Ethnicity, Class and Trusteeship at African-American and Mainstream Museums

2016 ◽  
Vol 11 (1) ◽  
pp. 97-112 ◽  
Author(s):  
Patricia A. Banks
Keyword(s):  
New York ◽  
New York City ◽  
African American ◽  
Cultural Capital ◽  
Upper Class ◽  
Separate Spheres ◽  
Metropolitan Museum Of Art ◽  
Black And White ◽  
The Arts ◽  
The Social

While Pierre Bourdieu argues that cultural capital is grounded in distinct aesthetic knowledge and tastes among elites, Francie Ostrower emphasizes that cultural capital grows out of the social organization of elite participation in the arts. This article builds on Ostrower’s perspective on cultural capital, as well as Milton Gordon’s concept of the ethclass group and Prudence Carter’s concept of black cultural capital, to elaborate how culture’s importance for class and ethnic cohesion is rooted in the separate spheres of arts philanthropy among black and white elites. The argument is empirically illustrated using the case of arguably the most prominent mainstream and African-American museums in New York City – the Metropolitan Museum of Art (the Met) and the Studio Museum in Harlem (SMH). Findings show that relative to the Met board the SMH board is an important site of unification for elite blacks, and in comparison to the SMH board, the Met board is a notable site of cohesion for elite whites. This article advances theory and research on cultural capital by elaborating how it varies among elite ethclass groups. Moreover, it highlights how the growth of African-American museums not only adds color to the museum field, but also fosters bonds among the black middle and upper class.

Disruptive Fixation

2017 ◽  
Author(s):  
Christo Sims
Keyword(s):  
New York ◽  
New York City ◽  
New Media ◽  
Media Technologies ◽  
Complex Processes ◽  
Middle Schoolers ◽  
The Social ◽  
The Media ◽  
Class Divisions ◽  
Conventional Type

In New York City in 2009, a new kind of public school opened its doors to its inaugural class of middle schoolers. Conceived by a team of game designers and progressive educational reformers and backed by prominent philanthropic foundations, it promised to reinvent the classroom for the digital age. This book documents the life of the school from its planning stages to the graduation of its first eighth-grade class. It is the account of how this “school for digital kids,” heralded as a model of tech-driven educational reform, reverted to a more conventional type of schooling with rote learning, an emphasis on discipline, and traditional hierarchies of authority. Troubling gender and racialized class divisions also emerged. The book shows how the philanthropic possibilities of new media technologies are repeatedly idealized even though actual interventions routinely fall short of the desired outcomes. It traces the complex processes by which idealistic tech-reform perennially takes root, unsettles the worlds into which it intervenes, and eventually stabilizes in ways that remake and extend many of the social predicaments reformers hope to fix. It offers a nuanced look at the roles that powerful elites, experts, the media, and the intended beneficiaries of reform—in this case, the students and their parents—play in perpetuating the cycle. The book offers a timely examination of techno-philanthropism and the yearnings and dilemmas it seeks to address, revealing what failed interventions do manage to accomplish—and for whom.

Conclusion

2017 ◽  
Author(s):  
Andrea Harris
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York City ◽  
Driving Force ◽  
George Balanchine ◽  
Current State ◽  
The Arts ◽  
History Of ◽  
Lincoln Center

The Conclusion briefly examines the current state of the New York City Ballet under the auspices of industrial billionaire David H. Koch at Lincoln Center. In so doing, it to introduces a series of questions, warranting still more exploration, about the rapid and profound evolution of the structure, funding, and role of the arts in America through the course of the twentieth century. It revisits the historiographical problem that drives Making Ballet American: the narrative that George Balanchine was the sole creative genius who finally created an “American” ballet. In contrast to that hagiography, the Conclusion reiterates the book’s major contribution: illuminating the historical construction of our received idea of American neoclassical ballet within a specific set of social, political, and cultural circumstances. The Conclusion stresses that the history of American neoclassicism must be seen as a complex narrative involving several authors and discourses and crossing national and disciplinary borders: a history in which Balanchine was not the driving force, but rather the outcome.

scholarly journals “Somebody Bigger than You and I”: The African American Healing Traditions of Camp Minisink

Genealogy ◽  
2021 ◽  
Vol 5 (1) ◽  
pp. 19
Author(s):  
Robyn Brown-Manning ◽  
Sharon Lockhart-Carter ◽  
Avon Morgan
Keyword(s):  
New York ◽  
New York City ◽  
African American ◽  
African American Families ◽  
Narrative Form ◽  
Systemic Racism ◽  
Unconditional Love ◽  
Higher Power ◽  
Personal Experiences ◽  
Adult Lives

Four hundred years after the first enslaved Africans landed on the shores of Jamestown, Virginia, it can be difficult to recognize the myriad ways in which the traditional healing processes of the Motherland are embedded in the day-to-day lives of African Americans. Much of what has sustained us through the insidiousness of systemic racism is sourced from the traditions of our ancestors: our faith; our creativity; our sense of community; our respect for elders; our food; and our connection to the natural environment. Employing a narrative form of inquiry, the authors dialogue and reflect on our histories at Camp Minisink, a premier African American camp servicing Black youth from New York City. We use our personal experiences as “Minisinkers” in the 1950s and 1960s, to unearth patterns of Africentric healing traditions embedded in our camp activities. The “MinisinkModel”, unbeknownst to the thousands of children who grew up through the various camp programs, provided a multitude of safety and protective factors informed by these healing practices. The foremothers and forefathers of Minisink instilled in us the belief in a higher power; unconditional love; service; and family that continue to sustain us in our adult lives. This model holds promise for present-day organizations that are struggling to identify meaningful ways of working with African American families, youth and children.

Rewriting the Body: Aida Overton Walker and the Social Formation of Cakewalking

1996 ◽  
Vol 37 (2) ◽  
pp. 67-92 ◽  
Author(s):  
David Krasner
Keyword(s):  
New York ◽  
New York City ◽  
Performing Arts ◽  
West African ◽  
Turn Of The Century ◽  
The Body ◽  
Race And Gender ◽  
The Social ◽  
Anna Julia Cooper ◽  
And Gender

Although Aida Overton Walker (1880–1914) belonged to the same generation of turn-of-the-century African American performers as did Bob Cole, J. Rosamond Johnson, Bert Williams, and George Walker, she had a rather different view of how best to represent her race and gender in the performing arts. Walker taught white society in New York City how to do the Cakewalk, a celebratory dance with links to West African festival dance. In Walker's choreography of it, it was reconfigured with some ingenuity to accommodate race, gender, and class identities in an era in which all three were in flux. Her strategy depended on being flexible, on being able to make the transition from one cultural milieu to another, and on adjusting to new patterns of thinking. Walker had to elaborate her choreography as hybrid, merging her interpretation of cakewalking with the preconceptions of a white culture that became captivated by its form. To complicate matters, Walker's choreography developed during a particularly unstable and volatile period. As Anna Julia Cooper remarked in 1892.

Channelling the dead: A conversation on Desdemona with Tina Benko

2020 ◽  
Vol 13 (3) ◽  
pp. 305-318 ◽  
Author(s):  
Valentina Rapetti
Keyword(s):  
New York ◽  
New York City ◽  
African American ◽  
Toni Morrison ◽  
York City ◽  
Nobel Laureate ◽  
Cross Cultural ◽  
American Theatre ◽  
Broad Variety ◽  
Character Building

Tina Benko is an American stage, screen and television actress who has steadily trodden the Broadway boards for twenty years while starring in films and TV series and teaching acting and movement in New York City. An intensely focused and versatile performer, Benko has played in a broad variety of genres, ranging from screwball and Shakespearean comedies to realistic Russian, Scandinavian and American plays. In this interview, she discusses the factors that attracted her to drama and theatre, her acting training and approach to character-building, and theatre as a space for healing and reconciliation as she experienced it while working in Desdemona (2012), a cross-cultural theatre adaptation of William Shakespeare’s Othello staged by American theatre and opera director Peter Sellars, with texts by African American Nobel Laureate Toni Morrison, and music and lyrics by Malian singer-songwriter Rokia Traoré.

America’s Signal Crisis in Salman Rushdie’s Fury

2017 ◽  
Vol 52 (3) ◽  
pp. 484-500 ◽  
Author(s):  
Treasa De Loughry
Keyword(s):  
New York ◽  
New York City ◽  
Roman Empire ◽  
Financial Markets ◽  
Violence Against Women ◽  
Upper Class ◽  
Narrative Form ◽  
American Hegemony ◽  
Class Status

This article examines how Salman Rushdie’s Fury (2001) registers a signal crisis of American hegemony through its hyperreal production of an aesthetics of excess, constituted by fragmented subjectivities, a frenetic narrative form, references to the decaying years of the Roman Empire, and irruptions of violence against women. The text’s libidinal investment of personal anguish with public discontent, or a psychopathological fury, is read through Fredric Jameson’s account of third-world allegory as a symptom of the novel’s registration of America’s hegemonic decline. The scalping of several upper-class young women in New York City by their financier boyfriends is thus further examined as an aspect of the text’s aesthetics of excess and use of allegory, which frames the violent interrelation between public discontent and private hubris. The murdered women are read as symbols of American hegemony and class under threat by turbulent financial markets, and hoarding their scalps is represented as a crude and violent attempt by their boyfriends to halt the dwindling value of America’s cultural capital and financial markets. The destabilization of class structures due to turbulent financial markets breeds a semantic confusion between real and symbolic signifiers of class status, a process facilitated by the narrator’s comparison of these women to prototypically American symbols, such as “Oscar-Barbie” statuettes and dolls. Fury’s mapping of Solanka’s cultural products, dolls and masks, from New York to the peripheral nation of Lilliput-Blefescu further actualizes the flow of American cultural and economic power to peripheral regions. This, alongside the text’s problematic characterization of gender and race, is read as evidence of Rushdie as a writer in terminal decline.

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