In Conversation with Aaron Shackelford: Reflections on a Curatorial Trip to France 

Aaron Shackelford, Director of Programming for Duke Arts at Duke University, was among the participants. He accepted to answer our questions, sharing his reflections on the experience, the artists and performances that stood out, and how this trip is shaping his future programming vision. 

You attended the Festival d’Automne in Paris and the Biennale de la Danse in Lyon. What aspects of the way French institutions organize such events and festivals particularly caught your attention?

The Festival d’Automne impressed me with its scope and reach. Taking place truly across the city over a period of months is an impressive feat, and the willingness to present the same work in multiple venues around the city is a unique idea that speaks to both the curation of the festival and the dedication to reaching multiple communities within Paris. Conversely, the Biennale de la Danse felt like a true convening, a gathering of so many dance lovers. I loved going to the same venue a few times, and seeing the same people at the performances. It felt like I was suddenly the center of the dance universe.

How did this trip inspire or reshape your perspective on building collaborations between France and the United States — or more specifically, with the Southeast of the US? 

Certainly the trip reinforced the importance of international touring work, and the impact of cultural exchange on artists and audiences both. The US South is such a vibrant, dynamic, and multifaceted place and yet does not have the international reputation of a New York or LA. I was continually reminded of how meaningful it can be to bring French artists to our region and to give artists on both sides of the Atlantic an opportunity to engage in cultural conversations and creative work that they may not necessarily encounter in their day to day.

In your view, what are the respective strengths of the French and American models when it comes to the performing arts, particularly in attracting new audiences to theaters?

I think we are all always searching for ways to bring new audiences to theaters, and I’m not sure there is one specific American model. I will say that one of the strengths on my section of the US ecosystem is how embedded performing arts presenters can be within the university structure. We can bring exciting international work because the faculty and students are eager to have these new experiences, and our community has many university faculty and staff with a natural curiosity for high quality work. On the flip side, I was continually envious of the theaters we visited in Paris and Lyon, and the clear arts infrastructure that exists to support artist development and presentation of work. 

Anything else you want to share about your trip, the shows you have attended, or the overall experience?

I am very grateful to Villa Albertine for this opportunity to see so much work and to connect with so many artists. One of the underrated components of this trip is the opportunity to bond with my fellow US presenters. Some of the impactful work of this trip was not just seeing the work in France but building stronger relationships with my peers here in the States, which will in turn encourage to collaborate more to bring international artists to the US.