The Journal for Global Practices in Live Arts Curation

Tawny Andersen: McGill University, Canada / Marie Sklodowska-Curie Post-Doctoral Fellow, Pompeu Fabra University, Spain
Sandeep Bhagwati: Concordia University, Canada / Ensemble Extrakte & Ensemble Sangeet Prayog Pune, Canada/Germany
Victoria Carrasco: Wesleyan University, USA / PHI Foundation for Contemporary Art, Canada
Dena Davida : Université du Québec à Montréal, Canada / Dance curator & choreographer, writer and editor, educator and researcher, Canada
Barbara Scales: Latitude 45 Arts, Canada / Centre de Musique Canadienne au Québec, Canada
Yves Sheriff: 3rd Floor Projects at Usine C, Canada

Managing Editor: Dena Davida

Call for Papers: Un-taking Sides

View Inaugural Table of Contents & Excerpts

Latest Issue Table of Contents

Volume 2 (2023): Issue 2 (Sep 2023)

Volume 3, Issue 1: Exhibiting Liveness
Table of Contents

Tawny Andersen (Canada/Denmark), issue editor

Re/Visiting Counterposes & CounterPoses: A Curatorial Pose (2002)
Jennifer Fisher and Jim Drobnick (Canada)

New Research
Scoring, Casting, Instilling The Kunsthalle for Music
Ed McKeon (United Kingdom)

Into the Gray Zone
On the Inter-Mediality of the Choreographic Exhibition
Ula Sickle (Belgium/Canada)

The Slowness of SANDKIND: On the Potentials and Challenges of Curating Environmental Performance Art Inside the
Exhibition Space
Joachim Aagaard Friis (Denmark)

Klimata: A Curatorial Research Project
Gwendolin Lehrner (Germany)

Vantage Points: Essays, Critical Perspectives, Field Notes
Sonic Nodes: Making Music in Museums
Sandeep Bhagwati (Canada/Germany/India)

Being With Time: The Temporal Performance of Tehching Hsieh and Asian-American Self-Imaging
Vanessa Holyoak (Canada/France/Hong Kong/United States)

Alexandra Pirici’s Re-collection: A Visitor’s Stream of Consciousness
Florian Malzacher (Germany)

Museum Dance: Time, Space, and the Social
Chris Dupuis (Belgium/Canada)

The Tourab Exhibition: Earth From Cradle to Grave
Alma Salem (Canada/Syria)

Interviews and Conversations
Toward a FutureBrownSpace: Programing Strategies Embedded in Black Reality, Fantasy, and Sanctuary
A Conversation between Maipelo Gabang (Botswana/Sweden) and John-Paul Zaccarini (Italy/South Africa/United Kingdom)

River Lin’s Queer Choreography
An Interview with River Lin (France/Taiwan) by Liang-Kai Yu (Netherlands/Taiwan)

Marxist Imaginaries and Foot-Made Art
A Conversation between Brendan Fernandes (United States/Canada/Kenya) and Lizzie Leopold (United States)

Book and Performance/Exhibition Reviews
Folkerts, Hendrik & Julia Born, eds. 2023.Alexandra Bachzetsis: Show Time Book / Book Time Show. Amsterdam: Roma Publications.
Reviewed by Bryce Wilner (United States)

Indian Theater: Native Performance, Art, and Self-Determination since 1969. Exhibition at the Hessel Museum of Art, Bard College, Annandale-on-Hudson, New York, June 24 to November 26, 2023. Curated by Candice Hopkins (Carcross/Tagish First Nations), with curatorial research led by Amelia Russo (United States).
Reviewed by Jennifer Krasinski (United States)

Volume 3 / 2024, 2 issues per volume (spring, autumn)

Aims & Scope

TURBA is the first journal for the study, practice, documentation analysis, and theorization of live arts curation.

TURBA: crowd, multitude;  uproar, disturbance, tumult; twirl, move around; soil, earth.

TURBA is the first journal for the study, theory, and praxis of curatorial strategies in the live arts. The live arts are broadly defined as those arts in which contingent, momentary acts and events, performed by human or other autonomous agents, are crucial to the aesthetic perception and the emergence of meaning in ephemeral time-based work. They include, but are not limited to, dance, music, sound art, theatre, performance art, verbal arts, circus arts, live media arts and inter-arts performance works. With this journal, we aim to create a platform for the exploration of ideas, concepts, constraints, expectations, and contingencies which guide and drive curatorial practices in these fields.

Within the live arts, the term “curation” is used in a manner that is largely, but not entirely, analogous to its use in the visual arts.[1] The Latin root of the word “curation” is curare, meaning “to take care of” or “to heal.” Live arts curators mediate the intellectual, societal, and aesthetic contexts, as well as the presentational models, which support the development, dissemination, and reception of artistic work. They negotiate relationships between artists, artistic works, audiences, administrators, archives, the media, and society. With TURBA, we aim to foster a community of critical discourse about live arts curation across traditions, genres, communities, generations, cultures, disciplines, and aesthetics.

We seek to connect, amplify, and contextualize movements and voices, thus making TURBA a seismographic observatory for the impact of the live arts on societies and cultures around the globe.


[1] In the visual arts, the term “curator” describes two different roles/professions: 1) someone who cares for, acquires, and manages an existing collection; 2) someone who conceptualizes a temporary exhibition of artworks.  Both correspond to curatorial roles in the live arts, but the first category --persons ensuring the persistence of a live arts tradition, an artist’s body of work, or a particular type of live art--are not usually called “curators”. Instead, they are usually called griots, opera directors, dance archivists and reconstructionists, Brechtians or Shakespearians, guardians of temple music etc. TURBA explicitly aims to include critical discourses around their work and practice, too.



Tawny Andersen
   PhD., Art History, McGill University; Performance Theorist, Canada
   Marie Sklodowska-Curie Post-Doctoral Fellow, Pompeu Fabra University, Spain

Sandeep Bhagwati
   Professor (Music), Director Matralab, Concordia University, Canada
   Music Director, Ensemble Extrakte & Ensemble Sangeet Prayog Pune, Canada/Germany

Victoria Carrasco
   Mngmt/Curator, Public Programs, PHI Foundation for Contemporary Art, Canada
   M.A., Institute for Curatorial Practice in Performance (ICPP), Wesleyan University, USA

Dena Davida
   PhD. & Lecturer/ Faculty of Fine Arts/Université du Québec à Montréal, Canada
   Dance Curator & Choreographer, Writer and Editor, Educator and Researcher, Canada

Yves Sheriff
   Independent Curator, 3rd Floor Projects at Usine C, Canada

Managing Editor

Dena Davida


Barbara Scales
   Founder/President, Latitude 45 Arts, Canada
   President, Centre de Musique Canadienne au Québec, Canada

Technology Consultant

Kurt Waizmann

Advisory Board

Knut Ove Arntzen
   PhD., Professor emeritus of theatre studies, University of Bergen, Norway
Silvia Bottiroli
   PhD., Independent Performance Arts Curator, Researcher and Educator, Italy
   Lecturer, Method, Criticism and Research in Artistic Disciplines, Università Bocconi, Italy

Ricardo Dal Farra
   Professor, Music Department, Concordia University, Canada
   Director, Balance-Unbalance (BunB) and Understanding Visual Music (UVM), Canada

Piersandra Di Matteo
   PhD., Lecturer on Curating Performing Arts, IUAV University of Venice, Italy 
   Performing arts theorist, dramaturge, lecturer and festival curator 

Bertie Ferdman
   PhD., Professor, Theater Studies, The Graduate Center & Borough Manhattan Community College, CUNY, USA
Rita Ferreira de Aquino
   PhD., Professor, Post-Graduate Dance Program, Universidade Federal da Bahia, Brazil
   Director of Curator & Mediator Seminars, Bahia Festival, Brazil

Jennifer Fisher
   PhD., Professor, Art History, York University, Canada
   Co-editor/founder, Journal of Curatorial Studies, Canada

Sigrid Gareis
   M.A., Co-Director, Performing Arts Curation, Paris Lodron University, Austria
   Dance & theater curator, lecturer, book author & editor

Jens Richard Giersdorf
   PhD., Dance History and Theory, University of California; scholar, researcher
   Chair, Contemporary Dance Department, Concordia University, Canada 

Amelia Jones
   PhD., Art and performance historian, theorist, critic, professor, and curator
   Vice Dean, Roski School of Art & Design, University of Southern California, USA

André Lepecki
   PhD., Curator, Researcher in Dance Studies, Curatorial Practice, Performance Theory, USA
   Chair, Performance Studies, TISCH at New York University, USA

Keng Sen Ong
   PhD., Founding Director, International Curators Academy, Singapore
   Artistic Director, T:>Works, Singapore

Jay Pather
   Director, Institute for Creative Arts/University of Cape Town, South Africa
   Curator, Aftrovibes, Netherlands

Brett Pyper
    PhD, New York University; Associate professor in Curatorial, Public and Visual Cultures Wits School of Arts
    University of Witwatersrand, Johannesburg, South Africa

Dylan Robinson
   PhD. in Music, Stó:lō scholar, Researcher in Indigenous Arts and Culture, Canada
   Associate Professor, School of Music, University of British Columbia, Canada

Alma Salem

   Alma Atelier for curation & cultural advisory, Place des arts à Montréal, Syria/Canada
Tom Sellar
   DFA, Professor, Yale School of Drama, Independent Curator, Critic, Journal Editor, USA
   Editor, Theater Magazine, Yale University, USA

Noémie Solomon
   PhD., Independent Curator, Dramaturg, Book Editor in Dance, Canada
   Director, Institute for Curatorial Practice in Performance, Wesleyan University, USA

Cyril Thomas 
   M.A., Circus Exhibition Curator, Researcher & Writer in Circus Arts and New Art Forms, France
   Director, École du Cirque de Rosny-Sous-Bois, France

Beatrice von Bismarck
   PhD., Curator, Anthology Editor; Co-founder, /D/O/C/K-Projekbereich Space, Germany
   Professor & Initiator, Cultures of the Curatorial/Academy of Fine Arts Leipzig, Germany

Gordana Vnuk
   PhD., Founder & Artistic Director, Eurokaz Festival, Croatia
   Previously Theater Programmer, Chapter Arts Centre, UK

   Artisitc Dir, Kampnagel, Germany

Editorial Board

Funmi Adewole
   PhD., Dance Studies, Storyteller, Dramaturg, Researcher in African Diasporic Dance, UK
   Senior lecturer, Dance Department, De Montfort University, UK

Rodolfo Andaur
   M.A., Art History, Independent curator, Cultural manager, Writer, Chile 
Lior Avizoor

   PhD, Tel Aviv University; Curator; Artistic director, BatSheva Dance Company, Israel

Clint Bracknell
   PhD., Musician, Songwriter & Music Researcher of Aboriginal Australian Song, Australia
   Associate Professor, The University of Queensland, Australia

Dana Dugan
   PhD. Candidate, Interdisciplinary Humanities Programme, Concordia University, Canada
   Creator, Performer, Dramaturg, Curator in the Circus Arts, Canada

Gurur Ertem
Director of Programming and Research, Bimeras Berlin gGmbH, Germany
   Founding Co-director, Bimeras Projects, Turkey 
Brandon Farnsworth
   PhD., Independent Music Curator, Guest Lecturer, Akademie der Künste Berlin, Germany
   Postdoctoral Researcher, Division of Musicology, Lund University, Sweden

Ashley Ferro-Murray
   PhD., Performance Studies and New Media, USA
   Theatre/Dance Curator, Experimental Media & Performing Arts Center, USA

Gustavo Fijalkow
   PhD., Performing Arts Curator, Dramaturg, Researcher, Germany
   Artistic Project Director, Forward Dance Company, Germany

Tang Fu-Kuen
Artistic and managing director, BIT Teatergarasjen, Norway
   Teacher, Theatre, Literature & Cultural Theory, National University of Singapore, Singapore
Jane Gabriels
   PhD., Director, Dance West Network and Pepatián: Bronx Arts ColLABorative  
   Visiting Scholar/Temple University and Simon Fraser University, USA/Canada 

Amitesh Grover
   M.A., Performance-based Artist/Curator, Serendipity Arts Festival, India
   Assistant Professor, National School of Drama, India
Adham Hafez
   PhD. Candidate, Performance Studies, New York University, USA
   Founder, HaRaKa Movement & Performance Research, Egypt

Marta Keil
   PhD., Independent performing arts curator, dramaturg, researcher, Poland/Netherlands
   Curator,“Breaking the Spell”; teaches curation at Jagiellonian and Utrecht Universities 

Anna Kerekes
   PhD., Arts Writer/Critic; Senior Curator, MO.CO Montpellier Contemporain, France
   Chargée de Cours, École Supérieure des Beaux-Arts de Nimes, France

Nyédé Mané Touré
   Head of Makeda Production; Organizer of the Bideew Festival, Senegal

Ed McKeon
   PhD, Curatorial theory and musicality, Birmingham City University, UK
   Co-director of Third Ear Music, music programmer, producer & commissioner, UK

Juan Menchero
New York University; dramaturg/playwright, Spain/USA  
   Lecturer, Spanish & Portuguese Languages & Cultures/NYU, USA

Helly Minarti
   PhD., Independent curator/Scholar, Choreographic Historiographer, Indonesia
   Creator of the LINGKARENú Koreografi Research Platform on Choreography, Indonesia

Roselle Pineda
   PhD. Candidate; Artistic Director, Performance Curators Initiatives, Philippines
   Faculty, Department of Arts Studies, University of the Philippines at Dilman, Philippines
Anastasia Proshutinskaya
   M.A., Independent Dance Curator/Educator/Researcher, Russia
Alma Quintana
   M.A., ICPP, Director ¿Cómo encender un fósforo? Festival & Research Program, México
   Professor, National Folk Dance School, Claustro de Sor Juana University, México

Sarah-Louise Spies
   PhD., Independent curator, co-founder of Accumulations, UK 
   Researcher/senior lecturer, Contemporary dance, performance/live art, curation, ZHdK, Zurich 

Ken Takiguchi
   PhD., Manager, Setagaya Public Theatre, Japan
   Founder, Asian Dramaturgs’ Network, Japan
   Part-time lecturer, Graduate School of Global Arts, Tokyo University of the Arts, Japan

Francesco Venturi
   PhD. candidate, Kingston University, UK 
   Composer, performer, educator, researcher in voice studies; co-founder of Spettro, Italy 

Jingyi Wang
   M.A., Independent Performance-Creator/Curator, China/Norway


Please carefully review the submission and style guide before submitting.

TURBA invites submissions engaging with any tradition, genre, community, culture, discipline, artistic expression, or aesthetic in the live arts. The journal is particularly interested in featuring compelling, experimental, politically engaged, and transformative content that fosters critique and debate, expands knowledge, and provides socio-cultural and historical context for the evolving practices of live arts curation.

TURBA is open to a wide range of genres and formats. Contributions may include: academic papers for [double blind] peer review, critical essays, dialogic exchanges and transcribed group conversations, manifestos, reviews of publications and symposia, analyses of curatorial paradigms and events, poetry, images, notations and graphic representations, etc. They may also interweave such styles and epistemologies if this heterogeneity helps to better illuminate their subject matter.

TURBA welcomes writers in any language to submit texts, including texts previously published in other languages. Such texts must be accompanied by an English abstract and the first draft of a translation into English. Should the text be selected for publication, we will, if necessary, work with the author(s) on a final English version. The original language version, however, will usually be posted on the journal's resource pages.

Academic papers to be peer reviewed should be a maximum of 6,000 words and should be accompanied by a 150-word abstract. Please do not include your name in the article or the document’s metadata. Submit a 50-word biography on a separate page with accompanying image(s).

"Letter from [name of city, region or country]" is a regular feature written in a casual style. About 500 words long, these should be short reflections, reports, explanations, critical observations on something that is happening or has just happened in the writer's local area —a controversy, a new policy, the opening or closing of a venue, a travelling show or a text that have made waves, the death (or birth) of an influential live arts protagonist, a miracle or a scandal, etc.

Other submissions may be of any length but no longer than 3,000 words, and should include a 50-word biography in the main document, with accompanying image(s).

All text submissions should be submitted in Microsoft Word in 12-point Times New Roman and formatted according to the Chicago Manual of Style.

All images must be submitted according to the Artwork guidelines on the Berghahn Journals Submissions page.

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.

Send your contributions, queries, and questions to Dena Davida at turbajournal@gmail.com.

Ethics Statement

Authors published in TURBA certify that their works are original and their own. The editors certify that all materials, with the possible exception of editorial introductions, book reviews, and some types of commentary, have been subjected to blind peer review by qualified scholars in the field. While the publishers and the editorial board make every effort to see that no inaccurate or misleading data, opinions, or statements appear in this journal, they wish to make clear that the data and opinions appearing in the articles herein are the sole responsibility of the contributor(s) concerned. For a more detailed explanation concerning these qualifications and responsibilities, please see the complete TURBA ethics statement.

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