2017-2018 Report
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Table of Contents
TABLE OF CONTENTS Introduction ........................................................................................................................................ 1 Overview Strategic Funding .................................................................................................................. 2 Arts Discipline Funding ......................................................................................................... 3 Loan Fund ............................................................................................................................. 4 Operations ............................................................................................................................. 5 Preliminary Results of Increased Grants Funding ............................................................................. 6 2013 Allocations Summary ................................................................................................................ 7 Income Statement & Program Balances for the quarter ended December 31, 2013 ........................ 8 Strategic Funding 2013 Partnership Programs .......................................................................................................... 9 Strategic Partnerships ........................................................................................................... 10 Strategic Allocations .............................................................................................................. 11 Recipient Details .................................................................................................................. -
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EDITOR MANAGING EDITOR ADVISORY BOARD David Scott Vanessa Agard‑Jones Edward Baugh Kamau Brathwaite EDITORIAL COMMITTee EDITORIAL ASSISTANT Erna Brodber Yarimar Bonilla Nijah Cunningham Edouard Duval Carrié Charles Carnegie Rhonda Cobham Kaiama L. Glover PRODUCTION Edwidge Danticat Erica James MANAGER/ J. Michael Dash Aaron Kamugisha COPYEDITOR Locksley Edmondson Roshini Kempadoo Kelly S. Martin Stuart Hall Martin Munro Robert Hill Melanie Newton TRANSLATOR, FRENCH George Lamming Matthew Smith Nadève Ménard Kari Levitt Rupert Lewis COPYEDITOR, FRENCH Earl Lovelace Alex Martin Sidney Mintz Sandra Pouchet Paquet GRAPHIC DESIGNER Caryl Phillips Juliet Ali Gordon Rohlehr Verene Shepherd Maureen Warner‑Lewis Sylvia Wynter The Small Axe Project consists of this: to participate both in the renewal of practices of intellectual criticism in the Caribbean and in the expansion/revision of the horizons of such criticism. We acknowledge of course a tradition of social, political, and cultural criticism in and about the regional/diasporic Caribbean. We want to honor that tradition but also to argue with it, because in our view it is in and through such argument that a tradition renews itself, that it carries on its quarrel with the generations of itself: retaining/revising the boundaries of its identity, sustaining/ altering the shape of its self‑image, defending/resisting its conceptions of history and community. It seems to us that many of the conceptions that guided the formation of our Caribbean modernities—conceptions of class, gender, nation, culture, race, for example, as well as conceptions of sovereignty, development, democracy, and so on—are in need of substantial rethinking. What we aim to do in our journal is to provide a forum for such rethinking. -
Report to the Asor Board of Trustees from the Officer’S Nominations Committee – Spring 2013
REPORT TO THE ASOR BOARD OF TRUSTEES FROM THE OFFICER’S NOMINATIONS COMMITTEE – SPRING 2013 1) We have fulfilled our mission and are presenting a nominee for President, see below. 2) The next anticipated expiration of a term is that of the VP, whose term ends in December, 2014. This will be followed by Secretary and Treasurer in December 2015 and, if all goes well, President in December 2016. It must be noted that each of these are first terms and that a second term is a possibility in each case. 3) The members of the Officers Nominations Committee serve for three year renewable terms and will begin rotating off. The Committee is a sub-set of the Board and will rotate in such a manner to coincide with the end of Board terms, while maintaining as much continuity as possible. NOMINATION TO THE BOARD FOR PRESIDENT OF ASOR The ASOR Officers Nominations Committee is pleased to present our nominee for President of ASOR to the Board of Trustees for consideration of election at the Board’s April 20, 2013 Meeting. That nominee is Dr. Susan Ackerman, Preston H. Kelsey Professor of Religion at Dartmouth University. We conducted a search in which we culled our original list of about 15 people who were presented by the ASOR membership to the Committee down to a short list of quite qualified candidates. From these we received, in addition to their CV, a document discussing their vision for both ASOR and their role as President in the Organization. After reading and considering these documents we interviewed the top candidates and then met to discuss our findings. -
Chronology of Events
CHRONOLOGY OF EVENTS ll quotes are from Spectator, Columbia’s student-run newspaper, unless otherwise specifed. http://spectatorarchive.library.columbia A .edu/. Some details that follow are from Up Against the Ivy Wall, edited by Jerry Avorn et al. (New York: Atheneum, 1969). SEPTEMBER 1966 “After a delay of nearly seven years, the new Columbia Community Gymnasium in Morningside Park is due to become a reality. Ground- breaking ceremonies for the $9 million edifice will be held early next month.” Two weeks later it is reported that there is a delay “until early 1967.” OCTOBER 1966 Tenants in a Columbia-owned residence organize “to protest living condi- tions in the building.” One resident “charged yesterday that there had been no hot water and no steam ‘for some weeks.’ She said, too, that Columbia had ofered tenants $50 to $75 to relocate.” A new student magazine—“a forum for the war on Vietnam”—is pub- lished. Te frst issue of Gadfy, edited by Paul Rockwell, “will concentrate on the convictions of three servicemen who refused to go to Vietnam.” This content downloaded from 129.236.209.133 on Tue, 10 Apr 2018 20:25:33 UTC All use subject to http://about.jstor.org/terms LII CHRONOLOGY OF EVENTS Te Columbia chapter of Students for a Democratic Society (SDS) orga- nizes a series of workshops “to analyze and change the social injustices which it feels exist in American society,” while the Independent Commit- tee on Vietnam, another student group, votes “to expand and intensify its dissent against the war in Vietnam.” A collection of Columbia faculty, led by Professor Immanuel Wallerstein, form the Faculty Civil Rights Group “to study the prospects for the advancement of civil rights in the nation in the coming years.” NOVEMBER 1966 Columbia Chaplain John Cannon and ffeen undergraduates, including Ted Kaptchuk, embark upon a three-day fast in protest against the war in Vietnam. -
2006 Annual Conference Program Sessions
24 CAA Conference Information 2006 ARTspace is a conference within the Conference, tailored to the interests and needs of practicing artists, but open to all. It includes a large audience session space and a section devoted to the video lounge. UNLESS OTHERWISE NOTED. ALL ARTSPACE EVENTS ARE IN THE HYNES CONVENTION GENTER, THIRD LEVEl, ROOM 312. WEDNESDAY, FEBRUARY 22 ------------------- 7:30 AM-9:00 AM MORNING COFFEE, TEA, AND JUICE 9:30 AM-NOON SlOPART.COM BRIAN REEVES AND ADRIANE HERMAN Slop Art corporate representatives will share popular new product distribution and expression-formatting strategies they've developed to address mounting consumer expectation for increasing affordability, portability, familiar formatting, and validating brand recognition. New franchise opportunities, including the Slop Brand Shippable Showroom™, will be outlined. Certified Masterworks™ and product submission guidelines FREE to all attendees. 12:30 PM-2:00 PM RECENT WORK FROM THE MIT MEDIA LAB Christopher Csikszelltlnihalyi, a visual artist on the faculty at the MIT Media Lab, coordinates a presentation featuring recent faculty work from the MIT Media Lab; see http;llwww.media.mit.edu/about! academics.htm!. 2:30 PM-5:00 PM STUDIO ART OPEN SESSIOII PAINTING Chairs; Alfredo Gisholl, Brandeis University; John G. Walker, Boston University Panelists to be announced. BOSTON 25 THURSDAY, FEBRUARY 23 2:30 PM-5:00 PM STUDIO ART OPEN SESSIOII 7:30 AM-9:00 AM PRINTERLY PAINTERLY: THE INTERRELATIONSHIP OF PAINTING AND PRINTMAKING MORNING COFFEE, TEA, AND JUICE Chair: Nona Hershey, Massachusetts College of Art Clillord Ackley, Museum of Fine Arts, Boston 9:00 AM-5:30 PM Michael Mazur, independent artist James Stroud, independent artist, Center Street Studio, Milton Village, VIDEO lOUNGE: EXPANDED CINEMA FOR THE DIGITAL AGE Massachusetts A video screening curated by leslie Raymond and Antony Flackett Expanded Cinema emerged in the 19605 with aspirations to explore expanded consciousness through the technology of the moving image. -
Deposit and Copying Declaration Form
The Life of the Mind: An Intellectual Biography of Richard Hofstadter Andrew Ronald Snodgrass Jesus College This dissertation is submitted for the degree of Doctor of Philosophy November 2018 Abstract The Life of the Mind: An Intellectual Biography of Richard Hofstadter Andrew Ronald Snodgrass Despite his death in 1970, Richard Hofstadter’s work continues to have an enduring influence in American political culture. Yet despite the continued and frequent use of his interpretations in public discourse, his reputation within historical scholarship remains, to a large degree, shaped by perceptions that were formed towards the end of his career. The narrative pervades of Hofstadter as the archetypal New York intellectual who rejected his youthful radicalism for political conservatism which, in turn, shaped his consensus vision of the past. These assessments reflect the biographical tendency to read a life and career backwards. From such a vantage point, Hofstadter’s work is viewed through the prism of his perceived final position. My dissertation challenges the accepted narrative by considering his writing in the context of the period of time in which it was written. In doing so, it is evident that his work belies attempts to reduce his scholarship to reflections of a shifting political standpoint. Whilst it is undoubted that Hofstadter’s historical and political view changed through time, there was a remarkable consistency to his thought. Throughout his career, his writing and lectures were suffused with a sense of the contingency of truth. It was the search for new uncertainties rather than the capture of truth which was central to his work. -
Mapping Caribbean Cyberfeminisms
1 1 Mapping Caribbean Cyberfeminisms Tonya Haynes Caribbean cyberfeminisms are diverse, heterogeneous, and polyvocal. Net- works may be simultaneously national, regional, global, transnational, and dias- poric.Through practices of media creation, curating, (re)blogging, (re)tweeting, sharing, and commenting across multiple social media platforms, Caribbean fem- inist knit together an online community that is often linked to on-the-ground or- ganizing and action. Online feminist practices are therefore rich archives for the study of Caribbean feminisms. To date, scholarly work on women’s and feminist movements in the region has failed to document and analyze these practices and sites of activism. Similarly, Caribbean feminist critiques of technology and new me- dia are not well developed.The essay attends to this gap by offering a partial and preliminary mapping Caribbean cyberfeminisms primarily through documentation and analysis of Caribbean feminist blogs. The murder of Japanese pannist Asami Nagakiya at Trinidad and Tobago’s carni- val generated international headlines.The mayor of Port of Spain, Raymond Tim Kee, seemed to blame Nagakiya for her own death, couching the violence against her as a result of “vulgarity and lewdness in conduct,” underscoring that “women have a respon- sibility to ensure they are not abused.”1 Trinidadian women (and men) assembled outside City Hall to demand the mayor’s resignation.They also shifted the public conversation on gender-based violence away from what they deemed “victim-blaming” and “slut- shaming” toward one of state accountability and respect for women’s autonomy and bodily integrity. The leaders of the feminist organization womantra2 were among those 1 Sean Douglas,“Mayor: Beware Dangerous Sub-cultures,” Trinidad and Tobago Newsday, 11 February 2016, http://www.newsday.co.tt/news/0,223841.html. -
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OHIO I ST.\TE the I • QUE E R'l ,,,\ LIMITof ,, BLACI< MEMORY BLACK LESBIAN LITERATURE AND IRRESOLUTION MATT RICHARDSO J. II I : CONTENTS Acknowledgments ix INTRODUCTION Listening to the Archives: Black Lesbian Literature and Queer Memory 1 CHAPTER 1 Desirous Mistresses and Unruly Slaves: Neo-Slave Narratives, Property, Power, and Desire 21 CHAPTER 2 Small Movements: Queer Blues Epistemologies in Cherry Muhanji's Her 57 CHAPTER 3 "Mens Womens Some that is Both Some That is Neither": Spiritual Epistemology and Queering the Black Rural South in, the Work of Sharon Bridgforth 83 CHAPTER 4 "Make It Up and Trace It Back": Remembering Black Trans Subjectivity in Jackie Kay's Trumpet 107 CHAPTER 5 What Grace Was: Erotic Epistemologies and Diasporic Belonging in Dionne Brand's In Another Place, Not Here 136 EPILOGUE Grieving the Queer: Anti-Black Violence and Black Collective Memory 159 169 Notes 199 Index INTRODUCTION Listening to the Archives Black Lesbian Literature and Queer Memory he Museum of the African Diaspora (MoAD) is a recent structure that has emerged as a monument to Black mem- ory. Opened in San Francisco in December of 2005, the museum is literally positioned between archives. Located near Union Square, the museum stands across the street from the Cali- fornia Historical Society, and a few doors down from, the San Francisco Gay, Lesbian, Bisexual, Transgender (GLBT) Archives. Each one of these institutions holds pieces of Black history, but there is no single structure that houses a satisfactory story. For a Black queer subject like me, standing between these institutions brings into stark relief the fractured and incomplete nature of the archives. -
THE BLUE and WHITE Vol
THE BLUE AND WHITE Vol. VII, No. I September 2000 Columbia College, New York NY <SE> THE CULT OF THE COLUMBIA PROFESSOR by Dimitri Portnoi VENDING MACHINES REVIEWED THE LIVING LEGACIES PROJECT by Mariel L. Woljson An Introduction by Prof. Wm. Theodore de Bary Columns 3 I ntroduction 7 B l u e J 14 M e a s u r e f o r M e a s u r e 16 T o l d B e t w e e n P u f f s 21 C u r i o C o l u m b i a n a 22 C a m p u s G o s s ip Features 4 “Living Legacies” Introduced 9 The Cult of the Professor 11 Vending Machines Reviewed 17 “A Clearing in the Distance” 19 Volunteering Guide * About the Cover: “Apotheosis” by Matthew Rascoff Graphics by: Clare H. Ridley; Barbarossa $ T ypographical N o t e The text of The Blue and IVhite is set in Bodoni Old Face, which was designed by ^2 j Günter Gerhard Lange for Berthold. The dis play faces are Weiss, created by Rudolf Weiss T he B lu e a n d W h ite THE BLUE AND WHITE V o l. V II N ew Y o r k, S eptem ber aooo No. I THE BLUE AND WHITE University archive located in Low Library. The magazine’s mission, as expressed by Editor Editor-in-Chief Sydney Treat C’1893, was: MATTHEW RASCOFF, C’Ol to give bright and newsy items, which are of inter Publisher est to all of us, combined with truthful comments on the same, in order to show clearly the exact tone of C. -
Ay 2017-2018
THE UNIVERSITY OF THE WEST INDIES ST. AUGUSTINE CAMPUS INSTITUTE FOR GENDER AND DEVELOPMENT STUDIES ST. AUGUSTINE UNIT REPORT TO THE REGIONAL PLANNING AND STRATEGY COMMITTEE FOR THE PERIOD MAY 31, 2017 TO JUNE 1, 2018 FOR THE FACE TO FACE MEETING JUNE 13 AND 14, 2018 CAVE HILL CAMPUS, BARBADOS Group photo with visitors to the Institute, Ms Usha Maharaj, business woman and partner of Chancellor Bermudez, and the University Director of the IGDS, Prof. Opal Palmer Adisa. Also in photo Professor Rhoda Reddock, Dr. Gabrielle Hosein, and IGDS staff and graduate students. TABLE OF CONTENTS EXECUTIVE SUMMARY 2–9 MILESTONES 10 Understanding the UWI brand as Activist University 2 Reflection 9 TEACHING AND LEARNING 11–14 Undergraduate Teaching for Reporting Period 11 Graduate Teaching for Reporting Period 12 Short Courses - Summer Teaching 12 Graduates | Graduate Programme Achievements 13 Graduate Research Seminars 14 RESEARCH AND PUBLICATIONS 15–17 Caribbean Review of Gender Studies - Online Journal 15 Making of Feminisms in the Caribbean 16 Edited Collections - Books 17 Edited Collections - Journals 18 – 20 RESEARCH AND OUTREACH 21–26 Research Projects 21 – 23 Networks 24 – 26 OUTREACH ACTIVITIES AND EVENTS 27–34 Symposia | Public Fora | Lunchtime Seminars 27 – 29 Workshops and Presentations 30 Collaborations: Significant Days / Activism 31 – 33 Collaborations: Partnerships 34 OUTREACH AND MOBILIZATION 35–38 IGDS Streams: Reach, Next, Ignite, Gold, CV+, Future Fund, Impact 35 – 38 APPENDIX I - IGDS STAFFING 2016/2017 39 APPENDIX II - STAFF PROFILES 40 Dr. Gabrielle Hosein – Lecturer and Head of Institute 41 – 45 Prof Patricia Mohammed – Professor of Gender and Cultural Studies 46 – 50 Prof. -
Submerged Bodies the Tidalectics of Representability and the Sea in Caribbean Art
Submerged Bodies The Tidalectics of Representability and the Sea in Caribbean Art ELIZABETH DELOUGHREY Department of English and the Institute for the Environment and Sustainability, University of California, Los Angeles, USA TATIANA FLORES Departments of Latino and Caribbean Studies and Art History, Rutgers, the State University of New Jersey, USA Dedicated to Tony Capellán (1955–2017) and Kamau Brathwaite (1930–2020) Dès la plus lointaine enfance (From the very beginning) la mer te met en accord cosmique (the sea puts you in cosmic harmony) avec les êtres, les lieux, les plantes, (with all beings, all places) les animaux, les pierres, les pluies (all plants and animals, rocks and rain) et les fables enchantées du monde (and all of the world’s enchanting stories). —René Depestre, “Mère caraïbe” (Caribbean Mother), translated by Anita Sagátegui Abstract Recent scholarship in the blue humanities, or critical ocean studies, has turned to the mutable relationship between human bodies and the ocean, shifting from depictions of a seascape across which human bodies attain agency to considering the experience and rep- resentability of sea ontologies, wet matter, and transcorporeal engagements with the more- than-human world. This work generally focuses on a universalized ocean (as nonhuman na- ture) rather than a geographically and culturally specific place (as history). The authors’ work turns the visual focus from the surface to the depths, engaging with the Caribbean Sea and contemporary artists who depict a gendered oceanic intimacy and aesthetics of diffrac- tion and submergence. Building upon the 2017 exhibition Relational Undercurrents: Contempo- rary Art of the Caribbean Archipelago, curated by Tatiana Flores, this article expands the con- versation from the archipelagic to the submarine, engaging “tidalectic” representations of underwater bodies through ontologies and aesthetics of diffraction. -
Haiti @ the Digital Crossroads: Archiving Black Sovereignty
1 1 Haiti @ the Digital Crossroads: Archiving Black Sovereignty Marlene L. Daut In the spirit of Papa Legba (a Haitian lwa who is the arbiter of the crossroads between the human and nonhuman worlds), this essay examines the challenges and opportunities presented when using a digital humanities approach to archiving early Haitian sovereignty, a critical but often forgotten part of the story of the making of the modern world-system. Abdul JanMohamed and David Lloyd have written about “archival work, as a form of counter-memory” that is “essential to the critical articulation of minority discourse.” However, because archives, like other kinds of texts, reflect the worldview of their creators, the archivist working to articulate “minority discourse” must be careful not to reproduce patterns of domination or cultural exploitation. For Haiti, this means that we must work against the idea that the abundant historical resources now made readily (and often freely) available by various digitization projects, represent a “new frontier” for research, an idea that encourages the notion that the country is “open for business” on a variety of levels. Instead, by using the metaphor of the crossroads, this essay demonstrates how a multimodal approach—involving content, context, collaboration, and access—can allow for alternative ways of (humanely) archiving black sovereignty. Dedicated to the memory of Denise Groce (1958–2018) Introduction There are two major poles in contemporary discourse about Haiti: what Robert Lawless has called “Haiti’s bad press,” on the one hand, and the resonant, opposing concept of “new narratives,” called for by scholars such as Gina Athena Ulysse, Kaiama L.