Scenic Arts Programming - 2nd semester
This seminar aims to introduce the issue of cultural programming in the performing arts their agents, practices, contexts of action, its effects on the national and international art scene in order to provide students with theoretical and practical tools for analysis and/ or development of cultural programmes.
It is intended that the students may discuss the role of cultural programmer in the contemporary art scene and stimulate their own critical analysis of the programming practices and / or analysis of cultural programmes by reflecting on:
1) the emergence of the cultural programmer and its consequences for the performing arts;
2) their different positions in the artistic field,
3) the analysis of cultural programmes;
4) conceptualization in cultural programming
Cláudia Guerra Madeira
Weekly - 3 letivas + 1 tutorial
Total - Available soon
BOVONE, Laura (1997), Os novos intermediários culturais: considerações sobre a cultura pós-moderna, em Carlos Fortuna (org.), Cidade, Cultura e Globalização, Oeiras, Celta
FEATHERSONE, Mike (1997), Culturas globais e culturas locais, em Carlos Fortuna (org.), Cidade, Cultura e Globalização, Oeiras, Celta.
GAYLENE, Carpenter (2008), Arts and Cultural Programming A Leisure Perspective, USA, Human Kinetics.
MADEIRA, Cláudia (2009), Cities Programming, em ACTAS ICONO14, Nº A3, Madrid, pp.927-931
MADEIRA, Cláudia (2002), Novos Notáveis Os programadores Culturais, Oeiras, Celta, 2002.
RIBEIRO, António Pinto (2000), Ser feliz é imoral, Lisboa, Cotovia.
Revista Crítica Ciências Sociais, Cidade/Artes/Cultura, nº 67, Dezembro 2003
WATTS, Vicki, GEHL, Robert (2010); The Politics of Cultural Programming in Public Spaces, Cambridge Scholars Press.
Bishop, Claire (2012), Artificial Hells, Participatory Art and the Poliotics of spectatorship, London, NY, Verso.
The presentations by the teacher will be accompanied by the reading of handouts, audiovisual materials or artistic programmes in order to stimulate debate in the classroom. The study visits, about which the postgraduate students will have to write individual reports, will contribute to improving knowledge and honing intuitive criticism. Presentations by the students (including the preparation of audiovisual materials) will enrich the seminars by introducing different cases and various perspectives on cultural programming.
In class teaching
In addition to the elements of continuous evaluation that are worth 30% of the final grade, students will do research into performing arts programming with a critical perspective. This will be presented orally and in writing (70%).
I. Introduction cultural programming versus life programming?
Introduction to cultural programming. Differences and similarities between cultural programming and life programming;
II. Brief history of cultural programming in Portugal
Emergence of cultural programming in Portugal
The role of the cultural programmer
Programmers and artists
Programmers and publics
Programmers and critics
III.The notions of concept, place and authorship in cultural programming.
Introduction to the notions of concept, place and authorship. Its relation to performing arts programming. Examples.
IV. Cultural Programming Analysis
Analysis of different types of cultural programming
V. Presentation and discussion of essays on programming in performing arts
Presentation (oral and written) of a critical essay about programming in the performing arts.