Between Modern Dance and Intercultural Performance

Cultural appropriation or theft is a point of contention among scholars and performers. When American performance artists use non-Western cultural elements-such as music dance or material items-questions of authenticity identity and entitlement are raised. Between two opposing extremes Romantic individualism and essentialism exists a continuum where most theatrical performances reside. This work examines the stance of cultural appropriation in relation to modern dance music and intercultural performance. The focus of the examination is At Last The Tale of the Bird Belly Princess Tien-Savi-Tsuru-Chak a production directed choreographed and performed by members of Bowling Green State University's faculty and student body. The performance which incorporated elements of Korean and Balinese music and dance ran a fine line between cultural appropriation and artistic freedom. It is necessary to examine a work from many angles in order to understand the various truths it expresses. This analysis should be useful to ethnomusicologists dance ethnologists and other scholars considering issues of authenticity identity and cultural appropriation.