Co-curating the Curriculum: On the Politics of International Performance Pedagogy

  • Gargi BharadwajEmail author
  • Lonneke van Heugten


Curation, as an emerging research paradigm in Performance Studies, focuses on the process of selection and framing, the productive limitation of knowledge. The authors explore performance curation in terms of how artists and performances negotiate these expanding spaces and audiences and how this inter-city space of performance challenges the ‘international’. They draw comparisons between the practices of curation and pedagogy. The chapter stages two examples of curation that bring the ‘inter-city’ to the fore.


  1. Baldacchino, J. (2015). ‘Toward a Curatorial Turn in Education’ in T. E. Lewis & M. J. Laverty (eds.) Art’s Teachings, Teaching’s Art, Dordrecht: Springer, pp. 19–31.CrossRefGoogle Scholar
  2. Conquergood, D. (1985). ‘Performing as a Moral Act. Ethical Dimensions of the Ethnography of Performance.’ Literature in Performance, Vol. 5, No.2, pp. 1–13.CrossRefGoogle Scholar
  3. Cross Channels. (2008). Festival, 18–19 December. Accessed 31 August 2016.
  4. Fibicher, B. (2010). ‘Splitting the Other - A New Epic Voice?’ in Musée cantonal de Beaux-Art Lausanne (ed.) Nalini Malani: Splitting the Other: Retrospective 1992–2009. Ostfildern: Hatje Cantz, pp. 7–10.Google Scholar
  5. Freire, P. (1985). The Politics of Education: Culture, Power, and Liberation. Westport, CT: Bergin and Garvey.CrossRefGoogle Scholar
  6. Freire, P. (2005 [1970]). Pedagogy of the Oppressed. New York and London: Continuum.Google Scholar
  7. Gielen, P. (2013). Creativity and Other Fundamentalisms. Heijningen: Jap Sam Books.Google Scholar
  8. Hess, D. E., & P. McAvoy (2014). The Political Classroom: Evidence and Ethics in Democratic Education. London and New York: Routledge.Google Scholar
  9. Lehmann, H.-T. (2006). Postdramatic Theatre. New York and London: Routledge.Google Scholar
  10. Lewis, T. E. (2013a). ‘Jacques Rancière’s Aesthetic Regime and Democratic Education’ The Journal of Aesthetic Education, Vol. 47, No. 2, Summer, pp. 49–70.CrossRefGoogle Scholar
  11. Lewis, T. E. (2013b). On Study: Giorgio Agamben and Educational Potentiality. New York: Routledge.Google Scholar
  12. Malani, N. (2014). ‘In Search of Vanished Blood’ [Installation] Scottish National Gallery, Edinburgh, 4 August.Google Scholar
  13. Malzacher, F. (2010). ‘A Cause and a Result. About a Job with an Unclear Profile, Aim and Future.’ Frakcija; Performing Arts Journal, Vol. 55, pp. 10–21.Google Scholar
  14. O’Neill, P. (2007). ‘The Curatorial Turn. From Practice to Discourse’ in J. Rugg & M. Sedgwick (eds.) Issues in Curating Contemporary Art and Performance. Bristol and Chicago: Intellect, pp. 13–28.Google Scholar
  15. Taylor, D. (2003). The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham, NC: Duke University Press.CrossRefGoogle Scholar
  16. von Bismarck, B. (2010). ‘Relations in Motion. The Curatorial Condition in Visual Art and Its Possibilities for Neighboring Disciplines.’ Frakcija, Vol. 55, pp. 50–57.Google Scholar
  17. Walker, R. (2013) ‘Really? We’re All Curators Now?’ Christian Science Monitor, 17 December. Accessed 10 November 2015.
  18. Williams, R. (1983). Keywords: A Vocabulary of Culture and Society. New York: Oxford University Press.Google Scholar

Copyright information

© The Author(s) 2017

Authors and Affiliations

  1. 1.B. R. Ambedkar UniversityNew DelhiIndia
  2. 2.University of AmsterdamAmsterdamThe Netherlands

Personalised recommendations