With the worldwide lockdown affecting individual musicians and concert halls, streamingtechnology has become a central vehicle through which musicians and audiences can meet. Butthis forced move to digital presence also suggests new possibilities, beyond the ongoingcoronavirus pandemic. This paper discusses how networked performance, a format which hasengaged artists for decades as an artform in its own right, may also contribute to the sustaining ofcultural heritage among migrant/minority communities as well as to the development ofinnovative intercultural artistic practices. Building on the experience of our group, The SixTones, as well as on research carried out by Roger Mills (2019) and Ximena Alarcón Diaz, wewish to develop a more robust understanding of the possibilities, and the limitations, thatnetworked technology affords. The central source of our own work is drawn from MusicalTransformations, an ongoing project which studies the intersection between traditional andexperimental music in globalized society. We address the role of social interaction in the practicefor intercultural collaboration, developed by The Six Tones since 2006, and discuss how suchinteractions are made difficult when collaborating through mediation of digital technology. Inthis context we believe that it is possible to also study what the limitations that the technologiesimpose and what the nature of these limitations amount to. Such a study may be useful also inother areas of digital interaction. Qualitative analysis of video documentation from rehearsalsand performances constitute the foundation for the study. In the paper, we further discuss theprojected creation of a scene for intercultural exchange at Manzi Art Space in Hanoi, withreference to the first networked performance carried out live on a scene in Hanoi on July 12,2020, curated by The Six Tones at Manzi. This project situates the discussion even moreimmediately in the current developments of music culture at the time of the pandemic. Thepresentation, by the four authors, is supplemented with video from networked performances, aswell as interviews with the group and guest performers documented on video.