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인기 있는 예술의 한 형식인 춤은 정부, 축제, 시장, 무용단 및 예술가들 사이의 굳건한 문화적 외교적 유대와 교류 덕분에 언제나 국가의 지원과 대중의 호평을 누려왔다. 2021년 5월 21일자 싱가포르의 일간 스트레잇타임스의 추적 보도에 따르면 “2019년 12월 시작된 전 세계적인 바이러스 대유행으로 1억 6600만 명 이상이 감염 되었고, 345 만 명이 넘는 사람들이 사망했다”고 한다. 아시아의 경우 확진자 수가 34,211,549 명이며, 사망자 수는 438,047명으로 계속 증가 중이다. 2021년 초 거의 제로 또는 한 자릿수의 코로나19 확진자 수로 성공 사례로 꼽히던 싱가포르와 대만의 경우도 새로운 확진자가 나타나며 그 수가 급증하고 있다. 아울러 정치적 불안을 겪고 있는 미얀마와 태국과 같은 국가들의 여러 도시들에서도 감염 증가에 대처하기 위해 고군분투하고 있다. 이미 1 년 이상 지속된 코로나19의 대유행으로 인해 전 세계는 황폐화되었고, 다양한 돌연변이 변종, 특히 전염성이 높은 변종인 델타 변이 바이러스가 인도에서 새롭게 창궐하며 새로운 감염이 지속적으로 반복되면서 회복의 길은 그 어느 때보다  요원해 보인다. 지금 춤과 춤과 관련된 여러 축제, 공연 및 무용 제작은 엄청난 위기에 처해 있다. 이 위기를 극복하기 위한 인류의 투쟁을 위해 춤의 본질과 핵심 가치를 옹호하는 아시아의 춤에 과감한 행동의 새로운 재설정이 요구된다. 동시에 새로운 춤 세계를 위해 춤의 재정립이 필요하다. 


아시아 춤, 재편성하다

문화 부문은 전세계적 전염병의 영향을 가장 많이 받은 분야이다. 2020년 6월 영국 경제 연구소인 옥스퍼드 이코노믹스(Oxford Economics)와 맥킨지 글로벌 연구소(McKinsey Global Institute)의 공동 연구 분석 보고서는 아마도 문화 부분은 가장 늦게 회복되는 분야일 것으로 추정하고 있는데, 최근 아시아의 여러 나라들에서 일어나는 봉쇄 가운데 예술가와 예술 관계자들은 더 많이 지원해 줄 것을 강력히 요구하고 있다. 코로나 바이러스의 창궐 이후 여러 나라의 정부, 재계 인사들, 언론 및 여러 매체들은 ‘재설정’(reset), ‘중심축’(pivot), 그리고 ‘변동’(transformation)과 같은 용어들을 엄청나게 사용한다. 즉 예술과 문화를 포함한 모든 분야가 민첩하고 능숙하게 현상황을 대처하도록 재촉받고 있다. 이러한 의미에서 아시아의 춤은 새로운 역할과 의미로 그 발판을 모색해야 한다. 당연히 비영리적인 무용계를 발전시키기 위해, 무용계는 순순히 ‘춤’을 상품화하는 상품 중심의 시장에서 수익 창출에 집중하는 영리단체들처럼  단순히 시류에 편승해서는 안된다. 이 시점에 이타적 가치를 중요한 특징으로 하는 아시아의 춤은 춤 자체의 적절성과 시급성에 대한 의문을 제기해야 한다. 특히 춤의 해석과 표현에서 서양의 영향 중 불필요한 것의 폐기를 통해 본래 아시아 춤의 정체성이 새롭게 이해되어야 한다는 것이다. 그럴 때 비로소 뿌리 깊은 전통과 문화를 가진 아시아의 춤은 세계적으로 인정을 받을 것이다. 아시아의 춤들은 아시아 사람들의 울림과 화답 가운데 이러한 현재의 위기 속에 필요한 인간의 영혼을 불러 일으키는 중요한 역할을 하는 새로운 모습을 보일 필요가 있다. 이러할 때 아시아 춤 공동체의 단단히 결속함으로써, 고유한 전통, 문화 그리고 유산을 가진 아시아의 춤은 우리의 가치들을 일깨우고 확인시킬 수 있다.  


아시아 춤, 영감을 나누다  

아시아의 춤은 아시아의 기원과 정체성을 나타내는 가치, 사고 방식 및 문화의 강력한 표현들을 지니고 있다. 그것은 깊은 자존감과 자기 표현력을 제공해주며 우리의 창의성과 상상력을 자극하기도 한다. 또 많은 아시아의 춤은 진리가 무엇인지를 보여주며 영혼에 위로를 주기도 한다. 아시아의 춤은 그 내면의 아름다움과 능력을 나누기 위해 서로 다른 민족의 사람들이 모여 함께 힘을 모아야 한다. 특히 내면의 목소리를 표현하는 데 어려움을 겪는 아시아 예술가들에게 그러하다. 서양의 '직접적' 표현 방식과는 명확히 구별되는 ‘아시아성’(Asian-ness)은 바로 ‘은근함’과 아시아인의 겸양이다. 그런데 지금 아시아의 무용은 서양의 예술과 사조에 영향을 받아 다소 제한적이라 할 수 있다. 지금까지 아시아의 예술가들은 서구의 미적 판단의 눈에 인정받을 기회를 잃어 버릴까 두려워 자신의 뿌리를 숨기기에 급급하였고, 서구의 예술 경향을 추종하여 왔다. 이러한 자세는 아시아의 춤이 서구의 시각에서는저평가된 풍성한 문화 정체성을 상실하는 데 크게 일조하였다. 이제 아시아의 춤은다시금 그것이 원래 가진 뿌리 깊은 문화의 인식을 통해 그 정체성을 재정의해야 한다. 그리고 이를 통해 아시아 춤이 가진 가치를 재평가해야 하며 아울러 그 위상이 재고되어야 한다. 아시아 예술 시장, 축제, 문화 교류와 같은 다국적 플랫폼에서드러나는 시장의 위치가 보여주는 평가를 통해, 서구의 영향이 이미 지배하고 있는 예술에 대한 인식과 해석에 대항하여, 아시아의 춤은 이제 자기 스스로를 말할 수 있어야 한다. 누가 아시아 춤의 예술적 문화적 가치를 위한 최상의 대변인이 될 것인가? 이와 동시에 중요한 것은 아시아의 무용계가 현재 예술 경향과 시장을 지배하는 현대무용과 같은 서구의 춤에 대항하기 위해, 반드시 자기 자신의 예술에 대해 비판을 행할 수 있어야 한다는 점이다. 이러한 아시아 현대 춤에서 정체성의 재정립은 아시아에서 점차 춤에 대한 관심과 인식의 변화를 이끌어 낼 수 있을 것이다. 이런 균형 잡힌 노력은 아시아 새 세대의 예술가와 예술 관계자들에게 진정한 의미의 절묘한 아시아적 특성이 드러나는 춤의 가능성을 모색할 수 있다는 희망을 줄 수 있을 것이다.

아시아 춤, 연결하다  

아시아의 춤은 다양한 방법을 통해 증진되어 왔다.  

1) 아시아 정부 간 양해 각서 (MOU) 체결
이는 조성된 기금과 국내 축제 및 행사  같은 공연 플랫폼으로 촉진될 수 있다. 대체로 아시아 각국 정부가 공적으로 지명한 일부 예술인들 및 무용단들이 추진하는 이러한 교류 사업이 가질 효과는 국제 관계에 기반한 문화 시책, 선발된 예술인 및 단체들의 한정된 춤 성과를 비롯 해당 참여 국가들 간의 요구 및 조건에 의해 좌우된다.  

2) 아시아 예술 시장에서의 아시아 예술가 및 무용단 프로모션
1995년과 2005년에 각각 시작된 도쿄 공연 예술 시장(TPAM)과 서울 공연 예술 시장(PAMS)은 문화 수출을 위해 주로 서구의 발표자와 축제 기획자들에게 깊은 인상을 남길 수 있는 프로그램과 네트워크 기회를 제공하고 있다. 여기서 선택된 아시아 예술가들과 무용단에 해외 공연의 기회를 높이는데  확실히 도움이 된다.  

3) 춤 축제 네트워크 구성
2004년에 출범한 AAPAF(Association of Asian and Pacific Arts Festivals)와 2017년에 설립된 HOTPOT(East Asia Dance Platform) 두 가지 사례가 이러한 춤 축제 네트워크의 사례이다.  AAPAF의 경우, 이 네트워크는 새로운 작업을 의뢰하는 것을 포함한 몇 가지 기획을 통해, 아시아 태평양의 여러 예술과 예술가를 홍보하는 것을 목표로 한다. 창립 페스티벌 멤버로는 중국 상하이 국제 예술제(China Shanghai International Arts Festival), 싱가포르 예술 축제(Singapore Arts Festival), 홍콩 예술 축제(Hong Kong Arts Festival), 자카르타 국제 예술 축제(Jakarta International Arts Festival)가 있다. HOTPOT의 경우 시티 컨템퍼러리 댄스 페스티벌(City Contemporary Dance Festival, 홍콩), 서울 국제 댄스 페스티벌(Seoul International Dance Festival, 한국), 요코하마 댄스 컬렉션(Yokohama Dance Collection, 일본) 등 3개 축제의 협력으로 시작되었다. 두 네트워크 모두 공연 발표 및 해외 공연에 축제의 핵심 관계자들의 제안 및 추천과 공적 기금들이 연계된다.

4) 국제 교류와 협력을 촉진하는 댄스 네트워크
이 플랫폼은 WDAAP(World Dance Alliance Asia Pacific) 및 AND+(Asia Network for Dance)와 같은 권위 있는 기관이 관장한다. 한편 AND+는 2017년 홍콩의 서구룡문화지구(West Kowloon Cultural District)에 의해 시작되었는데 주로 아시아의 현대무용 간의 연결, 개발 및 강화를 꾀한다. WDAAP와 AND+, 둘 다  비슷하게 서로 다른 국가 출신의 회원들을 중심으로 구성된 그룹에 의해 운영된다.

위와 같은 국제 협력의 기회는 권위 있는 춤 교류 기관과 공공, 민간, 일반 부문의다양한 이해 당사자들의 도움과 지원 속에 아시아에서 긍정적인 결과를 낳는다. 각 네트워크에는 핵심 그룹이 그 목적을 달성하려고 내세우는 특정 의제가 있다. ‘선정된’ 대표 단체나 예술인들을 이롭게 하되 의도하지 않은 방향이 있을 수도 있다. 현장 제시 단계에서, 동일한 그룹의 예술인과 단체들이 네트워크가 진행되는 수년 동안 반복해서 모습을 드러내는 것은 드문 일도 아니다. 이러한 네트워크들 속에서 아시아 춤 시장에 내재된 불완전한 대표성으로 인해 모두가 성장하고 번영할 수 있는 동등한 기회가 조성되지 못하고 있다. 그처럼 불비한 대표성은 이 지역의 핵심적인 대단한 재능으로 제공되는 최상의 작품들을 나눌 기회를 제한한다. 아시아 춤의 모습은 기금 재단, 축제 기획자와 같은 관계자를 포함한 소수의 국제 이해 관계자들에 따라 모습이 재단되었으며, 아시아로부터의 제한된 범위의 재능과 순회 작품들로 인해 양질의 작품에 접근할 범위도 제한되는 실정이다. 
　이러한 불균형 또는 불평등은 아시아의 춤이 세계적으로 유통될 가능성을 낮추어버린다. 다양한 예술 마켓과 축제, 그리고 선정된 아시아 예술인들과 단체의 역량을 만드는 데 도움이 된다는 좋은 의도를 가진 네트워크로 조성되는 보호주의의 상황은 아시아 춤 전체의 잠재력과 성장 기회를 눌러왔을 것 같고 이와 동시에 제한된 범위의 아시아 수출품의 바람직하지 않는 결실 이상으로 손실을 초래하였다. 아시아 춤에 있어서는 아시아 춤을 참으로 포용력있는 예술로 만들면서 춤의 진정한 정신을 견지하기를 고려하는 것이 적절한 방도가 될 것이다. 특히 전세계적으로 취약한 경제 환경 시대에 적절한 규모의 경제를 거둬들이면서 더 많은 단체와 예술인들의 세계 순회를 지원하는 데 있어 아시아 내의 고도로 독립적이면서 기동성 있는 춤 생태계는 결정적으로 중요하다. 아시아 춤이 급성장할 만큼 실질적인 수요와 공급을 조성하는 것은 포괄적이고도 중대한 조치가 될 것인데, 이런 조치는 정치적, 경제적, 사회적 이해득실과는 상관없이 아시아 춤이 교류, 소통 및 나눔을 더 많이 촉진하도록 도울 것이기 때문이다.


아시아 춤, 혁신하다  

주지하듯이 댄스와 테크놀로지의 결합은 그리 새로운 것이 아니며 1960년대로 그 연원을 거슬러 올라갈 수 있다. 그런데 코로나 사태로 인해 최근 들어 극장이나 공연장에 부과된 안전 거리 조치로 인해 관객과의 신체적 상호 작용이 제한되는 와중에 춤이 수요에 대처하기 위한 디지털 춤 세계 즉 온라인 춤 스트리밍이 엄청나게 확대되고 있다. 국경과 언어의 장벽 사이에 초보적인 소통 방법이었던 온라인 춤은 이제 예술가들에게 선택의 여지가 없는 것이 되었다. 코로나 사태 가운데 몇 가지 창작에 있어 눈에 띄는 것이 목격된다. 1) 라이브 춤 제작의 온라인 스트리밍 추세증가, 2) 온라인 속의 새로운 춤 콘텐츠를 위한 가상 현실을 사용하는 춤 제작, 3) 대부분 박물관과 연계된 환경과 연관된 설정으로서 춤에 관객이 참여하는 새로운 경험을 부각시키기 위해 증강 현실 같은 기법을 사용하는 춤 작업, 그리고 4) 관광 기구들의 성공적인 마케팅 캠페인이 있다. 두 가지 특기할 사례로서, 싱가포르 관광청과 한국관광공사가 각각 2020년에 제작한 “Dance to a New Beat”와 “Feel the Rhythm of Korea”라는 주목할 만한 광고 비디오 클립이 각각 제작되었다. 전자는 싱가포르 국민의 용기를 북돋우기 위해 만든 국내 캠페인이다. 싱가포르 사람들은 싱가포르의 상징적인 관광지가 배경인 본 작품을 통해 싱가포르를 재발견한다. 후자인 한국의 경우, 2억명이 훌쩍 넘는 조회수로 입소문이 났는데, 힙합과 한국의 문화 경관 및 랜드 마크를 혼합하는 신선한 시도에 많은 찬사를 받고 있다.  

위의 혁신적인 방법들은 아시아 춤의 발전을 위해 새로운 관객층을 확보할 수 있는 것들이다. 외견상 코로나 사태가 강탈해간 몇 년간의 예술 활동 속에서, 아시아의 무용가들은 자신들과 또 관객을 위해 ‘현장’과 ‘온라인’ 속의 춤 창작이 의미하는 바를 조화시키는 것이 중요하다. 어떻게 하는 것이 예술가와 기획자가 적절하게 참여 할 수 있는 방법일까? 춤과 기술의 관계는 그 어느 때 보다도 모호해지고 있는데, 예술가는 자신들이 가용할 수 있는 기술과 역량으로 그들 자신의 고유한 춤의 목소리를 끊임없이 반영하며 선보여야 할 필요가 있다. 최신 기술을 사용하든 그렇지 않든, 예술가들은 춤을 만들기 원한다. 중요한 것은 그들은 언제나 자신의 예술을 위해 진실 속에 머물러 있어야 한다. 예술가들은, 자기들의 관객과 함께 할 수 있는 여러 기술적 응용과 특징을 가진 다양한 수단에서 연원하는 복합적인 예술 효과들의 잠재력을 인지하는 가운데, 특히 예술의 발전과 유통 사이의 차이점을 분명히 인식하여야 한다. 이러한 혁신 능력은 아시아 춤이 그 고유성을 잃지 않으면서도, 새로운 관객들과 더 많이 함께할 가능성을 만들어 낼 수 있다.  


아시아 춤, 연대하다  

아시아 춤을 재설정하기를 요청하는 것은 아시아의 예술가들과 춤 관계자들이 광범위한 네트워크를 통해 긴밀하게 서로 협력하고 연결하며 경쟁 우위를 다져가는 추진력이 된다. 보다 포용적인 춤 생태계를 구축하여, 진정한 예술 작품과 표현을 통해 서로 정보를 제공하고 영향을 서로 주고받으며 하나로 연대하는 것이 바로 공동의 ‘아시아성’일 것이다. 아시아 춤은 그 예술적 염원과 공감을 세계 춤과 발맞추고, 영감을 부여하고 치유를 행하며 행복감을 부여하는 예술적 가치를 나누면서 자신의 문화 정체성을 전세계를 향해 대단하게 드러내기 위해 혁신해나갈 것이다. 

(우리말 옮김: 춤웹진 편집부)

Dr Danny Tan_CEO & Founding Artistic Director, Odyssey Dance Theatre Ltd

Introduction

Dance, a popular art form, has always enjoyed governments’ support and public acceptance in Asia, owing to the strong cultural diplomatic ties and exchanges between Asian governments, festivals, markets, companies, and artists. According to The Straits Times’ tracking report on 21 May 2021, “Globally, the virus pandemic, which began in December 2019, has infected more than 166 million people. Over 3.45 million people have died.” In Asia, there are 34,211,549 cases, with the number of deaths at 438,047 and rising. Singapore and Taiwan, which have been hailed as success stories with almost zero or single-digit COVID-19 cases since the beginning of 2021, have both seen a sudden spike in new cases. Countries like Myanmar and Thailand, which are facing political unrest in their respective cities, have also been struggling to cope with the increasing number of infections. With the global devastation caused by the COVID-19 pandemic which has already lasted for more than a year, the road to recovery seems more precarious than ever with the continuous recurring spikes of new infections with various mutated variants, and especially, the highly contagious variant that first surfaced in India - known as B.1.617. Dance and its related functions like festivals, shows and productions, are in great peril. Dance in Asia calls for a new reset of bold actions, championing its essence and core values to support the human population in the struggle to overcome this crisis. At the same time, it needs to redefine itself for a new dance world.    


Dance Realigns

The cultural sector has been the one most affected by the pandemic, and probably would be the last to recover as revealed by joint source data from Oxford Economics, Mckinsey analysis and Mckinsey Global Institute analysis in June 2020.  Arts stakeholders including artists are crying for more government support with recent lockdowns in various Asian countries. Terms such as ‘Reset’, ‘Pivot’, and ‘Transformation’ have been used excessively by various governments, business leaders, media, and other propaganda since the beginning of the pandemic. All sectors, including the arts and culture, have been encouraged to be nimble and adept. Dance in Asia must find its footing with its new role and significance. To move the non-profit dance industry forward, the dance sector cannot jump on the bandwagon, like profit-making businesses with product-focus markets, to readily change its ‘dance’ into a product. Dance in Asia, which is often characterized by its altruistic values, needs to question its own relevancy and urgency.  It is only with the understanding of its original dance identity, discarding the western influence of dance interpretation and representation, Asia dance with deep rooted tradition and culture will then be recognized worldwide. Dance in Asia needs to take a new stand, dearly resonating with its Asian people and playing an important role in the rekindling of the human spirit in this current crisis. With its unique offering of its Asian traditions, culture, and heritage, it enlightens and affirms us of our values, bonding the Asian dance community in solidarity.  


Dance Inspires  

Dance in Asia has its powerful expression of values, mindsets and culture that represents our origin and identity. It evokes creativity and imagination, offering a deep sense of self-worth and expression. It provides the truth and gives comfort to the soul. It assembles and unites individuals of different races together for the sharing of its inner beauty and strength. This is particularly true for Asian artists, who tend to have difficulty in expressing their ‘inner’ voice. It is this indirect ‘quality’ and humble nature of Asians which differentiates ‘Asian-ness’ clearly from the western way of ‘direct’ expression. Dance in Asia has been rather reserved under the influence of Western forms and trends. Asian artists resist to uncover their own roots, joining in the western promotion of trends and forms, in the fear of losing its opportunity to be recognized by western eyes of aesthetic appreciation. However, this leads to the loss of the rich Asian cultural identity, which is often undervalued by the west. Dance in Asia needs to reassess its value and refocus its position, by redefining its identity through its deep-rooted culture. By evaluating its market positioning in representing and presenting at multi-international platforms such as the Asian arts markets, festivals and cultural exchanges, Dance in Asia needs to be able to speak for itself, withstanding the already dominance western influence over perception and interpretation of good art. Who is the best spokesman of its own value of art and culture? Dance in Asia must be able to offer its criticism to its own art, defying the trend and market dominance of the western dance, for example, contemporary dance. A reset in its identity in Asian Contemporary dance will support the shift of interest and perception for Dance in Asia over time. This balancing act will give the new Asian generation of artists and stakeholders, the hope in searching for a true meaning in presenting and representing the exquisite Asian-ness in its full characteristics.   


Dance Connects  

The Dance in Asia has enjoyed good promotions through various means:  

1)      Memorandum of Understanding (MOU) signed between Asian governments
This is well facilitated under designated grants and performance platforms such as national festivals and events. With a designated pool of selected artists and companies being recognized by various governments for such opportunities, the merit of exchanges often relies on the terms and conditions of involved nations, according to their cultural policies on international relations, and the restricted dance outcomes of chosen artists and companies.   

2)      The promotion of Asian Artists and Companies in Arts Markets in Asia
The Tokyo Performing Arts Market (TPAM) and the Performing Arts Market in Seoul (PAMS) which were started in 1995 and 2005 respectively, have provided exhaustive programming and network opportunities to impress mostly western presenters and festivals organizers for cultural export. Such markets certainly help to boost the profile in touring opportunities of its selected Asian artists and companies.   

3)      The Formation of Festival Networks
The Association of Asian and Pacific Arts Festivals (AAPAF) and HOTPOT East Asia Dance Platform (HOTPOT) are two examples with the former being inaugurated in 2004, while the latter was formed in 2017. AAPAF aims to promote Asian Pacific arts and artists through several initiatives, including the commission of new works. The Founding Festival Members are the China Shanghai International Arts Festival, the Singapore Arts Festival, the Hong Kong Arts Festival, and the Jakarta International Arts Festival . HOTPOT had its beginning with a collaborative effort between three festivals: City Contemporary Dance Festival (Hong Kong), Seoul International Dance Festival (Korea) and Yokohama Dance Collection (Japan). Both networks depend on its core festival members’ proposals and recommendations, as well as the availability of public funding for presentation and touring.   

4)      Dance Networks to Facilitate International Exchanges and Collaboration
This platform has been encouraged by some prominent establishments such as the World Dance Alliance Asia Pacific (WDAAP) and Asia Network for Dance (AND+). AND+ was initiated by the West Kowloon Cultural District in 2017. It aspires to connect, develop, and empower contemporary practice in dance within Asia. Similarly, both WDAAP and AND+ have been steered by its core groups, comprising members from different countries.  

The above opportunities for international collaborations have shown positive results by these prominent agencies for dance exchanges in Asia, facilitated and supported by diverse stakeholders in public, private and people sectors. Each network has a specific agenda, helmed by its core group to fulfil its mission. There may be the unintended directions to benefit the ‘selected’ groups or artists for representation. In presentations, it is not uncommon to witness the same group of artists and companies being featured repeatedly over the years in the network circuits. The incomplete representation of Asia dance markets in these networks does not create equal opportunities for all to grow and prosper. It limits the sharing of the best quality works offered by the large talented core in this region. The Asia dance scene has been portrayed to the global stakeholders including the funding authorities, festival directors and presenters, with limited access on the range of quality works from the restricted pool of talents and touring works from Asia. This disparity constitutes less probability for Dance in Asia to be circulated worldwide. The state of protectionism by various arts markets, festivals, and networks, which have good intentions to help build the capacity of the selected Asian artists and companies, may have stifled the potential and growth opportunities of the entire Dance in Asia, and at the same time, created losses over the undesirable outcomes of limited pools of Asian exports. Perhaps, it would be apt for Dance in Asia to consider upholding the true spirit of dance, making Dance in Asia, a truly inclusive art. A highly independent and mobile dance ecosystem in Asia is critical to supporting more companies and artists to tour globally, reaping the economies of scale, particularly in times of fragile economic conditions worldwide. Empowering the real demand and supply for the Dance in Asia to grow exponentially is a crucial inclusive act that will aid Dance in Asia to foster greater exchanges, dialogues and sharing, regardless of its political, economic, and social interests.   


Dance Innovates  

The marriage of Dance and Technology is certainly not new, which can be traced back to as early as 1960s. The pandemic has escalated the excessive streaming of online dance to cope with the demand from the digital dance world, especially when physical interaction with the audiences has been prohibited due to the safe distancing measures imposed for theatres and venues. Online dance, as a fundamental way of communicating between borders and languages, has been the limited choice for artists. There are a few observations on the creative impact of artists’ creations during these COVID times: 1) An increased trend of online streaming of live dance productions; 2) New dance productions using virtual reality to create new dance content online; 3) Dance works using Augmented Reality to feature new experiences for dance audience engagement, mostly in the museum related setting; and 4) Successful marketing campaigns by Tourism Boards. Two noteworthy commercial video clips - “Dance to a New Beat” and “Feel the Rhythm of Korea”, were produced by the Singapore Tourism Board and Korea Tourism Organization respectively in 2020. The former was a domestic campaign which had hoped to encourage both Singaporeans and residents to rediscover Singapore through the backdrop of Singapore’s iconic tourist spots. The latter had gone viral with more than 200 millions viewership, kudos for its refreshing attempt in blending hip hop with the cultural landscape and landmarks of Korea.   

The above innovative ways to engage new audiences are some considerations for the effective promotion of Dance in Asia. With the COVID-19 pandemic seemingly hijacking artistic pursuits for some years to come, it is important for Asian artists to reconcile what do ‘live’ and ‘online’ dance creations mean to themselves and audience. What appropriate mode of engagement should artists and promoters be embarking on? The relationship between Dance and Technology has become more obscure than ever, and artists need to constantly reflect and determine their own authentic dance voices, based on their readily available craft and capabilities. Whether the artists hope to create dance with or without technological enhancement, they should always stay true to their art. Artists need to be aware of the differences between content development and content distribution, recognizing the potential ways in engaging their audiences with multiple art effects through diverse means of technological appliances and attributes. The ability to innovate will enable Dance in Asia to have a more impactful engagement opportunity with its new audience, while not losing its original Dance soul.   


Dance Unites  

The call for Dance Reset in Asia is an impetus for Asian artists and stakeholders to harness its competitive advantage, by collaborating and connecting them together through its wide networks. By building a more inclusive ecosystem, it is this collective Asian-ness that will unite, inform, and influence them together through their authentic artmaking and expression. Dance in Asia will innovate to represent its cultural identity more dearly to the world, aligning its artistic aspiration and appreciation closely with the world dance, sharing its artistic values that inspire, heal, and uplift.  

참고 자료  
• Clara Chong, 22 new Covid-19 community cases in S'pore, including 8 unlinked. The Straits Times. 22 May 2021. 
https://www.straitstimes.com/singapore/22-new-covid-19-community-cases-in-spore-including-8-unlinked. Accessed on 22 May 2021.  

• 'Feel the Rhythm of Korea' promotional video goes viral with over 200 million views”, AllKPOP. 2 October 2020. Posted by haydn-an. 
https://www.allkpop.com/article/2020/10/feel-the-rhythm-of-korea-promotional-video-goes-viral-with-over-200-million-views. Accessed on 22 May 2021.  

• GRACE ONG. STB looks to breathe life into the tourism industry through dance expression. Marketing Magazine. 21 September 2020. 
www.marketing-interactive.com/stb-looks-to-breathe-life-into-the-tourism-industry-through-dance-expression. Accessed on 21 May 2021

• Yvette Tan, Covid-19: What went wrong in Singapore and Taiwan? BBC News, Singapore. 20 May 2021. 
https://www.bbc.com/news/world-asia-57153195. Accessed on 22 May 2021.  

• Source: JHU CSSE, MOH, Ding Xiang Yuan, Reuters. Tracking COVID-19: How coronavirus is spreading across the world. The Straits Times. 21 May 2021.
https://www.straitstimes.com/multimedia/graphics/2020/02/coronavirus-global-numbers/index.html.  Accessed on 22 May 2021  

• Source: Oxford Economics, Mckinsey analysis, Mckinsey Global Institute analysis. COVID-19 recovery in hardest-hit sectors could take more than 5 years. 5 June 2020.
https://www.mckinsey.com/featured-insights/coronavirus-leading-through-the-crisis/charting-the-path-to-the-next-normal/covid-19-recovery-in-hardest-hit-sectors-could-take-more-than-5-years#. Accessed on 22 May 2021.  

• Southeast Asia Choreographers Network goes virtual. The Jakarta Post. 19 Nov 2020.
https://www.thejakartapost.com/life/2020/11/19/southeast-asia-choreographers-network-2020-goes-virtual.html. Accessed on 22 May 2021.  

• UNESCO Diversity of Cultural Expressions: Relief for Korean performing and visual arts. 
https://en.unesco.org/creativity/covid-19/relief-korean-performing-visual-arts. Accessed on 22 May 2021  


참고 웹사이트  
• Association of Asian and Pacific Arts Festivals
http://www.aapaf.org/en/Common/Default.aspx?cid=1&aNid=991  

• Asia Network for Dance
https://www.westkowloon.hk/en/performing-arts/asia-network-for-dance-and
http://www.asianetworkfordance.com/main  

• HOTPOT East Asia Dance Platform
http://yokohama-dance-collection.jp/ydc2020/en/program/program07/  

• Performing Arts Market in Seoul
https://www.pams.or.kr/pams/new_about.asp  

• Tokyo Performing Arts Market
https://www.tpam.or.jp/2020/en/  

• World Dance Alliance Asia-Pacific
http://www.wda-ap.org/about/