Finding heart in the well of being

2020 ◽  
Vol 7 (1-2) ◽  
pp. 87-103
Author(s):  
Mary Abrams
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
The Body ◽  
Daily Experiences

‘Finding Heart in the Well of Being’ is written from the author’s daily experiences, thoughts and memories while living in New York City, the epicentre of the COVID-19 pandemic during Spring 2020. Recognizing her body, and our bodies, as both the epicentre and well of resource of experience, she highlights the importance of affect-feeling-emotion moving through the body-minding processes. She reflects upon themes and metaphors of stop signs, sinking ships, everlasting love, dancing in the dark, life, death and unseeable paths ahead as expressions of what became meaningful in her consciousness. With these themes, she offers guidance for somatic movement explorations for readers to inquire into bodily awakening and to reflect upon and rearrange the themes and narratives in their own ways. This autoethnographic narrative includes artwork and photographs and invites readers to join the author from the epicentres and wells of their bodily beings, to dance with her in the epicentre and well of her bodily being, as we all live with and the beyond the COVID-19 pandemic.

In the Presence of the Body: Theorizing Training, Injuries and Pain in Ballet

2005 ◽  
Vol 37 (2) ◽  
pp. 55-72 ◽  
Author(s):  
Anna Aalten
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
The Body ◽  
Positive Experience ◽  
The World ◽  
Short Time

After an injury; a dancer learns, at least for a short time, to heed his [sic] body if only because pain speaks a language almost anyone can understand. This heightened awareness should not disappear once the dancer returns to form; rather it should help him continue to learn about the ways his body moves and reacts (Ashley 1984, 217–218).In this statement the American dancer Merrill Ashley, who had a memorable 30-year career with the New York City Ballet, expresses a view on injuries that goes against the grain of dominant thinking within the world of ballet. According to Ashley, who suffered from several injuries in her first two years with the company, an injury can be a positive experience for a dancer, because it heightens her awareness of her body and teaches her about its possibilities and limitations. This is a rather exceptional view in a world where the vast majority of professionals commonly see injuries as a disaster (Wulff 1998; Wainwright, Williams and Turner 2005). The dominant realization that a dancer's career is short makes dancers fear an injury, because it will prevent them from dancing and cause them to lose roles. Because “there is a rule in the ballet world against casting or promoting dancers who are injured” (Wulff 1998, 106), dancers who suffer from an injury will wait as long as possible before letting others know, because they are afraid it will stop them dancing (Mainwaring, Krasnow and Kerr 2001).

scholarly journals The Body as Archive: Will to Re-Enact and the Afterlives of Dances

2010 ◽  
Vol 42 (2) ◽  
pp. 28-48 ◽  
Author(s):  
André Lepecki
Keyword(s):  
United States ◽  
New York ◽  
Twentieth Century ◽  
New York City ◽  
York City ◽  
The United States ◽  
The Body ◽  
Contemporary Dance ◽  
Washington Square

Laurence Louppe once advanced the intriguing notion that the dancer is “the veritable avatar of Orpheus: he has no right to turn back on his course, lest he be denied the object of his quest” (Louppe 1994, 32). However, looking across the contemporary dance scene in Europe and the United States, one cannot escape the fact that dancers—contrary to Orpheus, contrary to Louppe's assertion—are increasingly turning back on their and dance history's tracks in order to find the “object of their quest.” Indeed, contemporary dancers and choreographers in the United States and Europe have in recent years been actively engaged in creating re-enactments of sometimes well-known, sometimes obscure, dance works of the twentieth century. Examples abound: we can think of Fabian Barba's Schwingende Landschaft (2008), an evening-length piece where the Ecuadorian choreographer returns to Mary Wigman's seven solo pieces created in 1929 and performed during Wigman's first U.S. tour in 1930; of Elliot Mercer returning in 2009 and 2010 to several of Simone Forti's Construction Pieces (1961/62), performing them at Washington Square Park in New York City; or Anne Collod's 2008 return to Anna Halprin's Parades and Changes (1965), among many other examples.

Edible Landscapes: Song Dong's Food Installations

2010 ◽  
Vol 10 (3) ◽  
pp. 10-12
Author(s):  
andrea gyorody ◽  
charles changduk kang
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Zen Buddhism ◽  
The Body ◽  
The Other ◽  
Relational Aesthetics ◽  
Artistic Practice ◽  
Other Hand ◽  
Contemporary Artist

This article addresses Chinese contemporary artist Song Dong's July 2009 edible installation-cum-performance at the former PaceWildenstein Gallery in New York City, in which he created landscapes out of foodstuffs. The landscapes alluded to penjing, an artistic practice of creating miniature sceneries using natural elements. Their accompanying inscriptions on the gallery walls, on the other hand, humorously appropriated colophons commonly attached to hanging scroll paintings. The installation departed from these traditional artistic forms, however, as the viewers literally consumed the landscapes. The corporeal implications of Song's work reference the body-centric performances of Tehching Hsieh and Zhang Huan, as well as the relational aesthetics events staged by Rirkrit Tiravanija, while Song's broader emphasis on ephemerality, drawn from Zen Buddhism, points to the transience of bodily needs and desires, even as he aims to fulfill them.

scholarly journals La muralla de Nueva York

2016 ◽  
Vol 3 (2) ◽  
pp. 1
Author(s):  
Jose Duran Fernandez
Keyword(s):  
Climate Change ◽  
New York ◽  
New York City ◽  
Urban History ◽  
York City ◽  
Basic Element ◽  
The Body ◽  
Urban Life ◽  
History Of ◽  
Exhaustive Study

The urban history of New York City, its birth and decline, is linked with one basic element: water.  Water was the reason for its foundation and it could be the cause of its disappearance… Water is fundamental to the urban life of this city; it is the element that has fed its growth during its four hundred year existence. Only for this reason does it deserve the upmost attention and an exhaustive study. Water as a limit, wall or barrier, or as an extreme place of opportunity, it is without a doubt a place where the urban future of New York City rests. Although it deals with an uncertain and dystopian future if the forecast of the increase in ocean levels (as a consequence of climate change) holds true. The article is an abridgment of nine short texts and an epilogue, together with their respective ten graphic documents that make up the body of this research. As a result, the reader faces a graphic essay formed by small chapters that will guide them through the romance between New York and water, from its origins to the present day.

2019 Hans O. Mauksch Address Teaching: The Body in Question

2020 ◽  
Vol 48 (2) ◽  
pp. 91-106
Author(s):  
Susan J. Ferguson
Keyword(s):  
New York ◽  
New York City ◽  
Chronic Illness ◽  
York City ◽  
American Sociological Association ◽  
National Sample ◽  
The Body ◽  
Health Issues ◽  
Institutional Contexts ◽  
Sociology Faculty

I presented the 2019 Hans O. Mauksch address at the American Sociological Association annual meeting in New York City on August 13, 2019. In this address, I explore how sociology faculty perceive their physical bodies in relationship to teaching. After reviewing the literature, I surveyed a national sample of sociology faculty from diverse institutional contexts to find out how aware they were of their bodies in the classroom. I also asked questions related to how aging, chronic illness, and other health issues might affect the utilization of their bodies in teaching. Finally, a third area of research emphasized whether or not sociology faculty saw teaching as performative, and if yes, in what ways. This article is adapted from that address.

An Important Armenian MS. with Greek Miniatures

1942 ◽  
Vol 74 (3-4) ◽  
pp. 155-162
Author(s):  
H. Kurdian
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Christian Iconography

In 1941 while in New York City I was fortunate enough to purchase an Armenian MS. which I believe will be of interest to students of Eastern Christian iconography.

Hospitals: N.Y. Appellate Court Denies Move to Privatize Public Hospital

1999 ◽  
Vol 27 (2) ◽  
pp. 202-203
Author(s):  
Robert Chatham
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Public Health System ◽  
Municipal Hospital ◽  
The Public ◽  
Public Benefit ◽  
For Profit ◽  
Benefit Corporation ◽  
The City

The Court of Appeals of New York held, in Council of the City of New York u. Giuliani, slip op. 02634, 1999 WL 179257 (N.Y. Mar. 30, 1999), that New York City may not privatize a public city hospital without state statutory authorization. The court found invalid a sublease of a municipal hospital operated by a public benefit corporation to a private, for-profit entity. The court reasoned that the controlling statute prescribed the operation of a municipal hospital as a government function that must be fulfilled by the public benefit corporation as long as it exists, and nothing short of legislative action could put an end to the corporation's existence.In 1969, the New York State legislature enacted the Health and Hospitals Corporation Act (HHCA), establishing the New York City Health and Hospitals Corporation (HHC) as an attempt to improve the New York City public health system. Thirty years later, on a renewed perception that the public health system was once again lacking, the city administration approved a sublease of Coney Island Hospital from HHC to PHS New York, Inc. (PHS), a private, for-profit entity.

Cultural Competence Needed to Distinguish Disorder from Difference: Beyond Kumbaya

2015 ◽  
Vol 22 (2) ◽  
pp. 64-76 ◽  
Author(s):  
Catherine J. Crowley ◽  
Kristin Guest ◽  
Kenay Sudler
Keyword(s):  
New York ◽  
New York City ◽  
Public Schools ◽  
Cultural Competence ◽  
York City ◽  
Cultural Sensitivity ◽  
Graduate Program ◽  
Language Disorder ◽  
New York State ◽  
Deep Understanding

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.

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