladek, Francois Delsarte, Émile Jaques- Dalcroze, Mary Wigman, Kurt Joos, Martha Graham, Alvin Ailey, Isadora Duncan, Ruth St.Denis, Doris Hemphrey, Ted Shown, just to name some of the pioneers from Europe and the USA, tried to raise consciousness by dramatizing the economic, social, ethnic, and political crises of their time.
Dance schools and companies across all continents are places where all generations can learn to share individual, national and international cultural traditions, learn about religions and myths from various countries, and to translate them into universal language of dance. Dancers learn to negotiate with space, time and with each others. They learn to follow and to lead, to cooperate and to communicate, to impress and to express. On becoming professionals, dancers learn to cultivate their passion into meaningful expression so as to contextualise their dedicated practice for greater purposes.
Nowdays, contemporary dance generation arises from technical development into more conceptual and experimental movement series.
Within the current debate in the filed of international relations about meaning and use of power in variation of soft, hard and smart power, dance arts can be understood as a bound of all three forces: soft in the nature of its influence potential, hard regarding the practices for development of virtuosity and performing skills, smart in the art of influence through presentation and performance of values. According to Mrs. Hillary Clintons vision on dance education and on „Smart power diplomacy“ dance can serve as a soft instrument to attract audiences, to represent values and to deliver messages which can be easily undestood, spoken in symbolical, universal language of the body movement.
Symbolical character of dance arts corelates with nature of stage (political, social, cultural, art,...) and its purposes. The transformative potential of the art enables artists to deliver specific message to the audiences in an universally understandable language in all varieties of expressions.
Dance arts can provide effective influence through attraction at all stages and create space for dialogues, exchange of interests and for development of cooperations.
 Jogan Shankar (2004). Devadasi Cult - A Sociological Analysis (Second Revised Edition). New Delhi - Ashish Publishing House
 Gagne, Robert, Kane, Thomas, VerEecke, Robert (1999). Introducing Dance In Christian Worship
 Landa, M. J. (1926). The Jew in Drama, p. 17. New York: Ktav Publishing House (1969). Each Jewish diasporic community developed its own dance traditions for wedding celebrations and other distinguished events.
 Rehm Rush. 1992. Greek Tragic Theatre. Theatre Production Studies ser. London and New York: Routledg
 Friedlander, Shems; Uzel, Nezih (1992). The Whirling Dervishes. SUNY Press.
Tatjana Christelbauer (former Sehic)