As dusk fell and the stage lights glimmered, graceful dance movements filled the theater. On the evening of October 25, the theater of Beijing Dance Academy (BDA) was packed to capacity for one of the highlights of the 9th Beijing International Ballet Competition for Dance Schools and Dance Performance — “The Beauty of Harmony: World Dance Education Exchange Performance.” Distinguished guests in attendance included representatives from the International Department of the Central Committee of the Chinese Communist Party, the Ministry of Foreign Affairs, the China Education Association for International Exchange (CEAIE), the China Federation of Literary and Art Circles, the Beijing Municipal Education Commission, the Beijing Federation of Literary and Art Circles, and local government departments; as well as officials and delegates from the Embassy of Kazakhstan in China, Trinity Laban Conservatoire of Music and Dance (UK), Kazakh National Academy of Choreography, Hong Kong Academy for Performing Arts, Liaoning Ballet, and other institutions and companies.
Dancers from 12 world-class dance academies representing nine countries painted a vivid picture of artistic unity through movement. Using the body as a brush and emotion as ink, they wove together the unique charms of diverse civilizations into an elegant cross-cultural dialogue on stage—embodying the spirit of harmony and coexistence that resonated deeply with every audience member.
Messages and Blessings
Charting a New Blueprint for International Dance Education Exchange
In his speech, Wei Xubin, Deputy Director of the Beijing Municipal Education Commission, emphasized that “harmony” represents the essence of China’s fine traditional culture. The gala, themed “The Beauty of Harmony,” is not only a vivid practice of dialogue among different civilizations, but also an important bridge for promoting the sharing of dance education resources and the joint cultivation of talent between China and the world. He noted that as Beijing continues to strengthen its role as an international center for cultural exchange, the city will keep developing global cultural exchange brands, transforming this millennia-old capital into a welcoming meeting place for mutual learning in the art of dance worldwide, and contributing to the building of a strong educational city and a world-class hub for arts education.
Xiao Xiangrong, Vice President of BDA, reflected on the founding vision of the World Dance Education Alliance (WDEA)—to build a cross-border platform for dialogue and exchange, enabling dance arts from different civilizations to develop together through mutual learning. He noted that the 12 carefully choreographed performances of the evening were not only showcases of each country’s dance education achievements, but also vivid expressions of the artistic pursuit of “harmony in diversity and beauty in shared growth.” Xiao expressed his hope that the gala would allow audiences to immerse themselves in the vast river of world dance culture, serving as both a new starting point for global exchange among dance professionals and a bridge of enduring friendship.
Anthony Doran Bowne, Vice President of WDEA and Principal of Trinity Laban Conservatoire of Music and Dance, remarked in his speech that the close relationship between the two academies is rooted not only in their shared historical paths but also in their shared values. Looking back, he recalled how Madame Dai Ailian, known as the “Mother of Chinese Dance,” first introduced Labanotation to China—an act that laid the foundation for decades of collaboration. From joint dance science programs to co-created works, this enduring partnership has witnessed continuous mutual learning and inspiration between Chinese and British dance education. He noted that the evening’s joint performance was a vivid symbol of this connection, transcending borders and conveying the profound power of culture through a shared artistic language.
Bibigul Nusipzhanova, Vice President of WDEA and Rector of the Kazakh National Academy of Choreography, stated that this grand event not only demonstrated the magnificence and grace of dance as an art form but also provided an important platform for international cooperation, cultural exchange, and closer institutional collaboration. She noted that such initiatives help inspire creative partnerships and foster new artistic and educational projects. Nusipzhanova also highlighted that October 25 coincided with Kazakhstan’s Republic Day. While extending her warm greetings on this special occasion, she expressed her hope that through the performance of classic ballet excerpts, audiences around the world could appreciate the heritage and charm of Kazakh dance education. She concluded by wishing that all participants would find artistic resonance and shared inspiration through this meaningful exchange.
Dance as a Reflection of Civilization
Twelve Masterpieces Weaving a Tapestry of Diverse Aesthetics
From the graceful rhythms of ballet to the rich heritage of ethnic dance, and from the exploratory spirit of contemporary choreography to the vibrant dialogue between Chinese and foreign cultures, the 12 performances unfolded like 12 “windows of culture.” Each offered a glimpse into a unique artistic realm, while together they embodied the deeper essence of harmony in diversity.
The opening piece, The Imprint of the Tang Dynasty, was performed by BDA. In this Chinese classical dance, the performers embodied the revival of Tang dynasty lady figurines, bringing to life the splendor and confidence of that golden age. The choreography broke away from the traditionally “static” impression of the Tang era, guiding the audience—through the language of art—back to the glorious days of the Tang Dynasty, and celebrating the enduring charm of Chinese traditional culture.
The Ballet School “Princess Ksenija” Montenegro presented Dancing Strings. In this piece, the male dancer portrayed the legendary composer Niccolo Paganini, while eight female dancers, with light and graceful steps, brought the fluttering notes to life. Set to the melody of Paganini’s 24 Caprices, the performance captured the very moment of musical inspiration through refined ballet technique. The seamless harmony of movement and music made the audience feel as if they were witnessing music taking visible form upon the stage.
The Karol Szymanowski Academy of Music in Katowice, Poland, presented the duet Convergence. This piece weaves the Taoist philosophy of yin-yang balance into the vocabulary of contemporary dance. Through the interplay of masculine strength and feminine grace and by blending the vigor of Chinese sword dance with the fluidity of fan dance, the dancers gave physical form to the idea of harmony amid opposition and diversity. Set to the evocative music of Kevin Penkin, the performance illuminated a mesmerizing dialogue between Eastern wisdom and Western modern dance technique.
The Dance Academy Kuching, Malaysia, transported the audience into a vibrant tropical scene with its performance Ngajat Lesung. In this traditional Iban dance, a male performer displayed remarkable strength by lifting a 20-kilogram wooden rice mortar with his teeth—an awe-inspiring act that embodied the raw vitality and masculine spirit of the indigenous people. He was later joined by Iban maidens, whose light and rhythmic movements celebrated the “warrior’s” return. The fusion of live music and dance vividly revived the traditional customs of the Iban community in Sarawak, allowing the audience to feel the enduring cultural heritage carried within this ethnic art form.
The National Academy of Theatre Arts in Krakow, Poland, presented The First, The Last. This piece highlighted the subtle emotional expression and narrative power of European contemporary dance. Through nuanced eye contact and gentle physical interactions, the dancers conveyed the psychological journey from the emergence to the quiet fading of emotions. Set against the backdrop of Polish folk music, the performance integrated local musical rhythms into the language of modern dance, reflecting the academy’s exploration of blending native music and dance in education, while also expressing the Polish artistic sensitivity to human emotion.
The London Contemporary Dance School, The Place, UK, presented Working In Progress. Centered on the theme of identity, the dancers explored how one constructs the self through a sense of belonging in an ever-changing world, using fluid formations and nuanced emotional expression. Dr. Lise Uytterhoeven remarked that the work “places movement at the heart of storytelling, allowing complex emotions to surface naturally through the body’s flow.”
The Rimsky-Korsakov Saint-Petersburg State Conservatory, Russia, presented the solo piece Polaris Sima, an artistic monologue on solitude and pursuit. Dancer Egor Fomin conveyed the journey of a lost soul in search of the North Star through tension-charged movements of contemporary dance. Set to the music of Emptyset and Zbigniew Preisner, the piece vividly portrayed the awakening of inner perception — every turn and extension of the body infused with narrative depth and emotional resonance.
The New York University Steinhardt, USA, presented Trace—Colors in Motion, a performance that embodied the fusion and innovation of classical and contemporary dance. Choreographers Maria Ferraro and Sasha Ai Ling Lane performed together, blending classical ballet pointe techniques with modern choreographic forms. In Trace, set to Schubert’s Impromptus, the dancers “drew” dynamic lines in space; while Colors in Motion, inspired by watercolor, employed vigorous movements to express the fluid transformations of color, creating a vivid interplay between modern aesthetics and classical structure.
The University of the Arts Singapore presented Timeline, a performance centered on the theme of “life symmetry.” Eight dancers moved like parallel lives growing side by side, their movements precise yet uniquely expressive. The subtle choreography evoked the state of lives that are alike yet never intersect, inviting the audience to contemplate companionship and distance.
The Hong Kong Academy for Performing Arts, China, presented the duet Whisper in Motion, a poetic expression of a dialogue between souls. Through gentle physical contact and synchronized movements, the two dancers illustrated how hearts can meet like whispers of stars, rendering the invisible emotional bond tangible on stage. The romantic atmosphere enchanted every member of the audience.
The Kazakh National Academy of Choreography presented excerpts from The Sleeping Beauty, infusing the stage with the elegance of classical ballet. Dancers performed the Act III Wedding Adagio and Finale, bringing Tchaikovsky’s timeless score to life through precise ballet technique and subtle emotional expression. The performance showcased the global heritage of ballet and vividly recreated the romantic tale of Princess Aurora and Prince Désiré.
The finale, Hé, was a collaborative creation between BDA and Trinity Laban Conservatoire of Music and Dance, UK, serving as a work of cultural dialogue. The title Hé plays on the homophones of the Chinese characters “河” (river), “和” (harmony), and “合” (collaboration), tracing the Thames and China’s Grand Canal as thematic threads. The performance unfolded in three segments, blending elements of Chinese and British musical theatre with dance technique. In the trio musical segment Encounter 1, students from both countries jointly performed All I Ask of You from The Phantom of the Opera, conveying the thrill of a first encounter through song and movement. The Pas de Deux and group dance Encounter 2 · Burning, set to Vivaldi’s music, used dynamic choreography to illustrate the sparks of cultural collision. The final musical theatre segment Us concluded with I Believe, So I Persist from the musical Butterfly, combining chorus and dance to celebrate the deep friendship and shared growth fostered by Sino-British cultural integration and collaboration.
Beauty in Diversity
Dance as a Bridge Connecting World Civilizations
“From classical ballet to ethnic dance, from modern explorations to cross-genre fusion, every performance tonight showed me the infinite possibilities of dance,” an audience member said, visibly moved after the show. “Especially Hé, which connected different cultures through the imagery of two rivers—such creativity truly touched me. This is what mutual learning among civilizations really means.”
This gala not only showcased the achievements of global dance education but also embodied the principle of “communicating through dance.” Dance transcended language barriers, allowing diverse forms to coexist harmoniously on the same stage. After the performance, dancers from different countries gathered in the theater’s lounge, exchanging ideas on choreography and sharing performance insights. While physical movements continued to flow, a deeper connection of hearts had already begun. This golden autumn, Beijing used dance as a bridge to reveal the beauty of cultural integration to the world, leaving a vivid mark on the collaborative development of global dance education.
WDEA was initiated by BDA in collaboration with leading dance education institutions and organizations worldwide. To date, it has grown to include 70 dance education institutions from 38 countries, forming a global platform for exchange and collaboration across five continents. WDEA is committed to establishing mechanisms for collaborative innovation in dance talent cultivation and multilateral cooperation, helping dance institutions worldwide deepen partnerships, promote the high-quality development of global dance education, and foster a shared dance culture community.
This performance, staged on WDEA’s cross-border, professional exchange platform, brought together top-tier resources and leading talents from the global dance education field. It not only provided dance practitioners from around the world with a valuable stage to showcase their artistry and refine their skills, but also served as a vital bridge for international cultural exchange and mutual learning in dance. Looking ahead, WDEA will continue to advance global dance education through student and faculty exchanges, performance collaborations, master workshops, and other initiatives. By facilitating resource sharing and the exchange of ideas, it aims to infuse continuous vitality into the innovation and development of world dance education, contributing both wisdom and strength to the flourishing of dance art and the progress of human civilization.
Source: Beijing Dance Academy Official Website, News Edition No. 1883 (Issue No. 155, 2025)
