Vol. 9 No. 18 (2020): Performativity Musealization in Public and Private Collections

It is known that the intention, the acquisition and the contextual-temporal processes in a collection set what we consider musealization ”“ action / act / transitive gesture ”“; in a constant feedback with the trajectories of the objects and narratives in an essential relationship with the audience that observe and resignify them.

If the narrative condition about the objects’ existence is tied to the immateriality, the performativity is the key element to understand the intentions and the processes that involve agents and agencies: museums, cultural heritages, collections, social groups and individuals. The performativity is associated to survival, something which provides continuity, which perpetuates, which remains, which is vestigial. It is also a metalanguage, as an expression that articulates the meanings and the narratives about something, that which transmutes and sets up as a connection point between genealogies and temporalities. In this regard, the purpose of this dossier is to contemplate texts about performativity in relation to museological practices and collections, and vice-versa. Therefore, the dossier seeks to gather texts that present the musealization performativity towards the Visual Arts, the traditional knowledge, the Dance, the Theatre Arts, the Music and which may also present staging, ritual and corporeality. Thereby, the following thematic axes are suggested: (1) History of immaterial heritage preservation policies; (2) The notion of perfomativity in private and public collections of Visual Arts, traditional knowledge, Dance, Theatre Arts and Music; (3) Relation between performance, ritual and corporeality; (4) The performativity musealization of collection in museological processes.