Dance as Mutual Understanding
by: Sarah Horne, DMUSA Project Director
It’s difficult to reflect back on my time with DanceMotion USA℠ because I’m still processing that the program is really coming to a close. When I was first introduced to the concept of cultural diplomacy in 2014, it seemed a vehicle for political gain. When I actually experienced cultural diplomacy as the tour manager of the Mark Morris Dance Group’s DanceMotion USA℠ residency in Cambodia, Timor Leste, Taiwan, and China, I understood that it was a vehicle for change; a tool to be used to connect individuals through something as simple yet powerful as dance. I can honestly say that partaking in that residency changed my life.
Small town Massachusetts girl, never in my wildest dreams could I have foreseen travel to destinations like Cambodia; and Timor Leste, I had never even heard of it. Yet, the people I met in these destinations became my family for the 5 weeks we were abroad. We moved together, ate, laughed, shared highs and lows, connected on intimate and personal levels, and all expressed the same desire to live a happy, healthy life; to provide for our families; to take pride in our work. The world really is small and humans all need and want the same basic necessities. Whether we’re in South East Asia or America, we’re inevitably the same, this program allowed me to fully understand that.
Mark Morris and Sarah Horne at the closing ceremony of the Special Olympics in Timor Leste with a young participant
Almost a year after that residency experience, I had the opportunity to become a part of the DanceMotion USA℠ team; working to bring to fruition these residencies for other American dancers and dance companies. With the program having had such an impact on me personally, I wanted to work toward building experiences for others that would allow them the same opportunities I had. As the Project Manager for DanceMotion USA℠, I worked with embassies and cultural partners in Africa, Asia, South America, and Eurasia to build residency tours that connected American dancers with individuals who may never have met an American, or who may never have been given the opportunity to dance and move due to physical limitations and/or access to dance and dance education. Some of the vulnerable populations we worked with had caretakers who didn’t believe those in their care could dance perhaps because they were wheelchair bound or had other physical limitations. Yet, when the American residency companies were on the ground, the palpable energy of joy in the room radiated because dance really is for everyone. Those caretakers not only saw those in their care dance but they saw them light up with a happiness that comes from inclusion and the belief that we can achieve anything our hearts set out to do.
Sarah Horne being interviewed in Taiwan following a residency activity
I had the privilege to travel to Vientiane, Laos with Dance Heginbotham in 2016 and watching this company teach and exchange with individuals on the ground brought joy to my heart and tears of happiness to my eyes. I saw them experience the same transformation I had during my Mark Morris residency and I knew then that this program was more than about achieving foreign policy goals, it was about individual, person-to-person exchange; it was about the universal language of dance; it was about empowerment and joy.
John Heginbotham with Sarah Horne in Luang Prabang, Laos
In 2017, as the Project Director for the program, I traveled to Mongolia, Korea and Russia to meet with Embassy staff and cultural partners in advance of the seventh and final season of programming. Explaining the program and discussing how dance can be used as a way to connect is often harder than one would think. More often than not, those we work with expect us to want to work with professional dancers, dance students, companies, etc. and to put on performances. Yet, the power of what we do lies in the exact opposite; connecting individually with those new to dance and/or exchanging with local, traditional groups in an effort to absorb and appreciate the culture, history, and heritage of the countries we travel to.
These advance trips held an extra special meaning for me, not only did I know they would establish the residencies for the last season of DanceMotion USA℠ programming, but I was near the end of my first trimester of pregnancy, carrying with me my daughter. In her, I hope to instill not only an appreciation and love for travel but also the respect and admiration for other cultures and societies that has grown within me since my involvement with DanceMotion USA℠ began. As the world continues to grow, preserving and respecting culture and traditions is all the more important. Cultural exchange programs do that, not only by sending Americans abroad, but by bringing international artists and curators to the United States. The connections fostered through these exchanges help create space for dialogue and discussion, demonstrate shared values, and increase cross-cultural understanding.
Sarah Horne in Moscow, Russia during an advance trip
Now as the program end looms in site, I have the weight and responsibility of keeping the legacy of these residency exchanges alive for years to come so that others may understand the powerful impact of cultural diplomacy. In bidding goodbye to this chapter of dance diplomacy, I reflect back on how dance diplomacy began during the Cold War. It was President Dwight D. Eisenhower who created the means for the State Department to facilitate cultural exchange as a way to “stimulate the presentation abroad by private firms and groups of the best American industrial and cultural achievements, in order to demonstrate the dedication of the United States to peace and human well-being [and] to offset worldwide Communist propaganda charges that the United States has no culture.” Since then, dance diplomacy has ebbed and flowed as foreign policy goals and objectives have changed. Today, dance is used as a means to foster cultural exchange and mutual understanding and to establish relationships between individuals. As we look at the next chapter of cultural diplomacy, I hope the State Department maintains these goals which I hold near and dear to my heart and continues to encourage individuals to connect through the arts because they represent a universal language equal to none. It has been a privilege and an honor to be both a participant and administrator of this program; for what it has taught me and instilled within me, I am eternally changed and grateful.

















