Diplomacy on Stage,
Dance Arts&Health: ArtsEvity,
Performance Lectures, Workshops
Dance and Creative Industries (fashion, media, movie, ...)
Gender in motion: attentive relations, Body integrity
Dance history, research, and literacy, storytelling dance workshops
Dance and Airpower: exchange of practices about aerodynamic awareness among dancers and flying aerobatic teams; F.Air: Women in Aviation
ACD-SDG-Strategy: SDG 4+ SDG (1-16)+SDG 17~SDG 1, 2, 2,3....... DanceArts4Sciences4CulturalDiplomacy2030
"Am Anfang war der Tanz"
(Silja Walter/SRM Hedwig OSB)
Dance ples igra Tanz danza danse 舞踊 ...
"Man muss das Leben tanzen" F. Nietzsche
ACD– Dance Arts platform has been launched with the aim to promote the historical and current examples from Dance Arts education and practice as a form of cultural diplomacy, that supports the development of international and intercultural relations, peacebuilding and actively contribute to the realization of the Sustainable Development Goals (SDG´s) such as S(DG4, SDG5), through quality education, improvement of health and wellbeing (SDG3), cross-sectoral international cooperations and intercultural art mediation (SDG4+SDG8+SDG17+SDG16).
Dance arts as a form of Cultural Diplomacy influences public attitudes and international relations and builds an 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 the development of the regional and international cooperations, projects, and productions in this field, and actively contribute to intercultural dialogue and peacebuilding through cooperation, exchange of experiences and trust-building through direct involvement of artists into current debates. Dance & poetry workshops and composition classes for youth groups, scholars, and students will support the process of social integration, intercultural communication, and inclusion of refugees into educational, societal, political, and economic debates through creative activities.
For media promotion of the ACD-projects in the field of dance arts and of the projects of artists and other actors worldwide, who are contributing with their work to the current global efforts toward the realization of the Sustainable Development Goals for the prosperity of people and planet, ACD-president has created media platform: inTalk Sessions. Cultural Diplomacy practices in the civilian sector have nowadays more and more impact on the wider population. Through digital networks via social media channels, people-to-people -diplomacy, as well as direct communication among civilians and governmental representatives takes part. Such tools of communication become an important vehicle in the field of international relations, as its influence on individual and public opinion is rapidly growing.
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 a 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, NGOs, 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 competitions and within the concurrent positions.
Dance competitions 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 competition 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 competition 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 the 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 workshops for professional dancers, musicians, and actors
More about dance practice:
Besides 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 refer 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 the exchange 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 a more representative role: as a performance of traditions, customs, and national brands of the country, in the most attractive way.
Modern and contemporary dance styles otherwise have been primarily arising from Germany and the USA as a response to socioeconomic changes and industrialization. During the First and Second World War, the rise of fascism, the Great Depression (in the US), modern dance became a medium for resistance and social exchange. The concept of dance as a discursive practice, based on „Free movement “has become the new aesthetic convention in both- technical and theoretical part of dance education and practice: not only as a way of emancipation 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 the universal language of dance. Dancers learn to negotiate with space, time, and with each other. 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 a meaningful expression so as to contextualize their dedicated practice for greater purposes.
Nowadays, contemporary dance generation arises from technical development into more conceptual and experimental movement series.
Within the current debate in the field of international relations about the meaning and use of power in a 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 the development of virtuosity and performing skills, smart in the art of influence through presentation and performance of values.
Politicians have recognized the potential of dance art education, as expressed in the speeches of the former US chancellor Mrs. Hillary Clinton's vision on dance education and „Smart power diplomacy“.
Dance can serve as a soft instrument to attract audiences, to represent values, and to deliver messages which can be easily understood, spoken in the symbolical, universal language of the body movement.
The symbolical character of dance arts correlates with the nature of the stage (political, social, cultural, art,...) and its purposes.
The transformative potential of the art enables artists to deliver a specific message to the audiences in a 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 the 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: Routledge
 Friedlander, Shems; Uzel, Nezih (1992). The Whirling Dervishes. SUNY Press.
Tatjana Christelbauer (former Sehic)