Creativity , technology and culture
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Lee Mingwei , Our Labyrinth ( 2015 ). Performance . Exhibition view : 11th Shanghai Biennale . Shanghai Power of Art St ( 12 November-2 March 2017 ). Photo : Power Station of Art .
Identifying best practice for choreographic works in museums through artistfocused research
The problem
While dance has occupied gallery spaces since the mid-20th century , it has historically been excluded from high art . Galleries and museums have operated on a dual system where dance was not given the same value as the visual arts . As such , protocols around performance conditions and curatorial and conservation practices have lagged .
Our solution
More on this story
Identifying best practice for choreographic work in galleries and museums optimises both the calibre of work possible and the conditions for producing it , says Associate Professor Erin Brannigan from UNSW ’ s School of the Arts & Media . Using an artist-driven approach ensures protocols are grounded in real-world practice .
Erin Brannigan is an arts theorist and historian who explores dance through its relationship with interdisciplinary art forms and practices . She is leading Precarious Movements : Choreography and the Museum - Exhibiting , Curating , Collecting and Conserving Dance in collaboration with Dr Rochelle Haley . Rochelle Haley is a practice-led researcher and artist working at the intersection of visual arts and dance , particularly works made for museum contexts .