Performance and Choreography in New York and Beyond (1940–1956) and Jacob’s Pillow (1940s–1970s)

2019 ◽  
pp. 170-202
Author(s):  
Nancy Lee Chalfa Ruyter
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Regular Feature ◽  
Story Line ◽  
The Third ◽  
The 1960S

Chapter 7 begins with information about La Meri’s performances in New York City and on tours—as a soloist and with company members such as her sister Lilian Newcomer, Peter di Falco, Rebecca Harris, and others. The second section introduces what La Meri termed “ethnic ballets,” new works she choreographed (usually with a story line and characters) that incorporated the technique of one of the international dance languages she had studied. Since most audience members were unfamiliar with what they were viewing, explanations were a useful and appreciated addition. Lilian therefore gave introductions to each dance, and this became a regular feature of La Meri’s concerts. The third section covers her involvement in the Jacob’s Pillow Dance Festival from the 1940s to the 1960s.

Paris, May 1952

Tempo ◽  
1972 ◽  
pp. 15-18
Author(s):  
Colin Mason
Keyword(s):  
New York ◽  
New York City ◽  
20Th Century ◽  
York City ◽  
The Third ◽  
Rite Of Spring ◽  
Billy Budd ◽  
Cultural Freedom

The Paris Festival of Masterpieces of the 20th Century lasted throughout May, and few had time to see it all. Unlike many foreign festivals that spread themselves out over a similar period, it was crammed tight with good things throughout, with something of interest every night except Sundays from 30 April to 1 June. The third week was the climax of the festival, and in general the last two weeks were more exciting than the first two, which were apparently meant to draw the Parisian bourgeoisie, being devoted mainly to ballet by the New York City Ballet, and containing nothing in music worth a journey abroad except perhaps two performances by the Vienna Opera of Wozzeck, which is rapidly becoming as familiar as The Rite of Spring. In the last two weeks, the festival's so-called literary conferences on cultural freedom were held, and to give these the best possible chance of wide publicity, the organizers had cleverly saved up their musical trump cards until then, with what was virtually a Stravinsky-Bartók-Schoenberg week, Stravinsky himself conducting his two late symphonies and Oedipus Rex, with Cocteau as producer, designer, narrator (and of course librettist), followed in the last week by Billy Budd conducted by Britten, excerpts from Milhaud's setting of the Oresteia, and Virgil Thomson's Four Saints in Three Acts.

Picturing Fractions

1947 ◽  
Vol 40 (8) ◽  
pp. 385-386
Author(s):  
Ann Lawlor ◽  
Caroline Hatton Clark
Keyword(s):  
New York ◽  
New York City ◽  
Student Teaching ◽  
York City ◽  
Teaching Experience ◽  
Current Theory ◽  
Theory And Practice ◽  
The Third ◽  
Child Education

My class in Methods of Teaching Arithmetic at Child Education Foundation, New York City, is composed of students in the third year of their teachertraining course. The students have had no teaching experience except a little student teaching. Their arithmetic course is a three-strand course. One strand deals with studying and evaluating current theory and practice in the teaching of arithmetic.

scholarly journals Student Voices in the Movement for Integration and Equity

2020 ◽  
Vol 118 ◽  
Author(s):  
Sophie Mode ◽  
Dulce Michelle
Keyword(s):  
New York ◽  
New York City ◽  
Public School ◽  
York City ◽  
School System ◽  
Public School System ◽  
Student Voices ◽  
The 1960S

In a time when equity and justice are at the forefront of conversations across the nation, it is essential that the voices of students are not ignored or tokenized. New York City has the most segregated public school system in the nation, more segregated now than in the 1960s. Hundreds of thousands of students spend every day in segregated classrooms, and yet our voices are not the focus. Students are powerful. Students are knowledgeable. Students are passionate. Students are the ones directly feeling the effects of an immensely segregated and inequitable system.

scholarly journals The Films of Julian Schnabel

2011 ◽  
Author(s):  
Alex Britton
Keyword(s):  
New York ◽  
New York City ◽  
20Th Century ◽  
York City ◽  
Art Market ◽  
Film Festivals ◽  
Late 20Th Century ◽  
The Third ◽  
York Review

CHARACTERIZATION, REVISIONISM AND MISREPRESENTATION IN THE FILMS OF JULIAN SCHNABEL A few years ago after viewing the 2007 film The Diving Bell and the Butterfly, the third film by contemporary director and (former) star painter Julian Schnabel, a friend of New York Review of Books writer Sanford Schwartz prophetically announced to the critic, "Apparently it's easier to make a great movie than a great painting."(1) Indeed, Schnabel's ascension to art stardom has taken a truly enigmatic path. Initially conjuring his success as a painter within the elitist landscape of the late 20th century New York City art market, today we find Schnabel strutting down the red carpet of the Cannes and Toronto international film festivals after writing and directing three films while armed with seemingly zero experience in the field of filmmaking or screenwriting. As a painter, Schnabel's work is largely classified as "Neo-Expressionist", belonging to Postmodernism's timely...

scholarly journals The 1960s Drought and the Subsequent Shift to a Wetter Climate in the Catskill Mountains Region of the New York City Watershed*

2012 ◽  
Vol 25 (19) ◽  
pp. 6721-6742 ◽  
Author(s):  
Richard Seager ◽  
Neil Pederson ◽  
Yochanan Kushnir ◽  
Jennifer Nakamura ◽  
Stephanie Jurburg
Keyword(s):  
New York ◽  
New York City ◽  
North America ◽  
Atlantic Ocean ◽  
York City ◽  
Catskill Mountains ◽  
Coupled Models ◽  
Atlantic Sector ◽  
The 1960S

Abstract The precipitation history over the last century in the Catskill Mountains region that supplies water to New York City is studied. A severe drought occurred in the early to mid-1960s followed by a wet period that continues. Interannual variability of precipitation in the region is related to patterns of atmospheric circulation variability in the midlatitude east Pacific–North America–west Atlantic sector with no link to the tropics. Associated SST variations in the Atlantic are consistent with being forced by the anomalous atmospheric flow rather than being causal. In winter and spring the 1960s drought was associated with a low pressure anomaly over the midlatitude North Atlantic Ocean and northerly subsiding flow over the greater Catskills region that would likely suppress precipitation. The cold SSTs offshore during the drought are consistent with atmospheric forcing of the ocean. The subsequent wet period was associated with high pressure anomalies over the Atlantic Ocean and ascending southerly flow over eastern North America favoring increased precipitation and a strengthening of the Northern Hemisphere storm track. Neither the drought nor the subsequent pluvial are simulated in sea surface temperature–forced atmosphere GCMs. The long-term wetting is also not simulated as a response to changes in radiative forcing by coupled models. It is concluded that past precipitation variability in the region, including the drought and pluvial, were most likely caused by internal atmospheric variability. Such events are unpredictable and a drought like the 1960s one could return while the long-term wetting trend need not continue—conclusions that have implications for management of New York City’s water resources.

“In All Our Harlems”

2019 ◽  
pp. 124-150
Author(s):  
Carl Suddler
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Juvenile Justice System ◽  
Black Communities ◽  
Predominantly Black ◽  
Institutionalized Racism ◽  
Police Encounters ◽  
The 1960S ◽  
Police Practices

This chapter recovers the case of the Harlem Six to attest to the firmness of race as a crucial determinant in American notions of crime and delinquency. The progress made in the decade of delinquency was met by systemic and institutionalized racism in the 1960s. Efforts to create a fair and impartial juvenile justice system became a thing of the past, and black youths in New York City bore the brunt of inordinate police practices and, consequently, endured the stigma of criminality henceforth. With anticrime laws such as “stop-and-frisk” and “no-knock,” which contributed to disparate arrest rates and increased police encounters in predominantly black communities, New York City officials established a police state that created a climate for dissension. This tale of criminal injustice reveals the extent to which the community was compelled to go to protect its youths from the overwhelming power of the state.

The Ceremony is about to Begin: Performance and 1968

2018 ◽  
Author(s):  
Martin Halliwell
Keyword(s):  
New York ◽  
New York City ◽  
Los Angeles ◽  
Case Studies ◽  
York City ◽  
Columbia University ◽  
New Haven ◽  
The Third ◽  
National Convention ◽  
Cultural Visibility

Cultural visibility was one of its most effective mechanisms of protest in the late 1960s via posters, slogans, songs and images that gave collective purpose to ideas and campaigns. This chapter looks at performance of protest, looking specifically at the way that protest was “staged” as musical and theatrical spectacle in 1968. It focuses on three case studies: the musical spectacle of the Los Angeles rock group The Doors and the folk singer Phil Ochs who performed at the Chicago Democratic National Convention in August 1968; the theatrical experimentation of The Living Theatre’s radical play Paradise Now which was honed in Paris and performed first in New Haven, Connecticut in September 1968; and the British filmmaker Peter Whitehead’s ambivalent take on New York City in his 1969 film The Fall, the third part of which focuses on the student sit-in at Columbia University in April 1968.

Interview with Mike Leigh

2017 ◽  
Author(s):  
Sean O'Sullivan
Keyword(s):  
New York ◽  
New York City ◽  
World War Ii ◽  
York City ◽  
Italian Cinema ◽  
World War ◽  
The Third ◽  
German Cinema ◽  
British Cinema

This chapter presents a distillation of a series of interviews conducted by the author. Two of these took place in London in July 2004; the third took place in New York City in October 2004. Topics discussed in these interviews include Mike Leigh's views about generations of film movements based in certain countries, such as Italian cinema during and after World War II, or German cinema in the twenties; three clear clusters in British cinema; whether he has ever felt the urge to be more literal about being a northern filmmaker; how he turns improvisations into a story; how the visual, or cinematic, enters into his process; if there is anything he misses about working in television; and the issue of closure in his films.

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