2.1. Research Design

This study employed a qualitative approach using a case study design to explore the experiences of Malaysian dance teachers participating in Kecak dance as part of their intercultural competence development. This approach was selected because it enables an in-depth understanding of the contextual and reflective learning processes as well as the professional transformations experienced by the participants. The qualitative case study design facilitates the investigation of complex social phenomena within their real-life settings, allowing the researcher to capture the dynamic and situated nature of teacher learning and embodied experiences (Rumenapp et al., 2023).

2.2. Participants and Research Site

The study was conducted at Universiti Pendidikan Sultan Idris (UPSI), Malaysia, one of the leading teacher education institutions in Southeast Asia with a longstanding commitment to arts, culture, and teacher professional development. UPSI was selected as the research site because it serves as a major center for preparing arts educators and provides a strategic context for examining intercultural learning among practicing teachers. The participants consisted of ten dance teachers who were alumni of UPSI and had been actively working as teachers in Malaysian schools for several years (Table 1).

Participants were selected using a purposive maximum-variation sampling strategy (Bulmer, 1979; Khan, 2022). This approach was chosen because the study did not aim to generate statistical generalizations but rather to obtain rich and in-depth insights from individuals who possessed direct experience relevant to the research objectives. The inclusion criteria required participants to be actively engaged in teaching dance or performing arts, be UPSI graduates, attend the entire Kecak dance training program, and be willing to participate in interviews and observations. The purposive strategy also enabled the selection of participants with varying ages, teaching experiences, and prior exposure to intercultural arts practices, thereby allowing the study to capture a broader range of perspectives regarding intercultural competence, embodied learning, and professional identity development.

7.1. Embodied Intercultural Learning through Kecak Movement and Vocal Practice

The embodied experience of Kecak dance training among Malaysian dance teachers revealed a complex interplay between bodily awareness, cultural transmission, and pedagogical adaptation. Participants not only learned the philosophical meanings underlying the movements but also directly engaged with the fundamental techniques of Kecak, including hand movement patterns, circular sitting formations, bodily coordination, and the distinctive “cak, cak, cak” vocal technique that constitutes the core element of the performance (Figure 1). This active engagement facilitated profound physical and emotional experiences, in which the synchronization of breathing, rhythm, and vocal coordination fostered collective awareness and a sense of interconnectedness among participants (Markula & Frantsi, 2024; Siljamäki & Anttila, 2021).

Figure 1. - Teachers learning Kecak dance techniques.

Interview data indicated that these embodied experiences helped teachers understand art as a practice inseparable from its cultural context. One participant stated, “Art is simple; art is beautiful” (P3), suggesting that Kecak training opened new perspectives on intercultural arts learning as an accessible, communicative, and inclusive process that does not necessarily require advanced technical expertise. Another participant explained that intercultural learning enabled them to “understand the entirety of a culture through its music, vocals, dance, and costumes” (P7). This statement represents an important meaning unit, indicating that the Kecak experience was understood not merely as a movement practice but as a holistic cultural experience integrating music, vocal expression, movement, costume, and social values.

As a traditional Balinese performing art, Kecak functioned both as a learning medium and a metaphor for intercultural education. Teachers reported increased sensitivity to cultural values through direct engagement with Kecak’s rhythmic structure, which requires collective coordination. Becoming part of the circle fostered a sense of equality and interconnectedness among participants, challenging the hierarchical structures commonly found in formal educational settings. Body-based learning promoted an inclusive, egalitarian pedagogical space oriented toward intercultural emotional awareness (Ørbæk, 2021).

Furthermore, participants revealed that the emotional dimensions of Kecak practice generated a new awareness of the importance of social and spiritual connections within artistic practice. They described initial uncertainty when attempting to coordinate movement and vocalization simultaneously; however, this uncertainty gradually transformed into a learning experience that strengthened courage, listening skills, and sensitivity to collective rhythm. This process brought to life Balinese cultural values such as discipline, togetherness, and respect for community. Affective engagement in dance practice has been shown to cultivate empathy and broaden intercultural understanding (Pape-Pedersen & Strugstad, 2022). Consequently, the embodied experience of Kecak training provided Malaysian dance teachers with a concrete model for understanding how body, voice, and rhythm can function as dynamic and reflective vehicles for intercultural learning.

7.2. Cultural Values and Symbolic Communication in Kecak as Intercultural Pedagogy

Kecak dance emphasizes not only technical proficiency but also a rich symbolic dimension embedded with cultural meaning. Teachers identified several important values, including cooperation (gotong royong), rhythmic discipline, spiritual awareness, and the balance between individual and collective identity. The structured “cak-cak-cak” vocalization represents both social and spiritual harmony, where each individual contributes to a larger collective whole. Participants interpreted these values as reflections of the Balinese philosophy of Tri Hita Karana, which emphasizes harmonious relationships among humans, nature, and the divine. Kecak thus became a representation of collective memory and social identity (Sankara, 2023). Its musical and movement structures functioned as living metaphors for social cohesion and cooperation (Figure 2). Through this embodied experience, teachers learned how cultural narratives can be articulated through rhythm and movement, thereby deepening their pedagogical sensitivity toward symbolic communication in dance (Ravn, 2022).

Figure 2. - Kecak dance performance at Uluwatu, Bali.

Interview findings reinforced this interpretation. One participant stated that the benefit of intercultural learning was that it “allows us to understand other cultures more deeply” (P2). Another participant explained that intercultural learning can “broaden one’s mindset and understanding of other cultures” (P5). These statements suggest that Kecak training was perceived as a space for expanding cultural perspectives rather than merely developing dance skills. In this context, the symbolic meanings embedded in Kecak functioned as a medium through which participants could understand other cultures more empathetically and comprehensively.

From a pedagogical perspective, the internalization of cultural values through Kecak encouraged teachers to adopt more reflective and collaborative teaching practices. Participants recognized parallels between group coordination in Kecak and multicultural classroom management strategies based on cooperation and empathy. The circular formation, interlocking rhythms, and mutually supportive vocal structures of Kecak can be interpreted as a model of classroom learning in which every student is regarded as an essential contributor to the collective learning process. Thus, Kecak serves not only as cultural heritage but also as a model of intercultural pedagogy that promotes collective awareness and appreciation of diversity (Ayana et al., 2024).

7.3. Pedagogical Adaptation and Teacher Confidence in Multicultural Dance Education

The findings indicate that Kecak training encouraged teachers to reconsider their dance teaching strategies within multicultural classroom contexts. Several participants had previously taught artistic materials originating from cultures other than their own; however, the training strengthened their understanding that intercultural learning should be systematically designed through appropriate teaching materials, pedagogical approaches, and experiential learning opportunities. When asked about the most important aspects of intercultural training, participants highlighted “intercultural teaching techniques” (P4) and “curriculum and teaching material development” (P8). These responses suggest that teachers require not only knowledge of other cultures but also pedagogical tools that enable them to translate such knowledge into meaningful classroom practice.

A major challenge identified by participants was students’ limited understanding of cultures different from their own. Teachers observed that students often lack sufficient prior knowledge to fully comprehend the symbolic meanings embedded in intercultural artistic practices. Consequently, educators must design learning experiences that not only present artistic forms but also explain their cultural backgrounds, values, and social contexts. One participant stated that intercultural learning helps students “understand the cultural background behind artistic practices” (P6). This statement highlights the importance of contextual approaches in intercultural dance education.

Kecak training also enhanced teachers’ confidence in teaching intercultural arts content. Prior to the training, several participants described themselves as only “moderately confident” in teaching intercultural arts. Following the training, however, they expressed greater confidence in implementing intercultural learning practices in their schools. One participant stated that they intended to “carry out intercultural learning activities with students in Malaysian schools” (P1), while another planned to implement such activities “during arts club sessions” (P9). These findings suggest that the training not only strengthened conceptual understanding but also generated practical pedagogical plans applicable within school settings.

7.4. Professional Identity Transformation through Intercultural Engagement

Kecak training also triggered profound transformations in teachers’ professional identities. Participants began to view themselves not merely as instructors of dance techniques but as cultural mediators and facilitators of intercultural dialogue. This transformation was characterized by increased confidence, empathy, and pedagogical reflexivity. Consistent with the concept of intercultural teacher identity (Bahari, 2022; Bendraou & Sakale, 2023; Jegere & Jēgere, 2022), participants developed more open, reflective, and diversity-responsive professional identities.

Intercultural training enabled teachers to critically examine their personal biases and broaden their perspectives on diversity (Papadopoulou et al., 2022). This reflective process strengthened their awareness of social justice and educational equity (Chapman‐Hilliard & Parker, 2022). Furthermore, intercultural engagement through Kecak encouraged participants to undertake a decolonial reflection on dance curricula that often remain Eurocentric in orientation. They began exploring how Southeast Asian movement traditions and philosophies could serve as alternative epistemological foundations within dance education (Thapaliya & Luitel, 2024).

Participant data further demonstrated that the training strengthened teachers’ awareness of their role as cultural bridge-builders. One participant remarked that “dance can become an engaging learning experience and can be creatively improvised” (P10). This meaning unit reflects a shift in teachers’ perceptions of dance from a skill-based subject to a creative space that can be adapted, reinterpreted, and utilized to foster intercultural understanding. This reflective process also strengthened professional networks among teachers through the exchange of intercultural ideas and experiences (Randez, 2025).

Through intercultural engagement, teachers developed a renewed understanding of their role as agents of social change. They increasingly viewed dance as a medium for cultivating empathy and solidarity. This transformation demonstrates how intercultural experiences not only enrich pedagogical competence but also shape professional identities that are globally oriented, reflective, and deeply humanistic.

8.1. Embodied Intercultural Learning as a Foundation for Cross-Cultural Understanding

The findings of this study demonstrate that embodied learning experienced through Kecak dance training serves as a significant foundation for the development of intercultural awareness among dance teachers. The body functions not merely as an instrument of expression but also as a medium of knowledge that enables teachers to understand and internalize cultural values through direct experience (Markula & Frantsi, 2024). Within the context of Kecak training, the synchronization of movement and collective rhythm creates affective and kinesthetic experiences that facilitate non-verbal forms of intercultural understanding.

These findings extend previous research suggesting that body-based learning promotes egalitarian social relationships within dance education contexts (Siljamäki & Anttila, 2021). The Malaysian teachers involved in this study not only acquired technical knowledge of Kecak but also embodied the values of togetherness and harmony embedded within the practice. This finding indicates that traditional dance training can function as a pedagogical bridge between aesthetic experience and pedagogical transformation. Embodied experience enables individuals to negotiate their cultural and pedagogical identities through reflective interactions between self and community (Ørbæk, 2021).

Furthermore, these embodied experiences reveal spiritual and emotional dimensions that enrich teachers’ pedagogical perspectives. The collective process inherent in Kecak cultivates empathy and affective awareness that cannot be achieved solely through theoretical instruction. Dance activities may serve as spaces for social and emotional healing for educators, particularly when navigating professional and social pressures within multicultural environments (He, 2024). In this context, Kecak demonstrates the potential of dance education as a transformative space for strengthening professional identity. Although this study focuses on dance education, the affective, relational, and embodied dimensions emerging from the training also open opportunities for dialogue with the field of creative arts therapy, particularly in understanding how collective artistic practices may foster empathy, social connection, and self-awareness.

8.2. Cultural Symbolism, Collective Rhythm, and Pedagogical Meaning

This discussion highlights how the cultural values internalized through Kecak function as a medium through which dance teachers develop deeper intercultural understanding. Kecak represents a social practice that articulates spiritual values, togetherness, and collective discipline. Through participation in the training, Malaysian dance teachers were able to reinterpret the symbolic meanings embedded within Kecak and connect them to their own teaching contexts (Haryati et al., 2024; Lee, 2021).

Active engagement in the call-and-response process illustrates how symbolic communication in dance can function as an interactive pedagogical model that fosters equality and mutual respect among students from diverse cultural backgrounds. Within the Malaysian context, where ethnic diversity is an inherent characteristic of the educational system, the interpretation of these symbolic values assists teachers in creating learning environments that embrace plurality (Jamaludin et al., 2024). The symbolic meanings identified in Kecak, including the circle as a metaphor for equality, the “cak-cak-cak” vocalization as a representation of social harmony, and synchronized movement as an expression of collective action, support the notion that traditional dance functions as a form of cultural literacy. Understanding such symbolism enhances teachers’ ability to integrate cultural values into the curriculum, not as doctrinal content but as a dialogical process between tradition and contemporary contexts. Consequently, awareness of symbolic meanings in dance enables teachers to facilitate intercultural interactions grounded in mutual respect and cultural appreciation (Prabowo et al., 2022).

8.3. Intercultural Dialogue Between Eastern and Western Perspectives

The findings should also be interpreted within the broader framework of dialogue between Eastern and Western perspectives on intercultural dance education. From a Western perspective, embodied learning is frequently associated with critical reflection, individual agency, democratic classroom practices, and the development of intercultural competence. Somatic approaches within Western dance education emphasize bodily experience as a means of cultivating self-awareness, critical reflection, and more democratic pedagogical relationships (Soye, 2024). Within higher dance education, Western approaches further emphasize inclusivity, intercultural dialogue, and the integration of diverse cultural experiences as foundational principles of intercultural learning. Additionally, teachers’ intercultural sensitivity has been identified as a crucial factor in bridging the gap between inclusive intentions and actual teaching practices in dance studios and educational settings (Wang, 2021).

In contrast, Eastern perspectives tend to conceptualize embodied experience through notions of mind–body unity, collective harmony, spiritual embodiment, and the transmission of cultural values through movement practices. Within this framework, the body is understood not only as a medium of individual expression but also as a vehicle for maintaining relationships among the self, community, nature, and spiritual values. Research on somatic practices and Eastern philosophies of embodiment suggests that Asian dance traditions position the body as a site where physical experience, inner consciousness, and cultural identity converge (Sun, 2025; Wilson et al., 2021). More broadly, indigenous and intercultural dance education worldwide emphasizes the transmission of cultural heritage, social cohesion, and the sustainability of cultural values through dance education (Liu et al., 2024; Zhu, 2024).

Within this framework, Kecak training can be understood as a meeting point between Eastern embodied philosophies and Western intercultural pedagogies. From an Eastern perspective, Kecak embodies collective harmony, spirituality, and communal bodily practices through interconnected rhythms, vocalizations, and movements. From a Western perspective, these experiences may be interpreted as reflective learning processes that strengthen inclusivity, empathy, and intercultural competence. Thus, Kecak training acts as a meeting point between Eastern embodied philosophies and Western intercultural pedagogies.

This positioning offers an important contribution to Southeast Asian dance education by demonstrating that local traditions can be preserved not only as cultural heritage but also as innovative models of intercultural pedagogy within global educational discourse. The findings suggest that Southeast Asian traditional performing arts possess substantial potential to contribute to international conversations on embodied learning, intercultural education, and culturally responsive pedagogy. By integrating collective embodiment, cultural transmission, and reflective learning, Kecak provides a culturally grounded framework for fostering intercultural understanding in increasingly diverse educational contexts.

Beyond its educational implications, the findings also resonate with broader discussions in Creative Arts Therapy and Dance Movement Therapy (DMT). Although this study was not conducted within a therapeutic setting, the embodied, relational, and collective dimensions observed during Kecak training reveal how traditional performing arts can foster empathy, social connection, emotional awareness, and a sense of belonging. From a Western DMT perspective, movement is often understood as a pathway for self-reflection, emotional expression, and interpersonal attunement. In many Eastern traditions, however, embodied practices are closely associated with collective harmony, spirituality, and communal well-being. The Kecak experience appears to bridge these perspectives by integrating reflective bodily awareness with collective participation and cultural meaning-making. This intersection contributes to ongoing East West dialogues in arts, education, and health by demonstrating how traditional dance practices can support not only intercultural learning but also the integration of body, mind, and spirit. Consequently, the present study offers a Southeast Asian perspective that enriches contemporary discussions on embodied pedagogy and suggests potential directions for future collaborations between dance education and creative arts therapy research.