Cultural Programming and Production     

Objectives

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 projects.
It is intended that the students may discuss these agent roles in the contemporary art scene and stimulate their analysis/ practices of the cultural projects by reflecting on:
1) the role of the programmer and the cultural producer, their interconnections and their effects on the art market;
2) program analysis and conceptualization in cultural projects
3) different approaches and relationships between production, creation and programming

General characterization

Code

01105117

Credits

6.0

Responsible teacher

Cláudia Maria Guerra Madeira

Hours

Weekly - 4

Total - 168

Teaching language

Portuguese

Prerequisites

N/A

Bibliography

  • BISHOP, C. (2012), Artificial Hells, Participatory Art and the Politics of spectatorship, London, NY, Verso.
  • Cerezuela, D. R. Diseño y Evaluación de Proyectos Culturales. De la idea à la acción. Barcelona: Editorial Planeta.
  • GAYLENE, Carpenter (2008), Arts and Cultural Programming – A Leisure Perspective, USA, Human Kinetics.
  • MADEIRA, C. (2009), "Cities Programming", em ACTAS ICONO14, Nº A3, Madrid, pp.927-931
  • MADEIRA, C. (2002), Novos Notáveis – Os programadores Culturais, Oeiras, Celta, 2002.
  • RIBEIRO, A. P. (2000), Ser feliz é imoral, Lisboa, Cotovia.
  • RUGG, Judith & Sedgwick (2007), Michéle, Issues in Curating Contemporary Art and Performance, Bristol, Chicago: Intellect.
  • RODRIGUES, V. (2020), As Produtoras - Produção e Gestão Cultural em Portugal - Trajectos profissionais (1990-2019). Lisboa: Caleidoscópio.
  • WATTS, V., GEHL, R. (2010); The Politics of Cultural Programming in Public Spaces, Cambridge Scholars Press

Teaching method

The presentations by the teacher will be accompanied by the reading of handouts, audiovisual materials, artistic programmes/ projects in order to stimulate debate in the classroom. The study visits, about which the 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/ production.

In addition to these elements of continuous evaluation that are worth 30% of the final grade, students will do research into arts programming/production with a critical perspective. This will be presented orally and in writing (70%).

Evaluation method

Continuous Assessment - Research into arts programming/production with a critical perspective. This will be presented orally and in writing(70%), Study visits, about which the students will have to write individual reports. Presentations by the students (including the preparation of audiovisual materials)(30%)

Subject matter

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/production in Portugal
Emergence of cultural programming/production in Portugal
The roles of the cultural programmer/producer in art world
III. Cultural Programming Analysis
Analysis of different types of cultural programming
IV. Production plans
Analysis of different types of cultural production
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.