Performance Studies

Cull, Laura

doi:10.4324/9780203629987.ch7

Cited by 3 publications

(4 citation statements)

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“…The theoretical framework informing the exhibition observational analysis of was developed throughout the years since 2011 when I first started working on this theme. Nevertheless, the reasonings produced in this article were mostly envisioned during the year of 2018 and informed by the following framework: multimodal analysis (Jewitt [2009a; Jewitt [2009Jewitt [2009c; Kress andVan Leeuwen 2006 [1996]), film discourse analysis (Wildfeuer 2014), spatial discourse analysis (Ravelli and McMurtrie 2016), semiotics of movement in space (McMurtrie 2016), performance studies (Cull 2014;Schechner andBrady 2013 [2002]) and cultural analysis (Bal 2012Bal and Gonzales 1999).…”

Section: Methodological and Theoretical Frameworkmentioning

confidence: 99%

“…A performative interaction within the museum incorporates the idea of subjectivity and favors interpretative experiences wherein the visitor is simultaneously actor, director, spectator, and participant (Casey , p. 85), and that is nowadays often the behavior considered appropriate in the museological context. The performative museum could be seen as a facilitator of “[…] culture as a verb rather than as a noun” (Cull , p. 60).…”

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confidence: 99%

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Performatively Driven: A Genre for Signifying in Popular Music Exhibitions

Cortez¹

2019

Curator The Museum Journal

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This article explores a relatively novel field of practice, or genre, emerging in the context of museums and exhibitions of popular music and what I will refer to as performatively driven, here discussed and illustrated with examples drawn from particular international exhibitions that I have visited. This genre is comprised of a myriad of strategies used by curators to give substance to their exhibiting narratives that tends to cluster into four essential types – (i) exhibiting sound and music; (ii) dramatic strategies (for current purposes, the example of contrast is considered); (iii) enveloping strategies, and (iv) sound epistemologies – and all of which draw on combinations of multifarious exhibits (material and immaterial). In terms of their signifying potential, my analysis points to these strategies, each of them focused on imparting meaning in an experiential rather than a purely rational sense, as achieving the following ends: conveying notions of popular music as object and artifact; eliciting emotional responses and prompting engagement; valuing museumgoers’ individualities, while also locating them as part of a community (e.g., of music fans, of followers of a particular musical artist, of a particular generation); providing re‐enactment (both by reconstructing scenarios from the past or from live concerts and by activating memories offered of popular music); and conveying knowledge. As these signifying strategies dissolve into the aforementioned meanings in an experiential rather than in a more rational sense, I would suggest they are correspondingly rooted in the concept of performance and therefore propose adding this concept to the typology of concepts presented by Baker et al. (2018).

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Section: Methodological and Theoretical Frameworkmentioning

confidence: 99%

mentioning

confidence: 99%

Performatively Driven: A Genre for Signifying in Popular Music Exhibitions

Cortez¹

2019

Curator The Museum Journal

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“…I understand performances as a continuum of human actions (Schechner in Cull, 2013). In the context of the performing arts, Cull (2013) asks us to consider these actions as intentionally "framed, presented, highlighted, or displayed" to show, point to, underline, or display things (p. 59). I argue that if "language can act on and in the world, not just represent it."…”

Section: Decolonizing the Festivalmentioning

confidence: 99%

“…For example, Kamaty does this with the roulèr, the takamba, and the kayamb (Kamaty, n.d.). Similar to how performances facilitate political agency (Cull, 2013), collaborations and remixes allow a great level of creative agency and can incorporate political and cultural discourses. Another example of remix is the collaboration between Ruiz and Escamilla who perform together in Mundial Montréal.…”

Section: Music Production and Remix Culture: Musical Code-switching?mentioning

confidence: 99%