Social Choreography Network

社会编舞在今天意味着什么？这个领域在多大程度上可以提供新的框架来帮助解决难民的文化定型问题？暴力军事冲突、环境危机、社会、种族或族裔融合的破裂，是世界各地数百万人民流离失所的众多原因之一。如今，移民问题可以说被选民和广大公众视为最紧迫的政治问题之一，这不仅发生在脱欧后的英国。虽然强迫移民的问题通常是从社会科学（例如移民和散居研究、社会学、政治学或发展研究）内部解决的，但人们对运动艺术和身体视角如何应对此类危机知之甚少。该网络旨在解决的知识差距涉及缺乏对区域和跨国层面体现的社会舞蹈实践的理解。目前还没有一个平台开发了一个专门将运动作为选择媒介的框架，也没有一个项目绘制了处理难民危机的基于运动的实践、模式或方法。在伦理理解上存在差距，这就是为什么我们需要问自己，在不同区域和国家背景下，在社会编排中，特别是在涉及强迫移民等紧迫问题时，什么构成“良好做法”。该网络还寻求建立在当前对扩展编舞的兴趣之上。近年来，“编舞”一词的使用范围不断扩大，成为与审美身体表达、风格和技术脱节的特定结构和策略的代名词。作为一种扩展的修辞，编舞的功能已经从一套主要用于舞蹈（或应用舞蹈）的协议或工具，转变为一种开放的知识生产集群，与社会、政治甚至经济背景下身体运动的组织有关。我们的网络很清楚它的重点是非舞台实践。我们决定不关注美学编舞中对移民的处理（例如Akram Khan， Sidi Larbi Cherkaoui等），而是更直接地与当地社区开展工作，并通过不以技术或风格为典型的运动活动。指定的参与者是根据他们在不同领域的专业知识和提供研讨会、论坛、公众参与、调解、救济工作和治疗的能力来选择的。从这些实践中出现了什么样的精神和理论话语，在不同的地缘政治背景下，可以利用什么样的协同效应？作为舞蹈史研究的热点（Hewitt 2005, McNeill 2007, Jackson 2008），社会编舞提供了日常动作和编舞艺术之间的理论联系，可以为许多其他学科提供信息。根据休伊特的观点，社会编舞重新定义了意识形态的运作模式，将“美学”和“表演”的观点与对社会运动和行动的更抽象的社会政治理解联系起来。目前，由于人员和货物在无组织和无纪律的流动中流动，这一学科和生物权力的历史出现了问题。社会编排的历史方法需要重新审视，以便考虑到当今的问题，如数字技术的影响、国界的关闭、自由流动的限制，以及至关重要的是，对“难民”或“寻求庇护者”的刻板印象，这两种消极的文化标签似乎都抹去了标签背后的个人。通过汇集在实地工作的经验丰富的从业人员，并通过联系受强迫流离失所影响的社区，我们将帮助将社会编舞作为一个跨学科和国际研究领域引领到发展的第二阶段。

What does social choreography mean today, and to what extent can this field provide new frameworks to help address the issue of cultural stereotyping of refugees?Violent military conflict, environmental crises, breakdown of social, racial or ethnic integration, are some of the many reasons why millions of peoples are being displaced across the world. Immigration is regarded today as arguably one of the most pressing political issues by voters and the wider public, and not only in a post-Brexit UK. Whilst the problem of forced migration is typically addressed from within the social sciences (e.g. migration and diaspora studies, sociology, political science, or development studies), little is known about the way in which the movement arts and bodily perspectives are responding to such crises. The gap in knowledge that the network is aiming to address concerns a lack of understanding of embodied socio-choreographic practice at a regional and cross-national level. There is no existing platform that has developed a framework devoted to movement as the chosen medium, nor a project that has mapped movement-based practices, models or methods dealing with refugee crises. There is a gap in the ethical understanding, which is why we need to ask ourselves what constitutes "good practice" across different regional and national contexts in social choreography, especially in relation to pressing issues such as forced migration.This network also seeks to build upon a current interest in expanded choreography. In recent years the term "choreography" has been used in an ever-widening sense, becoming synonymous with specific structures and strategies disconnected from aesthetic bodily expression, style and technique. The function of choreography as an expanded trope has shifted from a set of protocols or tools used primarily in dance (or applied dance), to an open cluster of knowledge production concerned with the organization of bodily movement in social, political and even economic contexts. Our network is clear about its focus on non-stage practices. We have decided not to focus on the treatment of migration within aesthetic choreography (e.g. Akram Khan, Sidi Larbi Cherkaoui, etc.) but to foreground work that is being carried out more directly with local communities and through motor activity that is not typified by technique or style. Named participants have been chosen on the basis of their specialist knowledge across different areas and the capacity to deliver workshops, forums, public engagement, mediation, relief work and therapy. What kind of ethos and theoretical discourse is emerging from such practices, and what kind of synergies can be leveraged across projects in different geopolitical contexts? An area of intense study in dance history (Hewitt 2005, McNeill 2007, Jackson 2008), social choreography offers a theoretical link between everyday movement and the choreographic arts that can inform a number of other disciplines. According to Hewitt, social choreography redefines ideology's mode of operation, linking "aesthetic" and "performative" perspectives with more abstract socio-political understandings of social movement and action. Histories of the discipline and biopower are currently problematized by movements of people and goods in disorganised and undisciplined flows. The historical approach to social choreography needs to be revisited in order to take into account present-day issues such as the impact of digital technology, the closing of national borders, the restriction of free mobility, and crucially, the stereotyping of "refugees" or "asylum seekers", both negative cultural tags that seem to efface the individual person behind the label. By bringing together experienced practitioners working on the ground, and by linking communities affected by forced displacement, we will help lead social choreography to a second phase of development as an interdisciplinary and international field of study.