Marissa Hicks-Alcaraz
As an undergrad in Middle Eastern and
North African Studies it was major part of our program's curriculum to
understand the ways in which the Middle East has been represented by
the West, both in the past and in the present. As Charlotte Banks
in “The Constant Dilemma: Curating the 'Middle East'” explains
“the Arab world has been presented for so long, it has been
described, studied, mapped, put into museums, [and] objectified in so
many ways...” The phenomena of Orientalist paintings in the
nineteenth century is but one example in a long tradition of the
West's misrepresentation of the Arab world. In thinking about
curating a film series featuring films by Arab and/or Arab American
filmmakers as a possibility for our final project, my responsibility
to the artists, their works and the audience is foremost, in my
opinion, to not fall into the same old traps as Banks warns in her
essay.
So, how does a responsible curator make
decisions that are just to the artists, their work and the audience?
Laura U. Marks' “The Ethical Presenter: Or How to Have Good
Arguments over Dinner” is useful in that it offers a model of a
program that is carefully prepared, but does not try to control the
interaction between the work and the audience. She argues that the
ethical presenter frames a program with an argument. A concise
argument allows the curator to fulfill their responsibilities to both
its artists and audiences and makes clear the criteria of quality,
pleasure and a broader significance. Banks also makes an
important argument regarding the responsibility of curating
non-Western and especially Middle Eastern art, asserting that a
“solid basis of historical, art historical and cultural knowledge
related to the specific region on the side of the curator” is
crucial. This knowledge should be used to present a well-grounded
project to the audience, while allowing the latter to interact freely
with the work.
There's validity to both approaches,
and I believe that my project calls for the use of both. An ethically
responsible program would necessitate a clear defendable argument
regarding the quality and significance of the films I were to choose, as well
as a solid understanding of the broader issues that surround the
works. And of course, as Marks emphasizes, an argument with feeling and heart.
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