The Bennington Summer School of the Dance Oral History Project, 1978–1979: A History of Sensibilities

2018 ◽  
Vol 50 (1) ◽  
pp. 24-46
Author(s):  
Sanja Andus L'Hotellier
Keyword(s):  
Oral History ◽  
Summer School ◽  
Columbia University ◽  
Dance History ◽  
Educational Project ◽  
Starting Point ◽  
History Of ◽  
Big Four

In line with the thinking of Laurence Louppe calling for a reevaluation and problematisation of oral sources within a dance history framework, this paper sets out to examine the extensive archive of the Bennington Summer School of the Dance Oral History Project, conducted between 1978 and 1979 and housed today at Columbia University. By taking as a starting point the dancer's voice at the heart of the educational project conceived by Martha Hill and Mary Jo Shelly, a different dance history of the thirties begins to emerge, bringing to the fore the dancer's evolving experience that constitutes a true Bennington archive, set against the backdrop of the “Big Four” ultimately not part of the project.

scholarly journals “The 1990s Wasn’t Just a Time of Bandits; We Feminists Were Also Making Mischief!”

Aspasia ◽  
2020 ◽  
Vol 14 (1) ◽  
pp. 20-36
Author(s):  
Julie Hemment ◽  
Valentina Uspenskaya
Keyword(s):  
Gender Studies ◽  
Young Women ◽  
The Political ◽  
Educational Project ◽  
Starting Point ◽  
History Of ◽  
Twentieth Anniversary ◽  
And Gender ◽  
Distinguishing Features ◽  
East West

In this forum, we reflect on the genesis and history of the Tver’ Center for Women’s History and Gender Studies—its inspiration and the qualities that have enabled it to flourish and survive the political changes of the last twenty years, as well as the unique project of women educating women it represents. Inspired by historical feminist forebears, it remains a hub of intergenerational connection, inspiring young women via exposure to lost histories of women’s struggle for emancipation during the prerevolutionary and socialist periods, as well as the recent postsocialist past. Using an ethnographic account of the center’s twentieth anniversary conference as a starting point, we discuss some of its most salient and distinguishing features, as well as the unique educational project it represents and undertakes: the center’s origins in exchange and mutual feminist enlightenment; its historical orientation (women educating [wo]men in emancipation history); and its commitment to the postsocialist feminist “East-West” exchange.

scholarly journals Oral History of Charles R. Wright (1927-2017)

2019 ◽  
Author(s):  
Jefferson Pooley
Keyword(s):  
Oral History ◽  
Graduate Student ◽  
Mass Communication ◽  
Columbia University ◽  
Mass Communications ◽  
Communication Research ◽  
Graduate Course ◽  
History Of ◽  
School Faculty ◽  
Annenberg School

A distinguished sociologist of mass communication, Charles (Charlie) Wright was noted for his functionalist analysis of media as codified in the 1959 book Mass Communication. Wright joined the Annenberg School faculty in 1969. Over the span of 45 years, and well after his formal retirement in 1996, Wright taught generations of Annenberg students--notably his signature graduate course, Sociology of Mass Communications. That course--and indeed Wright’s career-long project to instill a sociological sensibility into communication research--had its roots in his mid–1950s teaching as a Columbia University graduate student and instructor.

Time Layers, Time Leaps, Time Loss

2017 ◽  
Author(s):  
Christina Thurner
Keyword(s):  
Literary Theory ◽  
Time Loss ◽  
Dance History ◽  
Time And Space ◽  
Alternative Models ◽  
Starting Point ◽  
History Of

The crisis of historiography, diagnosed by postmodern theorists, is taken as a basis of methodological reflections on dance history/historiography. This chapter asks if and how dance as art and theory reflects on the problem of history and about the potential of a critical reworking, accounting, or narration of a history or histories proper to dance. Concerning the constructive character of historiography, the chapter discusses alternative models of historiography taken from other disciplines (especially literary theory) as they relate to dance and ultimately lay the foundation of a nonvectorial, “spatialized” historiography of dance. It points out that writing an alternative history of dance takes as its starting point the enmeshed model of a network, or a choreographic contemporaneity of the noncontemporaneous. Danced reenactments finally are understood as choreographic juxtapositions, as reflections of moving scenes in relation to each other in time and space, or rather through times and spaces.

scholarly journals Miejsce rzeczywiste – miejsce wyobrażone: nieistniejąca dzielnica żydowska w Lublinie we wspomnieniach mieszkańców

2015 ◽  
Vol 5 ◽  
pp. 5-33 ◽  
Author(s):  
Marta Kubiszyn
Keyword(s):  
Oral History ◽  
Religious Groups ◽  
Symbolic Space ◽  
Nazi Occupation ◽  
Starting Point ◽  
Cultural Determinants ◽  
History Of ◽  
Architectural Structures ◽  
Oral History Interviews

Jews constituted one of the most important ethnic and religious groups in the history of Lublin. Under the Nazi occupation the Lublin Jewish quarter was turned into a ghetto. In March 1942, after the liquidation of the ghetto, the area was knocked down. And so, extermination of Jews was accompanied by destruction of the local architectural structures and urban layout which had been developed over a few centuries. The article discusses contemporary narratives relating to the no longer existing Jewish quarter. The processes of remembering and forgetting, as well as recurring constructing of this kind of narratives will be analyzed in relation to the oral history interviews taken by the author in the years 1998–2005 as part of the documentary programme “Oral History of Lublin” run by the “Brama Grodzka – Teatr NN” Centre. The analyses are a starting point for searching the answer to questions about historical, social and cultural determinants of creating (reconstructing) the narrative about the Jewish quarter – as a place in a topographical sense and a symbolic space of cultural otherness.

scholarly journals Edukacyjne implikacje projektu dokumentacyjnego i animacyjnego w środowisku lokalnym – między teorią a praktyką. „Historia Mówiona Miasta Lublina” Ośrodka Brama Grodzka – Teatr NN

2012 ◽  
Vol 2 ◽  
pp. 101-121
Author(s):  
Marta Kubiszyn
Keyword(s):  
Oral History ◽  
Community Education ◽  
Methodological Approach ◽  
Individual Level ◽  
Research Technique ◽  
Starting Point ◽  
Academic Publications ◽  
History Of ◽  
Educational Potential ◽  
The City

Despite the fact that there are more and more contemporary academic publications on the subject of oral history understood as an element of research technique, as a separate research technique or as a specific theoretical and methodological approach, rarely do we see thorough analyses of educational potential of oral history projects realized by various institutions all over Poland. In the available publications and websites one can find information and instruction material that can serve as a starting point for the delivery of documentation projects, however, there are still few educational proposals that go beyond recording, editing and archiving of accounts. Although possibilities of using oral history in broadly understood educational field are noticed, few researches try to include this subject into broader context of contemporary pedagogical theories, concepts developed on the basis of cultural animation or discussions concerning activities for commemorating the past.  In the presented article matters relating to education and pedagogical potential of social projects using oral history technique, are analyzed in three overlapping areas, including: shaping of competences at an individual level (by people taking part in an oral history project), creation – at an institutional level – of the educational offer targeted at local communities as well as artistic projects realized by individuals and institutions with the use of oral history narrations. In the next part of the article those questions are analyzed in the context of experience with self-government cultural institution – ‘Grodzka Gate – NN Theatre’ Centre in Lublin realizing a documentation and animation project ‘Oral History of the City’, which was delivered with the perspective of broadly understood community education and it was targeted at supporting processes of reading and (re-)interpreting multicultural past of the city. 

Mülteci olmak: Mersin’de yaşayan Filistinli mültecilerin göç hikâyeleri

2016 ◽  
Vol 3 (2) ◽  
pp. 200-224
Author(s):  
Bilge Deniz Çatak
Keyword(s):  
Oral History ◽  
Daily Life ◽  
Palestinian Refugees ◽  
Emotional Bonds ◽  
The World ◽  
History Of ◽  
Oral History Interviews ◽  
Refugee Experience

Filistin tarihinde yaşanan 1948 ve 1967 savaşları, binlerce Filistinlinin başka ülkelere göç etmesine neden olmuştur. Günümüzde, dünya genelinde yaşayan Filistinli mülteci sayısının beş milyonu aştığı tahmin edilmektedir. Ülkelerine geri dönemeyen Filistinlilerin mültecilik deneyimleri uzun bir geçmişe sahiptir ve köklerinden koparılma duygusu ile iç içe geçmiştir. Mersin’de bulunan Filistinlilerin zorunlu olarak çıktıkları göç yollarında yaşadıklarının ve mülteci olarak günlük hayatta karşılaştıkları zorlukların Filistinli kimlikleri üzerindeki etkisi sözlü tarih yöntemi ile incelenmiştir. Farklı kuşaklardan sekiz Filistinli mülteci ile yapılan görüşmelerde, dünyanın farklı bölgelerinde mülteci olarak yaşama deneyiminin, Filistinlilerin ulusal bağlılıklarına zarar vermediği görülmüştür. Filistin, mültecilerin yaşamlarında gelenekler, değerler ve duygusal bağlar ile devam etmektedir. Mültecilerin Filistin’den ayrılırken yanlarına aldıkları anahtar, tapu ve toprak gibi nesnelerin saklanıyor olması, Filistin’e olan bağlılığın devam ettiğinin işaretlerinden biridir.ABSTRACT IN ENGLISHPalestinian refugees’ lives in MersinIn the history of Palestine, 1948 and 1967 wars have caused fleeing of thousands of Palestinians to other countries. At the present time, its estimated that the number of Palestinian refugees worldwide exceeds five million. The refugee experience of Palestinians who can not return their homeland has a long history and intertwine with feeling of deracination. Oral history interviews were conducted on the effects of the displacement and struggles of daily life as a refugee on the identity of Palestinians who have been living in Mersin (city of Turkey). After interviews were conducted with eight refugees from different generations concluded that being a refugee in the various parts of the world have not destroyed the national entity of the Palestinians. Palestine has preserved in refugees’ life with its traditions, its values, and its emotional bonds. Keeping keys, deeds and soil which they took with them when they departed from Palestine, proving their belonging to Palestine.

The Modernities of H. Lawrence Freeman

2019 ◽  
Vol 72 (3) ◽  
pp. 719-779
Author(s):  
David Gutkin
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Reception History ◽  
Black Press ◽  
Late Nineteenth Century ◽  
Starting Point ◽  
History Of ◽  
Late Nineteenth ◽  
White Press ◽  
Grand Opera

H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,” mediated between disparate and sometimes apparently irreconcilable figurations of the modern that spanned the late nineteenth century through the interwar years: Wagnerism, uplift ideology, primitivism, and popular music (including, but not limited to, jazz). I focus on Freeman's inheritance of a worldview that could be called progressivist, evolutionist, or, to borrow a term from Wilson Moses, civilizationist. I then trace the complex relationship between this mode of imagining modernity and subsequent versions of modernism that Freeman engaged with during the first decades of the twentieth century. Through readings of Freeman's aesthetic manifestos and his stylistically syncretic musical corpus I show how ideas about race inflected the process by which the qualitatively modern slips out of joint with temporal modernity. The most substantial musical analysis examines leitmotivic transformations that play out across Freeman's jazz opera American Romance (1924–29): lions become subways; Mississippi becomes New York; and jazz, like modernity itself, keeps metamorphosing. A concluding section considers a broader set of questions concerning the historiography of modernism and modernity.

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