Managers Panel, moderated by Dena Davida, Canada, and international managers,

״How to Build a Manifesto for a Festival: Festivals as Thinking Entities״- title by Silvia Bottiroli.
A panel moderated by Dena Devida  -Curator and educator , ÉDIFICE WILDER – Espace danse, Montréal Canada.

The panel will address these issues:

The influence of the migration, since the 1960s, of the concept and practice of “curation” into the performing arts

The viability and interest in creating new models of event-making and artistic season conception in the wake of institutional critique in Europe.

 Recently built, intimate venues with flexible configurations of stage and seating and amenable to the integration of new technologies, along with increasing attention to relational arts and audience engagement.

 Performing arts (particularly dance) moving into museums- Are the boundaries more porous than before?

Free entrance upon registration at machol.shalem@gamil.com

Dena Devida

Dena Davida has practiced the performing arts since childhood. She immigrated to Canada from the United States in 1997, where she taught Québec’s first classes, and formed a dance collective, based in Contact Improvisation. In 1980 she co-founded Tangente, Québec’s premier contemporary dance presenting organization, where she will work as dance curator, stepping down in May 2019. Also, in 1985, she co-founded Montréal’s International Festival of New Dance. Along with her practice as a professional dancer and choreographer, she taught university-level classes in dance composition, improvisation, Laban Movement Analysis, esthetics and anthropology. She completed her doctorate in 2006 in UQAM’s Programme d’études et pratiques des arts with an ethnographic study of the nature and meaning of artistic dance events. She has published various texts on dance and culture in both professional magazines and academic journals. Along with 26 authors, in 2012 she edited and published the anthology Fields in Motion : Ethnography in the worlds of dance. Her new vocational orientation is to contribute to building foundations for a field of study in live arts curation, her art world métier for the last 40 years. And so she organized an international symposium in Montréal in 2014, taught Canada’s first Masters’ level seminar, and has just completed co-editing the seminal anthology Curating Live Arts: Critical perspectives, essays and conversations on theory and practice (2018).