TURBA* -- The Journal for Global Practices in Live Arts Curation
Call for Papers “(Dis)Placements & Survivances” Issue 18.2 (Winter 2023)
Tawny Andersen, Sandeep Bhagwati, Victoria Carrasco, Dena Davida, Barbara Scales, and Yves Sheriff
After an enforced stasis, history’s momentum towards the migration and displacement of people, ideas, and cultural practices has once again quickened. This rich intermingling and fluctuating co-presence of culturally diverse artistic and aesthetic concepts and practices collides with age-old identitarian notions of culture as an expressive framework for social entities (communities, classes, regions, nations or even continents). Europeans who settled elsewhere did not readily acclimatize to their new cultural habitats: many post-empire countries live with split or hybrid cultural legacies, especially those who went through the slave trades and deportations of early modernity. New communication technologies have afforded culturally beleaguered communities’ new modes of encounter, leading to both more cultural confidence (e.g. for Indigenous communities) and to rapid cultural propagation and inspiration enabled not only hegemony or commerce, but by mutual discovery.
On the other hand, we can see powerful and volatile counter-narratives: jingoistic, nationalist, racist backlashes against a perceived weakening of the speakers’ identity or place - and spirited resistances to the appropriations of cultural signifiers: who may speak for whom or what. Both movements acknowledge cultural diversity and aesthetic displacement as unavoidable - they just believe it lessens their community’s chance of survival: Do those “migratory aesthetics” (Mieke Bal) not endanger the future viability of identitarian, “authentic,” cultural practices? Do issues such as cultural rights, de-colonization, identity, appropriation, equity, and representation in institutions and discourse not jeopardize their own prospects for cultural survivance? While artists and curators continually create and work on trans-cultural and trans-traditional forms and practices, they cannot avoid the question how these new complexities of cultural expression might become as deeply meaningful for audiences as traditional models of art in established cultural contexts (e.g. Kabuki or “Western” classical music). How can live arts curators in culturally diverse contexts foster resilience in spite of internal fault lines and such external challenges?
For this issue entitled “(Dis)Placements & Survivances,” TURBA invites academic papers, essays, pamphlets, poems, manifestos, reflections, interviews, reviews, and letters that address this contemporary maelstrom of cultural identities, authenticities, heritages and traditions, as well as the historical roots of collaboration, appropriation, and hegemony that have resulted in today’s fluctuations of identity. We are interested in personal explorations of heterogeneous heritages, of conscious engagements with social and aesthetic diversities, of the migration of gesture, perception and sound; in (un)successful attempts in marrying disparate artistic voices, about curatorial processes within Indigenous and/or non-hegemonic contexts. How do diasporic communities reconcile the places they live in with the traces of other cultural realities? How can displaced, diasporic artists negotiate their attachments to each other and to their roots? Can curated events provide neutral contact zone for artists from countries/cultures at cold or actual war? How do live arts curators creatively engage with refugee and exiled live artists as more people than ever before are displaced, their communities dispersed?
Please submit debates or reports on best (or worst) curatorial practices that engage with live wire issues such as gender equity or “Black Lives Matter,” diversity, identity, and appropriation or the “de-colonization” of live art institutions. How do curators steer clear of offending communities, and how do they forestall or survive possible (violent) controversy? How, working in a local context, are curators affected by the global scrutiny and instant morality of social media? Do Chakraborty’s “provincialisation” or Boaventura de Sousa Santos’ “End of the Cognitive Empire” play any role in how curators think? How does the curator’s or audience’s positionality come into play in the live arts? As always, we seek strong positions, bold experimentations and passionate arguments that demonstrate how the live arts survive, and maybe thrive, in the vortices of this grand, de-centering cultural sea change.
TURBA appears twice a year both in print and as an e-publication. In addition to two annual calls for specific issues with fixed deadlines, submissions will be accepted on a rolling basis.
Deadline for submitting articles: 1 November 2022
More information on submission guidelines, including the style guide, can be found at www.berghahnjournals.com/turba.
Send your contributions, queries, and questions to Dena Davida at email@example.com
*crowd, multitude; uproar, disturbance, tumult; swirl, twirl, move around; soil, earth