Resisting Institutionalization Within an Institutional Context: The Ambition and Strategy of Curatoké - Performance Curators Academy

Text by Tai-Jung Yu

In recent years, visual and performing arts have increasingly engaged with one another in Taiwan and beyond. However, as someone working in the art field here, I often perceive that the circulation of curatorial expertise and discussions is significantly more vibrant in the visual arts sector than in the performing arts. Although the modes of curatorial thinking in each sector are not fundamentally different, their corresponding material conditions, economic structures, labour demands and institutional characters are highly distinct. Not long ago, a colleague from a visual arts background smiled knowingly upon hearing the phrase, “Now everyone can be a curator.” In contrast to my initial confusion regarding these words, this moment serves as clear evidence of the disparity in curatorial status across different contexts.

Intentionally or not, the Curatoké: Performance Curators Academy launched by Taipei Performing Arts Center (TPAC), in collaboration with National Culture and Arts Foundation (NCAF) of Taiwan, is bound to relate to the aforementioned scenario. On one hand, given the imbalance in curatorial status and the number of related funding projects between the visual arts and performing arts sectors, Curatoké may be viewed as NCAF's initiative to invest more resources in developing the space and capacity for performance curation. On the other hand, the open call document explicitly states that Curatoké is aimed at emerging curators working with performance in performing and visual arts. Eight selected young curators from Taiwan, Hong Kong, Indonesia, Australia, and Estonia are indeed positioned at various points along the spectrum between visual and performing arts.

River Lin, the curator of Taipei Arts Festival (TAF) and Asia Discovers Asia Meeting for Contemporary Performance (ADAM), invites six international curators as mentors in co-organizing and delivering a 10-day program. In addition to closed-door workshops, the program includes visiting performances of TAF, showcases hosted by TPAC, participating in talks, Artist Lab Sharing and Kitchen of ADAM, as well as visiting other local arts institutions.

As a participant in Curatoké, I will elaborate on my observations regarding the strategies employed in this program to create spaces for learning and exchange, as well as the ideas it promotes in cultivating curation and curators. Before delving into these discussions, I will provide a brief overview of the development and current landscape of performance curation in Taiwan, as this serves as the foundation for the forthcoming discussion.

Reflecting on the evolution of performance and performing arts curation in Taiwan over the past forty years reveals that from the 1980s to the early 2000s, many artistic practices aligned with what we see as curation today, despite the absence of the title as “curator”. These practices were significantly influenced by the energy generated by the Little Theatre Movement in the private sector. Notable examples include the Crown Arts Festival (皇冠藝術節), various editions of Performance Arts Festivals with different focuses by Body Phase Studio (身體氣象館), the quadrennial Taiwan Women Theatre Festival (女節) and Migration Music Festival (流浪之歌音樂節), among many others. In the last decade or so, the role of curator has gained prominence alongside the institutionalization and transformation of operational modes in several key local arts festivals. For instance, the first curators for both Taipei Fringe Festival and TAF were appointed in 2011. Other arts festivals outside of the capital, organized by different local governments started to deploy curatorial mechanisms around 2018. Curators are also involved in non-governmental festivals that focus on specific art forms or communities for organizing and public communication.

On a national level, several festivals hosted by art centers and theatres have followed in other's footsteps to involve external curators The three entities of National Performing Arts Center—National Theater and Concert Hall (NTCH), National Taichung Theater (NTT) and National Kaohsiung Center for the Arts (Weiwuying)—all appear to be striving to implement more curatorial thinking and structure. However, they continue to primarily function as presenting houses, relying heavily on conventional programming methods. Only a few of their projects and platforms have designated curators or made an effort to emphasize curatorial consciousness. Nonetheless, there is currently no regular curatorial position with the authority and responsibility to oversee and defend the selection of shows and the organization of activities over the long term. One notable exception is Taiwan Dance Platform and Weiwuying Circus Platform at Weiwuying, which were curated in succession by in-house staff for three to four years. 

Cultural activities abound on this island, leading many to consider Taiwan as "an isle of festivals". Although festivals are not essential for the existence of curators, in today's highly institutionalized environment, leveraging curatorial talent and effectively employing curatorial methods can create opportunities for a more comprehensive consideration of aspects such as artistic depth, audience communication, and resource allocation. Local governments are gradually recognizing the advantages of hiring professional curators and are moving away from the practice of blindly outsourcing to media or public relations companies. National-level institutions are also seeking to collaborate with professional curators within their existing organizational frameworks, which opens up new demands for and imaginations of curators. However, there remains considerable confusion in Taiwan regarding the responsibilities and authorities that curators should or can possess, as well as how the curatorial mechanism interacts with both the creative and institutional dimension.

The realization of Curatoké presents an opportunity for us to reassess the demand for curation and curators in our environment, as well as to address the confusion surrounding the initiation of curatorial actions and mechanisms. With frameworks that extend beyond the local context, Curatoké's ambition to disrupt the cultural and artistic ecosystem through the introduction of practical experiences is notably significant, while also advancing towards the realm of international exchange. 

The distinction between curating and programming lies in the fact that curating often involves a curatorial consciousness and a questioning approach that invites both artists and the audience, thereby creating a space for dialogue and creativity. In today's landscape, characterized by a wide array of artistic forms and content, curation not only responds to diverse practices but also serves various purposes, such as community building, issue exploration, and the pursuit of innovative aesthetics. However, this diversity presents challenges for professional continuity. One of the primary questions raised in Curatoké, a cultivating program called "Academy," is: In the current context, can curation still be effectively taught or learned?

In my observation, Curatoké employed several methods to deal with this challenge. First, on the initial day, participants were asked to share their own "curatorial and artistic practices and research," with no requirement to present a curatorial project throughout the program. Second, the mentors utilized the participants' contributions as a foundation to select specific themes informed by their own curatorial practices, such as collaboration with(in) institutions and artists, curating for the future, and fostering international co-production and connections. Third, the final four mornings were designated for unstructured sessions without prior planning. Lastly, the course integrated ADAM and TAF programs, allowing performances and exchanges to seamlessly blend into the schedule.

As a program initiated by an institution, these arrangements not only make good use of and integrate existing activities but also challenge institutionalized thinking, such as outcome-oriented approaches and rigid, highly defined schedules. Firstly, the diverse backgrounds of the participants contribute to a framework for practice and research sharing that addresses the current state and intentions of curation. This framework serves as a foundation for mutual observation, providing everyone with a contextual reference for reflection and dialogue.

Secondly, while sharing one’s curatorial and artistic practices and research is mandatory, a competitive atmosphere has not been fostered—partly due to the lack of a requirement to submit curatorial proposals. This may seem straightforward, but based on my experiences and observations of professional exchange and cultivation programs, maintaining such a tone is not always easy. Particularly in international exchange programs, which are often driven by large institutions, there is a tendency to finalize all details. Additionally, these events typically bring together professionals with varying levels of seniority, making it challenging to set aside the invisible markers of resources and status. The design of Curatoké, combined with the heightened awareness of both mentors and participants, effectively dismantles the various power dynamics that can arise in such programs. Therefore, although terms like "mentor" and "cultivation" are used, I believe other participants would concur that the actual interaction resembles a collaborative learning atmosphere among peers.

In addition, maintaining flexibility in the schedule is a strategy for embracing the unknown and fostering more equitable relationships. The mentors indicated that the course content is shaped by the participants' contributions and the topics previously covered by others. The schedule for the last four mornings was established through discussions among all mentors and participants, resulting in two slots for one-on-one/two deep conversations and two slots for group discussions.

The intricacy lies in the fact that, although the mentors had preliminary thematic ideas and discussed scheduling one-on-one consultation sessions during the preparation meetings, there remains room for negotiation in both practical operations and psychological aspects. (For instance, the brief schedule outlines: someone's workshop, morning meeting - reflection), thus makes it possible to truly establish a safe space where participants feel encouraged to ask questions and share their knowledge and doubts. This arrangement can also be viewed as an application of curatorial thinking. Given the diverse forms of curation today, along with the complex challenges posed by the specifics of performance curation, the environment created by Curatoké fosters a temporary community that can collectively confront and contemplate curation, its wonders and its dilemmas.

This temporary community has also integrated into another community that TPAC has been developing for many years: ADAM. While curating may be difficult to teach or learn, one thing is certain: much of the learning occurs through practical experience. This "doing" encompasses preparatory work before engaging in the curatorial project, such as building networks and understanding the cultural ecosystem and trends. Environments like ADAM, which centres artistic creation and international exchanges, along with TAF and other showcases, provide spaces where curators can conduct their research. The relationship between curators and international market/exchange contexts is another huge topic that cannot be explored in detail here. However, as a performance curator cultivation program, Curatoké offers participants the opportunity to observe and interact closely with international peers in various roles around the globe, initiating a vital process in curating that intertwines practice (curating and doing research for curation) and thinking (establishing curatorial thinking and working methods). Over the years, ADAM has built a network of exchanges that transcends itself. The heterogeneous composition of senior and emerging curators in Curatoké may gradually create a new professional support network, creating opportunities for each participant to access information and trends from different artistic fields, thereby expanding and facilitating potential collaboration. 

Does curation need to be oriented towards an international perspective? Not necessarily. Since the 1980s and '90s, and continuing into today's performance curation, we have consistently observed the presence of international artists across various programming scales in Taiwan. Some of these instances are merely transactions of program management, while others intentionally invite performances to broaden perspectives or stimulate the field. From another angle, the international development of performing arts has always been a significant focus for Taiwan’s public funding bodies. While this international development may aim to expand markets and promoting subjectivity, can it also serve as an opportunity for local practitioners to deeply explore the meanings of art as a form of cultural practice? In Curatoké, participants are immersed in an international environment, making it essential for them to examine and reflect on what this setting signifies for their relationship with the cultural ecosystem to which they will eventually return.

However, the international framework of Curatoké offers benefits that extend beyond merely serving as a platform for international exchange. In my observation, if we can establish an environment of equal and shared thinking, the diverse composition of multinational members is actually conducive for discussions that shake and think outside of boxes when addressing issues such as "how to navigate the dilemmas of curating within a specific context" or "how to invigorate the local arts and cultural ecosystem through curation." On one hand, when participants articulate their own situations, they can temporarily detach themselves from these contexts, which facilitates self-reflection. This setting allows deep understanding of the complexities that each individual carries. On the other hand, while methods from different contexts may not directly solve our problems, in-depth dialogue can help us transcend our limitations and spark inspiration. Many mentors have noted that in an international setting, Curatoké presents a rare and unique opportunity for ample discussions on nuanced topics and meaningful exchanges among curatorial peers, as well as between senior and junior members. 

In my opinion, regarding "how curation can be taught," Curatoké has established a preliminary and effective framework. I would suggest that both the closed-door workshops and public lectures could benefit from incorporating more case analyses. This would allow exploration on how specific curatorial thinking translates into actual curatorial practice, and conversely, how curatorial practice informs curatorial thinking. Such an approach could foster a similarly inspiring process among peers, as previously mentioned. Additionally, the current selection of mentors primarily consists of individuals from performing arts institutions, some of whom have past experience in visual arts organizations. Since this program aims to broaden the scope of performance curation across various fields and contexts, it would be advantageous to include mentors from other diverse backgrounds.

At the end of this article, I would like to discuss the myth surrounding "curator."

In 2019, Chow Ling-Chih and Kuo Liang-Ting assumed the role of the inaugural curators following the transformation of Tainan Arts Festival. In an interview video with the curators, Kuo expressed his growing conviction throughout the curatorial process that there is no such thing as “a curator”:  “Curating is a team effort, because there is a group of people, and then various paths can be drawn out.”

The question of how to "de-mystify" the curator was raised on the first day of Curatoké. During this program, I observed two phenomena that are worth noting for Taiwan. First, there are increasingly more cases of collaborative curation. Second, in other countries, many young practitioners have already had the opportunity to take on key positions within institutions. For example, since 2018, Brussels’ Kunstenfestivaldesarts has been co-directed by Daniel Blanga Gubbay and Dries Douibi, the former being one of the mentors at Curatoké; he was thirty-five when he took on this role. Additionally, since 2020, Kyoto Experiment has had three co-artistic directors: Yoko Kawasaki, Yuya Tsukahara, and Juliet Knapp, the latter of whom was only twenty-eight when she assumed her position.

Appropriating Kuo’s words, if curation is understood as a collective of individuals charting diverse paths, then in this era of demassification and numerous challenges, do we not also require a greater number of people from varied backgrounds and generations to collaboratively construct a curatorial map? Moreover, curation is not solely the concern of the curatorial team or institutions and festivals; it significantly involves other professionals, including creators, producers, managers, and arts administrators. In terms of cultivation, should we also consider and pay attention to their pathways? The curators we need are not idolized individuals, but rather a collective that knows how to effectively utilize the mechanisms of curation. In other words, whether at the national or local level, it is crucial not to define "curation" as a singular working position (i.e., curator), but rather as a collaborative mindset (curatorial thinking) that can be applied, thereby evolving into a curatorial team capable of leveraging its strengths and responding to various conditions and situatedness.

Cultivation programs like this, which involve a range of professional expertise, typically take at least three to five years—and often up to ten years—to truly take effect. There is no better time to start than now. As one of the fortunate participants who had the opportunity to witness and engage in this project, I sincerely hope that this in-depth curator academy will continue to develop based on this year's format. I also look forward to our performing arts ecosystem having more opportunities to explore and discuss the possibilities of curatorial thinking and methods. Perhaps, when the curatorial mechanism is effectively integrated into various fields and occasions, the practice of culture and the arts can ultimately respond to and transcend the realities and dreams of our time.

 NCAF initiated “Exhibition Planning Grants in Visual Arts” (now known as “Production Grants to Independent Curators in Visual Arts”) in 2004 and “Curator’s Incubator Program @ Museums” in 2010. Apart from Curatoké, there is currently no specific funding project for curation in performing arts. However, within NCAF’s “General Subsidy”, there is a “Curation” option available under the categories of music, dance and theatre. See: TSAI Pei-Kuei 2022, ” Stories of Curators: Examining the Taiwan Curatorial Ecosystem in 2004-2021 Through NCAF Curatorial Grants”. NCAF Granted Project Database. Last visit 12^th September 2024. See also: NCAF General Subsidy Database (in Mandarin). Last visit 12^th September 2024.

 The mentors are: Daniel Blanga Gubbay (Artistic Co-director, Kunstenfestivaldesarts), Jeff Khan (Creative Director, Asia TOPA), Nayse López (Artistic Director, Panorama Festival), Low Kee Hong (Creative Director, Factory International), Rucera Seethal (Artistic Director, National Arts Festival South Africa), and Faith Tan (Director, Programming, Esplanade - Theatres on the Bay, Singapore).

During this period, there were also performing arts activities organized by private agencies, as well as “Experimental Theatre Festival” (實驗劇展) hosted by Ministry of Education.

The events include, among others, Taoyuan Iron Rose Festival, Tainan Arts Festival, Tainan Street Arts Festival, and Hualien Performing Public Space Festival. The Cultural Affairs Department of Taitung City Government is one of the very few local cultural offices that made permanent positions for curators. 

For example: Want to Dance Festival, We Island Dance Festival, Focasa Circus Festival, Yuchi Festival, Lukang Arts Festival, etc.

For example: under the umbrella of National Center for Traditional Arts, several events, 

including Taiwan Traditional Theatre Festival, Asia-Pacific Traditional Arts Festival and Dramadream Workshop, and Play Arts Festival of Taiwan Contemporary Culture Lab (C-LAB), etc., all have engaged curators from their respective fields.

 Take NTCH as an example, the recent commissioned curatorial projects include, among others, 2057: Rehearsing Ways of Living and Dialectical: Trajectories and Displacements of NTCH. Since 2020, NTCH’s Artquake in Autumn, which incorporates previous festival structures of Dancing in Autumn and International Theatre Festival, has begun to strengthen its curatorial discourse and integrate it with exhibition, marketing strategies, and publishing, e.g. the impressive 2023 Artquake in Autumn booklet (Vol.01, Vol.02).