The Performance of Heritage: Dance in Museums Galleries and Historic Sites – DAN020L416S
This blog serves as an example of how to structure a performance project proposal for museums, galleries, or other historical and cultural sites. I will outline my proposed dance performance, the chosen museum venue, and the specific location within the museum, explaining the rationale behind each decision. Finally, I will address the estimated costs of the project and explore possibilities for sponsorship and collaboration.
My Personal Journey
I have always been fascinated by museums and visiting them is one of my absolute favorite activities when traveling to a new country or city. Growing up in post-revolution Iran, school field trips often took us to palace-museums that had once been the homes of the royal family before the revolution. Although the intended purpose of these visits was to highlight how the previous regime had used the country’s resources to build lavish palaces for themselves, I was captivated by the architecture, intricate ornaments, exquisite furniture, and stunning artworks. Among these, Golestan Palace left a particularly strong impression on me. Originally built during the Safavid dynasty in the 16th century and later expanded during the Qajar era in the 18th century, the palace became a place where I found myself deeply interested in imagining the daily lives of the royal family and the broader socio-cultural environment of their time—drawing inspiration from the artifacts on display, architectural details, and decorative elements of the palace.
Later, in my early twenties and before immigrating, I faced severe restrictions as a dedicated dancer in Iran—both as a woman under Islamic law and as a performer forbidden from dancing publicly. During that time, I began to see my body as a site, much like a museum, carrying layers of history, culture, and unspoken narratives. This perspective deepened after moving to the United States, where I became increasingly aware of how reserved I was with my body compared to Western women, especially dancers. It was then that I developed a strong interest in embodiment and the dancer’s body as a space for exploring broader concepts. Meanwhile, my fascination with museums showcasing Islamic and Middle Eastern artifacts continued to grow, becoming a top priority during my travels. One day, these two passions—dance and museums—came together unexpectedly. While visiting the Islamic Arts Museum in Kuala Lumpur, I came across a section dedicated to Iranian art. A beautiful piece by Parviz Meshkatian, the renowned Iranian composer and santour player, was playing. The atmosphere, the music, and the artwork moved me deeply. In that moment, I felt compelled to respond with movement, allowing my body to express emotions that words could not capture.
That spontaneous moment sparked a lasting desire in me to elevate Persian dance performance by connecting it to broader themes. It inspired me to propose a meaningful approach to presenting Persian dance as intangible cultural heritage within a selected museum.
Museums, Cultural Heritage, and the Art of Curation
‘Museums have long used exhibitions as their main tool for presenting the objects and knowledge that they have preserved’ (Bakka, 2017, p. 137). They play a vital role in shaping collective memory and identity by preserving and presenting diverse cultures and histories. According to UNESCO (2021), there are around 104,000 museums worldwide. While traditionally focused on tangible artifacts, museums are increasingly incorporating Intangible Cultural Heritage (ICH)—such as oral traditions, performances, and rituals—through multimedia and live presentations. By integrating Intangible Cultural Heritage (ICH) into exhibitions through multimedia presentations, live performances, and interactive storytelling, museums can offer a more holistic representation of cultural heritage. This approach not only enriches the visitor experience but also supports the sustainability of cultural traditions by actively involving communities in the transmission of their living heritage. However, just like the careful selection of artifacts for display, the inclusion of live performances in museum spaces must undergo the same thoughtful and deliberate process known as curation.
Museum curation involves careful research, ethical decision-making, and interpretive frameworks to select and present objects based on historical, aesthetic, and cultural value. However, these choices can reflect institutional or political biases, prompting museums to adopt more inclusive practices by involving communities and cultural practitioners. Therefore, museums are increasingly embracing more inclusive and participatory approaches that involve local communities, scholars, and cultural practitioners in the curation process. Dance, recognized as Intangible Cultural Heritage (ICH), has emerged as a powerful medium within museum spaces, conveying meaning and emotion through movement. As Buckland (2001) asserts, dance, through its somatic mode of transmission, has the ability to convey cultural memory as an embodied practice. Curating such performances requires alignment with the museum’s theme, careful consideration of spatial and audience dynamics, and attention to both practical and financial feasibility.