無疑作為一種創(chuàng)新視角和理念，中國政府倡導(dǎo)的“人類命運共同體”意識在世界多極化、經(jīng)濟(jì)全球化、社會信息化、文化多樣化的國際形勢下，為應(yīng)對人類生存的嚴(yán)峻挑戰(zhàn)提供了重要的思想策略。正如習(xí)近平所說，國際社會日益成為一個你中有我、我中有你的“命運共同體”，面對世界經(jīng)濟(jì)的復(fù)雜形勢和全球性問題，任何國家都不可能獨善其身，因為，人類只有一個地球。顯然，這一創(chuàng)新視角和理念不僅對于國家間的政治、經(jīng)濟(jì)、文化、外交、民生等問題的解決行之有效，對于舞蹈文化藝術(shù)的生存發(fā)展問題的解決也行之有效。由于全世界的舞者亦生活在當(dāng)下同一個世界，因而都不得不共同面對人類的身體和靈魂健康發(fā)展的種種問題。

盡管“全球化”的概念出現(xiàn)于20世紀(jì)90年代之后，然而，即使在馬云所說的“馬可·波羅從歐洲來到中國花8年時間，再用8年時間從中國返回歐洲”的時代，國與國之間為了謀求生存和發(fā)展，彼此間的交流、學(xué)習(xí)、合作也持續(xù)不斷，因而由政治、貿(mào)易、文化交往而形成了“國際化”的概念。而由中國開辟的“絲綢之路”更是一個典范。國與國的通商與文化交流頻繁，以至于當(dāng)今世界不少國家的歷史與文化間存在諸多“你中有我，我中有你”的情況。

世界舞蹈文化領(lǐng)域的交流和發(fā)展不外于此。歷史上的文化交流曾經(jīng)促使歐洲共同的古典舞蹈生成：芭蕾舞萌生于意大利，成熟于法國，鼎盛于俄國，漸行于歐美，而在當(dāng)代，則風(fēng)靡于世界各國。芭蕾舞不僅是歐洲亦是世界舞蹈的共同財富和藝術(shù)明珠。歷史上的文化交流也使得亞洲的古典舞蹈之間有著千絲萬縷的聯(lián)系。中國唐代宮廷樂舞中就有來自印度、越南、烏茲別克斯坦、朝鮮半島等諸多不同國家或地域的樂舞。而日本、韓國、越南等國則將中國的唐宋宮廷樂舞學(xué)演、傳承至今，并在其深刻影響之下，創(chuàng)造了本土的宮廷樂舞和古典樂舞，作為亞洲共同的非物質(zhì)文化遺產(chǎn)和財富，業(yè)已被聯(lián)合國教科文組織列入人類非物質(zhì)文化遺產(chǎn)代表作名錄。

舞蹈藝術(shù)“國際化”洶涌的浪潮在近現(xiàn)代伴隨著救國救亡者求索的腳步、傳教士布道的“福音”、侵略者的鐵蹄及殖民者的文化的輸入紛沓而至。各種流行歌舞挾裹著異國文化如洪水般涌入殖民地，改變著殖民地的舞蹈文化發(fā)展的方向，亦反向影響、改變著宗主國自身的文化發(fā)展方向。而20世紀(jì)以來，東西方現(xiàn)代舞蹈大師們的藝術(shù)創(chuàng)新和文化轉(zhuǎn)型無一不得益于東西方文化的交流和融匯。

全球化的大潮和科技革命，更是讓世界各國間距離縮短，世界成為一個“地球村”。而今，在互聯(lián)網(wǎng)時代—從歐洲“8秒鐘都能抵達(dá)中國幾億次”（馬云語）的時代，世界文化的交流和融匯更是勢不可擋！“開放”“交流”“同心”“合作”“共贏”“尊重”“理解”“獨立”“多樣”“創(chuàng)新”等等，都將是我們行動的指南，也將是我們生存策略中的關(guān)鍵詞。

作為置身于“人類命運共同體”中的一粒微小分子，《當(dāng)代舞蹈藝術(shù)研究》用中英雙語的創(chuàng)刊以對應(yīng)這個日益擴(kuò)大的全球化趨勢，追求“一種以應(yīng)對人類共同挑戰(zhàn)為目的的全球價值觀”。除了組織并推介報道諸如“2017·國際舞蹈日慶典‘我們一起舞’”“國際舞蹈論壇：全球化時代舞蹈多樣性發(fā)展”等多種國際活動專題、雙語連載美國《國家核心藝術(shù)標(biāo)準(zhǔn)》的全文、推薦來自世界不同國家和地區(qū)學(xué)者們的研究成果等，今后我們將進(jìn)一步打開刊物的國際化視野，繼續(xù)“以當(dāng)代的視野審視舞蹈，以舞蹈的身體認(rèn)知世界”。

而今，在本刊創(chuàng)刊兩周年之際推出的“東亞論壇”系列，探究這一歷史上大多處于“海上絲路”東海航線之上的國家間歷史上的樂舞文化交流、融合及本土建設(shè)和發(fā)展，對于這一政治、經(jīng)濟(jì)、外交、文化聯(lián)系緊密的區(qū)域諸國聯(lián)袂追溯歷史、審視現(xiàn)實、展望未來，加強傳統(tǒng)文化保護(hù)，實現(xiàn)文化創(chuàng)新，共建區(qū)域文化，推進(jìn)區(qū)域與世界和平均具有極其重要的意義?；蛟S，這也是舞蹈學(xué)界對于“人類命運共同體”建設(shè)的又一次積極的踐行。

—本刊主編

Preface

As a new perspective and innovative concept, the Community of Shared Future proposed by the Chinese government offers a solution to the severe challenges to human survival in the context of world multi-polarization, economic globalization, social digitalization and cultural diversity.As President Xi Jinping once said, the international community has become a “community of shared future” in which everyone has in himself a little bit of others.In the face of the complex challenges to the world economy, no country can exist alone as an “island.” After all, humans have only one earth.Obviously, this innovative concept does not only apply to the political, economic, cultural, and diplomatic relations among countries, but is also are highly relevant to the development of dance culture and art.Since dancers share one world, they must address the healthy development of human body and soul together.

Although the concept of “globalization” didn’t appear until the late 1990s, countries had all along learned from each other, communicated and cooperated with each other to seek for survival and development, which has given rise to the concept of political, trading and cultural internationalization, even though Jack Ma mentioned that “it took Marco Polo 8 years to come to China from Europe, and again 8 years to return to Europe from China.” The Silk Road opened by China is a great example.International commercial and cultural exchanges have become so frequent that “everyone has in himself a little bit of others” in terms of history and culture.

The culture of dance is surely a key area ofinternational communication and globalized development.Cultural exchanges had led to the creation of a common European classical dance.Ballet was born in Italy, matured in France, prospered in Russia, gradually spread in Europe and America, and now it is popular all over the world.So,ballet is not exactly European; it is global, a common artistic asset of the world.Cultural exchanges have produced interconnections among the classical dances of Asia.In the Tang dynasty, China imported music and dance from India,the Korean Peninsula, Vietnam, and Uzbekistan which became integral elements of Chinese court music and dance,and then during the Tang and Song dynasties China exported court music and dance to Japan, Korea and Vietnam which had created their own court music and dance as well as classical music and dance under the inf luence of the imports from China.These music and dance traditions have been highly recognized as common intangible cultural heritage of Asia and included in the UNESCO list of intangible cultural heritage.

Dance “internationalization” once came in the footsteps of national salvation, missionary evangelism and colonialism.In the case of colonialism, music and dance had flooded into colonies as part of forced cultural import, which changed the local dance culture and the cultural development of the colonizers.Since the 20th century, artistic innovation and cultural transformation in the East and the West have benef ited from the exchange and blending of cultures.

Meanwhile, technological revolutions have shortened the distance between countries and rendered the big world a “global village.” In the current era of the Internet, it takes only 8 seconds to travel between Europe and China hundreds of millions of times, according to Jack Ma.In this era global cultural exchange and integration are even more overwhelming.The buzz words “open,”“communication,”“sharing,”“cooperation,”“win-win,”“respect,”“understanding,”“independence,”“diversity” and “innovation” will guide our actions.They are also the key words of our values.

As a tiny molecule in the “community of shared future,”the Chinese-English bilingual Journal of Contemporary Research in Dance tries to follow the “globalization”trend and seek to address the common challenges of mankind.Like the previous issues that focused on 2017 International Day and the International Dance Forum: Diversified Development of Dance in the Age of Globalization, the issue will further enhance its internationalization level and continue to examine the art of dance with a contemporary and global vision and examine the world through dance body.It continues to carry the bilingual National Core Standards of Art Education of the United States and introduce the latest results of research and innovation by dancers and scholars around the world.

Coinciding with the second anniversary of the journal,the “East Asia Forum” on dance was held to explore the music and dance exchanges and integration along the East China Sea route of the “Maritime Silk Road.”It is of great importance for these countries with close political, economic, diplomatic and cultural links to trace the history, examine the reality, look towards the future,strengthen the protection of heritage, promote cultural innovation and build a shared regional culture.It is also helpful for promoting regional and world peace.This is a positive contribution of the dance community to building the “community of shared future.”

— Editor-in-Chief