The article delves into the integration of Contemporary Dance and Performance within Western museum settings. It explores the complexities and challenges associated with curating dance pieces in museums, emphasising the collaborative nature of their production and technical requirements. Artists like Amanda Piña are highlighted for their awareness of the decolonial trend in art museums, while also cautioning against the potential appropriation of this concept by institutions. The importance of adopting a sociomuseological approach is underscored to prevent the perpetuation of colonial power dynamics within museum spaces.
Furthermore, the article discusses how the inclusion of dance and performance art in museums challenges traditional distinctions between art forms, prompting a reevaluation of curatorial practices. It raises concerns about the risk of using art as a tool for institutional discourse without fostering substantial transformations in how museums engage with modernity and colonial legacies.
In conclusion, the article aims to shed light on the evolving landscape of museum programming by incorporating Contemporary Dance and Performance. It highlights the significance of publications and research in this field, as well as the establishment of dedicated departments to support this integration. By examining the intersection of dance, performance, and museum curation, the article encourages a critical reflection on the role of art in challenging and reshaping institutional narratives.
