Malleable Environments and the Pursuit of Spatial Justice in the Bronx

Leonardo ◽  
2014 ◽  
Vol 47 (4) ◽  
pp. 337-343
Author(s):  
Melanie Crean
Keyword(s):  
New York ◽  
New York City ◽  
User Generated Content ◽  
South Bronx ◽  
Spatial Justice ◽  
Locative Media ◽  
Starting Point ◽  
Media Platform ◽  
Mobile Cinema ◽  
Point Neighborhood

A design team in the Hunts Point neighborhood of the South Bronx used methodologies of performance and collaborative, location-based storytelling to contend with the effects of urban spatial injustice in the community. Ideation via a series of participatory performances led to creation of a mobile cinema application as the starting point for public, location-based cinema walks. The application accepts user-generated content, acting as a new form of generative monument to the neighborhood as it evolves. The project exemplifies how installing situated technologies for an embodied form of participation can help translate local concerns to outside audiences, in this case using a metaphorical, locative media platform to discuss the evolving nature of environmental discrimination, over-incarceration, and urban spatial justice in New York City.

scholarly journals Human remains of Ovaherero and Nama

2018 ◽  
Vol 4 (2) ◽  
pp. 90-106
Author(s):  
Elise Pape
Keyword(s):  
United States ◽  
New York ◽  
New York City ◽  
Human Remains ◽  
The United States ◽  
American Museum ◽  
Structured Interviews ◽  
Anthropological Study ◽  
Starting Point ◽  
Struggle For Recognition

Taking its starting point from a socio-anthropological study combining biographical interviews, semi-structured interviews and ethnographic observations collected between 2016 and 2018 in Germany, France and the United States among Ovaherero and Nama activists, and also members of different institutions and associations, this article focuses on the question of human remains in the current struggle for recognition and reparation of the genocide of the Ovaherero and Nama from a transnational perspective. First, the text shows the ways in which the memory of human remains can be considered as a driving force in the struggle of the affected communities. Second, it outlines the main points of mismatches of perspective between descendants of the survivors and the responsible museums during past restitutions of human remains from German anthropological collections. Third, the article more closely examines the resources of Ovaherero in the United States in the struggle for recognition and reparation, the recent discovery of Namibian human remains in the American Museum of Natural History in New York City and the questions that it raises.

scholarly journals The Alert Collector: Hip Hop in the United States

2016 ◽  
Vol 55 (3) ◽  
pp. 215
Author(s):  
Holly Boyer
Keyword(s):  
United States ◽  
New York ◽  
New York City ◽  
Hip Hop ◽  
Social Issues ◽  
Symphony Orchestra ◽  
The United States ◽  
South Bronx ◽  
Gangsta Rap ◽  
American Society

Hip hop is a ubiquitous part of American society in 2015—from Kanye West announcing his future presidential bid to discussions of feminism surrounding Nikki Minaj’s anatomy, to Kendrick Lamar’s concert with the National Symphony Orchestra, to Questlove leading the Tonight Show Band, hip hop has exerted its influence on American culture in every way and form.Hip hop’s origin in the early 1970s in the South Bronx of New York City is most often attributed to DJ Kool Herc and his desire to entertain at a party. In the 1980s, hip hop continued to gain popularity and speak about social issues faced by young African Americans. This started to change in the 1990s with the mainstream success of gangsta rap, where drugs, violence, and misogyny became more prominent, although artists who focused on social issues continued to create. The 2000s saw rap and hip hop cross genre boundaries, and innovative and alternative hip hop grew in popularity.

scholarly journals A EXPOSIÇÃO “GRAFITTI: NEW YORK MEETS THE DAM” DO MUSEU DE AMSTERDÃ ENQUANTO UMA ZONA DE CONTATO

2020 ◽  
Vol 17 (33) ◽  
pp. 275
Author(s):  
Leonardo Gonçalves Ferreira
Keyword(s):  
New York ◽  
New York City ◽  
Contact Zone ◽  
York City ◽  
Narrative Construction ◽  
Starting Point ◽  
The City

O presente artigo objetiva analisar a exposição Graffti: New York meets the Dam, do Museu de Amsterdã, enquanto uma zona de contato (CLIFFORD, 2016). Esta exposição foi realizada entre 2015 e 2016, em parceria com o Museu da cidade de Nova York, uma vez que no início da década de 1980, ocorreu um encontro, em Amsterdã, entre grafteiros estadunidenses e holandeses, o que modifcou profundamente o grafte produzido na cidade. O propósito, assim sendo, é analisar, a partir da exposição, se as representações das assimetrias e dos confrontos do encontro entre grafteiros de Amsterdã e de Nova York estão presentes na construção narrativa da exposição e conferem a mesma o caráter de uma zona de contato.Palavras-chave: Museus. Exposição. Zona de contato. Grafite.“GRAFITTI: NEW YORK MEETS THE DAM” EXHIBITION AT AMSTERDAM MUSEUM AS A CONTACT ZONESummaryThis article aims to analyze the Graffiti exhibition: New York meets the Dam, of the Amsterdam Museum, as a contact zone (CLIFFORD, 2016). This exhibition was held between 2015 and 2016 in partnership withthe New York City Museum, since the early 1980s there was a meeting between American and Dutch graffiti artists in Amsterdam, which profoundly changed the graffiti produced in the city. The purpose, therefore,is to analyze, taking the exhibition as a starting point, if the representations of the asymmetries and the confrontations of themeeting between graffiti artists of Amsterdam and New York are present in the narrative construction of the exhibition and confer to it the character of a contact zone.Keywords: Museums. Exhibition. Contact zone. Graffiti.

Kindred Spirits

2016 ◽  
Author(s):  
Steve Zeitlin
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Homeless People ◽  
Way Of Life ◽  
The South ◽  
South Bronx

In this chapter, the author shares the wisdom and wit of some extraordinary people, the “kindred spirits,” as well as the lessons he has learned from each of them, such as Tony Butler, who made his home in the tunnels of the New York City subway; the photographer Margaret Morton, who took pictures of the structures where many homeless people live in the tunnels and under the bridges of Manhattan; Ethel Mohamed, a seamstress who began to embroider her memories after the death of her Lebanese husband; Moishe Sacks, a retired baker and the unofficial rabbi of the Intervale Jewish Center in the South Bronx; Kewulay Kamara, from whom he learned about how an ancient mythology can shape a way of life far from its indigenous roots; former medicine show doc Fred Bloodgood; the young subway graffiti writer Skeme; and Mae Noell, from whom he learned about publishing, finding your voice, and sticking to your guns. The author concludes by recounting some wonderful expressions he has picked up from his travels.

scholarly journals Battling in the Bronx: Social Choreography and Outlaw Culture Among Early Hip-Hop Streetdancers in New York City

2018 ◽  
Vol 50 (2) ◽  
pp. 62-75 ◽  
Author(s):  
Imani Kai Johnson
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Hip Hop ◽  
Growing Up ◽  
The South ◽  
South Bronx ◽  
Life Lessons ◽  
Social Choreography ◽  
The Impact

This article closely examines oral histories of b-boys Aby and Kwikstep, b-girl Baby Love, and poppers Cartoon and Wiggles, and the social choreography necessary to navigate the streets of the South Bronx in the 1970s and 1980s that has an indelible link to four core battling principles as articulated by 1970s b-boy Trac2: survivalism, strategizing, nomadism, and illusionism. By comparing and contrasting foundational elements of battling techniques with life lessons about growing up in the Bronx, the comparison signals the impact of “outlaw culture” within hip-hop, and the counterdominant sensibilities taught in battle cyphers.

A 1939 World's Fair Souvenir Plate

2012 ◽  
Vol 12 (4) ◽  
pp. 8-10
Author(s):  
shax riegler
Keyword(s):  
New York ◽  
New York City ◽  
The United States ◽  
World's Fair ◽  
Starting Point ◽  
The Everyday ◽  
The Common ◽  
The One ◽  
The City

The 1939 World's Fair in New York City celebrated the future—“The World of Tomorrow”—while also commemorating the one-hundred-and-fiftieth anniversary of George Washington's inauguration as first president of the United States. (His swearing-in ceremony had taken place in the city.) This essay examines the odd juxtaposition of imagery depicting both events on a blue-and-white transfer-printed ceramic souvenir plate from the fair. In the central portion of the plate, a god-like Washington, seen from behind, stands on a neoclassical balcony gazing out over the fairgrounds toward the iconic Trylon and Perisphere; around the rim small illustrations show several of the significant structures at the fair. Using the plate as a starting point, this essay considers the contemporary significance of and enduring interest in the fair. It explores the role of food and food-related displays at the fair, and it offers an explanation for the style and form of this particular plate, and other souvenir plates, intended for display yet also referencing the everyday functionality of the common household dinner plate.

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