with Toks Dada, Du Yun, Julia Gerlach and Vigdis Jakobsdottir
Deadline for application: April 14, 2022
Note: The application period is closed, but please contact Time of Music if you would like to attend.
What does curating music mean in the world that we live in today? Does a curator – which in the field of music, could mean an artistic director, performer, composer, collective, programmer or producer – have a social role to play? What makes a work or performance connect with audiences today, and how are we, as producers and facilitators, sensitive to the ambitions of creators? How can we rethink music presentation to better reflect and resonate with different societies and communities? What are the curatorial concepts and methodologies used in other art fields that the musical world could learn from?
Curatorship and curationism have become important buzzwords in the art world and world at large during the last decades. The classical and new music field, the ensembles and festivals involved are, too, moving towards more hybrid, collaborative projects and processes that involve other art forms that ask for new methodologies. Currently there are few educational programmes where to learn and discuss these questions in the contemporary music world, so emerging music curators and programmers must learn their trade as best they cat through internships or by trial and error.
During the “Curating Diversity Course“ mentors will give presentations on their work as curators, discuss different approaches to curating and conduct workshops that explore questions and challenges of programming and building projects with different communities, institutions and audiences. In addition to these guest lecturers, the Artistic Director of Time of Music Johan Tallgren, along with artists participating in the festival, will participate in discussions on specific topics. Some of the panels will be part of the general programme of the festival.
The course will focus more on ethical and positional questions of today as opposed to purely technical aspects. Discussions in class will cover questions such as: the challenges of public and private space, collaborative and participatory strategies, working with archives and existing material, modern identity-politics initiated by digital media, curatorship as activism proposing social change, diversity, gender and inclusivity, to name a few. The course will include opportunities to work in small groups with mentors where participants’ own projects and ambitions can be discussed. For the last day of the course, the participants will prepare a public discussion & outcome (“manifesto”) around what they consider the important questions in curating in the new music field today.
The course will include participants selected from this international call, as well as nominated stipendiates and researchers in the context of the Creative Europe-funded Sounds Now project.
Candidates must be born after 1 July 1987. They must have some experience and traceable history of their own work linking to curatorship. They should be willing to discuss their own projects in class and share challenges they have experienced themselves. A letter of interest should present questions the participants would like to discuss during the course.
A good level of English is required as the course will be taught in this language.