This document is a call for proposals for an edited volume titled "The Film Archipelago: Islands in Latin American Cinema". It discusses how islands are an important part of Latin America's geography, history, politics and cinema. The collection will examine representations of islands in Latin American film through contemporary theories of space and place. It welcomes essays exploring visual depictions of islands in Latin American feature films, documentaries, and how islands are conceptualized in relation to Latin American cinema. Potential topics include archipelagic visualities, colonial encounters, environmental filmmaking, genres, Hollywood portrayals of Latin American islands, and more. Authors should submit a title, 300-word proposal, and 200-word bio by January 21, 2018
The document appears to be a postcard from Dianne Smith to an unnamed recipient. It contains a short message expressing that the author is thinking of the recipient and enjoyed their last conversation over Skype. The author looks forward to returning soon and signs off with "All my love!".
This document lists the names of several artists and their works from 2009-2010, including Dianne Smith's "Birth" from 2009. It also mentions Huma Bhabha, Chakaia Booker, Nick Cave, Fred Wilson, and Shinique Smith as artists. Finally, it lists a working title for a research project called "Trash, Consumption and the Politics of Race."
This document provides information about various art exhibitions and works by the artist Gumboot Juba presented by West Harlem Art Fund between March 2011 and June 2011. It lists the titles of solo exhibitions and pieces including "Window Installation" presented at Armory Week in March 2011 and a solo exhibition titled "SYLLOGISMS" from May to June 2011 showcasing works such as "Cross Cultural", "Fenced In", "Portal", "Hidden Beauty", and "Wisdom". It also mentions a work called "Community" being shown at Governor's Island.
Dianne Smith Summer Residency Transart Institute 2011 PresentationsDianne Smith Art
油
This document provides information about upcoming art exhibitions by Gumboot Juba and Syllogisms. It lists the title, dates, and locations for Gumboot Juba's "Homage to Juba,Tap, Gumboot Dance, and Stepping" exhibition at the Armory Week from March 3-6, 2011 in West Harlem. It also provides the title, dates and location for Syllogisms' solo exhibition "Research: Class, Trash, Consumption, and the Politics of Race / Practical Element: Syllogisms" from May 20-June 20 in Harlem, NY. The document also lists artists Bessie Harvey Thornton Dial, Sanford Biggers, and Maren
This document summarizes Dianne Smith's process of documenting and examining her artwork called "Remix Repurpose Studio". It describes how she is working in a way she doesn't usually by documenting her thoughts and materials which include rope, burlap, cloth and boxes. The process has helped her uncover things about herself. She discusses her use of belts, t-shirts, and fabrics from memories and objects that hold memory for her. The document examines her choices in artwork and waste.
West African dance is performed by communities for religious and social occasions. It reinforces gender roles and social structures through segregated dances. Examples described include Adumu, a Maasai warrior dance, Moribayassa, a dance for overcoming hardship, and Gahu, a social dance from Benin involving call-and-response singing and drumming. West African dance influenced the development of dances in America like ring shouts and the cakewalk. However, many traditions were lost or suppressed during the slave trade and colonialism.
The document summarizes various dances from the Americas, including swing dance, salsa, old school hip hop dances, and new millennium dances. It provides the history and origins of swing dance developing in the 1920s-1940s from African American communities. It also describes different regional styles of salsa dancing that evolved from Latin and Caribbean influences. The summary highlights old school hip hop dances like breakdancing, popping, and the running man. It concludes with brief descriptions of popular new dances from the 2000s decade.
This document summarizes life in the United States during the 1920s. It describes the period as an exciting time of economic success and significant social and cultural changes. New technologies like cars, radios, and cameras were introduced. Women gained the right to vote and enter the workforce. Sports like baseball became hugely popular as people sought new leisure activities after World War 1. Fashion evolved particularly for women, known as the "flapper style". Harlem emerged as a cultural center of African American arts and music like jazz. Prohibition banned alcohol but gangsters still smuggled and sold it illegally.
The document provides information about South Africa and neighboring countries Botswana and Namibia. It includes details such as capital cities, leaders, points of interest, food, festivals, dance, music and more. Some key points of interest in South Africa mentioned are Cape Town, Table Mountain, and The Cradle of Humankind. The national dish of Botswana is described as Seswaa, a meat stew served over thick porridge. In Namibia, notable locations include the Fish River Canyon and Heroes' Acre memorial.
The Harlem Renaissance started in the 1920s as a cultural movement where African Americans embraced their heritage through various art forms including music and dance. Jazz and blues became popular music genres during this time performed by famous musicians like Billie Holiday, Duke Ellington, and Louis Armstrong. Dances like the Charleston and jitterbug also rose to prominence and were performed by influential figures such as Josephine Baker and Bill "Bojangles" Robinson. The flourishing of African American music and dance in Harlem helped empower the community and influence wider American society.
Christian missionaries who arrived in various areas around the world in the 18th-19th centuries sought to suppress or ban traditional dances, seeing them as pagan or uncivilized. This included dances of the Tongans, Africans, Brazilians, Native Americans, Hawaiians, and others. In many cases, the local populations adapted their dances or went underground to preserve their cultural traditions. Over time, some dances like hula were eventually revived and embraced as a cultural symbol.
The document discusses the contributions of African American males to various forms of entertainment in the United States. It covers dance genres from slavery through modern hip hop, the development of spirituals, blues, jazz and popular music styles, and the role of African American males in early theater, film, and the Harlem Renaissance. The author argues that African American males have played a key role in shaping American entertainment through developing new styles and genres, and by influencing entertainment both during periods of oppression and after the civil rights movement through individual innovators and companies/institutions.
This document provides an overview of the history and cultural context of tap dance. It discusses how tap dance evolved from the fusion of various African and European dance forms brought by slaves and plantation owners. Key developments included slaves using their feet for percussion after being banned from drums, and the growth of tap in minstrel shows, vaudeville, and Broadway musicals. The document highlights some influential tap dancers like "Master Juba", Bill Robinson, the Nicholas Brothers, Fred Astaire, Sammy Davis Jr., Gregory Hines, and Savion Glover who popularized tap and incorporated it into films. It also notes how tap dance declined but saw a revival through festivals starting in the 1980s.
This document provides an overview of the history of African American music from slavery through the civil rights era. It describes how slaves used work songs and spirituals to communicate and maintain hope in the face of hardship. Instruments like the banjo emerged from African American musical traditions. The document also profiles influential artists like Billie Holiday, who performed "Strange Fruit" to protest racism, and Marvin Gaye, whose song "What's Going On" addressed issues of the civil rights movement. Overall, the document traces the origins and evolution of African American music.
The document provides an overview of the history and influence of African music in America. It describes how African musical styles originated thousands of years ago for different purposes and events. When Africans were brought to America as slaves, their music was initially outlawed but eventually influenced the development of new music genres like spirituals, jazz, blues, rock and roll. African musical elements like syncopation and improvisation became characteristic of widely popular American music forms today.
Pope Pius X disapproved of early 20th century dance crazes that mimicked animal movements like the Turkey Trot and Grizzly Bear. Dances like the Tango rose in popularity in the early 1900s and spread from nightclubs to Europe on ocean liners. Throughout the 1920s and 1930s, new dances like the Charleston, Black Bottom, and Lindy Hop emerged alongside changing hemlines, shoes styles, and music trends. Dance styles incorporated influences from places like Cuba, Argentina, and Africa and reflected contemporary events and fashion of the time period.
The document discusses various economic and social trends in the United States during the 1940s-1950s. The economy boomed during this period due to high levels of spending on WWII. The unemployment rate during the 1940s decade was relatively low at an estimated 4.7%. New laws were passed regarding joint tax filings for married couples and increases in individual and corporate taxes. Popular culture saw innovations like the microwave and new musical styles like jazz and R&B which increased racial tensions. The 1950s brought a shift towards rock and roll music and the civil rights movement.
Hip-hop began in the 1920s with forms of dancing but took off in the South Bronx in the 1970s focused on breakbeats and house parties influenced by Jamaican DJ Kool Herc. In the 1980s, Afrika Bambaataa founded the Zulu Nation, bringing together street dance crews, graffiti artists, and rappers. Hip-hop culture gained more attention and embraced human body rhythm creation while its popularity increased.
The document provides an overview of the history and development of modern dance. It discusses early pioneers like Isadora Duncan and Ruth St. Denis who rebelled against classical ballet with more natural and emotionally expressive movements. It outlines the growth of modern dance in the 1930s with innovators like Martha Graham and Doris Humphrey. After WWII, modern dance incorporated influences from other styles and merged techniques. Key modern dance choreographers and their influential works are also summarized.
The document provides information about music during the Harlem Renaissance period. It discusses how immense poverty and illness in upper Manhattan led African Americans to unite and redefine their culture, giving rise to the Harlem Renaissance. This new beginning allowed poets, musicians, actors, and artists to bring jazz, blues, and change to New York City. Famous musicians like Duke Ellington and Billie Holiday emerged and made important contributions, influencing both African American culture and wider American society through their talents and music.
The document discusses different types of traditional and modern dances from around the world, including their cultural significance and origins. It describes dances like the legong dance of Bali, which is performed by trained young women, and Kecak, a Balinese musical drama. It also covers topics like dance as a form of religious worship, gender expression, cultural identity, and how dances can fuse cultural influences or represent modern choreography.
Historical and social context of jazz dancezthomps17
油
Jazz dance originated from African slave cultures brought to America in the 1600s. Slaves were forced to blend their diverse African traditions, creating a new culture with both African and European influences. In the 19th century, minstrel shows popularized the slaves' music and dance styles among white audiences. Over time, jazz dance developed influences from various genres like ballet, modern, and social dances that emerged in the early 20th century. Jazz dance continued evolving through the decades, influenced by new musical styles like rock and roll, Motown, and hip hop, and was popularized through movies and music videos. It remains a dynamic genre that both honors its roots and innovates new styles.
The document discusses the roots of jazz music in America before the 1850s. It describes how early influences like call-and-response and improvisation originated from African musical traditions and were blended with European styles. The development of Creole culture and the banjo's popularity were important to the growth of black musical styles in the United States during this time period. Minstrel shows also helped to spread early black musical influences to northern regions.
This portfolio belongs to Felipe Jacome, a photographer born in 1985 in Ecuador. It contains summaries and images from several of his documentary photography projects focused on social and environmental issues in Ecuador and other parts of Latin America. One project documents Ukrainian ballerinas displaced by the war who posed with their images transferred onto bullet casings. Another shows the impacts of oil exploitation on the Waorani people of the Ecuadorian Amazon. A third documents Venezuelan migrants ("caminantes") fleeing economic crisis by walking across South America. A fourth portraits indigenous women from several Amazonian tribes who marched to oppose oil and mining projects on their ancestral lands.
West African dance is performed by communities for religious and social occasions. It reinforces gender roles and social structures through segregated dances. Examples described include Adumu, a Maasai warrior dance, Moribayassa, a dance for overcoming hardship, and Gahu, a social dance from Benin involving call-and-response singing and drumming. West African dance influenced the development of dances in America like ring shouts and the cakewalk. However, many traditions were lost or suppressed during the slave trade and colonialism.
The document summarizes various dances from the Americas, including swing dance, salsa, old school hip hop dances, and new millennium dances. It provides the history and origins of swing dance developing in the 1920s-1940s from African American communities. It also describes different regional styles of salsa dancing that evolved from Latin and Caribbean influences. The summary highlights old school hip hop dances like breakdancing, popping, and the running man. It concludes with brief descriptions of popular new dances from the 2000s decade.
This document summarizes life in the United States during the 1920s. It describes the period as an exciting time of economic success and significant social and cultural changes. New technologies like cars, radios, and cameras were introduced. Women gained the right to vote and enter the workforce. Sports like baseball became hugely popular as people sought new leisure activities after World War 1. Fashion evolved particularly for women, known as the "flapper style". Harlem emerged as a cultural center of African American arts and music like jazz. Prohibition banned alcohol but gangsters still smuggled and sold it illegally.
The document provides information about South Africa and neighboring countries Botswana and Namibia. It includes details such as capital cities, leaders, points of interest, food, festivals, dance, music and more. Some key points of interest in South Africa mentioned are Cape Town, Table Mountain, and The Cradle of Humankind. The national dish of Botswana is described as Seswaa, a meat stew served over thick porridge. In Namibia, notable locations include the Fish River Canyon and Heroes' Acre memorial.
The Harlem Renaissance started in the 1920s as a cultural movement where African Americans embraced their heritage through various art forms including music and dance. Jazz and blues became popular music genres during this time performed by famous musicians like Billie Holiday, Duke Ellington, and Louis Armstrong. Dances like the Charleston and jitterbug also rose to prominence and were performed by influential figures such as Josephine Baker and Bill "Bojangles" Robinson. The flourishing of African American music and dance in Harlem helped empower the community and influence wider American society.
Christian missionaries who arrived in various areas around the world in the 18th-19th centuries sought to suppress or ban traditional dances, seeing them as pagan or uncivilized. This included dances of the Tongans, Africans, Brazilians, Native Americans, Hawaiians, and others. In many cases, the local populations adapted their dances or went underground to preserve their cultural traditions. Over time, some dances like hula were eventually revived and embraced as a cultural symbol.
The document discusses the contributions of African American males to various forms of entertainment in the United States. It covers dance genres from slavery through modern hip hop, the development of spirituals, blues, jazz and popular music styles, and the role of African American males in early theater, film, and the Harlem Renaissance. The author argues that African American males have played a key role in shaping American entertainment through developing new styles and genres, and by influencing entertainment both during periods of oppression and after the civil rights movement through individual innovators and companies/institutions.
This document provides an overview of the history and cultural context of tap dance. It discusses how tap dance evolved from the fusion of various African and European dance forms brought by slaves and plantation owners. Key developments included slaves using their feet for percussion after being banned from drums, and the growth of tap in minstrel shows, vaudeville, and Broadway musicals. The document highlights some influential tap dancers like "Master Juba", Bill Robinson, the Nicholas Brothers, Fred Astaire, Sammy Davis Jr., Gregory Hines, and Savion Glover who popularized tap and incorporated it into films. It also notes how tap dance declined but saw a revival through festivals starting in the 1980s.
This document provides an overview of the history of African American music from slavery through the civil rights era. It describes how slaves used work songs and spirituals to communicate and maintain hope in the face of hardship. Instruments like the banjo emerged from African American musical traditions. The document also profiles influential artists like Billie Holiday, who performed "Strange Fruit" to protest racism, and Marvin Gaye, whose song "What's Going On" addressed issues of the civil rights movement. Overall, the document traces the origins and evolution of African American music.
The document provides an overview of the history and influence of African music in America. It describes how African musical styles originated thousands of years ago for different purposes and events. When Africans were brought to America as slaves, their music was initially outlawed but eventually influenced the development of new music genres like spirituals, jazz, blues, rock and roll. African musical elements like syncopation and improvisation became characteristic of widely popular American music forms today.
Pope Pius X disapproved of early 20th century dance crazes that mimicked animal movements like the Turkey Trot and Grizzly Bear. Dances like the Tango rose in popularity in the early 1900s and spread from nightclubs to Europe on ocean liners. Throughout the 1920s and 1930s, new dances like the Charleston, Black Bottom, and Lindy Hop emerged alongside changing hemlines, shoes styles, and music trends. Dance styles incorporated influences from places like Cuba, Argentina, and Africa and reflected contemporary events and fashion of the time period.
The document discusses various economic and social trends in the United States during the 1940s-1950s. The economy boomed during this period due to high levels of spending on WWII. The unemployment rate during the 1940s decade was relatively low at an estimated 4.7%. New laws were passed regarding joint tax filings for married couples and increases in individual and corporate taxes. Popular culture saw innovations like the microwave and new musical styles like jazz and R&B which increased racial tensions. The 1950s brought a shift towards rock and roll music and the civil rights movement.
Hip-hop began in the 1920s with forms of dancing but took off in the South Bronx in the 1970s focused on breakbeats and house parties influenced by Jamaican DJ Kool Herc. In the 1980s, Afrika Bambaataa founded the Zulu Nation, bringing together street dance crews, graffiti artists, and rappers. Hip-hop culture gained more attention and embraced human body rhythm creation while its popularity increased.
The document provides an overview of the history and development of modern dance. It discusses early pioneers like Isadora Duncan and Ruth St. Denis who rebelled against classical ballet with more natural and emotionally expressive movements. It outlines the growth of modern dance in the 1930s with innovators like Martha Graham and Doris Humphrey. After WWII, modern dance incorporated influences from other styles and merged techniques. Key modern dance choreographers and their influential works are also summarized.
The document provides information about music during the Harlem Renaissance period. It discusses how immense poverty and illness in upper Manhattan led African Americans to unite and redefine their culture, giving rise to the Harlem Renaissance. This new beginning allowed poets, musicians, actors, and artists to bring jazz, blues, and change to New York City. Famous musicians like Duke Ellington and Billie Holiday emerged and made important contributions, influencing both African American culture and wider American society through their talents and music.
The document discusses different types of traditional and modern dances from around the world, including their cultural significance and origins. It describes dances like the legong dance of Bali, which is performed by trained young women, and Kecak, a Balinese musical drama. It also covers topics like dance as a form of religious worship, gender expression, cultural identity, and how dances can fuse cultural influences or represent modern choreography.
Historical and social context of jazz dancezthomps17
油
Jazz dance originated from African slave cultures brought to America in the 1600s. Slaves were forced to blend their diverse African traditions, creating a new culture with both African and European influences. In the 19th century, minstrel shows popularized the slaves' music and dance styles among white audiences. Over time, jazz dance developed influences from various genres like ballet, modern, and social dances that emerged in the early 20th century. Jazz dance continued evolving through the decades, influenced by new musical styles like rock and roll, Motown, and hip hop, and was popularized through movies and music videos. It remains a dynamic genre that both honors its roots and innovates new styles.
The document discusses the roots of jazz music in America before the 1850s. It describes how early influences like call-and-response and improvisation originated from African musical traditions and were blended with European styles. The development of Creole culture and the banjo's popularity were important to the growth of black musical styles in the United States during this time period. Minstrel shows also helped to spread early black musical influences to northern regions.
This portfolio belongs to Felipe Jacome, a photographer born in 1985 in Ecuador. It contains summaries and images from several of his documentary photography projects focused on social and environmental issues in Ecuador and other parts of Latin America. One project documents Ukrainian ballerinas displaced by the war who posed with their images transferred onto bullet casings. Another shows the impacts of oil exploitation on the Waorani people of the Ecuadorian Amazon. A third documents Venezuelan migrants ("caminantes") fleeing economic crisis by walking across South America. A fourth portraits indigenous women from several Amazonian tribes who marched to oppose oil and mining projects on their ancestral lands.
Fall newsletter of the radio & podcast show State of the Arts NYC that can be heard on WBAI FM, WBAI livestream and tunein.com. Sharing new partners, events and upcoming guests.
State of the Arts NYC is a weekly radio show hosted by Savona Bailey-McClain on WBAI radio in New York City. The show reports and analyzes the dynamic state of the arts in New York City's various sectors, drawing on Savona's 20 years of experience in the arts sector. Savona is the Executive Director of the West Harlem Art Fund and has organized many public art exhibits in New York City. The show airs live on Fridays from 5-6pm and has featured many guests from the arts world.
This essay discusses the spatial ecology of New York City's elevated rail infrastructure. It describes how the 168 miles of elevated tracks have become deeply integrated into the city's history, culture, and daily life. While elevated highways mainly exist to move people in and out of cities, elevated rail lines embed rapid transit directly within urban landscapes. This close proximity of transportation and human habitation has created a unique urban ecosystem beneath the el tracks. The essay explores the development of New York's elevated rail system in the late 19th century, as well as public debates around issues like noise, pollution, and safety hazards. It argues the el is a quintessential New York original that remains essential to transportation around the city today.