{"product_id":"curating-live-arts-critical-perspectives-essays-and-conversations-on-theory-and-practice-9781785339639","title":"Curating Live Arts: Critical Perspectives,","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e \tSituated at the crossroads of performance practice, museology, and cultural studies, live arts curation has grown in recent years to become a vibrant interdisciplinary project and a genuine global phenomenon. \u003cem\u003eCurating Live Arts\u003c\/em\u003e brings together bold and innovative essays from an international group of theorist-practitioners to pose vital questions, propose future visions, and survey the landscape of this rapidly evolving discipline. Reflecting the field’s characteristic eclecticism, the writings assembled here offer practical and insightful investigations into the curation of theatre, dance, sound art, music, and other performance forms—not only in museums, but in community, site-specific, and time-based contexts, placing it at the forefront of contemporary dialogue and discourse.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e \t\u003cem\u003e“The volume appears as an assemblage that is not immediately easy to approach, but precisely because of that, it is an extremely interesting polyphony that can illuminate our understanding of what we are talking about when we talk about curation today.”\u003c\/em\u003e \u003cstrong\u003e• JRAI\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cem\u003e“[This book] provides momentum for the evolution of research in the curation of performance, performing arts, theatre, music, and other media included in the live arts.”\u003c\/em\u003e \u003cstrong\u003e• ESSE (European Journal for the Study of English)\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cem\u003e“Anyone interested in the significance, purpose, or agenda of curating and curators in performing arts should read this book. The curators promoted here are not rock stars, they don’t wear expensive designer clothing or hang out with celebrities, but they are deeply committed to their work, to the artists they work with, and to the communities they serve.”\u003c\/em\u003e \u003cstrong\u003e• thINKingDANCE\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cem\u003e“The outstanding group of researchers in this innovative book engage in a lucid flow of passion and creative power. Its narratives are drawn from experimental approaches grounded in their authors’ rich lives. This anthology is comprised of unexpected revelations about curation that break the barriers of its canonic definitions, while remaining concerned with Beauty as a fundamental value and the live arts as a celebration of living.”\u003c\/em\u003e \u003cstrong\u003e• Alma Salem\u003c\/strong\u003e, independent curator, Syria Sixth Space\u003c\/p\u003e \u003cp\u003e \t\u003cem\u003e“This is a rich, global compilation of pieces that explore issues of power, community, inclusiveness, belonging, aesthetics, history, embodiment, epistemology, and pedagogy, all within the context of performance and the live arts.”\u003c\/em\u003e \u003cstrong\u003e• Nicole Stanton\u003c\/strong\u003e, Wesleyan University\u003c\/p\u003e \u003cp\u003e \t\u003cem\u003e“In seeking to reinvigorate one of the art world’s most ubiquitous terms, \u003c\/em\u003eCurating Live Arts\u003cem\u003e both interrogates and celebrates the historical in tandem with new possibilities for intervention into the complex space between artists, arts workers, art projects, participants and audiences. It asks critical questions about the values, the sensibilities, and the preoccupations of curating the live arts, and includes writing from artists, curators, and activists working in politically urgent contexts far removed from the centres of ‘high’ art. This wide-ranging anthology makes an invaluable contribution to the complex aspirations of this ever-expanding field.”\u003c\/em\u003e \u003cstrong\u003e• Sarah Miller\u003c\/strong\u003e, University of Wollongong\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e \tList of illustrations\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003ePrologue:\u003c\/strong\u003e Bethinking One’s Own Strengths: The Performative Potential of Curating\u003cbr\u003e \t\u003cem\u003eFlorian Malzacher\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \tAcknowledgments\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eA Collective Introduction\u003c\/strong\u003e\u003cbr\u003e \t\u003cem\u003eDena Davida, Jane Gabriels, Véronique Hudon, and Marc Pronovost\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eA NOTE ON CURATORIAL STATEMENTS—A THIRD SPACE: CHASING THE INTANGIBLE\u003c\/strong\u003e\u003cbr\u003e \t\u003cem\u003eMichèle Steinwald and Michael Trent\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003ePART I: HISTORICAL FRAMINGS\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 1.\u003c\/strong\u003e From Context to Concept: The Emergence of the Performance Curator\u003cbr\u003e \t\u003cem\u003eBertie Ferdman\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eCURIOSITY AND INTUITION\u003c\/strong\u003e\u003cbr\u003e \t\u003cem\u003eMarie Claire Forté\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 2.\u003c\/strong\u003e Exhibiting Performances: Process and Valorisation in \u003cem\u003eWhen Attitudes Become Forms\u003c\/em\u003e—Bern 1969 \/ Venice 2013\u003cbr\u003e \t\u003cem\u003eBeatrice von Bismarck\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 3.\u003c\/strong\u003e Can We Curate Dance without Making a Festival?: On Dance Curatorship and Its Shifting Borders\u003cbr\u003e \t\u003cem\u003eElisa Ricci\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 4.\u003c\/strong\u003e Curating Performance from Africa for International Stages: Thoughts on Artistic Categories and Critical Discourse\u003cbr\u003e \t\u003cem\u003e‘Funmi Adewole with Jareh Das\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eUNTITLED\u003c\/strong\u003e\u003cbr\u003e \t\u003cem\u003eIsabel Sachs\u003c\/em\u003e\u003cbr\u003e \t\u003cbr\u003e \t\u003cstrong\u003eChapter 5.\u003c\/strong\u003e The Curating Nation: Emergence of Performance Curation in Singapore and Its Impact on Cultural Politics\u003cbr\u003e \t\u003cem\u003eKen Takiguchi\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 6.\u003c\/strong\u003e The Curatorial Chronotope\u003cbr\u003e \t\u003cem\u003ePeter Dickinson\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eLAYERS\u003c\/strong\u003e\u003cbr\u003e \t\u003cem\u003eHarun Morrison\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 7.\u003c\/strong\u003e More Weirdness, More Joy: Performance Curation and Pedagogy at Danspace Project and the Institute for Curatorial Practice in Performance\u003cbr\u003e \t\u003cem\u003eJudy Hussie-Taylor\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003ePART II: ETHICAL PROPOSALS\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 8.\u003c\/strong\u003e Dancing the Museum\u003cbr\u003e \t\u003cem\u003eThomas F. DeFrantz\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 9.\u003c\/strong\u003e Curatorial Discourse and Equity: Tensions in Contemporary Dance Presenting in the United States\u003cbr\u003e \t\u003cem\u003eNaomi Jackson\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eHOLY MOTOR—A MECHANICAL METAPHOR SURROUNDING THE LIVE ARTS CURATOR\u003c\/strong\u003e\u003cbr\u003e \t\u003cem\u003eCécile Tonizzo\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 10.\u003c\/strong\u003e Noticing the Feedback: A Proposal to the Contemporary Dance Field, and\/ or This Revolution Will Be Crowdsourced\u003cbr\u003e \t\u003cem\u003eMichèle Steinwald\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 11.\u003c\/strong\u003e Email to a Curator: An Introduction to \u003cem\u003eThe Curator’s Piece\u003c\/em\u003e\u003cbr\u003e \t\u003cem\u003eTea Tupajić \u0026amp; Petra Zanki\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eCURATING LIVENESS\u003c\/strong\u003e\u003cbr\u003e \t\u003cem\u003eVictoria Mohr-Blakeney\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 12.\u003c\/strong\u003e Curation as a Form of Artistic Practice: Context as a New Work through UK-based Forest Fringe\u003cbr\u003e \t\u003cem\u003eDeborah Pearson\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003ePART III: THE ARTIST-CURATORS\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 13.\u003c\/strong\u003e The Artist-Curator, or the Philosophy of ‘Do-It-Yourself’\u003cbr\u003e \t\u003cem\u003eJulie Bawin\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003e\"SOFT CURATION,\" POLLINATION, AND RHIZOMES\u003c\/strong\u003e\u003cbr\u003e \t\u003cem\u003eYves Sheriff\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 14.\u003c\/strong\u003e Being in Vanguard of Sensibility: Artists as Curators in Performing Arts—A Study of Collective Affect\u003cbr\u003e \t\u003cem\u003eKasia Tórz\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 15.\u003c\/strong\u003e \u003cem\u003eFamilias\u003c\/em\u003e: Artist-Activist Curation in the South Bronx, New York\u003cbr\u003e \t\u003cem\u003eJane Gabriels\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 16.\u003c\/strong\u003e What We Talk About When We Talk About Curating the ‘Unexpected’\u003cbr\u003e \t\u003cem\u003eSyreeta McFadden\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eGREATER THAN\u003c\/strong\u003e\u003cbr\u003e \t\u003cem\u003eShoshona Currier\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 17.\u003c\/strong\u003e Because I love Art, I Want Art to be Different. The Project \u003cem\u003ePerverse Curating\u003c\/em\u003e and a Few Things I’ve Learned From It\u003cbr\u003e \t\u003cem\u003eJacob Wren\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 18.\u003c\/strong\u003e Making Stage: Contemporary Dance and Performance Curation in the Caribbean\u003cbr\u003e \t\u003cem\u003eMakeda Thomas\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eAS WE\u003c\/strong\u003e\u003cbr\u003e \t\u003cem\u003eNadège Grebmeier Forget\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 19.\u003c\/strong\u003e The Work of the Musician-Curator and the Notion of the \"Concert Scenario\"\u003cbr\u003e \t\u003cem\u003eMarie-Hélène Breault\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 20.\u003c\/strong\u003e Pseudo-, Anti-, and Total Dance: A Self-Interview on Curation\u003cbr\u003e \t\u003cem\u003e SALTA\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 21.\u003c\/strong\u003e Collective Creation and Improvised Curation: A Discussion with Body Slam\u003cbr\u003e \t\u003cem\u003eBody Slam Dance Improv Collective: Gregory Selinger, Helen Simard, Roger White, Xavier Laporte, Victoria Mackenzie, and Claudia Chan Tak\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003ePART IV: EXHIBITIONS AS EVENTS\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 22.\u003c\/strong\u003e A New Kind of Critical Elsewhere\u003cbr\u003e \t\u003cem\u003eTravis Chamberlain\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 23.\u003c\/strong\u003e Re-enact History? Performing the Archive!\u003cbr\u003e \t\u003cem\u003eJulia Kurz\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 24.\u003c\/strong\u003e Choreographing Archives, Curating Choreographers: Yvonne Rainer, Xavier Le Roy, and the Dance Retrospective\u003cbr\u003e \t\u003cem\u003eFabien Maltais-Bayda and \u003cem\u003eJoseph Henry\u003c\/em\u003e\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eTHE TITLE AS THE CURATOR'S ART PIECE\u003c\/strong\u003e\u003cbr\u003e \t\u003cem\u003eSteve Giasson\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 25.\u003c\/strong\u003e Exhibiting Dance, Performing Objects: Cultural Mediation in the Museum\u003cbr\u003e \t\u003cem\u003eErin Joelle McCurdy\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 26.\u003c\/strong\u003e The Curator’s Work: Stories and Experiences of Tino Sehgal’s Events\u003cbr\u003e \t\u003cem\u003eVéronique Hudon\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003ePART V: ARTIVISM\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 27.\u003c\/strong\u003e Framing a Network, Charting Dis\/Courses: Performance Curation, Community Work, and the Logic\/Anxieties of an Emerging Field\u003cbr\u003e \t\u003cem\u003eRoselle Pineda\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eCURATE\u003c\/strong\u003e\u003cbr\u003e \t\u003cem\u003eNatalie Doonan\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 28.\u003c\/strong\u003e \u003cem\u003eFood=Need\u003c\/em\u003e: Constraints, Reflexivity, and Community Performance\u003cbr\u003e \t\u003cem\u003ePam Patterson\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 29.\u003c\/strong\u003e ARC.HIVE of Contemporary Arab Performing Arts: Memory, Catastrophe, Resistance and Oblivion\u003cbr\u003e \t\u003cem\u003eAdham Hafez\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 30.\u003c\/strong\u003e \u003cem\u003eCollective Walks \/ Spaces of Contestation\u003c\/em\u003e: Site-Specificity, Community Involvement, and Mobility Employed as Curatorial Strategies in the Creation of Participatory Performances\u003cbr\u003e \t\u003cem\u003eMariane Bourcheix-Laporte\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 31.\u003c\/strong\u003e Sound Citizen: Curating Sound Art in the Distributed Public Sphere\u003cbr\u003e \t\u003cem\u003eMorten Søndergaard\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eCURATION AS A PRACTICE OF RADICAL CARE: A DEFINITION\u003c\/strong\u003e\u003cbr\u003e \t\u003cem\u003eNicole L. Martin\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003ePART VI: INSTITUTIONAL REINVENTIONS\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 32.\u003c\/strong\u003e Rethinking the Role of Institutions and Curators in a New Interdisciplinary Age\u003cbr\u003e \t\u003cem\u003ePhilip Bither\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 33.\u003c\/strong\u003e The Curator as a Culture Producer\u003cbr\u003e \t\u003cem\u003eMarta Keil\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eDEFINITION OF \u003cem\u003eCURATION\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e \t\u003cem\u003eSALTA\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 34.\u003c\/strong\u003e How to Build a Manifesto for the Future of a Festival\u003cbr\u003e \t“Festivals as Thinking Entities,” a Conversation with \u003cem\u003eJudith Blackenberg, Daniel Blanga-Gubbay, Silvia Bottiroli, Livia Andrea Piazza, \u003c\/em\u003einitiated by \u003cem\u003eSilvia Bottiroli and Berno Odo Polzer\u003cbr\u003e \tSilvia Bottiroli\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 35.\u003c\/strong\u003e The Curatorial Gesture as a Decolonial Gesture\u003cbr\u003e \t\u003cem\u003eArnaldo Rodriguez Bagué\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003ePROPOSING INTERVALS\u003cem\u003e—\u003c\/em\u003eCURATING AS CHOREOGRAPHY\u003c\/strong\u003e\u003cbr\u003e \t\u003cem\u003eGabriele Brandstetter\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 36.\u003c\/strong\u003e Are You Not Entertained?: Curating Performance within the Institution\u003cbr\u003e \t\u003cem\u003eRie Hovmann Rasmussen\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 37.\u003c\/strong\u003e Bodies in Museums: Institutional Practices and Politics\u003cbr\u003e \t\u003cem\u003eVéronique Hudon with \u003cem\u003eBoris Charmatz\u003c\/em\u003e\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eCURATING HISTORY, CURATING RESISTANCE\u003c\/strong\u003e\u003cbr\u003e \t\u003cem\u003eJaamil Kosoko\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 38.\u003c\/strong\u003e What Can Contemporary Art Perform? And Then Transgress?\u003cbr\u003e \t\u003cem\u003eEmelie Chhangur\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eEpilogue:\u003c\/strong\u003e Situation Critical: What Comes Next for the Field of Performance Curation?\u003cbr\u003e \t\u003cem\u003eTom Sellar\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eTHE PARABLE OF THE CURATOR\u003c\/strong\u003e\u003cbr\u003e \t\u003cem\u003eMichel Herreria (drawing) and Jean-Paul Rathier (text)\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \tIndex\u003c\/p\u003e","brand":"Berghahn Books","offers":[{"title":"Default Title","offer_id":51042413183319,"sku":"9781785339639","price":96.3,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781785339639.jpg?v=1750954072","url":"https:\/\/bookcurl.com\/products\/curating-live-arts-critical-perspectives-essays-and-conversations-on-theory-and-practice-9781785339639","provider":"Book Curl","version":"1.0","type":"link"}