Sbeik Thom at the Season of Cambodia Festival: Performing Memory after the Killing Fields in a Post-9/11 New York City

2016 ◽  
Vol 41 (1) ◽  
pp. 40-52
Author(s):  
JENNIFER GOODLANDER
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Khmer Rouge ◽  
Artistic Expression ◽  
Post Conflict ◽  
The Arts ◽  
Killing Fields ◽  
Art Forms ◽  
Financial Center

During the period of the Khmer Rouge (1975–9) culture was turned back to ‘Year Zero’ through the murder and destruction of about 90 per cent of the country's artists and intellectuals. These art forms are now being remembered, revised and reinvented in order to articulate a contemporary Cambodian identity. In the spring of 2013, New York City hosted a month-long festival of Cambodian arts called the Season of Cambodia. The festival, which sought to celebrate and reaffirm Cambodian identity through the arts, set the stage for other post-conflict nations seeking renewal through artistic expression. A performance of sbeik thom, or large shadow puppets, was staged at the site of the former World Financial Center, seeking to create a dialogue between New York and Cambodia themed around healing and renewal.

Ortiz, William (1947--)

2018 ◽  
Author(s):  
Marysol Quevedo
Keyword(s):  
New York ◽  
New York City ◽  
Puerto Rico ◽  
York City ◽  
Symphony Orchestra ◽  
New York State ◽  
San Juan ◽  
Black Mountain College ◽  
Morton Feldman ◽  
The Arts

Born in Salinas, Puerto Rico, William Oritz was raised in New York City. He studied composition at the Conservatory of Music of Puerto Rico under Héctor Campos Parsi and Amaury Veray. He holds a master’s degree from SUNY at Stony Brook (1976), where his professors included Billy Jim Layton and Bülent Arel, and a PhD from SUNY at Buffalo (1983), where Lejaren Hiller and Morton Feldman were his professors. Ortiz served as assistant director of Black Mountain College II, NY, also teaching composition and music theory at the school. He has held the position of chair of the department of humanities and has served as band conductor for the University of Puerto Rico at Bayamón. As a music critic he has contributed to The San Juan Star. Among his many works Oritz has completed commissions for the Casals Festival, the Guitar Society of Toronto, the Puerto Rico Symphony Orchestra, and the New York State Council of the Arts. His approach to composition is characterized by an eclectic adoption of popular and urban music genres as part of his compositional palette. Early on he incorporated elements from urban street music, found mostly in the Latino and Black neighbourhoods of New York City and in the poorer neighbourhoods of San Juan, as reflected in Street Music (1980), Graffiti Nuyorican (1983), De Barrio Obrero a la Quince (1986), and Bolero and Hip-Hop en Myrtle Avenue (1986).

scholarly journals Øjenåbner – om projekteringen af Eyebeam Atelier i New York City

1970 ◽  
pp. 27
Author(s):  
Simon Glinvad Nielsen
Keyword(s):  
New York ◽  
New York City ◽  
New Media ◽  
York City ◽  
Museum Visitors ◽  
New Media Art ◽  
Building Housing ◽  
The Us ◽  
Art Forms ◽  
A Site

This paper offers an introduction to the planning of a new museum in New York City: The Eyebeam Gallery. The museum will evolve around the making of di- gital art. The ambition of the new museum will be to bring together artists and museum visitors, thus creating a polyphony of voices articulating art forms that are completely new to the world.The architects involved in the project are Diller + Scofidio. So far they have mainly been concerned with the production of experimental works both in Europe and the US. One important point in the building of the Eyebeam Gallery is that the development of new art forms requires the invention of a new form of museum building. With this in mind Diller + Scofidio will design a building which focuses on relationships between new media art and the spaces that will enable and support these relationships. In the building housing the Eyebeam Gallery we can expect a museum with a strong emphasis on the physical experience of digital artwork. Futhermore, we can expect a ”site-specific” (Diller + Scofidio) museum. A building which can be seen as an organic enlargement of the surrounding city and as a mental enlargement of the New York community. 

scholarly journals Art and Urban Regeneration in New York City. Doris C. Freedman’s Public Project

2021 ◽  
Vol 8 (1) ◽  
pp. 97
Author(s):  
María F. Carrascal Pérez
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Public Art ◽  
Low Cost ◽  
Urban Life ◽  
Public Project ◽  
The Public ◽  
Creative City ◽  
The Arts

<p>Given its positive economic, social and urban impact, even with low-cost or low-tech materialization, the urban creativity encouraged by the arts is of great interest today. This narrative reviews one of the most prolific careers in this regard addressing the pioneering work by Doris C. Freedman. The late 1960s and the 1970s, in the context of two financial crises, saw a groundbreaking effort to formalize innovative artistic programs that recycled the obsolete city and integrated local communities in the processes. Doris C. Freedman was the first director of NYC Department of Cultural Affairs, the Public Arts Council, and leader of the organization City Walls. These institutions promoted an unprecedented improvement of the public urban life through the cultural action. Such experiences led Freedman to the conception of her last project, the relevant and, still, ongoing Public Art Fund of New York City. This article focuses on her early professional years, when she began and consolidated herself in the task of legitimizing art as an urban instrument for shaping the city. This research provides a contextualized critical analysis on Freedman’s less-known experimental projects before the foundation of the Public Art Fund, enabling an extraordinary source of inspiration for a current creative city-making.</p>

Kirstein, Lincoln Edward (1907–1996)

2018 ◽  
Author(s):  
James Steichen
Keyword(s):  
United States ◽  
New York ◽  
New York City ◽  
York City ◽  
The United States ◽  
George Balanchine ◽  
The Arts ◽  
Institutional Leader ◽  
Lincoln Center ◽  
Dance Companies

Lincoln Kirstein was an American impresario, writer, and philanthropist, best known as the patron and champion of choreographer George Balanchine, whom he brought to the United States in 1933. Born in Rochester, New York, Kirstein was raised among the wealthy elite of Boston and graduated from Harvard University. A prolific writer, editor, collector, and fund-raiser, Kirstein was a tireless advocate on behalf of the arts generally, and ballet and dance specifically, in the United States. He was a founding editor of the literary quarterly Hound & Horn and helped to create the organization that became the Museum of Modern Art. With Balanchine, Kirstein founded a series dance companies in the 1930s and 1940s, as well as the School of American Ballet (SAB), culminating in the creation in 1948 of the New York City Ballet (NYCB). He served as Managing Director of the New York City Center, and was a member of the original planning committee for the Lincoln Center. Kirstein was instrumental in securing major philanthropic support from the Rockefeller and Ford Foundations for SAB and NYCB (in addition to other American dance companies), and was a crucial institutional leader of both organizations throughout his life. An astute and wide-ranging collector of art, books, and dance memorabilia, Kirstein’s donations to the MoMA Dance Archives and the New York Public Library’s Jerome Robbins Dance Division constitute some of the most significant archival holdings in America on the history of ballet and dance.

Culture and the Arts are a Vital Industry for New York City

2009 ◽  
Vol 24 (5) ◽  
pp. 365-374
Author(s):  
Rosemary Scanlon ◽  
Catherine Lanier
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
The Arts

“Ballerinas on the Dole:” Dance and the U.S. Comprehensive Employment Training Act (CETA), 1974–1982

2017 ◽  
Vol 49 (3) ◽  
pp. 70-89
Author(s):  
Colleen Hooper
Keyword(s):  
New York ◽  
New York City ◽  
Public Service ◽  
York City ◽  
Correctional Facility ◽  
The United States ◽  
Employment Training ◽  
The Arts ◽  
Wide Range ◽  
Us Federal Government

The Comprehensive Employment Training Act (CETA) was a program of the US federal government that employed dancers, performers, and other artists to provide public service in municipalities across the country from 1974 to 1982. This article focuses on dancers who participated in the CETA program. It describes this important source of government funding for dance and the arts that has been largely overlooked in scholarship. Through an analysis of one New York City CETA dance community performance site, it reveals the tensions present in the construct of “dance as public service.” This case study is offered as an exemplar of how the largest CETA arts program in the United States served a wide range of artists and communities. Through an analysis of two CETA dance performances at the Arthur Kill Correctional Facility in New York City, the article questions who was served by dance as public service.

A Day in the Life of a Prison Theatre Program

2003 ◽  
Vol 47 (1) ◽  
pp. 49-73 ◽  
Author(s):  
Lorraine Moller
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
High Security ◽  
The Arts ◽  
Artistic Director

The artistic director of Rehabilitation through the Arts recounts making Voices from Within with and for inmates of Sing Sing, a high-security prison north of New York City. The play, a collaboration developed in a workshop with playwright Barbara Quintero, portrays the strategies prisoners consciously or unconsciously use to survive the experience of incarceration.

Talent Developed: Conversations with Masters of the Arts and Sciences

1994 ◽  
Vol 17 (3) ◽  
pp. 306-322
Author(s):  
Rena F. Subotnik
Keyword(s):  
New York ◽  
New York City ◽  
Professional Education ◽  
York City ◽  
Talent Development ◽  
Network News ◽  
Broadcast Journalism ◽  
Arts And Sciences ◽  
The Arts

This interview was conducted in March of 1993, in Philip Scheffler's office at the Columbia Broadcasting System's (CBS) administrative and studio headquarters in New York City. It is part of a continuing series of reflections on talent development by prominent individuals outside the field of professional education. Mr. Scheffler's perspectives on the birth and transformation of network news have sweeping implications for nurturing of future talent in broadcast journalism and related fields.

“New York City Closed to all Traffic”

2021 ◽  
pp. 41-52
Author(s):  
Jessica DuLong
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
World Trade ◽  
World Trade Center ◽  
The World ◽  
Lower Manhattan ◽  
Subsequent Event ◽  
Trade Center ◽  
Financial Center

This chapter examines the transportation shutdowns that quickly ricocheted out beyond the New York area following the attacks of 9/11. Each subsequent event amplified the crisis unfolding at the World Trade Center, intensifying the fear and panic and increasing the numbers of people directly caught up in the catastrophe. With the avalanche of toxic dust and debris came terror. Bridges and tunnels were closed, streets were clogged with stalled traffic, and no trains were moving. Suddenly, hundreds of thousands of visitors, residents, and commuters found themselves trapped in Lower Manhattan, struggling to grasp what was happening and trying to answer one question: How could they get off the island? Passengers then arrived in waves at the World Financial Center ferry terminal.

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