Collaboration and cultural exchange essay

Analyse how collaboration and cultural exchange contribute to the meaning of Sutra

Sutra (2008) by Sidi Larbi Cherkaoui is heavily dependent on both collaboration and cultural exchange to communicate it’s meaning. In this piece, Cherkaoui combines Eastern and Western practices, choreography, music, design and martial arts to create a work exploring spirituality humanity and co-existence. The collaboration between Cherkaoui, the Shaolin monks, composer Szymon Brzóska and sculptor Antony Gormley allows the work to move beyond dance into a multidisciplinary performance experience.

Cultural exchange is central to the meaning of Sutra, as the work combines Western contemporary dance with Eastern Shaolin martial arts and Buddhist traditions. Cherkaoui uses contemporary dance structures such as canons and motifs to combine martial arts and ritualistic movement with dance theatre. This can be seen in Section 4 ‘War’, where the monks move on and off of the boxes in a canon, using Kung Fu movements such as high kicks, punk cues and jumps, symbolising the movement of a Chinese dragon. Cherkaoui also moves in a more fluid and smooth movement, and often appears vulnerable among the monks, such as in Section 5 ‘Box’, highlighting his role as an outsider entering another culture. Over time, the monks and Cherkaoui become more unified, suggesting a sense of cooperation and mutual understanding. Therefore, cultural exchange contributes to the meaning of Sutra by showcasing how different traditions can co-exist and enrich one another.

The aural setting- a collaboration with composer Szymon Brzóska- deepens the emotional and spiritual atmosphere of the piece. The music includes violin, piano, atmosphere in sounds and use of silence, performed live where the orchestra follows the movements of the monks (as the monks were not used to performing to music). Sustained violin phrases accompany slow movements, such as in Section 6 ‘Lotus’, where long, drawn out notes are played while the monks carry the boxes around in a circle on their backs. They then join together in a circle, and slowly lower the boxes to look like a lotus blooming. This emphasises the physical power and precision of the monks, and reinforces the intense discipline required with Shaolin practice. Some sections use very little music, such as Section 1 ‘Sword’, in order to focus the audience’s attention on the movement of both the monks and the boxes, as well as reflect Buddhist ideas of stillness and mindfulness. The collaboration with Brzóska therefore contributes to the emotional depth and spiritual meaning of Sutra.

Antony Gormley’s set design is central to both the choreography and symbolic meaning of the work. The set consists of 17 wooden boxes measuring 60x60x180 with 5 sides, as well as one more box covered in aluminium (which is frequently used by Cherkaoui to showcase his position as an outsider/ foreigner). The boxes are manipulated throughout the piece, transforming into different structures (such as a lotus, wall or skyscrapers), showing Buddhist ideology of impermanence and flexibility. This constant transformation demonstrates a sense of adaptability and cooperation, and forces collaboration between performers. The dancers interact physically with the boxes, balancing on them, hiding under them and trapping themselves in them, causing the set to become an active participant in the piece rather than just a background. The minimalist sculptures reflect Western contemporary art trends, which combines with Eastern movement traditions, reinforcing this sense of cultural fusion within the piece.

Overall, collaboration and cultural exchange are fundamental to the meaning of Sutra. Through collaboration with the Shaolin monks, Szymon Brzóska and Antony Gormley, Sutra becomes a reflection on communication, identity and the idea of harmony between cultures.