DOCSLIB.ORG

Board Committee Documents Academic Policy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Board Committee Documents Academic Policy I.B.5 – LEHMAN COLLEGE - HONORARY DEGREES TO BE AWARDED AT THE COLLEGE’S ANNUAL COMMENCEMENT CEREMONY ON MAY 29, 2014 RESOLVED, that Lehman College award Valerie S. Capers, Michael J. Balick and William Aguado, respectively, the degrees of Doctor of Music, Doctor of Science and Doctor of Arts, honoris causa, at the college's annual commencement ceremony on May 29, 2014. EXPLANATION: Born in the Bronx to parents who grew up during the Harlem Renaissance, Valerie Capers is a pianist, arranger and educator who was the first blind graduate of The Julliard School of Music. Ms. Capers served on the faculty of the Manhattan School of Music and is the former chair of the Department of Music and Art at Bronx Community College, where she is now professor emerita. Her outstanding work as an educator has been lauded throughout the country as being both innovative and impressive. Ms. Capers' most noted, extended compositions include Song of the Seasons, which was commissioned by the Smithsonian Institute. She has recorded five albums. Michael Balick is Vice President for Botanical Science and Director and Philecology Curator of the Institute of Economic Botany at the New York Botanical Garden (NYBG). Having studied the relationship between plants and people for nearly three decades, he is considered to be one of the world’s foremost ecobotanists, working with traditional cultures in tropical, subtropical, and desert environments. To date, he has conducted 56 international expeditions. Dr. Balick also conducts research in New York City, studying traditional healing practices in ethnic communities of the urban environment. In 1981 he co-founded NYBG’s Institute of Economic Botany with Sir Ghillean Prance of Kew Gardens, London, UK. Dr. Balick, the author of more than 16 scientific and general interest books and monographs, currently serves as an Adjunct Professor at Columbia University, New York University, Yale University and CUNY. He is an active mentor to postdoctoral, masters, and international fellowship students. Since 1972, William Aguado has been regarded as a leading cultural and community activist. Recently retired as Executive Director of the Bronx Council on the Arts (BCA), he is still called upon to lend his expertise to independent artists, emerging community cultural groups and community-based organizations. Highlights of his impressive career being a founding member of the New York City Latino Commission on AIDS, founding the Bronx Tourism Council and creating the BCA Development Corporation to develop arts-related workforce and entrepreneurial initiatives. Mr. Aguado recently served as a consultant to help shape the vision and development of the Bronx Music Heritage Center (BMHC) that will celebrate the musical heritage of the Bronx by showcasing the multiple genres archiving its cultural impact in the borough. In retirement, Mr. Aguado continues his commitment to the community and the people of the Bronx. His current board affiliations include: the Hostos Community College Foundation, Bronx Works and En Foco. Valerie Capers Pianist, composer, arranger and educator Valerie Capers was born in the Bronx in 1935 to parents who grew up in Harlem during the Harlem Renaissance. At age 6, she was blinded by a misdiagnosed streptococcal infection and received her early schooling at the New York Institute for the Education of the Blind (graduated valedictorian). She went on to obtain both her bachelor's and master's degrees from The Juilliard School of Music (first blind graduate). She served on the faculty of the Manhattan School of Music, and from 1987 to 1995 was chair of the Department of Music and Art at Bronx Community College of the City University of New York (CUNY), where she is now professor emerita. Her outstanding work as an educator has been lauded throughout the country as being both innovative and impressive. Susquehanna University awarded her the honorary degree of Doctor of Fine Arts in 1996, and Doane College (Crete, Nebraska) and Bloomfield (New Jersey) College (along with Wynton Marsalis) both awarded her honorary doctorates in 2004. Recent teaching and workshop venues include Doane College, Stanford University, the Cleveland (Ohio) public school system, St. Thomas (United States Virgin Islands) high schools, Brigham Young University (Provo, Utah) and the Mozarteum conservatory, Salzburg, Austria. Among the awards and commissions she has received are the National Endowment for the Arts, including a special-projects grant to present a jazz series at the Bronx Museum of the Arts, Meet the Composer, the CUNY Research Foundation, the Smithsonian, and The Fund for Artists of Arts International. Three of Ms. Capers' most noted extended compositions are Sing About Love, the critically acclaimed Christmas cantata produced by George Wein at Carnegie Hall; Sojourner, an operatorio based on the life of Sojourner Truth, performed and staged by the Opera Ebony Company of New York; and Song of the Seasons, a song cycle for voice, piano and cello (which has been recorded several times) was both commissioned by the Smithsonian Institute and premiered in Washington, D.C., at the invitation of the Smithsonian, and performed at Weill Recital Hall in New York City. Ms. Capers has recorded five albums. She has also performed with a roster of outstanding artists, including Dizzy Gillespie, Wynton Marsalis, Ray Brown, Mongo Santamaria, Tito Puente, Slide Hampton, Max Roach, James Moody and Paquito D'Rivera, among others. Throughout her career, Ms. Capers has appeared on numerous radio and television programs, including Marian McPartland's Piano Jazz (1983 and 1998/2006–rebroadcast) and Branford Marsalis' JazzSet. Adventures of Wagner in Jazz, a special program created by National Public Radio (NPR), and About Music (two separate programs, "Traditions and Personalities in Jazz Piano" and "American Composer and Piano Virtuoso: Louis Moreau Gottschalk") were all broadcast on KBYU-FM in Provo, Utah, and carried throughout the country on NPR. Valerie Capers was the first recipient of Essence magazine's "Women of Essence Award for Music," where she was in the elite company of fellow honorees Oprah Winfrey and Marla Gibbs. Michael Balick Michael J. Balick is Vice President for Botanical Science and Director and Philecology Curator of the Institute of Economic Botany at the New York Botanical Garden (NYBG). He is considered to be one of the world’s foremost ecobotanists. For nearly three decades, Dr. Michael Balick has studied the relationship between plants and people, working with traditional cultures in tropical, subtropical, and desert environments. He is a specialist in the field known as ethnobotany, working with indigenous cultures to document their plant knowledge, understand the environmental effects of their traditional management systems, and develop sustainable utilization systems-while ensuring that the benefits of such work are always shared with local communities. Dr. Balick also conducts research in New York City, studying traditional healing practices in ethnic communities of the urban environment. In addition to ethnobotany, Dr. Balick is an expert on the palm family, an economically important family of plants in the tropics. To date, he has conducted 56 international expeditions to carry out fieldwork in countries including, Belize, Bolivia, Brazil, China, Columbia, Costa Rica, Egypt, Federated States of Micronesia, Haiti, Honduras, India, Israel, Jamaica, Mexico, Peru, Sri Lanka, Trinidad, Thailand, and Venezuela. His fieldwork also takes him to the fruit and vegetable markets and botanicas of New York City. In 1981 he co-founded NYBG's Institute of Economic Botany with Sir Ghillean Prance. It has become the largest and most active program of its kind in the nation. The Institute is devoted to furthering knowledge of the relationship between plants and people, and includes an interdisciplinary staff of biological and social scientists. Numerous graduates from the Institute's Ph.D. program have achieved important positions around the world, helping to promote the Garden's focus on reinvigorating the fields of ethnobotany and economic botany. He has been active in ethnopharmacological investigations-the search for plants with medicinal properties, particularly in Belize where his research aided in the formation of the world's first ethno-biomedical forest reserve. He co-founded the Ix Chel Tropical Research Foundation, a center in Belize devoted to traditional healing and cultural preservation. From 1986-1996 he helped lead the Garden's collaboration with the US National Cancer Institute to survey Central and South America and the Caribbean for plants with potential applications against cancer and AIDS. As part of this work, Dr. Balick established numerous collaborations between communities, governmental and non-governmental organizations, and institutions in the United States and Europe all working towards the common theme of discovering plants with potential therapeutic uses. Currently he is working on an encyclopedic treatment of the useful plants of Belize, in collaboration with Dr. Rosita Arvigo. He is also involved in an ethnobotanical and floristic survey of the Federated States of Micronesia, in particular the island of Pohnpei and its outer atolls. Floristic information collected will provide baseline information for conservation planning as the region prepares to meet the "Micronesia Challenge" (protect 30% of near-shore marine resources and 20% of terrestrial habitats throughout Micronesia by 2020). This work
Load more

Recommended publications
  • View Centro's Film List
    About the Centro Film Collection The Centro Library and Archives houses one of the most extensive collections of films documenting the Puerto Rican experience. The collection includes documentaries, public service news programs; Hollywood produced feature films, as well as cinema films produced by the film industry in Puerto Rico. Presently we house over 500 titles, both in DVD and VHS format. Films from the collection may be borrowed, and are available for teaching, study, as well as for entertainment purposes with due consideration for copyright and intellectual property laws. Film Lending Policy Our policy requires that films be picked-up at our facility, we do not mail out. Films maybe borrowed by college professors, as well as public school teachers for classroom presentations during the school year. We also lend to student clubs and community-based organizations. For individuals conducting personal research, or for students who need to view films for class assignments, we ask that they call and make an appointment for viewing the film(s) at our facilities. Overview of collections: 366 documentary/special programs 67 feature films 11 Banco Popular programs on Puerto Rican Music 2 films (rough-cut copies) Roz Payne Archives 95 copies of WNBC Visiones programs 20 titles of WNET Realidades programs Total # of titles=559 (As of 9/2019) 1 Procedures for Borrowing Films 1. Reserve films one week in advance. 2. A maximum of 2 FILMS may be borrowed at a time. 3. Pick-up film(s) at the Centro Library and Archives with proper ID, and sign contract which specifies obligations and responsibilities while the film(s) is in your possession.
    [Show full text]
  • Copyright by Omaris Zunilda Zamora 2013
    Copyright by Omaris Zunilda Zamora 2013 The Report Committee for Omaris Zunilda Zamora Certifies that this is the approved version of the following report: Let the Waters Flow: (Trans)locating Afro-Latina Feminist Thought APPROVED BY SUPERVISING COMMITTEE: Supervisor: Jossianna Arroyo Jennifer Wilks Let the Waters Flow: (Trans)locating Afro-Latina Feminist Thought by Omaris Zunilda Zamora, B.A. Report Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin December 2013 Dedication I dedicate this body of work to some of the most influential women in my life. Mom, you motivate me to be a warrior and to always keep up the good fight. To my sister, Omandra: I honestly, don’t know where my brain and my heart would be if you weren’t always there to remind me of who I am and where we are going. To my black sisters who are always sharing words of wisdom and dropping knowledge, continue being who you are. Acknowledgements I want to thank everyone who supported me every step of the way to make this work come to fruition. Professors Jossianna Arroyo, Jennifer Wilks, Luis Cárcamo-Huechante, and Cesar Salgado: thank you for your support and guidance in approaching this work, for sharing your perspective with me, and giving me the necessary feedback to continue re-thinking my project. I also want to take the time to thank my partner William García for his moral support in approaching life’s challenges and motivating me to keep going even when everything seemed physically impossible.
    [Show full text]
  • Tehc <4)Ttmatt
    tEhc <4)ttMatt lUf ^ Friday, February 5,1981/ Siena College, Albany, New York Volume XXII, No. 6 Fr. Benjamin Kuhn Succombs to Heart Attack By PAULA CACOSSA Staff Writer well behaved. Over the years, Father Ben Fifty two years ago, Father Ben Kuhn saw the student body change as a whole. came to Loudonville. to be one of the He often remarked that today's students are Founding Fathers of Siena College. Last more serious about their studies and very year, Father Ben slipped in the Friary where ernest compared to years back. This he upon he broke his leg. This caused him to thought was caused by the high tuition, the Harry Belafonte addresses Siena students, January 19, in the ARC. move to the Friar's Provincial Infirmary in necessity of a good education and how much (Photo courtesy of Public Relations)Warwick , New York. On Sunday evening, more competitive life is today. January 31, Father Ben passed away after (Continued on page 3) Belafonte Stresseshavin g a heart attack two weeks before. Youm's Role * in Future He pointed out that it is partly his By MICHAEL CLEMENS generation's fault and partly die fault of the Staff writer education system. "Have we truly sought to Entertainer Harry Belafonte, a close illuminate—to give a greater understanding associate of Martin Luther King, Jr., stated to each other?" he asked. "Have we endowed that there is a need for change now just as schools with the real feeling of what it was there was a need in King's time in his address like?" Both were answered negatively.
    [Show full text]
  • Pichon-Race-And-Revolution-In-Castros
    CARLOS MOORE A Memoir RACE AND REVOLUTION IN CASTRO’S CUBA Library of Congress Cataloging-in-Publication Data Moore, Carlos. Pichón : revolution and racism in Castro's Cuba : a memoir / Carlos Moore. p. cm. Includes index. ISBN 978-1-55652-767-8 1. Moore, Carlos. 2. Race discrimination—Cuba. 3. Cuba—Race relations. I. Title. F1789.A1M66 2008 305.896'07291092—dc22 [B] 2008010751 Photos courtesy of Carlos Moore unless otherwise noted. Page ix: National Memorial African Bookstore, Photographs and Prints Division, Schomburg Center for Research in Black Culture, The New York Public Library, Astor, Lenox and Tilden Foundations Interior design: Jonathan Hahn Copyright © 2008 by Carlos Moore All rights reserved Published by Lawrence Hill Books An imprint of Chicago Review Press, Incorporated 814 North Franklin Street Chicago, Illinois 60610 ISBN 978-1-55652-767-8 Printed in the United States of America 5 4 3 2 1 My destiny is to travel a different road. —Claude McKay DEDICATION This book is dedicated to: Evaristo Estenóz, Pedro Ivonnet, and the thousands of black Cubans who heeded their call in 1912 at the expense of their lives. My family, Shawna, Ayeola, Kimathi, Adriana, Rosana, Kimathy. My parents, Sibylin Winifred Rebecca Wedderburn, Gladys King, Vic- tor Theodore Moore, Whitfield Dacosta Marshall. My brothers and sisters of the Moore-Wedderburn-King branch: Richard, Esther, Victor Jr., Franklyn, Martha, Lloyd, Marie, Lawrence. My brothers and sisters of the Marshall-Stewart branch: Regina, Ricardo, Arturo, Mercedes, Dorita, Adys, Leonel. My spiritual family: Maya Angelou, Rex Nettleford, Marcia Lord, Iva Carruthers, Margaret Busby, Patrícia Valdés, Micheline Lombard, Francine Cornely, Alex Haley, Sylvia Boone, Claudia Mitchell-Kernan, Mery Diagne, Lelia Gonzalez, Abdias Nascimento, Walterio Carbonell, Marc Balin, Aimé Césaire, Alioune Diop, Malcolm X, Cheikh Anta Diop.
    [Show full text]
  • 2020 PDI Speaker Bios
    2020 Virtual Professional Development Institute Keynote Presenter Bettina Love, Ph.D. Georgia Athletic Association Endowed Professor in Education University of Georgia Dr. Bettina L. Love is an award-winning author and the Athletic Association Endowed Professor at the University of Georgia. She is one of the field’s most esteemed educational researchers. Her writing, research, teaching, and activism meet at the intersection of race, education, abolition, and Black joy. Dr. Love is concerned with how educators working with parents and communities can build communal, civically engaged schools rooted in Abolitionist Teaching with the goal of intersectional social justice for equitable classrooms that love and affirm Black and Brown children. In 2020, Dr. Love co-founded the Abolitionist Teaching Network (ATN). ATN’s mission is simple: develop and support teachers and parents to fight injustice within their schools and communities. In 2020, Dr. Love was also named a member of the Old 4th Ward Economic Security Task Force with the Atlanta City Council. Dr. Love is a sought-after public speaker on a range of topics, including: Abolitionist Teaching, anti-racism, Hip Hop education, Black girlhood, queer youth, Hip Hop feminism, art-based education to foster youth civic engagement, and issues of diversity and inclusion. She is the creator of the Hip Hop civics curriculum GET FREE. In 2014, she was invited to the White House Research Conference on Girls to discuss her work focused on the lives of Black girls. For her work in the field of Hip Hop education, in 2016, Dr. Love was named the Nasir Jones Hiphop Fellow at the Hutchins Center for African and African American Research at Harvard University.
    [Show full text]
  • Expressing Afro- and Latino/A Identities in the United States
    Como Ser Afro-Latino/a? – Expressing Afro- and Latino/a Identities in the United States Jordan V Kifer A thesis submitted in partial fulfillment of the requirement for the degree of BACHELORS OF ARTS WITH HONORS Program in International and Comparative Studies University of Michigan Advised by Dr. Teresa Satterfield Kifer 2 Acknowledgements Firstly, to the people I interviewed, I thank you so deeply for allowing me briefly into your lives, both past and present. Your words held more truth and light for me than you can ever know and as you continue with your own journeys I thank you for being part of mine. Con cariño sincero. I would also like to thank my advisor, Teresa Satterfield, without whose guidance this thesis would not have come to fruition. I am incredibly grateful to have worked with Professor Satterfield over the past several years and have learned so much during this time. Her advice, comments and willingness to work with me in all stages of the writing process were critical in helping me to grow as a researcher. Thanks to Georgia Ennis for her time and assistance. Through her thoughtful consideration of her own identity as researcher, student and cultural outsider, she provided wonderful guidance for how I considered mine. I would also like to express my gratitude to Dash Harris, whose work on Latino/a identity inspired much of my own and who patiently answered my questions about conducting interviews on issues relating to race and identity. Additionally I would like to thank the many professors, friends and classmates who discussed the elements of this thesis throughout its evolution and for providing important and illuminating feedback.
    [Show full text]
  • EUQINOM Gallery, San Francisco, CA ​ Migrations and Meaning(S) in Art, Curated by Dr
    E U Q I N O M ​ g a l l e r y ​ ADAMA DELPHINE FAWUNDU www.delphinefawundu.com EDUCATION 2018 MFA Visual Arts, Columbia University School of the Arts, New York, NY Co-Publisher/Founder, MFON: Women Photographers of the African Diaspora, an organization promoting the works of women photographers through exhibitions, grants, and photo salons and publishing. SOLO EXHIBITIONS/PERFORMANCE 2020 Tingoi, Granary Arts, Ephraim, UT ​ 2019 Homage to My Hips, A Solo Performance, Wadsworth Atheneum Museum of Art, Hartford, CT ​ Sacred Star of Isis & Other Stories, Museum of the African Diaspora, San Francisco, CA ​ No Wahala, It’s All Good, A Spiritual Cypher within the Hip Hop Diaspora, Photoville NY, Brooklyn, NY ​ Tales from the Mano River, Miller Theater at Columbia University, NY ​ Sacred Star of Isis & Other Stories, African American Museum in Philadelphia, PA ​ Sacred Star of Isis, Crush Curatorial, New York, NY ​ 2018 Meet Me in Another World, Columbia University School of the Arts, Wallach Gallery, New York, NY ​ 2015 I Am Here: Girls Reclaiming Safe Spaces, Skylight Gallery, Brooklyn, New York, NY ​ 2013 In A Time of Change: Black & Latino Males, Jackson State University, Jackson, MI ​ Touched: Women Living with HIV, NYU/Center for Multicultural Ed. Programs, New York, NY ​ 2012 In A Time of Change: Black & Latino Males , Museum of Contemporary African Diasporan Arts, NYC ​ 2011 Touched: Women Living With HIV, El Museo del Barrio/World AIDS Day, NYC ​ 2010 Touched: Women Living With HIV NYC , Toured various small venues for HIV Advocacy ​ Tivoli A Place We Call Home, The Brooklyn Historical Society, Brooklyn, NY ​ SELECT GROUP EXHIBITIONS 2020 Four Artists, EUQINOM Gallery, San Francisco, CA ​ Migrations and Meaning(s) in Art, curated by Dr.
    [Show full text]
  • Jazz Religion, the Second Line, and Black New Orleans
    African American Turner “Turner straddles religions, music, the “A well-written, Jazz Religion, performance arts, languages, nationalities, well-researched, Jazz Religion and identities skillfully . with aplomb, with thoughtful, and the Second Line, brio, in a language all his own that sings.” generative book.” Patrick Bellegarde-Smith, George Lipsitz, and Black New Orleans University of Wisconsin, Milwaukee University of California, Richard Brent Turner Santa Barbara This book explores the history and contemporary Richard Brent Turner significance of the popular religious traditions, identi- is Professor of Religious ties, and performance forms celebrated in the second Studies and African lines of the jazz street parades of black New Orleans. American Studies at the The second line is the group of dancers who follow University of Iowa and the first procession of church and club members, brass author of Islam in the bands, and grand marshals. Here musical and reli- African-American Experi- gious traditions interplay. Jazz Religion, the Second ence (Indiana University Line, and Black New Orleans examines the relation- Press, 2nd ed., 2003). In the ship of jazz to indigenous religion and spirituality. It late 1990s, Turner lived in explores how the African diasporist religious identi- New Orleans while teach- ties and musical traditions—from Haiti and West and ing at Xavier University. Central Africa—are reinterpreted in New Orleans jazz and popular religious performances, while describ- ing how the participants in the second line create their own social space and become proficient in the arts of political disguise, resistance, and performance. $21.95 Cover illustration: Funeral INDIANA procession, New Orleans. Courtesy University Press the Ralston Crawford Collection I Bloomington & Indianapolis of Jazz Photography, Hogan Jazz ndiana www.iupress.indiana.edu Archive, Tulane University.
    [Show full text]
  • JOIN the CONVERSATION #THEARTOFJUSTICE the Art Of
    The Art of Justice Articulating an Ethos and Aesthetic of the Movement To join the conversation via Twitter use hashtag #THEARTOFJUSTICE Follow @CCCADI and @NYUARTSPOLITICS WIFI GuestID: guest1 Password: dspatett For more information about the conference, presenters and JOIN THE CONVERSATION resources, visit www.theartofjusticeconference.com #THEARTOFJUSTICE www.theartofjusticeconference.com STATEMENT From the Organizing Committee In Memory of Our Ancestors THE ART OF JUSTICE: Abbey Lincoln Grace Lee Boggs Max Roach Articulating an Ethos and Aesthetic of the Movement Abdul Rahman Grace Paley Maya Anjelou A One-Day Conference Aishah Rahman Henrietta Engel Michael Babatunde Al Loving Herman Engel Olatunji “We knew we heard Monk and Mongo differently; Trane’s tenor seized Albert Ayler Holt Fuller Miriam Makeba our spirit, shook our consciousness while Miles blue thru a cold trumpet Alvin Ailey Ingrid Mongo Santamaria that cooled the asphyxiating heat of our collective hell in America… Ours Amiri Baraka Washinawatok Nana Gus Dinizulu was the first American aesthetic revolution.” -Felipe Luciano 2015 Andrew Hill Jack Tchen Nina Simone Art Williams Jacob Lawrence Nora Astorga Welcome to the first in a three part series of conversations focused on Arthur Hall James Baldwin Odetta the role of culture and art as integral to the actions of individuals, Baba Oserjiman Adefumi James Brown Ornette Coleman advocacy movements to claim their right to culture, racial, civil and social Barbara Ann Teer Jane Cortez Oscar Micheaux justice. Understanding
    [Show full text]
  • Ike Sturm John Clayton Ed Cherry Roseanna Vitro
    165201_HH_Jan_0 12/24/15 9:04 AM Page 1 THE LATIN SIDE OF HOT HOUSE P39 January 2016 www.hothousejazz.com Jazz at Kitano Page 21 The 9th Note Page 25 Roseanna Vitro Ed Cherry John Clayton Ike Sturm APAP Page 10 Saint Peter's Church Page 10 Where To Go & Who To See Since 1982 165201_HH_Jan_0 12/24/15 9:04 AM Page 2 2 165201_HH_Jan_0 12/24/15 9:04 AM Page 3 3 165201_HH_Jan_0 12/24/15 9:04 AM Page 4 4 165201_HH_Jan_0 12/24/15 9:04 AM Page 5 5 165201_HH_Jan_0 12/24/15 9:04 AM Page 6 WWW.BLUENOTEJAZZ.COM 6 165201_HH_Jan_0 12/24/15 9:04 AM Page 7 7 165201_HH_Jan_0 12/24/15 9:30 AM Page 8 8 165201_HH_Jan_0 12/24/15 9:04 AM Page 9 9 165201_HH_Jan_0 12/24/15 9:04 AM Page 10 WINNING SPINS By George Kanzler ITH MANY WAYS TO APPROACH tional spiritual at all, but Jerome Kern's the spiritual impulse in music, two "Old Man River" from the Broadway musi - bWassists take very different routes to reli - cal Showboat. Jones fashions an impro - gion-based music on the albums compris - vised intro over a repeating high range ing this Winning Spins. One is quite litur - ostinato from Clayton's bass, easing into gical, the other more homespun and folksy, the familiar melody in octaves and chords; but both are rooted in jazz. then the two weave improvised lines John Clayton enlists the late pianist around the tune in a fast repartee, each Hank Jones for a duet session dominated soloing before returning for a more skeletal by traditional Negro Spirituals, while Ike rendering of the refrain.
    [Show full text]
  • I V Movement IS the Moyuba Critical Orisha Dance Pedagogy By
    Movement IS the Moyuba Critical Orisha Dance Pedagogy by Namajala Naomi Milagros Washington Roque Tené Dance Program Duke University April 15th, 2021 Approved: ___________________________ Ava LaVonne Vinesett, Committee Chair ___________________________ J. Lorand Matory, Committee Member ___________________________ Michael Klien, Committee Member Thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Art in the Dance Program of Duke University 2021 i v ABSTRACT Movement IS the Moyuba Critical Orisha Dance Pedagogy by Namajala Naomi Milagros Washington Roque Tené Dance Program Duke University April 15th, 2021 Approved: ___________________________ Ava LaVonne Vinesett, Committee Chair ___________________________ J. Lorand Matory, Committee Member ___________________________ Michael Klien, Committee Member An abstract of a thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Dance Program in the Graduate School of Duke University 2021 Copyright by Namajala Naomi Milagros Washington Roque Tené 2021 Abstract In Cuban Lucumí practice, the Orisha are deities in a divine hierarchy. My artistic research showcases the development of my critical Orisha dance pedagogy as facilitated in a tWo-day event entitled the Orisha Dance Fête. Contemporarily, Orisha dance can be edified in tWo distinct contexts: the studio/folkloric context and the ceremonial context. Methodologies for instruction and dissemination of Orisha dance are influenced by social, cultural, and political events and processes in Cuban and U.S. American history. Yet, Within these historical processes, dancers, instructors, and practitioners have continuously developed and negotiated the terms by which Orisha dance and Orisha ceremonial movement are taught either in the studio/folkloric context or in the ceremonial context.
    [Show full text]
  • Needs and Supports of Canadian and US Ethnocultural Arts Organizations
    Figuring the Plural: Needs and Supports of Canadian and US Ethnocultural Arts Organizations Mina Para Matlon, Ingrid Van Haastrecht, Kaitlyn Wittig Mengüç School of the Art Institute of Chicago/Art Institute of Chicago 2014 This project was supported in part or in whole by an award from the Research: Art Works program at the National Endowment for the Arts: Grant# 13-3800-7011. The opinions expressed in this paper are those of the author(s) and do not necessarily represent the views of the Office of Research & Analysis or the National Endowment for the Arts. The NEA does not guarantee the accuracy or completeness of the information included in this report and is not responsible for any consequence of its use. Figuring the Plural Written, edited, and compiled by Mina Para Matlon Ingrid Van Haastrecht Kaitlyn Wittig Mengüç © 2014 by Plural All rights reserved. Published 2014. Printed in the United States of America Plural (http://pluralculture.com) is a project based out of the School of the Art Institute of Chicago and dedicated to supporting Canadian and US ethnocultural arts organizations. The Plural project co-leads gratefully acknowledge the generous support of this research project by the Joyce Foundation, National Endowment for the Arts, and the School of the Art Institute of Chicago. Text material (excluding artwork that appears as text such as script excerpts and poems) may be reprinted without permission for any non- commercial use, provided Plural is properly credited and its copyright is acknowledged. Permission to reproduce photographs or other artwork, or the artistic discipline profiles separate from the work as a whole, must be obtained from the copyright owner listed in the relevant credit.
    [Show full text]