ABSTRACT This article focuses on the curating of live performance, specifically on the performance of musical indigeneity as it has played out at the National Arts Festival in Grahamstown, South Africa since the formal transition from apartheid. I highlight the extent to which indigenous musics of the Eastern Cape have tended to be curated as visual spectacles rather than serving as culturally informed music showcases. This underscores the extent to which the performance of what is colloquially referred to as “indigenous traditional music” continues to map onto reductive and divisive apartheid-era notions of ethnicity and “race”. I argue that if transformative agendas are meaningfully to affect curatorial initiatives, and vice versa, particularly in the public domain, we are challenged to afford sustained attention to the poetics and politics of cultural display. In the relative absence of academic programmes or research projects that significantly foreground the curating of live musical performance as a mode of academic practice and inquiry, I advocate for critical engagement with such questions, and advance a conversation between visual and performance studies, arguing that considerable scope exists for the curation of live performance to become a valid field of applied study and practice in South Africa.

中文翻译：

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走向更深层次的合作策展实践：关于在格雷厄姆斯敦国家艺术节上展示本土表演的挑战

摘要 本文侧重于现场表演的策划，特别是自种族隔离正式过渡以来在南非格雷厄姆斯敦国家艺术节上演出的音乐本土表演。我强调了东开普省的土著音乐在多大程度上倾向于被策划为视觉奇观，而不是作为文化信息的音乐展示。这强调了通俗地称为“土著传统音乐”的表演在多大程度上继续映射到种族隔离时代的种族和“种族”概念上。我认为，如果变革议程对策展计划产生有意义的影响，反之亦然，尤其是在公共领域，我们面临着持续关注文化展示的诗意和政治的挑战。在相对缺乏将现场音乐表演策划作为一种学术实践和探究模式的学术项目或研究项目相对缺乏的情况下，我主张批判性地参与这些问题，并推进视觉和表演研究之间的对话，认为相当可观的现场表演的策划成为南非应用研究和实践的有效领域。