Scenic Arts Programming
Objectives
This seminar aims to introduce the issue of cultural programming and curatorship 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/ curatorships.
It is intended that the students may discuss the role of cultural programmer/curator 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/curator 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/curatorship
General characterization
Code
722011124
Credits
10.0
Responsible teacher
Cláudia Maria Guerra Madeira
Hours
Weekly - 3
Total - 280
Teaching language
Portuguese
Prerequisites
N/A
Bibliography
- BISHOP, Claire (2012), Artificial Hells, Participatory Art and the Politics of spectatorship, London, NY, Verso.
- BOVONE, Laura (1997), "Os novos intermediários culturais: considerações sobre a cultura pós-moderna", 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". ACTAS ICONO14, Nº A3, Madrid, pp.927-931
- MADEIRA, Cláudia (2002), Novos Notáveis – Os programadores Culturais, Oeiras, Celta.
- Revista Crítica de Ciências Sociais, Cidade/Artes/Cultura, nº 67, Dezembro 2003 RIBEIRO, António Pinto (2000), Ser feliz é imoral, Lisboa, Cotovia.
- WATTS, Vicki, GEHL, Robert (2010); The Politics of Cultural Programming in Public Spaces, Cambridge Scholars Press.
- Ferdman, B., Zanki, P., Tupajić, T., Gantner, V., Birkeland, S., Malzacher, F., . . . Raud, P. (2014). Role Inversion: The Curator Takes the Stage. PAJ 36(1), 53-58.
Teaching method
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/ curatorship. In addition to these elements of continuous evaluation that are worth 30% of the final grade, students will do research into performing arts programming/ curatorship with a critical perspective. This will be presented orally and in writing (70%).
Evaluation method
Continuous Assessment - Presentations by the students (including the preparation of audiovisual materials)(30%), Research into performing arts programming/ curatorship with a critical perspective. This will be presented orally and in writing(70%)
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/ curatorship in Portugal
Emergence of cultural programming/ curatorship in Portugal
The role of the cultural programmer/ curator
Programmers/curators and artists
Programmers/curators and publics
Programmers/curators and critics
III.The notions of concept, place and authorship in cultural programming/ curatorship.
Introduction to the notions of concept, place and authorship. Its relation to performing arts programming and curatorship. Examples.
IV. Cultural Programming/ curatorships Analysis
Analysis of different types of cultural programming/ curatorships
V. Presentation and discussion of essays on programming/ curatorship in performing arts
Presentation (oral and written) of a critical essay about programming/curatorship in the performing arts.