The Joyce International Dance Center: Opportunities to Bridge Cultural Divides

Today I ventured into the throng of people and press at the World Trade Center site who came to absorb the news of Osama Bin Laden’s death. Flags were flying, flowers were hung, and people wall papered barriers and fences with newspapers blasting jarring headlines of victory. Most people’s reactions were solemn and quietly reflective this afternoon, in stark contrast to the rip roaring partying and outright jubilation seen the night before. Today, the energy felt much more appropriate, reflective and united. I handle my discomfort with those who are partying, dancing and chanting, by telling myself that they are not barbarically “rejoicing in death“, but that they are celebrating the future and potential for unity, understanding and the bridging of cultural gaps.

The World Trade Center site continues its rebirth set to culminate this September in time for the 10th anniversary of the September 11th attacks. In October 2010, the Lower Manhattan Development Corporation voted to allocate funds in the amount of $100 million dollars in federal funds for a performing arts venue at the World Trade Center site to be inhabited by the Joyce. The theater will seat 1,000 people, and is slated to be designed by architect Frank Gehry. The Joyce, with already existing locations in New York City, has dubbed this venue The Joyce International Dance Center, and aims to provide a “wide range of diverse and compelling dance experiences!”


This extremely exciting decision is an enormous opportunity for the dance community, concert dance in particular, as well as cultural organizations. In fact, this may be just the method for creating a dialogue of understanding that has the power to bridge cultural divides. Perhaps this method of communication will serve us better than the previous shouting, protesting and assumptions, and put to rest misunderstanding and racist undertones once and for all. In addition to the numerous cultural possibilities at the performing arts center, there is also the potential to re-engage audiences in the excitement and power of concert dance. Perhaps new audiences in their enthusiasm to support the new World Trade Center will attend performances and discover that there is so much more to dance than the entertainment they see on television. Maybe we can garner new support for keeping the arts in public schools and create a support for concert dance that employs more dancers and actually pays them an income they can live on and provides them health insurance. Okay, maybe I’m getting a little bit ahead of myself here, but it could happen!

Regardless of whether the Joyce International Dance Center at the World Trade Center site ever revolutionizes the concert dance scene, the fact that federal money has actually been allocated for the center means that there are people out there who understand the potential cultural role that dance can play in the healing of a nation and international community. I now have a new goal of one day being involved with this center and hopefully one day performing on its’ stage.