Cultural appropriation or "theft" is a point of contention among
scholars and performers. When American performance artists use
non-Western cultural elements-such as music, dance, or material
items-questions of authenticity, identity, and entitlement are raised.
Between two opposing extremes, "Romantic individualism" and
essentialism, exists a continuum where most theatrical performances
reside. This work examines the stance of cultural appropriation in
relation to modern dance, music, and intercultural performance. The
focus of the examination is "At Last, The Tale of the Bird Belly
Princess, Tien-Savi-Tsuru-Chak," a production directed, choreographed,
and performed by members of Bowling Green State University's faculty and
student body. The performance, which incorporated elements of Korean and
Balinese music and dance, ran a fine line between cultural appropriation
and artistic freedom. It is necessary to examine a work from many angles
in order to understand the various "truths" it expresses. This analysis
should be useful to ethnomusicologists, dance ethnologists, and other
scholars considering issues of authenticity, identity, and cultural
appropriation.