Boys' and Girls' High School: Art and Politics in the Civil Rights Era

Prospects ◽  
2005 ◽  
Vol 30 ◽  
pp. 715-749
Author(s):  
Michele Cohen

The story of public art in the United States is also the story of American democratic institutions. Our public schools in particular, malleable and shifting under changing societal expectations, provide clues about the nature of our educational enterprise in their very design and the commissioned art that enhances them. In New York City, home to the nation's largest public school system and one of the first, art in schools is a barometer of aesthetic preferences and a measure of larger social issues. The constellation of events that led to the decentralization of New York City's schools in 1970 also led to the creation of an outstanding collection of work by African-American artists at Brooklyn's Boys' and Girls' High School.Better known for its athletics and as the school that hosted Nelson Mandela than for its public art, Boys' and Girls' High School first opened its doors as the Central School, with a Girls' department on Nostrand Avenue and a Boys' department on Court Street. In 1886, the Girls' department moved into a new building on Nostrand Avenue and in September 1890 school officials changed the official organization of the school to two schools, with Girls' High School on Nostrand Avenue (with added wings under construction) and Boys'High School (under construction) on Marcy Avenue. By 1960, efforts were under way to build a replacement school. The planning of the new Boys' and Girls' High School coincided with the fight by New York City minority groups for local school control, and the commissioning of art for the new building was paradigmatic of this struggle.

2018 ◽  
Vol 88 (3) ◽  
pp. 261-286 ◽  
Author(s):  
DERRON WALLACE

In this article, Derron Wallace examines how Black Caribbean youth perceive and experience stop-and-frisk and stop-and-search practices in New York City and London, respectively, while on their way to and from public schools. Despite a growing body of scholarship on the relationship between policing and schooling in the United States and United Kingdom, comparative research on how students experience stop-and-frisk/search remains sparse. Drawing on the BlackCrit tradition of critical race theory and in-depth interviews with sixty Black Caribbean secondary school students in London and New York City, Wallace explores how adolescents experience adult-like policing to and from schools. His findings indicate that participants develop a strained sense of belonging in British and American societies due to a security paradox: a policing formula that, in principle, promises safety for all but in practice does so at the expense of some Black youth. Participants in the ethnographic study learned that irrespective of ethnicity, Black youth are regularly rendered suspicious subjects worthy of scrutiny, even during the school commute.


Author(s):  
Yu Ren Dong

More and more students in today’s secondary subject matter classrooms in America are bilingual ELLs (English language learners), a fast-growing student population in the U.S. public schools (National Center for Education Statistics, 2019). In New York City, about 50% of the total public-school students speak a language other than English at home and one out of every six secondary school students are an ELL (New York City Department of Education, 2019). Those ELLs are served by the three language programs: TBE (Transitional Bilingual Education program, mostly for middle and high school students), DL (Dual Language Program, mostly for elementary and middle school students), ENL (English as a new language program, formerly ESL, for almost all ELLs). In this article, I focus on bilingual subject matter instruction for high school students in the TBE program. Every day, the secondary ELLs in the TBE program attend subject matter classes taught by bilingual subject matter teachers using the bilingual education pedagogy.


Author(s):  
Catherine J. Crowley ◽  
Kristin Guest ◽  
Kenay Sudler

What does it mean to have true cultural competence as an speech-language pathologist (SLP)? In some areas of practice it may be enough to develop a perspective that values the expectations and identity of our clients and see them as partners in the therapeutic process. But when clinicians are asked to distinguish a language difference from a language disorder, cultural sensitivity is not enough. Rather, in these cases, cultural competence requires knowledge and skills in gathering data about a student's cultural and linguistic background and analyzing the student's language samples from that perspective. This article describes one American Speech-Language-Hearing Association (ASHA)-accredited graduate program in speech-language pathology and its approach to putting students on the path to becoming culturally competent SLPs, including challenges faced along the way. At Teachers College, Columbia University (TC) the program infuses knowledge of bilingualism and multiculturalism throughout the curriculum and offers bilingual students the opportunity to receive New York State certification as bilingual clinicians. Graduate students must demonstrate a deep understanding of the grammar of Standard American English and other varieties of English particularly those spoken in and around New York City. Two recent graduates of this graduate program contribute their perspectives on continuing to develop cultural competence while working with diverse students in New York City public schools.


1997 ◽  
Vol 7 (2) ◽  
pp. 195-223
Author(s):  
Lillian Taiz

Forty-eight hours after they landed in New York City in 1880, a small contingent of the Salvation Army held their first public meeting at the infamous Harry Hill's Variety Theater. The enterprising Hill, alerted to the group's arrival from Britain by newspaper reports, contacted their leader, Commissioner George Scott Railton, and offered to pay the group to “do a turn” for “an hour or two on … Sunday evening.” In nineteenth-century New York City, Harry Hill's was one of the best known concert saloons, and reformers considered him “among the disreputable classes” of that city. His saloon, they said, was “nothing more than one of the many gates to hell.”


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