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Interview with Frisner Augustin—3/24/1982 East 96Th Street, East Flatbush, Brooklyn, New York
Interview with Frisner Augustin—3/24/1982 East 96th Street, East Flatbush, Brooklyn, New York Frisner’s Life in Haiti L: This is an interview with Frisner Augustin, Master Drummer from Haiti. First, I just want to get the facts—the day that you were born, where you were born… F: Okay, the day I born is one, three, forty-eight, right? So, I born in Port- au-Prince. But my mother born in Port-a-Prince, but my grandmother born in Jacmel. L: Is that your mother’s mother? F: My grandmother, yeah. But my father born in Port-au-Prince, but, you know, my father’s father born in Léogane. I come from two parent, you know, two pärent—parent or pärent, I don’t know. Because, you know, English is not my language. But in my country they speak Creole. But everybody try to speak French. You’re supposed to go to school to speak French. But my parent don’t have any money to push me very good in big school, and I try to learn by some friend. But, in Haiti, my father, you know, time I got to be about six years old, and my father left my mother, and, you know, my mother can’t help me to push me in school. Okay, I got all my parent, my uncle play drum and be travel lot. He go to St. Thomas, St. Croix, Puerto Rico, and New York and go back to Haiti, St. Vincent and go back to Haiti. And soon I grow up, I say, I want to learn how to play drum. -
Black Brooklyn Renaissance Digital Archive Sherif Sadek, Akhnaton Films
Black Brooklyn Renaissance (BBR) Digital Archive About the Digital Archive CONTENTS This digital archive contains 73 discs, formatted as playable DVDs for use in compatible DVD players and computers, and audio CDs where indicated. The BBR Digital Archive is organized according to performance genres: dance, music, visual art, spoken word, community festival/ritual arts, and community/arts organizations. Within each genre, performance events and artist interviews are separated. COPYRIGHT Black Brooklyn Renaissance: Black Arts + Culture (BBR) Digital Archive is copyright 2011, and is protected by U.S. Copyright Law, along with privacy and publicity rights. Users may access the recordings solely for individual and nonprofit educational and research purposes. Users may NOT make or distribute copies of the recordings or their contents, in whole or in part, for any purpose. If a user wishes to make any further use of the recordings, the user is responsible for obtaining the written permission of Brooklyn Arts Council (BAC) and/or holders of other rights. BAC assumes no responsibility for any error, omission, interruption, deletion, defect, delay in operation or transmission, or communications line failure, involving the BBR Digital Archive. BAC feels a strong ethical responsibility to the people who have consented to have their lives documented for the historical record. BAC asks that researchers approach the materials in BBR Digital Archive with respect for the sensibilities of the people whose lives, performances, and thoughts are documented here. By accessing the contents of BBR Digital Archive, you represent that you have read, understood, and agree to comply with the above terms and conditions of use of the BBR Digital Archive. -
Program the Haiti Illumination Project
YARI YARI NTOASO CONTINUING THE DIALOGUE INTERNATIONAL CONFERENCE ON LITERATURE BY WOMEN OF AFRICAN ANCESTRY ● ACCRA, GHANA ● 2013 ● ORGANIZATION OF WOMEN WRITERS OF AFRICA ● NEW YORK UNIVERSITY MBAASEM FOUNDATION THE WOMEN FOR AFRICA FOUNDATION 2 YARI YARI NTOASO CONTINUING THE DIALOGUE Thursday, 16 May through Sunday, 19 May 2013 Sponsored by The Organization of Women Writers of Africa, Inc. New York University Institute of African American Affairs Hosted by Mbaasem Foundation Lead Partner Fundación Mujeres por África/The Women for Africa Foundation Supported by New York University Africa House New York University Accra New York University Africana Studies Program The Haiti Illumination Project Planning support provided by: The New York Council for the Humanities a state affiliate of the National Endowment for the Humanities Any views, findings, conclusions, or recommendations expressed in this program do not necessarily represent those of the National Endowment for the Humanities 3 CONFERENCE ORGANIZERS The Organization of Women Writers of Africa (OWWA) Founded in 1991 by African-American poet, performing artist, and activist Jayne Cortez and Ghanaian playwright and scholar Ama Ata Aidoo, the Organization of Women Writers of Africa, Inc. (OWWA) establishes connections between professional African women writers around the world. OWWA is a 501(c)(3) nonprofit literary organization concerned with the development and advancement of the literature of women writers from Africa and its Diaspora. OWWA is also a non-governmental organization associated with the United Nations Department of Public Information (UNDPI). www.owwainc.org and www.indiegogo.com/owwa - also on Facebook and Twitter #YariYari OWWA Co-Founders: Ama Ata Aidoo & Jayne Cortez Executive Board: J.e. -
Amy K. Hamlin Associate Professor of Art History St
Amy K. Hamlin Associate Professor of Art History St. Catherine University, Department of Art & Art History 2004 Randolph Avenue • St. Paul, MN 55105 1.347.406.3243 • [email protected] UNIVERSITY EXPERIENCE 2008-present St. Catherine University (SCU), Dept. of Art & Art History, St. Paul, MN Associate Professor of Art History 2016-2019 St. Catherine University (SCU), Center for Mission, St. Paul, MN Alberta Huber, CSJ, Endowed Chair for Mission in the Liberal Arts, and Director of the Evaleen Neufeld Initiative in the Liberal Arts (3-year term) 2008 (spring) Binghamton University, Department of Art History, Binghamton, NY Visiting Assistant Professor 2006-2007 Parsons the New School for Design, Art & Design Studies, New York, NY Adjunct Instructor 2007 Stern College for Women, Art History Department, New York, NY Adjunct Instructor 2006 Pace University Department of Fine Arts, New York, NY Adjunct Instructor 2006/2005/2003 New York University Department of Fine Arts, New York, NY Adjunct Instructor and Preceptor RELATED PROFESSIONAL EXPERIENCE 1998-2000 Williams College Museum of Art, Williamstown, MA Graduate Intern to the Director 1999 (summer) artnet.com, New York, New York Research Intern 1996-1998 Museum of Modern Art, New York, NY Administrative Assistant, Department of Painting & Sculpture 1994-1995 Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY Undergraduate Intern to the Director EDUCATION PhD Institute of Fine Arts (IFA), New York University (NYU), New York, NY 2007 Dissertation: “Between Form and Subject: -
Nou Mache Ansanm (We Walk Together): Queer Haitian Performance and Affiliation
Women & Performance: a journal of feminist theory ISSN: 0740-770X (Print) 1748-5819 (Online) Journal homepage: http://www.tandfonline.com/loi/rwap20 Nou Mache Ansanm (We Walk Together): Queer Haitian Performance and Affiliation Dasha A. Chapman, Erin L. Durban-Albrecht & Mario LaMothe To cite this article: Dasha A. Chapman, Erin L. Durban-Albrecht & Mario LaMothe (2017) Nou MacheAnsanm (We Walk Together): Queer Haitian Performance and Affiliation, Women & Performance: a journal of feminist theory, 27:2, 143-159, DOI: 10.1080/0740770X.2017.1315227 To link to this article: https://doi.org/10.1080/0740770X.2017.1315227 Published online: 17 May 2017. Submit your article to this journal Article views: 173 View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rwap20 Women & Performance: a journal of feminist theory, 2017 Vol. 27, No. 2, 143–159, https://doi.org/10.1080/0740770X.2017.1315227 Introduction Nou Mache Ansanm (We Walk Together): Queer Haitian Performance and Affiliation Dasha A. Chapmana*, Erin L. Durban-Albrechtb and Mario LaMothec aDepartment of African and African American Studies, Duke University, Durham, N.C., USA; bIllinois State University, Bloomington, IL, USA; c African-American Cultural Center, University of Illinois-Chicago, Chicago, IL, USA I. Nou Mache Ansanm This special issue emerges from a symposium at Duke University in fall 2015, “Nou Mache Ansanm (We Walk Together): Performance, Gender, and Sexuality in Haiti,” which brought scholars, artists, and activists together to generate a dialogue around performance in relationship to Haitian genders, sexualities, and queer lifeworlds. We convened at Duke in the days leading up to Fet Gede, Haiti’s days that honor the dead. -
CHLOË BASS Artist & Public Practitioner BIO EDUCATION SOLO EXHIBITIONS + PROJECTS
CHLOË BASS Artist & Public Practitioner [email protected] / +1 917.664.3739 Website: chloebass.com BIO Chloë Bass is a multiform conceptual artist working in performance, situation, conversation, publication, and installation. Her work uses daily life as a site of deep research to address scales of intimacy: where patterns hold and break as group sizes expand. She began her work with a focus on the individual (The Bureau of Self- Recognition, 2011 – 2013), has recently concluded a study of pairs (The Book of Everyday Instruction, 2015 – 2017), and will continue to scale up gradually until she’s working at the scale of the metropolis. She is currently working on Obligation To Others Holds Me in My Place, an investigation of intimacy at the scale of immediate families. Chloë has held numerous fellowships and residencies; 2018’s include a residency at Denniston Hill, the Recess Analog Artist-in-Residence, and a BRIC Media Arts Fellowship. She is a 2019 Art Matters Grantee. Her projects have appeared nationally and internationally, including recent exhibits at the Knockdown Center, the Kitchen, the Brooklyn Museum, CUE Art Foundation, Elizabeth Foundation for the Arts Project Space, The Southeastern Center for Contemporary Art, the James Gallery, and elsewhere. Reviews, mentions of, and interviews about her work have appeared in Artforum, The New York Times, Hyperallergic, The Brooklyn Rail, BOMB, Temporary Art Review, and Artnews among others. Her monograph, The Book of Everydyay Instruction, was published by the Operating System in December 2018; she also has a chapbook, #sky #nofilter, forthcoming from DoubleCross Press. Her short-form writing has been published on Hyperallergic, Arts.Black, and the Walker Reader. -
Drummer, Give Me My Sound: Frisner Augustin
Fall–Winter 2012 Volume 38: 3–4 The Journal of New York Folklore Drummer, Give Me My Sound: Frisner Augustin Andy Statman, National Heritage Fellow Dude Ranch Days in Warren County, NY Saranac Lake Winter Carnival The Making of the Adirondack Folk School From the Director The Schoharie Creek, had stood since 1855 as the longest single- From the Editor which has its origins span covered wooden bridge in the world. near Windham, NY, The Schoharie’s waters then accelerated to In the spirit of full dis- feeds the Gilboa Res- the rate of flow of Niagara Falls as its path closure, I’m the one who ervoir in Southern narrowed, uprooting houses and trees, be- asked his mom to share Schoharie County. fore bursting onto the Mohawk River, just her Gingerbread Cookie Its waters provide west of Schenectady to flood Rotterdam recipe and Christmas drinking water for Junction and the historic Stockade section story as guest contribu- New York City, turn of Schenectady. tor for our new Food- the electricity-generating turbines at the A year later, in October 2012, Hurricane ways column. And, why not? It’s really not New York Power Authority, and are then Sandy hit the metropolitan New York that we couldn’t find someone else [be in loosed again to meander up the Schoharie area, causing widespread flooding, wind, touch, if you’re interested!]. Rather, I think Valley to Schoharie Crossing, the site of and storm damage. Clean up from this it’s good practice and quite humbling to an Erie Canal Aqueduct, where the waters storm is taking place throughout the entire turn the cultural investigator glass upon of the Schoharie Creek enter the Mohawk Northeast Corridor of the United States oneself from time to time, and to partici- River. -
Haitian Narrative the Personal Becomes National the National Becomes Personal
Haitian Narrative The Personal becomes National The National Becomes Personal Karen F. Dimanche Davis 4 November 2016 Hope College, Holland, Michigan HAITI – AYITI Florida, 600 miles Cuba, 70 miles Jamaica, 130 miles “Ayiti”--mountains L’UNION FAIT LA FORCE! This is also the national motto of the Republic of Benin, in West Africa, the homeland of most Haitians Jarre Trouée Roi Ghézo 1818 Wisdom Tales • Anancy, Bouki & Malice, Ti-Jean, and Br’er Rabbit • How to maintain morality yet survive life’s threats. • As Haitian stories/histories become national meta-myth, they encompass references to: – the revolutionary founding of the nation (1791-1804) • “L’union fait la force!” • Bois Caiman – rural community identity (the spirit of konbit) – service to the African lwas (spirits or energies) – US military & corporate imperialism – The Duvalier dictatorship’s state terrorism – deforestation, soil erosion, hurricanes, and flooding – mass exodus of farmers to city, Port- au-Prince – Le Tremblement, 2010 earthquake, Goudou-Goudou Danticat references Haitian values: • Konbit: Importance of family, group, community, not individuals • Importance of reputation and respect • Mountains beyond mountains (pa pi mal) • Thriving farm market economy (carrots, plantains, pigeon peas, calabash, cocoa, coffee • The importance of family stories, wisdom tales • Building sturdy, beautiful cement block houses • Local foods: snapper, sweet potatoes, salt cod, plantains, cassava bread • Natural herbal medications • Ingenuity to “out-fox” oppression (Trickster) • Pride in public appearance (neat, clean, pressed) Danticat references Haitian history: • Jean-Bertrand Aristide • Invasion/control by U.S. Marines 1915-1934, forced labor (re-ensavement) • Resistance by Cacos • Stories, murals, songs recall Petion, Dessalines, Toussaint, Charlemagne, etc. -
Brooklyn Rediscovers Cal Massey by Jeffrey Taylor
American Music Review Formerly the Institute for Studies in American Music Newsletter Th e H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XXXIX, Number 2 Spring 2010 Brooklyn Rediscovers Cal Massey By Jeffrey Taylor With the gleaming towers of the Time Warner Center—Jazz at Lincoln Center’s home since 2004—gazing over midtown Manhattan, and thriving jazz programs at colleges and universities throughout the world fi rmly in place, it is sometimes diffi cult to remember when jazz did not play an unquestioned role in the musical academy. Yet it wasn’t until the early 1990s that jazz was well enough entrenched in higher education that scholars could begin looking back over the way the music was integrated into music curricula: Scott DeVeaux’s frequently quoted “Construct- ing the Jazz Tradition” from 1991 is a prime example.1 The past thirty years have seen an explosion of published jazz scholarship, with dozens of new books crowd- ing shelves (or websites) every year. The vast majority of these texts are devoted to the work of a single fi gure, with Duke Ellington and Louis Armstrong leading as popular subjects. But a few scholars, DeVeaux and Ingrid Monson among them, have noted the essential roles of musicians who worked primarily in the shadows, as composers, arrangers, accompanists, and sidepeople. Without these artists, whose contribution often goes completely unacknowledged in history books, jazz would have taken a very different path than the one we trace in our survey courses. -
National Heritage Fellowships
2020 NATIONAL HERITAGE FELLOWSHIPS NATIONAL ENDOWMENT FOR THE ARTS I 2020 NATIONAL HERITAGE FELLOWSHIPS Birchbark Canoe by Wayne Valliere Photo by Tim Frandy COVER: “One Pot Many Spoons” beadwork by Karen Ann Hoffman Photo by James Gill Photography CONTENTS MESSAGE FROM THE ACTING CHAIRMAN ...........................................................................................................................................................................................4 MESSAGE FROM THE DIRECTOR .............................................................................................................................................................................................................5 A BRIEF HISTORY OF THE NEA NATIONAL HERITAGE FELLOWSHIPS .........................................................................................................................................6 2020 NATIONAL HERITAGE FELLOWS William Bell .................................................................................................................................................................................8 Soul Singer and Songwriter > ATLANTA, GA Onnik Dinkjian ....................................................................................................................................................................... 10 Armenian Folk and Liturgical Singer > FORT LEE, NJ Zakarya and Naomi Diouf ............................................................................................................................................ -
Spring 2014--All Grants Sorted by State
National Endowment for the Arts FY 2014 Spring Grant Announcement State Listings Project details are as of April 16, 2014. For the most up to date project information, please use the NEA's online grant search system. Included in this document are Art Works grants, State & Regional Partnership grants, and Research: Art Works grants. All are organized by state/territory and then by city, with the exception of the State & Regional Partnership grants which appear at the top of each state. Click the state or territory below to jump to that area of the document. • Alabama • Kentucky • Ohio • Alaska • Louisiana • Oklahoma • American Samoa • Maine • Oregon • Arizona • Maryland • Pennsylvania • Arkansas • Massachusetts • Puerto Rico • California • Michigan • Rhode Island • Colorado • Minnesota • South Carolina • Connecticut • Mississippi • South Dakota • Delaware • Missouri • Tennessee • District of Columbia • Montana • Texas • Florida • Nebraska • Utah • Georgia • Nevada • Vermont • Guam • New Hampshire • Virginia • Hawaii • New Jersey • Virgin Islands • Idaho • New Mexico • Washington • Illinois • New York • West Virginia • Indiana • North Carolina • Wisconsin • Iowa • North Dakota • Wyoming • Kansas • Northern Marianas Islands Some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Page 1 of 228 Alabama Number of Grants: 5 Total Dollar Amount: $841,700 Alabama State Council on the Arts $741,700 Montgomery, AL FIELD/DISCIPLINE: State & Regional To support Partnership Agreement activities. Auburn University Main Campus $55,000 Auburn, AL FIELD/DISCIPLINE: Visual Arts To support the Alabama Prison Arts and Education Project. Through the Department of Human Development and Family Studies in the College of Human Sciences, the university will provide visual arts workshops taught by emerging and established artists for those who are currently incarcerated. -
Intersections Department of Comparative Literature Spring 2010
New York University Intersections Department of Comparative Literature Spring 2010 Our China and Japan Connection by Xudong Zhang In May of 2009, a delega- UTCP, the East China Nor- tion of Comparative Litera- mal University (Shanghai), ture faculty and graduate and Peking University students (Sage Anderson, (Beijing). NYU Professors Beata Potocki, Pu Wang, Uli Baer, Thomas Looser, Uli Baer, and Xudong and Xudong Zhang pre- Zhang), along with col- sented papers along with leagues from other NYU scholars from Tokyo, departments (East Asian Shanghai, and Beijing. Studies and History), trav- Amidst conference pro- elled to Tokyo to attend an grams, there were meals, international graduate stu- drinks, receptions, campus dent conference on “The tours, trips to Tokyo and Plural Present of Historical neighboring areas organized Life,” hosted by the Inter- by the local host and par- national Center for Philoso- ticipating institutions. A phy at University of Tokyo final reception dinner Sage Anderson, Beata Potocki, Xudong Zhang, and Pu Wang (UTCP). Our NYU stu- hosted by the NYU delega- These summer 2009 events of 2005. That summer, a dents and faculty had the tion was held at the terrace were the continuation of Comp Lit faculty and stu- privilege of sharing the fo- garden of the University of the ongoing development dent delegation (including rum of intellectual exchange Tokyo-Komaba Faculty of international exchange (China/Japan, Continued on with representatives of the Club. that began in the summer Page 4) Speaking of Arachnids... …our chair Jacques Lezra and Mediterranean Studies; how we act, and how we Inside this Issue has a theory.