TURBA

The Journal for Global Practices in Live Arts Curation

Co-Editors:
Tawny Andersen, University of Surrey, UK / University of Calgary, Canada
Sandeep Bhagwati, Concordia University, Canada / Ensemble Extrakte & Ensemble Sangeet Prayog Pune, Canada/Germany
Victoria Carrasco, PHI Foundation for Contemporary Art, Canada / Wesleyan University, USA
Dena Davida, University of Québec / International Community of Performing Arts Curators, Canada
Barbara Scales, Latitude 45 Arts / Centre de musique canadienne au Québec, Canada
Yves Sheriff, 3rd Floor Projects at Usine C, Canada

Managing Editor: Dena Davida


Call for Papers: Volume 1, Issue 1

Latest Issue Table of Contents

Volume 0 (2020): Issue 0 (Dec 2020): Coming Soon!

Volume 1 / 2022, 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.

 

Co-Editors

Tawny Andersen
   Postdoctoral Fellow, Centre for Performance Philosophy, University of Surrey, UK
   Sessional Instructor, Department of Art, University of Calgary, Canada

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
   Sessional lecturer, Faculty of Fine Arts, University of Québec in Montréal, Canada
   Founder, International Community of Performing Arts Curators, Canada

Barbara Scales
   Founder/President, Latitude 45 Arts, Canada
   President, Centre de musique canadienne au Québec, Canada

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

Managing Editor

Dena Davida

Web Consultant

Alexandre de Verteuil
   Solutions Architect, Grafana Labs, USA

Advisory Board

Lieven Bertels 
   Director, The Momentary, USA
Silvia Bottiroli
   Artistic Director, DAS Curator Seminars, Amsterdam University of the Arts, Netherlands
Brandon Farnsworth
  Zurich University of the Arts, Switzerland
Ricardo Dal Farra
   Professor, Music Department, Concordia University, Canada
   Director, Balance-Unbalance (BunB) and Understanding Visual Music (UVM)  

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

Sigrid Gareis
   Co-Director, Performing Arts Curation, Paris Lodron University, Austria 
Amelia Jones
   Vice Dean, Roski School of Art & Design/ University of Southern California, USA
André Lepecki
   Chair, Performance Studies, TISCH at New York University, USA
Keng Sen Ong
   Founding Director, International Curators Academy, Singapore
   Artistic Director, T:>Works, Singapore

Dylan Robinson
   Canada Research Chair in Indigenous Studies, Queens University, Canada
Tom Sellar
   Professor, Yale School of Drama, USA
   Editor,
Theater magazine, USA
Noémie Solomon
   Director, Institute for Curatorial Practice in Performance, Wesleyan University, USA
Cyril Thomas 
   Head of Research, Centre national des arts du cirque, France
Beatrice von Bismarck
   Professor, Cultures of the Curatorial, Academy of Fine Arts Leipzig, Germany
Ana Vujanović
   Lecturer, Theatre Studies, University of Amsterdam, The Netherlands
   Team member, SNDO, Amsterdam University of the Arts, The Netherlands

Editorial Board

Wadha Al-Aqeedi
   Assistant Curator, Mathaf: Arab Museum of Modern Art, Qatar
‘Funmi Adewole
   Senior lecturer, Department of dance, De Montfort University, UK
Rodolfo Andaur
   Independent curator/Cultural manager/Writer, Chile 
Lior Avizoor
   PhD candidate, Theater Department, Tel Aviv University, Israel
   Director, BatSheva Dance School, Israel

Clint Bracknell
   Associate Professor, Western Australian Academy of Performing Arts Kurongkurl, Edith Cowan University, Australia
Mauricio Peña Cediel
   Director, Music Section, Banco de la Repùblica de Colombia, Columbia
Dana Dugan
   PhD. Candidate, Interdisciplinary Humanities Programme, Concordia University, Canada
   Founder, Chicago Contemporary Circus Festival, USA

Gurur Ertem
   Adjunct Professor, Dance Department, Mimar Sinan University of Fine Arts, Turkey
   Founding Co-director, Bimeras Projects, Istanbul 

Brandon Farnsworth
   Music Curator/Research Associate, Zurich University of the Arts, Switzerland 
Bertie Ferdman
   Associate Professor, Theater Studies, Borough Manhattan Community College CUNY, USA
Ashley Ferro-Murray
   Theatre/Dance Curator, Experimental Media & Performing Arts Center, USA
   Curatorial Advisor, Body, Image, Movement Biennial, Madrid

Gustavo Fijalkow
   PhD., Centre for Dance Research, Coventry University, UK
   Performing Arts Curator/Artistic Project Director, Forward Dance Company, Germany

Yohayna Hernàndez Gonzàlez
   Dramaturg/ performing arts curator, Canada/Cuba
Amitesh Grover
   Performance-based Artist/Curator, ITFoK Theatre Festival, India
   Assistant Professor, National School of Drama, India
Priscilla Guy
   PhD. candidate, CEAC Lab, Université de Lille, France
   Artist-curator, RIRH Biennal, Furies Dance Festival, Canada

Adham Hafez
   Doctoral researcher, Performance Studies, New York University, USA
   Founder, HaRaKa movement & performance research, Egypt
Anna Kerekes
   Senior curator, MO.CO Montpellier Contemporain, France
Juan Menchero
   Dramaturg/Playwright
   Lecturer/PhD. candidate, Spanish & Portuguese Languages & Cultures, New York University, USA

Helly Minarti
   Independent curator/scholar, Indonesia
Bongani Ndodana-Breen
   PhD. Music Composition, Rhodes University, South Africa
   Co-director, Africa Arts, opera & classical music producer, South Africa
Jay Pather
   Director, Institute for Creative Arts/University of Cape Town, South Africa
   Curator, Aftrovibes, Netherlands
Roselle Pineda
   Artistic Director, Performance Curators Intiatives, Philippines
   Faculty, Arts Studies, University of the Philippines at Dilman, Philippines
Anastasia Proshutinskaya
   Independent dance curator/educator/researcher, Russia
Alma Quintana
   Founder/director, ¿Cómo encender un fósforo? festival & research program, México
   Professor, National Folk Dance School, Claustro de Sor Juana University, México

Alma Salem
   Founder, Alma Salem Bureau for Curation and Cultural Advisory, Syria/Canada 
Aktina Stathaki
   Founder-curator, Between the Seas Festival, Greece/USA
   Programming director, 1927 art space, Greece
Ken Takiguchi
   Manager, Setagaya Public Theatre, Japan 
   Part-time lecturer, Graduate School of Global Arts, Tokyo University of the Arts, Japan

Fu Kuen Tang
   Curator, Taipei Arts Festival, Taiwan 
   Teacher, Theatre, literature & cultural theory, National University of Singapore, Singapore

Candace Thompson-Zacharey
   M.A., ICPP, Wesleyan University, USA
   Founder, ContempoCaribe, Dance Caribbean COLLECTIVE, USA/Tobago & Trinidad
Gordana Vnuk
   Founder/artistic director, Eurokaz festival, Croatia
   Independent artistic advisor/curator, Croatia    
Jingyi Wang
   Independent performance-creator/curator, China/Norway
Aaron Wright
   Curator, Fierce Festival, UK
   Curator, Live Art Development Agency, UK

Submission

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 8,000 words and should be accompanied by a 250-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 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 publication ethics and publication malpractice statement.