Session 5.2 - 'Diversitätsförderung – wann und wie?'

Leitung: Rajyashree Ramesh, Tanzvermittlerin, Nischenexpertin, Vorstandsmitglied des Dachverband Tanz Deutschland - zusammen mit Rea Andrea Kurmann und Mardhini Vaadwal Sreedar

Studio 2 - Tag 2 - 11:00 - 11:45 Uhr

Diversität ist in aller Munde. Es fehlt aber weiterhin an Sichtbarkeit und Zugang für unterschiedliche Tanzpraktiken, die außerhalb des Mainstream-Verständnisses vom Tanz agieren. Wie können Zugänge und Austausch auf Augenhöhe geschaffen werden – ganz nach dem Motto „Nichts über uns ohne uns“? (© Foto: Daniela Incoronato)


Dokumentation der Session

Rajyashree Ramesh opens the session together with Rea Andrea Kurmann and Mardhini Vaadwal Sreedar.

We start the exchange with movement - guided by Rajyashree - to try out different body approaches.
After this physical experience Rajyashree gives her content impulse:

In the German mainstream of dance, we have two big themes:

  • How can work, that is not (yet) included in the mainstream, find accessibility?
  • And how can this work get visibility?

Societies are plural – cultures are today pluriversal.
‚Let us look beyond the ‚Tellerrand'! We live in a plural society! ‘

Let‘s have a look at examples of cross-cultural cooperation under the aspect of artistic diversity, creativity and its potential for societies.
‚You can make notes of whatever comes to your mind.‘
(See the fotos for the notes of the participants.)

A Trailer of cross-cultural productions is shown as examples of the potential such work holds: They include different global dance forms and genres with artists of varied backgrounds – 'kulturübergreifend', as the German word more aptly describes.

Questions arise from the examples given:
How can the visibility of cross-cultural work be achieved? Because promotion can only be improved through visibility?
What are your thoughts? How can we create true art of diversity?
(Have a look at the fotos for the notes of the participants.)

Rea Andrea Kurmann and Mardhini Vaadwal Sreedar report about their thoughts and experiences as dancers and actresses – looking beyond cultural segregation. They cite inputs from other artists who cannot be here with us today.

‚Why are we leaving some dance forms out?‘ Take for e.g., Stomping. It’s a dance element similar in Flamenco from Spain, Kathak from India and in African dance forms as well. But how they find accessibility is different.

With this, a discussion among the participants opens.
Here a cross section of what was said:

Include all bodies!
Give every danceform a space to be recognized!.

one stage - many bodies - many learnings - ...
It‘s important to shape our words to the reality - use culture as a singular word! (not cultures)

cross cultural vs cultural appropriation
Germans are very afraid of cultural appropriation: The video at the beginning of the session showed European dancers in costumes and dance forms from elsewhere. Is that welcome in Germany?! - In this special case, the dancers had proper education. It is not cultural appropriation as long as they know, what and why they are doing it.
--> If one learns and understands the form, and this takes time. But only then you  can wear the costumes as per tradition.
(See photos of notes for the pro and con points)

Further thoughts:
--> A solution might be the matter of creating a safe space beyond form

Here some more highlights of topics that where discussed

  • global perspectives
  • accessibility and visibility in pedagogy/dance education
  • ongoing learning
  • ONE stage!
  • identity - safe space - decolonization
  • visibility / vocabulary
  • non cultural spaces for all forms
  • culture vs. cultures


Impressionen der Session