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We take privacy seriously. Similar Apps Show More Ordboksappen reflects the content of theSwedish Dictionary published by the Swedish Academy, which came outin print in The dictionary provides a detailed description ofthe general vocabulary of modern Swedish. The emphasis is on themeaning of words and use in combination with historical data. Theapp is based on the lexical database developed and furtherdeveloped at the Department of Swedish, University of Gothenburg.
The appallows you to search the Order's basic forms and in a wide range ofcurved shapes. Thanks to a spelling help, you will find up to adictionary words, even if you are not sure how it's spelled. Youcan search for parts of dictionary words. It is also possible tosearch the multi-word expressions, for example, throw in the towel 'surrender'.
From the links in the dictionary articles, you canalso navigate the dictionary and come from one article to another. Finally you can hear how words are pronounced, if you are connectedto the Internet. Spelling aid is based on algorithms fromOribi AB. Welcome to Wikipedia Beta for Android! You can install WikipediaBeta alongside your current version of Wikipedia for Android, soyou can test our new features before they go live for all Wikipediafor Android users.
Your feedback will help us fix bugs and decidewhat features to focus on next. Recommended and constantly-updating Wikipedia content right on thehome screen, including current events, trending articles, events onthis day in history, suggested reading, and more. The feed is fullycustomizable — you can select the types of content you want to see,or rearrange the order in which different types of content appear.
With a choice of Light, Dark, and Black themes, aswell as text size adjustment, you can customize the app for themost comfortable reading experience.
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Seamlessly switch to reading anylanguage-supported Wikipedia, either by changing the language ofthe current article, or changing your preferred search languagewhile searching. Pressand hold a link to open it in a new tab, allowing you to keepreading the current article without losing your place, and switchto the new tab when you're ready. Organize the articlesyou browse into reading lists, which you can access even whenyou're offline.
Create as many lists as you like, give them customnames and descriptions, and populate them with articles from anylanguage wiki. Enable synchronizing reading lists to yourWikipedia account. Tap on an image to view the imagefull-screen in high resolution, with options to swipe for browsingadditional images. Tap-and-hold tohighlight a word, then tap the "Define" button to see a definitionof the word from Wiktionary.
Access Wikipedia forAndroid free of data charges for participating mobile operators. Send us your feedback about the app! In the menu, press "Settings",then "About the Wikipedia app", then "Send app feedback". If you would like to disable thisfeature, please press "Settings," then toggle off "Send crashreports" under the General section. Explanation of permissionsneeded by the app: The Wikimedia Foundation is a charitableorganization funded mainly through donations. For more information,please visit our website: Tales from Old Japan - English version 6.
This app contains folk tales and children's stories from Japan,some are written by Iwaya Sazanami, with illustration from KakuzoFujiyama and translated by Yei Theodora Ozaki. In the preface she states that her aim is tobring these beautiful tales to those outside her country so thatthey may love and enjoy them too.
Lexin Svensk Lexikon Ordbok 1. Grav accent finns i t. En snabb offline svensk lexikon, ordbok och ordlista lexin2. It is easy to learn Swedish! Here you willfind dictionaries in twenty minority: In addition to thelookup word dictionaries contain information on pronunciation,inflection, word classes and translation.
Usually, there is alsothe grammar comments, glossary, style comments, factual content,grammatical constructions and language example. Good ratings and reviews will encourage us to keepimproving this tool for you. Zoetropic - Photo in motion 1. With Zoetropic you give life to your photos, applying a fantasticmotion picture effect, also known as the Cinemagraph effect.
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The pregnant mommy Ava is going to give birth soon, so you have totake care of all the needs of the pregnant lady. Mommy is pregnant so she cannot clean theroom. So you need to help her to clean the room by putting someitems in the appropriate basket. The room is totally messed up. Allthe things are here and there in the room.
You need to rememberthat every item should be put in the right basket. So help thispregnant lady in this room cleaning game and clean the roomproperly. Pregnant Mommy has a long list of shopping. But to shop these things, she needs to earn some money. So here inthis game for girls, your duty is to help her to earn some moneyand amount should be more because her shopping list is long. Soearn as much as you can. Then you need to help her to shop herlist. The whole family is going somewhere for a change.
You need to help all of them to pack their bag. Because she is notable to do all the things on her own. Put all the things in the bagwhich she wanted to carry with her. Like dresses, glasses, smallbag. Then pack the bag for her husband and pack their bags withoutmissing anything. New born Baby Check up Game: Mommy is gone for theregular checkup.
But she is feeling so nervous and in so much fear. Because it's her first baby. So let's do checkup for mommy in thispregnant mom take care game. Give her some tablets, check her bloodpressure, then apply some gel on her tummy, don't forget to giveher proper oxygen and check the baby whether she is good ornot. Baby is about to born so mommy wants todecorate the room for the baby. She wants everything in the roombefore the baby born. Decorate the baby's room beautifully. Mommy is feeling uncomfortable and restless. Mommy will need certain things before an ambulancearrives.
She will need water, oxygen mask and her husband to bethere. She needs all the things. So give whatever she needsotherwise her life can be in a danger. It's the timeto be a doctor and give the birth to a beautiful baby. Start thesurgery by applying the antiseptic liquid on her tummy, then giveher the anesthesia injection, make a mark for the cut, make the cutusing a scalpel and give birth to the beautiful baby. Mommy needs some help to take care of the baby. Help her onthis one. Clean the swat using towel then give the baby injectionand test the blood group of a newborn baby and lastly check herheartbeat that it is normal or not.
Capture the amazingphotos of the newborn baby with their parent. Take the best photosof this beautiful family. And give them a beautiful memory of thisbeautiful baby. What kind of curator they need me to be. I try very hard not to have a particular style. Could flattening the hierarchy between performances, art works, and creative interventions of different production scales enable interchangeability between audience and performers and solidify a cultural integrity?
Time that stretches around syllables and sharpens to find moments to wander and wonder will interrogate from the inside out and discover from the outside in. Artists who value and prioritize generous layering of meaning inside their works and invite us in cellularly and spiritually, affect change physically. The musician and poet, Michael Stipe shares: It is my belief that memory is our only real contribution to the universe after our death.
Our memories, however banal or meaningful, gathered throughout our lifetime, go on to become the fuel, the powers the energy that allows the universe to be as vast and as fantastic as we imagine it is. Stipe, Muscles in our bodies contain our memories. Dancers tap into the potency of movements.
Our civilized society has placed barriers and doubt in our cellular comprehension of bodies in motion. Bringing back an embodied permission of full consciousness as an observer will bring acceptance in this world as understanding the complexity of our very human nature is innate in tuning into the frequency of dance. Science is mapping empathy, artists are tapping into this understanding, and we are responsible to adjust and evolve.
I imagine future performances that are as small as a thought and as big as the sky, and with no hesitations. That there would be time to reflect with drifting layers and artistic options bumping into one another, just as there should be no real obstacles in life.
Brown, in Tippett, As audiences show up and participate, make meaning, and lasting memories, we too need to be present to experience the work we do in order to feel the meaning and execute the needs of the art works in public presentation. It will be messy and crystal clear all at once.
We need to do this work together. The three artists and artist collaborations discussed in this paper share the following overlapping values: By focusing on and researching artists who consciously and intuitively create systems and strategies to engage their audiences, what are our responsibilities 35 and opportunities to do the same? Artists lead rigorous creative research established through choreographic choices. With that knowledge accessible, how can the conditions to present dance to publics mirror the artistic intentionality that goes into the development of a choreographic work?
Could they be customized to match? It is time to take advantage of the choices and opportunities a presentational platform gives all of us with these artists as our guides. I challenge us to ask these questions and start from the art works, using the tools we have available in new ways. What if empathy was our goal? I personally promise to embody my curatorial practice with these priorities and engage in conversation with my peers from this day forward.
As I perceive abundance and opportunity, my approach changes.
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I engage my field as a whole being. I pledge to perform this shift in consciousness until it reveals new methods. Audiences are still very much committed to the arts and cultural experiences however are avoiding traditional models of delivery artsindexusa.
On the Arts Index blog, Stephanie Riven , para. After reviewing the long list of downward trends provided by the Index, we as arts leaders need to create a new list that expands the core strategies [setting and communicating a vision, developing Collective Impact as a core strategy, and establishing a commitment to community] to include the following: Taking more steps toward visionary and innovative thinking at the national, state, and local level. Taking risks to avoid the status quo. Making a commitment to continuous dialogue. Seeking collaborative learning experiences geared towards new options and potential for our sector.
Works Cited Bourriaud, N. The Creative Process featuring Peter Eleey.
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Retrieved September 25, from http: The New York Time Magazine. Retrieved December 12, from http: Turn Your Fucking Head. Eye magazine, 59, Tim Griffin at The Kitchen. Movement Research Performance Journal, 41, 5. Austin takes the prize. Retrieved April 14, from http: Anna Sokolov and Luciana Achugar: Two Definitions of Intensity, Generations Apart. Retrieved April 5, from http: Retrieved March 20, from http: Postmodernism, Body-mind Centering, and the Academy.
In Exploring Body-mind Centering: An Anthology of Experience and Method, Ed. North Atlantic Books, Movement Research Performance Journal , 41, The State of the Arts: The Arts are in a State. Retrieved February 1, from http: Conversations on the Commons. March 19, from Stipe, M. Retrieved February 2, from http: The Architecture of Engagement. Retrieved March 31, from http: On Being, American Public Media. Retrieved February 9, from http: It emulates the beat of the street. Drawing from over twenty years of experience presenting at and curating for spoken word events, the paper will examine ways in which diversity can be effectively included and addressed in workshops, festival presentations, and the creative process in general.
Sometimes people hold a core belief that is very strong. When they are presented with evidence that works against that belief, the new evidence cannot be accepted. It would create a feeling that is extremely uncomfortable, called cognitive dissonance. And because it is so important to protect the core belief, they will rationalize, ignore and even deny anything that doesn't fit in with the core belief. Or an arts grant. I do get some. And I also flirt with curation.
Very early on in a conversation of this kind I find myself referring indirectly to what Eve Kosofsky Sedgwick has called the open mesh of possibilities: Was the category being skewed with the addition of another layer of gendered identity—in a sense a triple, even quadruple layer— man as woman introducing women as edgy women? Was this a category becoming misappropriated, disrespected, or lampooned? No, of course not. But the questions regarding category still persisted, and of course I could not refuse the extra fee for my additional hosting duties, as well as the opportunity to hire a Holt Renfrew Make-up artist and buy a new wig as I continue my ongoing search for a late middle aged feminine cross-dressed look as I approach my seventh decade of living in a male body that has been consistently defined as feminine for all of my life.
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American poet and activist June Jordan said: As a poet and writer, I deeply love and I deeply hate words. I love the infinite evidence and change and requirements and possibilities of language; every human use of words that is joyful, or honest or new, because experience is new But as a Black poet and writer, I hate words that cancel my name and my history and the freedom of my future: I hate the words that condemn and refuse the language of my people in America.
Jordan, These words help me to shake the core of my constantly refashioned core beliefs that I have struggled with—beliefs instilled through racist, homophobic, and classist strategies by family, educators, friends and infrequent part time, confused lovers—thereby shaking the cores of the foundations of traditional categories and by doing so giving the curation and creation of my own work, and the work of other artists for festival reading series etc.
After all, it is all about language and category. But at the same time how do we preserve and respect the boundaries and intersections that have been historically and culturally produced and reproduced around notions of the sexually identifiable, the sexually unidentifiable, and everything else?
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In my own work and curation, I continually attempt to destabilize my White queer experience by creating intersections through symbols and signifiers, race sex and class elements that triumph and struggle against the conservative straight, White origins that surrounded and destabilized me as a child. For example, here is a passage from Fried, recently performed last fall as part of the Canadian Spoken Word Festival: Black Skin, White Masks.
The Politics of Translation. Inspiration from Poets who Teach. Retrieved online from http: He has presented his work across the country, the United States, and Europe over the past twenty years and also teaches drama, literature, and creative writing at a variety of Canadian post-secondary institutions. Il permet de dialoguer avec d'autres artistes sur des sujets et des questions communes. It will do so by proposing a number of more perverse, anarchic, playful, unconventional and perhaps even impossible ways of putting works and artists together.
It all began with the slightly ridiculous title: Could I think of any curatorial projects that were willfully, provocatively perverse? What might it mean for curating to be perverse? Much curating today is perhaps unintentionally perverse. I am of course asking what it would mean for curating to be perverse on purpose. To take the power dynamic implicit is any curatorial act and turn it inside out, make it more consensual and playful.
These are all metaphors and analogies that I intend as useful, though at times also slightly painful, provocations. It is a term that continues to transform in meaning as I continue to explore it. At Envisioning the Practice I plan to explore a few aspects of this term in direct relation to the current discourse around curating performance, with the hope of sending the discussion spiraling off in unexpected, charming and useful directions. Some of the sentences I let stand, as brief moments of reading-silence, while others served as a fulcrum for my own verbal explanations or reflections.
At first, I thought I would attempt here to recount some of the things I had said about some of these sentences. But, upon further reflection, that now feels like a misguided approach. The point of the presentation was to allow myself to freely reflect on some of these sentiments. It was speaking as the opposite of writing.
To later write down similar things feels to me, at least at this moment, like it would almost undo the spirit and actuality of my presentation. Nonetheless, I give you the sentences as they are. If you do not have my reflections upon them, at the very least you still have your own. Because I love art, I want art to be different. The international artist is a capitalist fantasy. They found themselves questioning ambiguity and its presumed neutrality in their work. The idea that we know art is in many ways fundamentally reactionary and conservative but still want to believe that it is radical and revolutionary and within the space of this paradox there is room for much to happen.
Poetry only changes if we refuse it. Just as the world is only changed by those who refuse it. Which seems just sort of staid and old. The fact that air and water are still sometimes free is a deep pain in the hearts of capitalists everywhere. Improvisation is also composition. The accurate analysis of my practice is not the analysis that most excites me. Agent provocateurs promoted violence, which was in turn used to justify greater state repression. I feel extremely alienated by the dominant discourse, but I also feel somewhat alienated by a long series of other, less dominant discourses.
Going out dancing versus watching a contemporary dance performance. We need a counter-literature. All the artists I admire are such a strange combination of completely open and completely stubborn.
Someone becomes an artist because at some point in their life someone, implicitly or explicitly, gave them permission to do so. The autodidact is often marked by a fondness for quotations. Trying not to repeat history is a repetition of others who have tried not to repeat history in the past. When nothing is finished, everything is possible. I believe I found it in an interview with David LeviStrauss. But I have never been able to find it again. A Rhythm Party Manifesto.
Curating as a word is better known in visual arts than in performing arts. Its incursion into the realm of performing arts practice is a new development and can be taken to represent further extensions in intellectual and artistic practice in the globalising space of the twenty first century. Also, that curating is gaining impetus and demonstrating relevance in the performing arts field exhibits significant indication of the changing environment of practice and praxis.
If this is the situation in a global context, in Africa and perhaps other parts of the developing world, performing arts curating does not appear to gain the kind of recognition it is getting in the developed world. However, recent experiments in the performing arts circuit in South Africa within the university environment, in particular, point to a gradual emergence of some level of performing arts curating that is yet to be noticed and given scholarly attention.
This paper examines this performing arts event as a potentially-curated artistic event with greater prospects for future development into a full scale performing arts curating site that can become a model for sub-Saharan Africa. The motivation for this paper is to present conceptual thoughts on the context and possibilities of Performing arts curating within the South African university performing arts scene as a contributing step towards understanding and situating performing arts curating in African tertiary curriculum which is currently not receiving the attention it deserves.
In the performing arts arena, the dominant roles and vocations includes the director, playwright, actor, choreographer, designers, conductor, and composer, amongst others. In the theatre specifically, the work of the director or regisseur commands central focus and has dominated discourse of theatrical arts for ages. Inside his or her vocational space, the actor or actress submits his or her talent to the defining and creative manipulation of the master craftsman of the stage: The director has come, therefore, to represent the foremost person charged with the responsibility of aligning all the elements of a production into a creative union of arts.
He or she is also the one who creates, manages and projects the functional viability of the stimulating artistic nay creative relationship between the playwright, the actor and the audience. The director is, therefore, the total designer of a production: The other artists or contributors such as the playwright or designers stay under the imposing image of the super artist called the director.
In operatic music, the two major players that lead proceedings are the composer and the conductor. They represent another dimension of the dictatorship of the director in the musical arena. The singers and the other artists that work together to bring all the musical elements into a place of unity and harmony all work under the imposing image of the composer and the conductor. Often, all references to a musical work go to these two creative personalities in the reviews and commentary in the media Shrock, What is said in theatre and music is replicated in dance arts through the image of another super artist: The choreographer is the director of dance and so retains a position of privilege in professional circles and in the public.
As much as it is true in a global context, this configuration of the performing arts and key players in the industry is also what was transferred to Africa through colonialism. The educational curriculum in many post-colonial societies, especially in Africa, continues to retain the identity of this old arrangement Freeborn , p. Amegago further adds that: These phenomena have had considerable impact on African cultures and the African educational system.
Not only is it an uncommon expression in Africa, it also connotes some trangressive tendencies that seem bent on creating a clash between the Museum and Fine Arts practice environment where curating commonly resides and that of the performing arts which remains somewhat unaware of the nuances of curating. Viewed from another angle, the incidental incursion of curating into the performance field appears currently mooted by new developments in performance art and other hybrid practices. Vujanovics once again offers some guidance on the place of some curating in performing arts practice.
She goes on to align the context of the practice by creating a connection between it and traditional roles and registers of the performing arts. The role of the curator in this context has some of similarities to the job of a theatre director, choreographer and or conductor. While this may be taken to represent early insight into the relationship between curating and the performing, however, that insight can only be better explored by understanding the concept of curating from its very traditional and professional basis in the applied arts fields.
Curating has assumed different definitions and connotations over the years. Traditionally, curating involves the collection, exhibition and explanation of artistic objects in a deliberately designed space, with access to the public, to explain their origin and value within a historical context Vasileiou, Within this frame of understanding, the curator assumes various roles that also constitute the frames of his or her professional identification.
Again, Gaskill sates that: This is where the possibilities of curating in the performing arts appears to make sense especially given the context of the admission by practitioners of curating in the applied arts fields that there is a shift. The times have changed and vocational pursuits have also changed focus and commitment. What the disciplines of the arts now pursue as their research and practice goals is different in many ways than before.
The enormous expression of the changing patterns and shifts in the artistic or creative fields is both a conscious and unconscious reaction to the dictates of a globalised environment. New paradigms of inquiry have emerged with the profundity and intellectual gusto of their proponents.
Steam observes the development and advances that the prospect of a new thrust in humanities education builds on the innovative scholarship in history and cultural studies that has so dramatically expanded the knowledge base and altered elements of the theoretical approach in the constituent disciplines p. Theories that drove operation in certain disciplines in the past have been reviewed, repositioned and rearticulated.
Others have been completely abandoned and erased out of the driving seat of research practice in some areas of scientific inquiry. New courses, disciplines and niche areas of focus emerge on a daily basis, replacing old paradigms while off-shooting new thinking in the process. Knowledge pursuit currently witnesses a serious paradigm shift and scholars and researchers suddenly find themselves rethinking and repositioning themselves for new challenges in a bid to brace up with the new demands of the knowledge industry. Hunyadi underscores this changing paradigm in humanities education, stating that the introduction 58 of computing methodologies in the humanities brought about significant changes both in the scope of humanities research and in the way research was to be carried out p.
The theatre is not without its own experience in the current dispensation.
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Theatrical engagement has also headed towards the direction of new theorisation and practice, reinventing and changing the thespian vocation in the process. Outside the traditional confines of the play house where the director directs proceedings, there appears to be new insights on the role of the director, that extend beyond packaging a show to curating a festival of plays.
There are various perspectives that support the possibilities of curating in the performing arts. Wenner , Gaskill , Boldt , Currie cited in Seidman, all agree that curating also takes place in the performing arts arena, outside of the dated confines of the museum hall. That curating is not only gradually entering the mainstream lexicon, but is also being used by traditional drama or performing arts platform such as the BBC, says a lot about its possibilities in a new context.
She goes on to contextualize this development by stating that: On the one hand, this transfer reflects a trend especially in independent theatre to orient itself increasingly to the visual arts — although it is precisely in the independent scene that the curator is looked upon critically as a meta-artist and sole arbiter. On the other hand, this transfer represents a change in professional practice: It is more and more deemed important to create contexts for individual works and to set artistic signatures in relation to each other.
Gaskill affirms this development by noting that the practice of curating has shifted dramatically from its backstage origins within dusty museums to a role at the forefront of modern art, which includes the field of performing arts. What is clearly obvious is the negligible interest and perhaps unconscious black out of the field by scholars in the continent. Notwithstanding this scenario, recent developments in South Africa are already providing gradual indication that perhaps performing arts curating or elements of the practice is beginning to develop in South African university-based festivals.
A look at the current state of the performing arts industry becomes necessary before we embark on a more elaborate examination of this development. Post-Apartheid Theatre in South Africa: Overview The change in governance policy based on apartheid and the transition to democracy in South Africa in signalled changes in the operation of theatre in the country. Prior to this time, theatre was an exclusive reserve of the white population and performing arts generally dwelt and expressed only Euro-centric notations Heerden, , p.
Active sights of performing arts activities, such as the play house and theatres, were clearly marked for a white only patronage; it was a taboo for a black person to even go near a theatre, let alone watch a play. Performers and artistes also observed strict rules of engagement on the stage where there was any opportunity to perform together. The State Theatre in Pretoria, a national performing arts institution, maintained a policy of segregation that completely excluded black people from participation in performing arts activities Moore, Not only has apartheid era policy been expunged from the running of performing arts institutions, freedom of practice is also bearing on the artistic atmosphere of the country currently.
A non-racial environment of access to spaces and resources that supports the growth of the arts is gradually evolving and therefore expanding the scope and context of the South African performing arts experience. Theatre troupes and contemporary performance outfits are now able to showcase their talents in different occasions, such as: Traditional musical, dance and performing groups are gaining new impetus and their productions have further come to represent new expression of indigenous arts forms that were hitherto suppressed.
Moreover, in a bid to strengthen the development of the arts in the rural localities, as well as creating memorials for the role that the performing arts played in the anti-apartheid crusade, modern theatre houses and performance spaces have been constructed by the government in locations such as Soweto that represented the hotbed of anti-apartheid protests. Contemporary African drama may, therefore, be seen as the meeting place of both pre-colonial African and European drama traditions.
Many African playwrights in South Africa base their plays on oral genres, such as oral history, epic, myth, animal stories, integrating these with European drama traditions, such as an envelope auditorium, stage, scenery, lights, actor, stage direction, and playwright. Some African playwrights borrow their themes from oral forms mentioned above, whereas others draw on indigenous cultural practices, such as lobola, intlombe yamagqirha, initiation ceremonies, or the authority of parents over children, and combine them with European drama traditions.
All this goes to show that things have changed tremendously in the performing arts landscape of post-apartheid South Africa. The plays and playwriting have taken new courses and thematic preoccupation. Unlike the plays of the past that dutifully idealized anti-apartheid credo, current plays tends towards explorations of the challenges of the emergent nation like poverty, 61 corruption in governance circles, violence against women and children, the anxieties of unfulfilled promises and the general problems associated with urban life.
While the government vigorously pursues the task of redrawing the performing arts map of the country, the private artistic industrial sector is still generally dominated by white creative entrepreneurs who are also devising means of integrating transformation into their practice. The universities play very active role in creating a vibrant arts scene in the country, not only through training but also in active engagement in the staging of creative activities that enrich and enliven South African society.
Since its inception to date, the Tshwane University of Technology has maintained high reputation as a training centre for professionals in the creative industry in South Africa and beyond producing many alumni that have gone on to successful career in film, stage, radio, television, arts management, playwriting, teaching and research and allied fields outside the core creative areas.
Moreover, the department also runs two annual festivals including the Rostrum Roultte and DirActions, a creative avenue for advanced directing students to showcase their fledging talents and learning outcomes. According to Dr Janine Lewis, who has been coordinating the festival in the past four years, Rostrum Roulette primarily aims to showcase both final year Arts Administration and Directing Students in a practicum that consolidates the theoretical component of their training with a practice-based model exploration of real-scenario building of industry dynamics Dr Janine Lewis, interview with the author, February 12, The festival is therefore anchored on four educational goals: Students can participate in the festival in various ways, both in a Arts Management or participatory capacity and as a form of required semester artistic engagement.
The students begin by democratically electing a management committee. The management committee then appoints a director of the festival from one of its members. This committee must meet regularly, and conduct research so that the students can acquaint themselves with the dynamics of running a festival that will showcase the department to the public. They consult experts and professionals to acquire the skills that they will need to execute the festival successfully. They do focus groups, interviews, literature reviews; case studies of other festivals acquire the information that will help them in organizing a successful festival.
Critical to the success of the festival will be the acquisition of skills in arts promotion and audience management. The students acquire these skills by serving short internship period in both public and private and private arts institutions to understudy how other major festivals are 64 handled and relate the dynamics they observe to what they showcase in a particular year. They also generally read about how festivals are organized from different sources and meet former students of the department to solicit information and gain insight into how they handled the festival in their own time as students.
Moreover, since the committee is charged with running the festival in a professional manner, they have to research on the functioning of the business world for example, learning how advertising or media communication functions. Managing resources including money, personnel, equipments and locations is critical to the outcome of the festival, and the students must work with this in mind right from the outset.
Their capacity to manage the festival will not only earn them accolades for running the festival successfully in their time, but it will also contribute to the final mark that they obtain in the courses attached to the festival. Of course, the festival organization has to be experiential so that the students mistakes and learn from them.
As such, they learn to perfect their act and gain the much needed expertise that is required in the industry. Collecting and Exhibiting Rostrum Roulette involves a collection of plays and other performances by students of the department of Drama and Theatre. The programming process follows rigorous selection criteria to ensure that what is accepted stands the test of time and is considered by the management team to be of a high enough quality to represent the artistic profile of the department.
In this regard, a play has to address a subject matter that is relevant to societal development and the transformation of the new South Africa and should also be able to provide further learning opportunities for both the participants and the audience being an educational event. The collected art works or performances are assembled and exhibited during the festival for public viewing.
Every performance requires ingenious use of space, design and management of large number of people. The students are divided by the festival management committee into various teams that take care of security, audience management, sound and acoustics, lighting and 65 marketing. Each of these teams generates concepts and ideas that ensure that the exhibition not only turns out well but offer satisfaction to their patrons who pay money to watch it. Indeed, as discussed earlier, curating in the performing arts setting revolves around some core activities including: As we have seen, these roles and activities are synonymous with those of the Rostrum Roulette festival director and organizers.
These students act as caretakers of all resources such as finances, personnel, equipments, locations needed to execute the performances. The festival director serves as a facilitator who guides the process of planning the festival: Of course, the director cannot run a festival of such magnitude without collaborating with both staff and students, and must negotiate to achieve the stated goals of the festival, making appropriate decisions to enhance a hitch-free festival during his or her tenure as director, and working to provide of all resources and guidance that are needed by the different personnel to perform their duties.
Finally, the festival director might also act as a mediator, settling conflicts where they arise and also putting up structures such as documenting the source of the conflict and what was done to settle it in his or her final report of the festival to avoid future occurrence of such conflicts. In the process, the concept of curating has been redefined, repositioned and is becoming more relevant in the twenty-first century Roos-Brown, However, in South Africa and, I would argue, Africa by extension , curating is still a buzz word in the performing arts context, and has yet to assume a place of relevance in the contemporary artistic environment of arts practice.
The South African Heritage and Museum management circles have yet to fully come to grasp with the 66 significance of incorporating performing arts dynamics into curatorial services in the country. Notwithstanding the present scenario of little activity in the area of performing arts curating in South Africa and Africa, everything looks already naturally configured to change. Recently, some tertiary institutions within South Africa notably the Drama Department of TUT have begun collaboration with the management of the National Museum in Pretoria to showcase performances that depict the apartheid history of the country.
While this does not directly impact on the development of performing arts curating, there are ample prospects in future expansion into the different cultural institutions in South Africa. An early foundation in South Africa may expand to other parts of Africa, since South Africa sits geographically as the gateway to Africa from other continents.
Also, the role of TUT drama in promoting performing arts curating could be extended beyond its present context in the Rostrum Roulette, a TUT drama student-run festival, to become a larger performing curating festival that can accommodate staff and students of other drama and performing arts departments in South Africa, given the right support. With the current effort to institute a new diploma and postgraduate programme in Cultural Policy and Arts Management at TUT, the route for the creation and integration of a course in performing arts curating into the curriculum could serve to draw more local attention to its relevance in the field of creative scholarship.
Although there are no established contexts for assessing a festival to ascertain the presence of curating as practiced in the developed world, I have drawn out several points that indicate that there is some form of curating taking place in the collective organization of this annual creative arts festival. I have drawn from existing literature on contemporary curatorial practices to substantiate the viability of positioning or re-positioning creative practices the Department of Film and Drama as a showcase that meets the templates of global identification as curated festival.
I conclude by proposing that there are brilliant prospects in integrating performing arts curating in the scholarly focus of tertiary institutions in South Africa and Africa 67 generally as it can help in extending the boundaries of global understanding of the arts and creative industries in the continent. In suggesting this, the paper acknowledges that universities play very significant and central role in the sustenance and development of the performing arts in post-apartheid South Africa. Apart from being training centres for past and upcoming practitioners in the field, universities remain critical to the daily practice of the arts in South Africa and perhaps remains the most active location for performing arts practice outside of the mainstream industry.