At the dawn of the European refugee crisis, and in the middle of the ongoing sociopolitical and financial crisis in Greece, Greek choreographers started creating dance works that engaged immigrants and refugees. In most such initiatives, improvisation became the tool for bridging the disparity between the professional dancers and the “untrained” participants, who were often the vulnerable populations of refugees and asylum seekers. In this essay, I question the ethics and aesthetics of these methodological approaches utilized for staging encounters between natives and migrants through dance. In particular, I consider the significance of improvisation as potentially perpetuating hierarchical inequalities in the framework of Western concert dance, while I also highlight the ways that such artistic endeavors end up presenting immigrants and refugees as “Others.”

中文翻译：

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在希腊当代舞蹈表演中参与不稳定和“他者”的新兴框架

在欧洲难民危机爆发之际，在希腊持续的社会政治和金融危机中，希腊编舞开始创作吸引移民和难民的舞蹈作品。在大多数此类举措中，即兴表演成为弥合专业舞者与“未经训练”参与者之间差距的工具，这些参与者通常是难民和寻求庇护者的弱势群体。在这篇文章中，我质疑这些方法论方法的伦理和美学，这些方法用于通过舞蹈在当地人和移民之间进行相遇。特别是，我认为即兴创作的意义是在西方音乐会舞蹈的框架内潜在地延续等级不平等，