Carolin Müller

Carolin Müller

Carolin Muller
Cultural Studies
Performance Studies
Mandel Building, 3rd floor, room 354

Rights-based Activism
Protest Movements
Art and World Music
Citizenship Studies


Current Projects:

 My work explores the role of performance and aesthetic forms as a means of expressing belonging and identity in activist settings. In the context of LGBTQ rights activism in the Mediterranean, I examine the usage of aesthetic forms in communicating trans and queer rights claims for migrants and refugees.

Curriculum Vitae 

Carolin Müller is at the Buber Society since October 2021. She studied Art Education and EFL at Technische Universität Dresden, where she wrote a semiotic analysis of William Kentridges animated drawings, and focused on the films of Rainer Werner Fassbinder during her studies in Germanic Languages and Literatures at the Ohio State University, where she also defended her PhD. Her doctoral thesis explores musical activism as a mode of civic activism that opposed the recent resurgence of anti-immigrant and neo-fascist attitudes and policies in the city of Dresden, Germany. Her overall research examines the relationship of art, performance, and politics in migration issues.

As a PhD student, she co-founded the Migration Studies Working Group at the Ohio State University, a doctoral student-led network of researchers, teachers, and community organizers, and continuous her work as a Social Media manager for the platform. Carolin has also organized and managed several artist residencies and exchanges with performers from Germany, Burkina Faso and the United States, whose projects focused on transnational connections and exchanges through artistic expression. She was a co-curator for the Migrants Music Manifesto in Cologne, Germany, during which questions of sustainability and network issues for transnational migrant artists were discussed. Apart from her academic and curatorial work, she is an avid printmaker and art educator herself.

As a coordinator of the Education & Technology program at Technische Universität Dresden, she led a doctoral colloquium, designed hybrid participation formats for doctoral candidates, and coordinated and managed an international summer school that took place in hybrid formats in 2021.

Fellowships and Grants

  • (2021) Internal Flexible Funding Internationalization (EXU Flx2105_173), Technische Universität Dresden (project lead)

  • (2021) Open Access Publication Grant, Technische Universität Dresden

  • (2019-2020) Ohio State Presidential Fellowship

  • (2019) Ohio State Arts and Humanities Graduate Research Small Grant

  • (2019) Ohio State Council of Graduate Students Career Development Grant

  • (2019) Ohio State Alumni Grant for Graduate Research

  • (2018-2019) Research Fellowship, Technische Universität Dresden

  • (2018) Institute for Democratic Engagement and Accountability Seed Grant

  • (2018) Mershon Center for International Security Studies Graduate Student Research Grant

  • (2017) Global Mobility Graduate Student Research Grant

  • (2017) Felice M. Grad Endowed Scholarship


  • (2018) Graduate Associate Distinguished Teaching Award in the Department of Germanic Languages and Literatures, Ohio State University

  • (2018) Ohio State University Council of Graduate Students Committee Chair Award for Excellence.

  • (2017) Ohio State Ray Travel Award for Service and Scholarship (Spring, Autumn)


  • (2020) Ph.D. in Germanic Languages and Literatures (Music Activism in Germany – Case Study of Musical Citizenship through Banda Internationale in the city of Dresden)

  • (2016) M.A. in Germanic Languages and Literatures (Film Studies)

  • (2015) M.Ed. in Art Education and EFL, M.Ed. Thesis: “Semiotische Analyse der Animierten Zeichnung von William Kentridge”

  • (2013) B.Ed. in Art Education and EFL, B.Ed. Thesis: “dOCUMENTA (13) – transhumane Sichtweisen”


Chapters in books

  • “The transience of prisoners’ memoirs in Abbas Khider’s Die Orangen des Präsidenten (The President’s Oranges),” Abbas Khider Anthology, Karolin Machtans, David Coury (Eds.) Peter Lang, 2021.

  • ---, Schwarz, Mandy. “Perspectives in German Art Pedagogy,” The International Encyclopedia of Art and Design Education, Richard Hickman (General Ed.), John Baldacchino, Kerry Freedman, Emese Hall, and Nigel Meager (Volume Eds.). Wiley & Sons, 2019.

Peer-reviewed articles

  • “Transcultural Engagement in Protest Music as a Mode of Scene,” Zapruder World. (abstract accepted)

  • “Countering Discrimination through Inter-Cultural Heritage production in Music and Theatre,” Special Issue: Discrimination and Interculturalism: Exploring their Intersection in Theory and Practice. Zenia Hellgren and Ricard Zapata-Barrero (Guest Eds.) International Migration. (under editorial review).

  • “Challenging the Sound of Integration: Intersectional Approaches to Music in Integration Projects in Germany,” Challenging Integration through Everyday Narratives, Peter Scholten, Marcus Nicolson, Doga Atalay, and Umut Korkut (Volume Eds.) IMISCOE Research Series. (under editorial review).

  • Review of Die Sommer by Ronya Othmann, Chamisso Preis Hellerau Begleitband, THELEM Universitätsverlag und Buchhandel. (under editorial review)

  • Review of Alle Hunde müssen sterben by Cemile Sahin, Chamisso Preis Hellerau Begleitband, THELEM Universitätsverlag und Buchhandel. (under editorial review)

  • Review of Bordering, edited by Nira Yuval-Davism Georgie Wemyss and Kathryn Cassidy. Border Criminologies Blog, URL:

  • “Anti-Racism in Europe: An Intersectional Approach to the Discourse on Empowerment through the EU Anti-Racism Action Plan 2020–2025,” Soc. Sci. 10, no. 4 (2021): 137.

  • “Vital but not Welcome: The Migrant Activist,” IMISCOE PhD Blog, URL:

  • “Curating Political Fellowship at the Intersections between Music and Activism,” The Activist History Review, (January 2020), URL:

  • “Musical Border-ness: Contesting Spaces Through Cultural Engagement,” Crossings: Journal of Migration & Culture, 10:2 (2019) pp. 261–279, doi: 10.1386/cjmc_00006_1

  • “Discussing Mobility in Liminal Spaces and Border Zones: An Analysis of Abbas Khider’s Der falsche Inder (2008) and Briefe in die Auberginenrepublik (2013),” Textpraxis (No. 17, 2.2019).

  • “Performing Critical Voice: On the Relationship of Citizenship and Belonging to the Articulation of Contemporary Critiques,” On_Culture: the Open Journal for the Study of Culture (7.2019).

  • Review of Euro-Visions: Europe in Contemporary Cinema, edited by Mariana Liz. Historical Journal of Film, Radio and Television (31st March, 2017).

  • Raising Awareness: Piper Kerman's 'Orange is the New Black' and the oppression of women in U.S. Prisons,” London: HYSTERIA PRESS (July 24, 2014).



“Intangible Heritage as Discursive Practice: Negotiating ‘Integration’ Through Art, Music and Theater” in Workshop: Connecting cultures, negotiating heritages: The role of cultural heritage in migrants’ integration and social cohesion, IMISCOE Annual Conference, Luxembourg. (digital presentation)


“Challenging the Sound of Integration: Intersectional Approaches to Music in Integration Projects in Germany,” VOLPOWER ‘Challenging Integration through Everyday Narratives` Academic Workshop, Glasgow Caledonian University, UK. (digital presentation)




“Conditions and Limitations for Citizenly Participation by Non-Citizen Artists in Saxony,” German Studies Association Annual Conference, Washington D.C.

“Strategien der Ab- und Ausgrenzung in der Organisation Sozialer Teilhabe für Künstler mit Fluchtgeschichte,” der 3. Konferenz des Netzwerks Fluchtforschung an der Universität zu Köln, Cologne, Germany. (digital presentation due to COVID-19)


“What it Means to Have a Seat at the Table: On the Ambiguities of Inclusion,” Crossroads in Cultural Studies, Association for Cultural Studies Annual Conference, Lisbon, Portugal. (postponed due to COVID-19)


“Intangible Heritage as Discursive Practice: Negotiating “Integration” Through Art, Music and Theater,” IMISCOE Conference, Luxembourg. (digital presentation due to COVID-19)


“Countering Discrimination Through Inter-Cultural Heritage Production in Music and Theater,” Discrimination and Interculturalism: Exploring their Intersection in Theory and Practice Workshop, Barcelona, Spain. (postponed due to COVID-19)




“Destabilizing the Notion of “Refugeeness”: The Capacity to Perform Citizenship through Music,” Organizing Migration and Integration in Contemporary Societies Conference, Gothenburg, Sweden.

“The Strategies and Risks of Performing Citizenship and Rights Through Music,” Social Practice of Human Rights Conference, Dayton, OH.

“Negotiating Mediatized Performance and Everyday Practice in Music,” German Studies Association Annual Conference, Portland, OR.






“Spaces of Musical Production as Cultural Borderlands,” The Migration Conference, Bari, Italy.

“Pushing for Insurgent Mobile Citizenship and Resisting the Pitfalls of Humanitarianism: The Chances and Challenges of Cross-Border Artistic Exchanges,” IMISCOE Spring Conference, Sheffield, UK.

“The Dialogic Dynamics of Musical Space: Understanding Musical Subjectivities and Musical Speech in Travelscapes with the Banda Internationale,” MUSICAL FREESPACE: Towards a radical politics of musical spaces and musical citizenship, Venice, Italy.


“Strategies of Deconstructing Borders toward Social Inclusion of Migrants: A Case Study of the Work of the German Musician Collective ‘Banda Internationale’, Cultural Mobilization: Cultural consciousness-raising and national movements in Europe and the world at the Study Platform on Interlocking Nationalisms in Amsterdam, Netherlands.


“Prison wall epigraphs: The transience of prisoners’ memoirs in Abbas Khider’s Die Orangen des Präsidenten”, North East Modern Languages Association Convention, Pittsburgh, PA.


“Music as a Passageway to Social and Cultural Integration of Migrants in Germany,” Critical European Studies Conference, Chicago, IL.


“Teaching about the stories of “migration” in the project-based learning space of a German language classroom,” Modern Languages Association, New York City, NY.


“Im Zeichen des Hasen – Angst? Parody of the “other” radical in performance art”, Midwest Modern Languages Association, Cincinnati, OH.