Arts, Culture And Resistance

[Notes From The Frontline]

Atlantis! We’ve known each other since she was just 2.

Only, somehow, suddenly, this annoying spoiled child, is 6-feet-tall, in her stylish, satrapy, high-heeled slippers. Elegantly arrayed in an evening gown, her hair swept up, her neck and ears adorned by sparkling rhinestones, Atlantis has become a young woman, all grown up!

Last week, along with 100 other well-wishers, I attended an intergenerational party in honor of her graduation from Hunter College.

Near Marcus Garvey Park, on 121st Street, her parents’ Victorian row-house is a perfect place for an impressive blowout. With most of the furniture removed, despite the throng and the heat, a steady breeze from the high windows and frosty, tropical punch, kept everyone dancing comfortably to the DJ’s nostalgic selections.

The “baby” of her family, her parents make a striking pair. Habitually wreathed in smiles, Carman is a native of Guyana. Not long ago she was lovingly described by her dotting husband, resting on their bed, after her bath, as appearing like, “a seal on the beach”.

Ordinarily affable, pallid and skinny Axel was born in Germany so, sometimes his stern side does surface, particularly, if he’s espousing his anarchist political views. But there was none of that, not the other night. All eyes then and all thoughts too, were on a radiant lady at the threshold of a useful and meaningful life. It’s a life that’s been well planed for and carefully thought out. She intends to lead it, right where she was born, in Harlem.

It’s not merely because, as an adolescent, Atlantis introduced me to one of my favorite TV programs, that makes me look up to her. More important is her independent spirit and determination to succeed. Watching Sex In The City together, that first time, her great insight astonished me.

Initially ecstatic, because the hottest guy at her gym had gone out with her, the character, Miranda, best known for declaring later that she wouldn’t be caught dead living in Brooklyn, gloated to her friends with pride. Only, the more assertive and less needy she becomes, the more distant and turned off “Mr. Adonis” seems.

“Oh my goodness”, exclaimed my precocious companion, a 14 year old, “she is ‘lettin’ him make her lose her self esteem!” How could one help but to hold in high regard such a self-confident girl?

Alright, I confess, Like Miranda, from Sex In The City, I’m one of “those”, too. Snooty, lazy, irrational, I’m a Manhattanite, loath to leave local splendors to laboriously venture to Brooklyn. In a way, our position is perfectly reasonable. There is so much to do, to see, conveniently here—why bother, to go elsewhere?

For those of us who are African American , or who admire Harlem of yesteryear, there are two excellent reasons to visit the “city of churches.”

The fourth largest urban area in the nation, before it became a part of New York in 1898, Brooklyn’s historic significance, to people of color, pales compared to Harlem’s. Only thanks to gentrification, now, it’s Brooklyn that boast the region’s biggest Black population. As a result, it’s also become home to many of the restaurants, night clubs, shops and other ethnic repositories of culture, that are not always so easily found in an ever more assimilated Harlem .

“Is the whole world crazy?” That was the rhetorical question raised by my friend, Malcolm Harris, the handsome fashion designer who founded the activist group, Designers for Darfur. It was opening night for Alvin Ailey at BAM. We were being given a hard time about our tickets, by an officious young man in charge of public relations. He made us miss the first piece. Yet, after turning down wheelchair seats, ultimately, we were placed in one of the opulent auditorium’s commodious, always empty, boxes; put there by a courteous and understanding Black usher. This proved, once again, how important perseverance is.

Completed in 1908, as the Brooklyn Academy of Music, BAM is an ornately embellished architectural masterpiece that was designed by theatre specialist Herts & Tallant. They were also the designers of Harlem’s lost Polo Ground’s grandstand. Their building at BAM is reminiscent of the earlier, stylistically more flamboyant Harlem Opera House, that was torn down in 1970.

Resident at BAM from 1969-1971, the Ailey troupe’s return to Brooklyn after a 35 year plus absence, was a part of their 50th anniversary celebration. Followed by a lively party, flawlessly executed, their performance featured three audience favorites. Highly appreciative, at every opportunity, the capacity crowd , that included notables like Joan Rivers, greeted the dancers with abandoned applause and lusty cheering.

Establishing his award winning, classically trained company in 1958, brilliant Black dancer-turned choreographer, Alvin Ailey, was as passionate about life, as he was about art. The first time we met was over 20 yeas ago. We were both engaged in a favorite, highly pleasurable diversion.

In those days, shopping at the extraordinary, untidy and disorganized, combination thrift store-antique shops, found all over Harlem , was a guaranteed “cheap-thrill”. Among dusty piles of indifferent merchandise one was liable to find anything from a Serves vase to a Van der Zee photograph.

Ordinarily, $15 was my limit, for these purchases which always filled me with delight. This afternoon, first seeing Ailey, I made an exception. Chatting breezily with the proprietor, he’d seemed familiar. Was he someone I’d seen on TV?

As knurled as the Chinese philosopher’s stone he was considering on the counter, it was Alvin Ailey’s bare, aching, dancer’s feet, that gave his identity away. Alas, because of the interest he expressed in a pair of rock crystal-like, engraved Lucite obelisk I’d spotted, I’d had to pay the full $35 being asked.

But, this incident, leading to laughs and a friendly conversation about mutual friends, had provided the opportunity to meet an admired hero. It also helped me make up my mind about my antique fix. Sadly, not long afterward, Alvin Ailey died.

Emphasized by the tumultuous reception at BAM, it’s pretty evident that the maestro’s legacy lives on. Like me, many present have seen Ailey’s famous dance, Revelations, the grand finale, literally dozens of times. And, still, when it ends, jumping to our feet, we cheer and clap with glee! Why?

Partly, what it is that keeps one riveted watching Revelations, is Ailey’s sure juxtaposition. He’s constantly contrasting “life’s big picture”, with the varied intimate episodes of everyday. In each act, much as in a battle scene or an orgy, in a movie, apart from the general action, there’s individual activity that also commands one’s attention.

As recognizable as they are magnificent and timeless, the longing spirituals that score this dance, are also integral to its power. You need not be Christian or even necessarily religious to be moved by the music’s magic. Along with the dancers evocative movement, it can compel anyone with a modicum of understanding about what it is to struggle to be human.

Even while accomplishing feats of athletic virtuosity, worthy of an Olympic gold medal, the dancers are always smiling. We are too far away to notice their heroic effort, to observe either, their fierce panting for breath or perspiration that flies, like showers of rice at a wedding. So splendidly muscled, brimming with vigorous energy, from where we sit, they seem to be some separate, elevated species, removed from poor ordinary weight-watching mortals.

This is why, for me at least, the experience of the dance, always includes my musing, “will I ever, again, find romance with someone so exquisite?” Women, my friend Atlantis assures me, are not burdened by these petty carnal distractions, but I wonder?

It’s also perplexing to contemplate, how these dancers, manage to bring such brio to each presentation, that it seems to us, that they’re experiencing it for the first time?

Imposing, bald and beautiful, Judith Jamison, who succeeded Alvin Ailey as company director in 1989, insist, “it’s Alvin, he wrote the drama that makes his work new to you each time, in each piece!”

A faun-like Parisian, who says he’s danced Revelations some 107 times; Willy Laury, more pragmatically explains how the performers have the challenge of dancing a different role each time they appear.

Sylvia Waters, my neighbor, who runs Ailey II, credits both the richness of the choreography, as well as its varied demands, with giving Revelations an always changing vitality. “Let’s face it”, she says, “Notwithstanding its lofty status, It’s a modern classic, but it rocks!”.

What is the nature of the genius of Black style, of Black art? Long held apart, held back, we’ve evolved with our own parallel universe of cultural achievement. Undeniably, it’s been heavily informed and even imbued by white influences. But, all the same, it’s somehow different. Some maintain, that this difference, contrasted with the ennui inducing predictability of America’s moribund European-derived cultural offerings, makes Black culture better?

This was what we were discussing at a round table, after BAM, at Chez Josephine, my favorite restaurant at Mid-Town Manhattan on 43rd Street. It’s a homey kind of place, not unlike renowned Harlem spots from back-in-the-day, such as the long gone Jocks, on 125th Street. 

A whole lot of the intoxicating atmosphere  found here, is due to exceptional old-school entertainers. Crowned by an extravagant hat, playing piano standing up, the inimitable Sarah McLawler and her sidekick, swinging trumpeter, Jean Davis, are supreme jazz stylist. Short and sassy, Boncellie Lewis, on the other hand, is a soul-singer! That lady can make one weep, belting out the blues from a vast repertoire of sentimental love ballads.

Ageless, elfin Jean-Claude Baker, sporting a coral-colored silken tunic, befitting one of the “rainbow tribe” of children adopted the legendary artist Josephine Baker, is our host. Nothing short of a secular shrine, dedicated to the ultimate Auntie Mame-type of guardian some of us once craved, Jean-Claude’s place is as festive as a bacchanalia and as subtlety decorated as a Christmas tree.

As he’s providing us with excellent champagne, so cold and so good, we know not to be too disagreeable. It’s he who declares jazz and Black dance to be superior to any white counterpart. This prompts me to recall thoughts expressed earlier at BAM, by Brooklyn Councilmember, Leticia James. “How important it is having Ailey here again !”, she’d shouted, “It’s so important for young people in my district to see all the possibilities of what people who look like us can do given the chance.”

Recounting this caused Jean-Claude to denounce public schools, postulating, the absurdity of failing to teach little children, living in Harlem or Brooklyn, with low expectations and little hope of becoming the model, actor, hip-hop star, or sports giant of their dreams and then to denounce them for finding a little pleasure and needed income, from sex or drugs: “Before my mother rescued me, the limited world of most children in Harlem, that was my world too.” Then, for a second time Malcolm Harris asked, “Is the whole world crazy?”

Round and round, and back and forth we went. More champagne, then food arrived, lobster bisque, salmon tartar, Chinese ravioli, fraise bois, with ice cream, coffee, port.

Utterly undeterred by the repeated necessity of rising and leaving us to greet an arriving guest or bid those departing, “adieu”, our host more than held his own. Everyone agreed, that the unlikely triumph of Senator Barack Oboma, was an encouraging miracle.

It wasn’t until after the port arrived that Malcolm Harris really got started. Before that, Senator John McCain was being criticized, but in a general way. After a while, for the fashion designer, this wasn’t good enough.

“Is McCain crazy?”, he asked? “His president and his party have been in charge for nearly eight years. They’re the ones who lied about WMD, about the war. They’re the ones who lost what they started. Who, but they can be blamed for $4-plus gasoline? Can you even remember Gray Davis, the Governor of California ? He was pushed aside through a devious manipulation of deregulated energy. Artificially, people like Bush, people like McCain, didn’t they make fuel prices skyrocket then? That’s the same thing happening now, and they’re the ones, people like Cindy and John McCain.”

“And Amanda Mortimer Burden”, I added insistently. “Yhea, Amanda Mortimer Burden too, who are benefiting. They deregulated the S&L’s, leading directly to the sub-prime mortgage crisis, right? Who else deserves credit for their mess? How, doing the same crap that led to the disaster we are all living, can John McCain, possibly be an agent of change now?”

This was enough to even silence Jean-Claude, if only for a moment. Following an affirmative grunt, he called out, “calvados for my friends!”


FOR ALL WHO WOULD LIKE TO JOIN THE HARLEM DEBATE, BE SURE TO COME OUT TO BILL T. JONES FORUM AT THE GATEHOUSE AT CITY COLLEGE, ON CONVENT AVENUE AT 135TH STREET, AT 7:PM ON THURSDAY JUNE 18TH

To comment, to subscribe to or advertise in New York’s leading Pan African weekly investigative newspaper, please call (212) 481-7745 or send a note to Milton@blackstarnews.com

Also visit out sister publications Harlem Business News www.harlembusinessnews.com publications and The Groove Music magazine www.thegroovemag.com

“Speaking Truth To Power.”

 

RankTribe™ Black Business Directory News – Arts & Entertainment

Artists to discuss Detroit Institute of Arts exhibition ‘Art of Rebellion: Black Art of the Civil Rights Movement’

As part of its commemoration of the 1967 Detroit rebellion, the Detroit Institute of Arts (DIA) presents panel discussions with several of the artists featured in the exhibition “Art of Rebellion: Black Art of the Civil Rights Movement” on Aug. 25 from 10 a.m. to noon and 1:30 to 3:30 p.m. The programs are free with museum admission, which is free for residents of Wayne, Oakland and Macomb counties.

From 10 a.m. to noon, Detroit artists Allie McGhee, Rita Dickerson, Tylonn Sawyer and Sydney James discuss their art, the Detroit art scene for African American artists from the 1960s to the present and issues surrounding the idea of African American art as being inherently political.

From 1:30 to 3:30 p.m., artists who jointed collectives, established in the 1960s as a means to combat racial, social and political injustices, will talk about the advantages of being a member of such an organiation. Artists Wadsworth Jarrell, Jae Jarrell, Anthony Barboza and Ademola Olugebefola will discuss their art as members of AfriCOBRA, Kamoinge and Weusi respectively.

“Civil, social and political justice issues from the 1960s and 70s are still relevant today,” said Salvador Salort-Pons, DIA director. “We are fortunate to have many of the artists who expressed their feelings and ideas about these issues with us to provide the history and context of their work both then and today.”

The discussions will be moderated by Valerie J. Mercer, curator and department head of the DIA’s GM Center for African American Art and Juana Williams, GM Center research assistant/intern for exhibitions and programs.

This program is organized by the General Motors Center for African American Art and sponsored by the Whitney Fund.

The museum is open until 10 p.m. on Fridays, and the DIA encourages visitors to see the “Art of Rebellion,” which has been generously supported by the Community Foundation for Southeast Michigan and the Whitney Fund while in the museum.

Image: “1967: Death in the Algiers Motel and Beyond,” 2017, Rita Dickerson, acrylic on canvas. Courtesy of the artist.

Museum Hours and Admission

9 a.m.–4 p.m. Tuesdays–Thursdays, 9 a.m.–10 p.m. Fridays, 10 a.m.–5 p.m. Saturdays and Sundays. General admission (excludes ticketed exhibitions) is free for Wayne, Oakland and Macomb county residents and DIA members. For all others, $14 for adults, $9 for seniors ages 62+, $8 for college students, $6 for ages 6–17. For membership information, call 313-833-7971.

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The Detroit Institute of Arts (DIA), one of the premier art museums in the United States, is home to more than 60,000 works that comprise a multicultural survey of human creativity from ancient times through the 21st century. From the first Van Gogh painting to enter a U.S. museum (Self-Portrait, 1887), to Diego Rivera’s world-renowned Detroit Industry murals (1932–33), the DIA’s collection is known for its quality, range and depth. The DIA’s mission is to create opportunities for all visitors to find personal meaning in art individually and with each other.

Also On The Michigan Chronicle:

RankTribe™ Black Business Directory News – Arts & Entertainment

Colorado Mesothelioma Victims Center Now Urges an Electrician or Electrical Worker with Mesothelioma in Colorado To Call for Attorney Suggestions-For A Better Compensation Result

Please do not fall for some disingenuous Internet ad that says nonsense about ‘no lawsuit needed’ and or they are some federally sponsored or VA ‘claims center-because this is nonsense”

— Colorado Mesothelioma Victims Center

NEW YORK, NEW YORK, USA, August 18, 2017 /EINPresswire.com/ — The Colorado Mesothelioma Victims Center is now urging an electrician or electrical worker anywhere in the state of Colorado who has mesothelioma to call them anytime at 800-714-0303 for suggestions about some of the nation’s top attorneys they should be talking to. There is a strong likelihood an electrician or electrical worker with mesothelioma in Colorado was also exposed to asbestos in other states. Multi state exposure to asbestos can dramatically increase the value of a mesothelioma compensation claim as the Center would like to discuss anytime. http://Colorado.MesotheliomaVictimsCenter.Com

High-risk work groups for exposure to asbestos in Colorado include US Navy Veterans, power plant workers, oil refinery workers, miners, manufacturing workers, plumbers, electricians, auto mechanics, machinists, or construction workers. In most instances, these types of workers were exposed to asbestos in the 1950’s, 1960’s, 1970’s, or 1980’s.

The Colorado Mesothelioma Victims Center says, “If we had one vital tip for an electrician or electrical worker in Colorado with mesothelioma it would be aim high when it comes to hiring an attorney. Some of the nation’s most skilled, experienced and capable mesothelioma attorneys will-definitely want to assist with your compensation claim. Please do not fall for some disingenuous Internet ad that says nonsense about ‘no lawsuit needed’ and or they are some federally sponsored or VA ‘claims center-because this is nonsense. As we would like to discuss with a person with mesothelioma in Colorado anytime at 800-714-0303-why do business with law firms that are involved in false advertising?” http://Colorado.MesotheliomaVictimsCenter.Com

The Colorado Mesothelioma Victims Center wants to emphasize theirs is a statewide initiative available to a diagnosed anywhere in Colorado including communities such as Denver, Colorado Springs, Golden Leadville, Brighton, Durango, or Parker.

For the best possible mesothelioma treatment options in Colorado the Colorado Mesothelioma Victims Center strongly recommends the following heath care facility with the offer to help a diagnosed victim, or their family get to the right physicians at this hospital: The University of Colorado Cancer Center for diagnosed victims in the Centennial State or the victim’s family:http://www.ucdenver.edu/academics/colleges/medicalschool/centers/cancercenter/Pages/CancerCenter.aspx.

The states indicated with the highest incidence of mesothelioma include Maine, Massachusetts, Connecticut, Maryland, New Jersey, Pennsylvania, Ohio, West Virginia, Virginia, Michigan, Illinois, Minnesota, Louisiana, Washington, and Oregon. However, mesothelioma does happen in Colorado.

However, based on the calls the Mesothelioma Victims Center receives a diagnosed victim of mesothelioma could live in any state including Colorado. http://Colorado.MesotheliomaVictimsCenter.Com

For more information about mesothelioma please refer to the National Institutes of Health’s web site related to this rare form of cancer: https://www.cancer.gov/types/mesothelioma.

Michael Thomas
Colorado Mesothelioma Victims Center
800-714-0303
email us here

RankTribe™ Black Business Directory News – Arts & Entertainment

August 16 – 1988: Dorothy West died

On this day in 1988, Boston-born writer Dorothy West died on Martha’s Vineyard.

1988: Dorothy West died on Martha’s Vineyard

Boston Black Brahmin, Harlem Renaissance writer, was raised in Oak Bluffs

On this day in 1998, Dorothy West died on Martha’s Vineyard. The Boston-born writer was the last living member of the Harlem Renaissance, a movement of African-American artists, writers, and musicians that energized American culture in the 1920s.

Although profoundly influenced by her years in New York, West was strongly tied to Massachusetts to the exclusive society of Boston’s “Black Brahmins” in which she was raised and to the Martha’s Vineyard town of Oak Bluffs where she spent idyllic childhood summers and where she lived for the last half of her life. From her cottage in Oak Bluffs, the former Methodist revival camp that became the nation’s first black resort, West wrote stories and novels that illuminated the class- and color-consciousness she observed first hand in African-American society.

1992: Kennedy Museum opened in Hyannis

jfk_museum-242_242

In the summer of 1992 the Kennedy Museum opened, and the Travel advisory on this day in the Sunday New York Times wrote;

The John F. Kennedy Hyannis Museum, which opened last month in Hyannis, Mass., is the first public facility in the town to illustrate the late President’s life on Cape Cod. President Kennedy used Hyannis Port as a summer White House.

Housed in the historic brick Old Town Hall, the museum exhibits some 50 photographs spanning the years from 1934 when Kennedy was 17 to his death in 1963. The pictures, displayed gallery style and interspersed with printed quotations, show the President in candid and formal portraits with family members, his Cabinet and government officials. Others show him playing touch football with his PT-109 comrades, sailing and golfing. Museum organizers hope to add a video and some family memorabilia, such as the scrimshaw that the President made.

(Above: The museum is at 397 Main Street, Hyannis, and is administered by the John F. Kennedy Hyannis Museum Foundation, Inc.)

1988: Will the mall change Wellfleet?

“Mall Becomes a Harbinger of Change In the Character of Cape Cod Village”

08-16-08-wellfleet_375

In August of 1988, the New York Times reported:

J. F. O’Connell of Ponte Vedra, Fla., who spends summers here, said Wellfleet has changed since last season and not for the better. In particular, he misses the old clapboard post office on Main Street. It served as a place for Wellfleetians to exchange greetings and news and conduct business. The post office was closed last February and officially moved to a new building on the outskirts of town, where it will be part of Wellfleet’s first mall.

With it, Mr. O’Connell and many other residents fear, went part of the character and life of Wellfleet, one of the last villages on Cape Cod that retains a vital, old-fashioned center.

”I used to enjoy walking to the post office and saying hi to people,” Mr. O’Connell said on a recent visit to the new building, on busy Route 6. With traffic at its worst in July and August, he said, ”Many people get their mail delivered and have given up coming here,” adding, ”You don’t get the social contact of the old place.”

Read the entire story in the New York Times here.

RankTribe™ Black Business Directory News – Arts & Entertainment

Academy Art Museum Announces September Events

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Bennett Bean, M# 1806 Triple on Base, 2015 Pit fired, painted and gilded earthenware clay Photographed by Barbara Livar.

EXHIBITIONS

Exhibitions are generously supported by the Maryland State Arts Council, the Talbot County Arts Council and the Star-Democrat.

Bennett Bean: Be Careful What You Fall in Love With
September 16–November 5, 2017
Curator-Led Tours: Wednesday, September 20, 11 a.m. Wednesday, November 1, 11 a.m.
Bennett Bean (1941) is an American ceramic artist best known as a ceramicist for his treatment of vessels post firing. He works in a range of media including stone, precious metals, wool and silk weaving, and painting. The Easton exhibition, his first solo museum exhibition.

David Driskell: Renewal and Form, Recent Prints
September 16–December 31, 2017 (with interruption from October 18–22 for Craft Show)
Noted artist and scholar, David Driskell, PhD, (1931) is widely respected as an artist, curator, educator, and scholar of African-American art. He is Professor Emeritus of Art at the University of Maryland, College Park, and where the David C. Driskell Center for the Study of the Visual Arts and Culture of African Americans and the African Diaspora honors his contributions to the field. The exhibition comes to Easton from the Center for Maine Contemporary Art, in Rockland, ME, and was curated by Greenhut Galleries in Portland, ME.

David Driskell, The Hibiscus, Linocut.

Helen Siegl: Fantasy Creatures from the Museum’s Collection
September 16–November 26, 2017
Helen Siegl (1924–2009) used an unusual printmaking technique—often combining various kinds of blocks and plates to create an image, including handmade plaster blocks. She designed these when wood was scarce in Vienna during World War II. Siegl gained a reputation for both her individual signed and numbered prints and for her book illustrations.

Annual Members’ Exhibition
Continuing through September 4 (Labor Day), 2017
The Academy Art Museum’s Annual Members’ Exhibition is an exceptional tradition which represents the best of the region’s artists and offers an opportunity to view the creative talents of colleagues and friends.

SPECIAL EVENTS

Academy Art Museum Instructors’ Open House
Saturday, September 9 10 a.m.–3 p.m.
Come meet the Museum instructors, view their work, watch art demonstrations, and enjoy refreshments while learning about fall courses at the Museum.

Helen Siegl, Goose Waddle, Woodcut on tissue paper, AAM 2012.012.34.

Craft Show Luncheon Lunch with Bennett Bean
Friday, September 15, 2017, Noon–2 p.m.
Scossa Restaurant
$140 per person (Limited Seating)
Enjoy an intimate lunch of classic northern Italian cuisine prepared by award-winning chef and owner Giancarlo Tondin of Scossa Restaurant and listen while ceramic artist Bennett Bean shares his inspiration for his prolific body of work.

Open MIC
September 11, 7 to 9 p.m.
Theme: Changes
The Academy Art Museum’s Open Mic is a monthly occasion for our community to share and appreciate the rich tapestry of creativity, skills and knowledge that thrive in the region. Contact Ray Remesch at RayRemesch@gmail.com for additional information.

LECTURES

Kittredge-Wilson Lecture Series

These lectures feature an exciting array of speakers who impart a diversity of perspectives on subjects such as art, architecture, history and literature. Series Tickets: (6 lectures) $125 Members, $150 Non-members. Pre-registration is suggested. Register online at academyartmuseum.org.

Museum Instructor

Vermeer and the Masters of Genre Painting: Inspiration and Rivalry
Arthur K. Wheelock Jr. Curator of Northern Baroque Paintings, National Gallery of Art, Washington
Friday, September 29, 6 p.m.
Individual Tickets: $24 Members, $29 Non-members

ARTS EXPRESS BUS TRIPS
Andrew Wyeth: In Retrospect
Brandywine River Museum of Art
Wednesday, September 6
Cost: $72 Members $87 Non-members (includes admission, guided tour)

Black, White & Abstract: Callahan, Siskind, White
Baltimore Museum of Art
Wednesday, September 27
Cost: $55 Members $66 Non-members

Vermeer

CHILDREN’S PROGRAMMING

Mini Masters Academy
An Early Enrichment Program for Children ages 2–4
In Partnership with the Smithsonian Early Enrichment Center
Morning or Full-Day Program – Classes begin September 6, 2017
Mini Masters Academy introduces young children to new ideas through a thematic approach to learning that emphasizes relationships and the ability to make meaningful connections. The rich resources of the Academy Art Museum offer a wonderful venue for teaching these sensory explorations. Enrollment is ongoing. Contact Janet Hendricks for program details at jhendricks@academyartmuseum or (410) 822-2787.

Home School Art Classes
Fridays from 1:00-2:30 p.m.

Early Fall Session: September 8–October 13, 2017
Ages 6 to 9 years (Please do NOT register 5-year olds in this class)
Constance Del Nero
Ages 10+
Susan Horsey

Andrew Wyeth Winter, 1946 (detail) Tempera on board North Carolina Museum of Art, Raleigh.

Fall Session: October 27–December 15, 2017 (Note that there are NO classes on November 10 or 24)
Ages 6 to 9 years (Please do NOT register 5 year-olds in this class)
Constance Del Nero
Ages 10+
Susan Horsey
Cost (per session): $90 Members, $100 Non-members
After the first full-priced tuition, siblings attend for $60/67! Pre-registration is advised as space is limited in each group.

After-School Art Clubs
Students Grades 1 – 8
Instructor: Susan Horsey
Students Grades 4–8
Eight Thursdays: September 21–November 30 (No class on October 19, November 9 or 30)
3:45–5:00 p.m.
Cost: $120 Members, $130 Non-members

Mini Masters at the Academy Art Museum

Li’l Kids After-School Art Club
Students Grades 1–3
Eight Fridays: September 22–December 1 (No class on October 20, November 10 or 24)
3:30–4:30 p.m.
Cost: $115 Members, $125 Non-members

ADULT PROGRAMMING

Workshops

Photographing the Log Canoe Races
Instructor: Jay Fleming
1 day: Saturday, September 9
Cost: $335 Members, $402 Non-members (includes the boat fees)

Botanical Watercolor Workshop
Instructor: Hillary Parker
3 days: September 22, 23 and 24 Friday, Saturday and Sunday, 10 a.m.–4 p.m.
Cost: $225 Members, $270 Non-members

Jay Fleming

Adult Classes

Drawing

Introduction to Basic Drawing
Instructor: Katie Cassidy
6 weeks: September 12–October 17 Tuesdays, 10 a.m.–12:30 p.m.
Cost: $185 Members, $220 Non-members

Intermediate Drawing: Interiors and Still Life
New Instructor: Daniel Riesmeyer
5 weeks: September 20–October 25 (no class October 18)
Wednesdays, 10 a.m.–1 p.m.
Cost: $175 Members, $210 Non-members

Portrait Drawing
Instructor: Brad Ross
5 weeks: September 21 – October 26 (no class October 19)
Thursdays: 10 a.m. – 1 p.m.
Cost: $165 Members, $198 Non-member

Matthew Hillier

Painting

Beginning Painting: Studies in Color
Instructor: Sheryl Southwick
September 12, 14, 19, 21 and October 3 and 5
Tuesdays and Thursdays: 9:30 a.m.-Noon
Cost: $135 Members, $162 Non-members

Painting Birds in the Landscape
Instructor: Matthew Hillier
6 weeks: September 16–October 28 (no class Oct. 21)
Saturdays, 10 a.m.–1 p.m.
Cost: $190 Members, $228 Non-members

The Next Step – Oil Painting for New or Returning Painters
Instructor: Diane DuBois Mullaly
3 weeks: September 16, 23, October 7
Saturdays, 10 a.m.–2 p.m.
Cost: $150 Members, $180 Non-members

Sheryl Southwick

Pastels

Still Life in Pastel
Instructor: Katie Cassidy
4 weeks: September 13–October 4
Wednesdays, 10 a.m.–1 p.m.
Cost: $160 Members, $192 Non-members

Watercolor

Watercolor: Beginning Watercolor Painting
Instructor: Heather Crow
5 weeks: September 12 – October 10
Tuesdays, 1 p.m. – 3:30 p.m.
Cost: $160 Members, $192 Non-members, (plus, a $10 Materials Fee payable to instructor at first class)

Collage

Mulberry Paper Collage Workshop: Scrap Happy Mornings
Instructor: Sheryl Southwick
1 day: September 20, Wednesday, 2–4:30 p.m.
Cost: $45 Members, $54 Non-members, (plus materials fee of $6 due to the instructor at first class)

Printmaking
Printmaking Exploration Evenings
Instructor: Sheryl Southwick
3 sessions of 4 weeks: Session I–Sept. 12, 14, 19, 21, Session 2–October 10, 12, 17, 24, Session 3–November 7, 14, 16, 21
Tuesdays and Thursdays, 5:30–8 p.m. Cost: $80 Members per session, $96 Non-members per session (plus $25 materials fee paid to instructor on first day.)

Digital

iPhone Class
Instructor: Scott Kane
Class 1: 2 Days, Wednesdays, September 6 and 13
Wednesdays: 6–8 p.m.
Cost per class: $50 Members, $60 Non-Members

Organizing, Taking, Storing and Sharing Photos with Your Smart Phone
Instructor: Scott Kane
Class 1: 2 Days: Wednesdays, September 20 and 27
Cost per class: $50 Members, $60 Non-members

For additional information, visit academyartmuseum.org or call the Museum at 410-822-2787.

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RankTribe™ Black Business Directory News – Arts & Entertainment

Danae Columbus: Coroner Jeff Rouse is notably absent from political forums

Danae Columbus

Danae Columbus, opinion columnist

Candidates for elected office – especially after qualifying – are usually out kissing babies, shaking hands, and attending numerous events seven days a week. But not the highly popular New Orleans Coroner Jeffrey Rouse, first elected in 2014 after having served as deputy chief coroner and head of the office’s mental health division for twelve years. Rouse is being challenged by Dr. Dwight McKenna in the October 14, 2017 election.

Rouse oversees the new $15 million three-story, 23,000 foot facility on Earhart Boulevard where more than 1000 autopsies are conducted each year. He has called the coroner’s office “the final destination for the ills of humanity.

Rouse has already skipped three forums held by endorsing organizations including the Independent Women’s Organization, the Orleans Parish Republican Executive Committee, and the New Orleans Coalition. He is not expected to address the Greater New Orleans Republicans at this evening’s forum, according to organizers, and even his supporters have no explanation for his absence. Time will tell if he chooses to appear before the Alliance for Good Government, another upcoming endorsing forum.

Voters who want to learn more about Rouse can only turn to the Coroner’s office website which tells the story of Rouse as a valedictorian at Jesuit, a Duke University Phi Beta Kappa, and a graduate of Georgetown University Medical School. Rouse received his board certificate in psychiatry at Tulane University Medical School where he still teaches and practices.

It should not be surprising that Rouse has obviously chosen to run a quiet campaign. In a February 2016 interview in Gambit Rouse said, “I’m not necessarily the guy who’s going to be at every ribbon cutting and fundraiser and bouncing around town to shake hands. That’s some of the stuff you have to do to get elected.” Rouse further stated that putting the policies in place that make people believe in the office, as well as connecting with families and bringing personal integrity to the office should go a long way.

Rouse has been highly praised for running a first-class modern operation including five autopsy stations, a mental health suite and toxicology and histology labs. He has the support of many elected officials and leaders in the community. But that does not erase Rouse’s obligation to give the voters the opportunity to hear him speak at forums and ask questions.

Rouse’s challenger — local surgeon, art collector and philanthropist Dr. Dwight McKenna — is making his fourth run for the office. McKenna graduated from St. Augustine High School and Meherry Medical College. McKenna completed his residency at Howard University and believes that a surgeon, not a psychiatrist, is better trained to be the coroner.

A former member of the Orleans Parish School, McKenna is well-respected in the African-American community and has been practicing medicine for more than 50 years. McKenna and his wife Beverly publish The Tribune and operate the house museum La Muse de f.p.c. which celebrates free people of color. The George and Leah McKenna Museum of African-American Art on Carondelet Street is named for his parents who were well-known educators.

More than 20 years ago, McKenna was convicted of income tax evasion and served nine months in prison. McKenna has enjoyed a clean slate since then and believes he deserves a second chance. McKenna has stated that if elected he will donate his salary toward scholarships for underserved youth.

Even though Rouse has not been attending forums, some organizations have chosen to endorse him anyway. Others have issued no endorsements. Hopefully after Labor Day, Rouse will be more available to voters.

HIRE & TRAIN LOCALS FOR SEWERAGE & WATER BOARD JOBS

With the high unemployment in Orleans Parish, especially among African-American males, it is shameful to hear that the Sewerage & Water Board cannot fill many skilled positions. A specialized training program should be created through Delgado and Sidney Collier to train the workers needed to repair and maintain the pipes or equipment. The City could outsource catch basin cleaning to local DBE firms who could hire and train local employees. Let’s put New Orleanians to work rather than privatize the agency.

Citizens will have another chance to speak out about problems at the Sewerage & Water Board. The Unnamed Steering Committee is planning a Rally for Storm Flooding Saturday at 11 a.m. on the steps of City Hall. Unnamed Steering Committee members include Adrian Bruneau, Malcolm Suber, Kim Ford, Pat Bryant, Beth Butler, David Alvarez and Brian Trascher. The Committee is seeking organizations and individuals who want to join in. For more information call 905-4137.

Danae Columbus, who has had a 30-year career in politics and public relations, offers her opinions on Thursdays. Her career includes stints at City Hall, the Dock Board and the Orleans Parish School Board and former clients such as District Attorney Leon Cannizzaro, City Council members Stacy Head and Jared Brossett, Foster Campbell, Lt. Gov. Jay Dardenne, former Sheriff Charles Foti and former Councilwoman Cynthia Hedge-Morrell. Her current clients include District B City Council candidate Seth Bloom and At-Large City Council candidate Helena Moreno.

RankTribe™ Black Business Directory News – Arts & Entertainment

Sidney Horton Tackles Race in the Arts With ‘The Submission’

We’re right to be suspicious of leaders who loudly spout their righteous certitudes. Thoughtful people know that moral rectitude, ethnic traditions, civil liberties, and political correctness can often crisscross into bewildering tangles and conundrums.

Sidney Horton, who is directing Three Bone Theatre’s The Submission, puts it more bluntly: “We all are clumsy when we deal with race and sexual orientation.”

Opening at Spirit Square this Thursday, Jeff Talbott’s comedy drama goes one better than holding up a mirror to our clumsiness. The playwright turns his mirror back around from his audience and shows that the same clumsiness — and assorted prejudices — also afflict theatre artists.

Talbott’s protagonist, Danny Larsen, has written a play about an African-American mother and her cardsharping son striving to escape the projects to build a better life. Trouble is, Danny is white, which could seriously hurt his chances of getting produced at the prestigious Humana Theatre Festival, where he submits his manuscript. At an ill-advised moment, Danny decides to overcome this liability by submitting his playscript under the very African name of Shaleeha G’ntamobi.

Getting selected for the festival compounds Danny’s woes, because he can’t come clean about his true race and gender. Instead, he decides to hire a black actress to bring Shaleeha to life. But Danny is in for a lot more blowback than he bargains for: Emilie isn’t buying Danny’s premise that, just because he’s gay, he can understand the challenges of growing up black in America.

Horton’s choice to play Danny isn’t exactly surprising. Tackling Talbott’s playwright, Scott Miller is playing his second writer in the past four months after his role as Trigorin in Stupid F@#%ing Bird, an Anton Chekhov knockoff staged by Actor’s Theatre. It’s also déjà vu for Miller with Three Bone at Duke Energy Theater, where he was Martin, the most promising writing student in the acerbic Seminar last August.

“Trigorin in Stupid F@#%ing Bird was a joy to play because he’s one of those characters that knows how sleazy he is and revels in it,” Miller says. “Danny is the most troubling to play, and the most challenging in many regards. He justifies his prejudices and thinks his self-appointed victimhood gives him license to do more-or-less whatever he wants.”

Standing up to such insidious entitlement is a formidable task, and Horton has made a bold choice in casting his Emilie. After returning to the Carolinas from Emerson College in Boston, where she earned a graduate degree in publishing, Lechetze D. Lewis has circled the Q.C. in three previous outings — two in Concord, one in Mooresville — but her role in The Submission will mark her Charlotte debut.

[From left] Dan Grogan, Daniel Henry, Lechetze D. Lewis, and Scott Miller in 'The Submission.'

  • [From left] Dan Grogan, Daniel Henry, Lechetze D. Lewis, and Scott Miller in ‘The Submission.’

“Lechetze had a fire about her in auditions,” Horton recalls. “I knew I had to have someone strong that could more than hold her own against Scott. I took a chance with Lechetze, and boy did it pay off.”

Needing to ensure that all four of his cast members felt comfortable with one another at rehearsals, Horton made sure there was plenty of discussion about the issues that Talbott’s script addresses. Yes, there were disagreements as the cast talked things out, but professionalism has prevailed.

“The play deals with LGBT rights, racism, discrimination, affirmative action, non-traditional casting and who has the right to say or do things when it comes to someone else’s identity or culture,” Horton says. “All of these issues are pretty hot right now in America — we are more divided now that we have been in recent years. The thing that strikes me most, and one of the main reasons I wanted to do this play, is it deals with these issues in the arts community. We as artists like to think of ourselves as being all-accepting and non-judgmental. Are we really?”

With such questions floating in the air, rehearsals can be stressful. In the heat of the moment, hurtful comments hurled in your face by a fellow actor addressing your fictional character can still hurt. Identifying with Emilie as a black artist, as Lewis must, she can hardly be invulnerable when the conflict with Danny has so much relevance to her daily life and self-image.

“Something that really gets to me is his idea that black actors who win awards don’t deserve to win what was created for whites,” Lewis says. “As an artist, I hope that any awards I receive will be acknowledged as something that my hard work has earned… but Danny doesn’t see it that way. Scott is an amazing actor to work with and he definitely doesn’t hold these views, but he’s talented enough to make those words sting. I am so lucky to be working with an actor who takes the time to check in on how we’re both feeling and if we’re okay to move forward.”

Horton has also been helpful for Lewis, frequently reminding her that she does win in the end. Conversations with Miller and the other two cast members, Dan Grogan and Daniel Henry, about how the script has affected them personally have been doubly beneficial for Lewis — not only soothing her emotions but helping her to shape her performance.

Of course, Emilie also dishes out a harsh word or two.

“I will admit to having a bit of fear regarding how she’ll be perceived,” Lewis confides, “because so much of what she says is hypocritical. But it doesn’t mean that, in some aspects, she’s completely wrong.”

Horton has another succinct comment about the intensity of the crossfire in The Submission: “Thank God for the comedy in this show — it makes it palatable.”

Talbott doesn’t turn on the heat immediately. There’s a certain point, says Miller, when the tone begins to change. Even then, there’s a gradual crescendo leading up to the inevitable fireworks between Danny and Emilie. Along the way, we realize that Talbott’s farcical plotline isn’t going to play out strictly for laughs.

At the same time, the playwright is turning his telltale mirror toward us. There will likely be a recoil factor when we recognize ourselves.

“While watching The Submission,” Miller cautions, “many people will agree with some of the controversial things the characters say. I predict several lines will get a chuckle before the audience realizes the inappropriateness of the character’s comment. The play is not out to condemn or chastise anyone in the audience. But I think – or hope – it will make many think about their implicit and explicit biases.”

RankTribe™ Black Business Directory News – Arts & Entertainment

Riverbed Improves ‘Digital Experience Management’ with Latest SteelCentral Update

Riverbed Technology is looking to bring more science – and less black arts – to the best ways to deliver high-quality digital experience. The latest update to SteelCentral aims to let companies do better troubleshooting all parts of the digital experience.

Tags: ALM, CX, cloud, DevOps, digital experience, Riverbed, SteelCentral, UX,

Companies of all kinds continuing to invest heavily in delivering the best digital business initiatives. That said, the ability to deliver a high-quality user experience for such projects remains largely a patch of challenging guesswork.

Riverbed Technology is looking to bring more science – and less black arts – to these tasks. The latest update to its SteelCentral digital experience management solution aims to let companies do better troubleshooting all parts of the digital experience.

SteelCentral comes with the ability to track and measure performance from the user’s experience on the device to the back-end network, infrastructure, cloud and application.

Mike Sargent, Riverbed’s senior vice president and general manager of SteelCentral noted the updates come as more organizations are making “big ticket, highly strategic investments in digital business transformation initiatives.”  Companies assume these investments will “drive customer intimacy and employee/partner productivity,” he added. Sadly, they are not always successful.  

With the prevalence of cloud and mobile technologies, Sargent surmised that traditional tools are unable to holistically measure and manage a user’s digital experience.

SteelCentral is helping enterprises deliver a reliable and consistently high-quality end user experience. Sargent indicated that “with the breadth and depth of insight that [the solution] provides, down to the individual transaction level, we are taking visibility to a whole new level to help our customers achieve their strategic goals.”

SteelCentral’s latest release looks to fill in many of the gaps between digital experience monitoring and IT’s ability to capture, see and evaluate all the variables that go into digital experience, Sargent suggested.

Many in IT and business can probably relate to how frustrating this gap can feel.  SteelCentral product marketing director Erik Hillen explained it this way in a recent blog post:

Despite the focus on digital transformation, few companies are able to actually understand the digital experience of their customers or their workforce.  Customers complain about web load times, app performance, network speed, yet IT has no line of sight to the problem. Performance is impacted, customer satisfaction plummets and the IT’s reputation is seen as lagging the market.

At the same time, IT has instrumented a great deal.  We monitor, apps, end user experience, networks, databases, infrastructure… all with a myriad of point solutions, but the tools don’t talk, the groups don’t talk and, most importantly, none of these elements help to manage the critical question: what is the end user’s experience?

SteelCentral aims to pull together capabilities to fill (if not eliminate) this gap, according to Sargent.  To support that mission, this upgrade adds several key features to let IT and business stakeholders better collaborate quickly and clearly – and deliver high-quality digital experiences, he added.  

Among them:

Enriched ‘end-user experience monitoring’ and integrated visibility into digital experience: Under the covers, SteelCentral will incorporate the device-based view of end-user experience. This visibility will show both IT and business executives a deep and unified view – with a single-pane-of-glass – of performance and its impact on end users.

Reduced risk for application migrations to the cloud: As companies continue to migrate apps to the cloud, both IT and business are looking for better ways to overcome cloud’s ‘blind spot,’ and better understand and assess the impact on network performance.  SteelCentral introduces application migration planning and prediction and enables network planning and architecture teams to simulate and predict traffic behavior and impact on the network prior to application migrations.

Manage outcomes across the application lifecycle: As organizations adopt DevOps, developers, QA teams and IT operations are looking for ways to increase agility and quality of application releases. Often that comes with efforts to streamline, integrate and automate processes. SteelCentral looks to aid in those efforts by allow IT teams to more easily visualize and analyse performance insights and diagnostics across the full application lifecycle.

SteelCentral’s ability to provides all this deeper understanding of performance levels brings about end results sought after by both IT and business – including resolving performance issues and improving service performance.

The recipe for these results come from SteelCentral’s capability to blend a all the key pieces of instrumentation that goes into a digital experience – device-based end user experience, infrastructure, application, and network monitoring. Here are some notable details on the ingredients – and how they all come together:

End user experience monitoring: Monitor the actual end user experience of any local, cloud, web, or enterprise mobile app running on any physical, virtual, or mobile device. Proactively identify and rapidly resolve problems to ensure excellent customer service and workforce productivity.


Application performance management: Leverage application performance management and monitoring to gain real-time visibility into the end-user experience, infrastructure and applications. Diagnose application performance problems down to the offending code, SQL, web service, network, or system resource.


Network Performance Management: Monitor, troubleshoot, and analyze what’s happening across the enterprise network environment. With end-to-end visibility and actionable insights, users can quickly and proactively resolve any network-based performance issues.

Speaking of coming together, this latest release also sports noteworthy integrations between SteelCentral Portal, SteelCentral Aternity, and SteelCentral AppInternals. Sargent added.

“This integration means that SteelCentral users can now incorporate the device-based view of end user experience providing IT and business executives with a single-pane-of-glass view of IT performance and its impact on end users,” he said in a statement.

Further, the integrated workflow between SteelCentral Aternity and AppInternals provides an integrated monitoring system for the entire end user service and allows IT to rapidly troubleshoot business-critical applications across devices and applications. According to Sargent, this results in a one-stop-shop for the variety of teams involved in Digital Experience Management, from end user services, to app developers and operations, to IT and business executives.

In the new release, Riverbed is also introducing a new integration between NetProfiler and NetIM that helps network managers understand the impact of network infrastructure on network performance.

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RankTribe™ Black Business Directory News – Arts & Entertainment

How not to travel anywhere

TRAVELLING can work in opposite ways. It can come as wanderlust that gives one a feel of new horizons befitting a seeker. Or it can be a temptation to contaminate new climes with hidebound habits. Mirza Ghalib prescribed the first route in the 19th century. The second way has been popularised by Narendra Modi.

Hasad se dil agar afsurda hai, garm-i-tamasha ho/ Ke chashm-i-tang shaayad kasrat-i-nazara se va ho. That was Ghalib’s prescription. A good antidote to suffocating ennui or chashm-i-tang, he said, could be kasrat-i-nazara, the expansiveness of new things to see, new people to meet, new ideas to ponder. Marco Polo and Ibne Batuta would have warmed the cockles of Ghalib’s heart. T.S. Eliot captured the Urdu poet’s advice succinctly: “Oh, do not ask, ‘What is it?’/ Let us go and make our visit.” The lines from Eliot’s much-critiqued poem — The Love Song of J. Alfred Prufrock — have nudged many towards nirvana.

Modi’s apparent insecurities with his identity — or his search for one, as his constantly changing attire reflects — can be seen in loudly choreographed cultural assertions. This obviously was not the case with the more confident Nehru and others who preceded him, not even with A.B. Vajpayee who Modi grudgingly respects.

Modi’s avoidable complexes have found him distributing copies of the Bhagvad Gita to visitors even as he makes bold claims to insights into India’s hoary past. Come to think of it, the pope, whose job it is to proselytise, doesn’t offer free copies of the Bible to his visitors. If anything, world leaders who come to the Vatican to confer with him would not miss the opportunity to visit the Sistine Chapel and be awestruck by Michelangelo’s work of art. Modi, though, would derive greater pleasure from securing an easy sanction from the ruler of Abu Dhabi to build a temple in the oil-rich emirate.

Would Modi visit the Stonewall Inn in Greenwich Village in New York, a catalyst for the gay rights movement in the US?

Ghalib, to return to the master of cultural assimilation, memorably set off on a journey to colonial Calcutta from his modest perch in Mughal Delhi. En route, he composed an amazing tribute to the majesty of Benares and its Hindu populace, and their reverence for River Ganga. Savour an excerpt from Qurratulain Hyder’s translation of Chiragh-i-Dair or ((temple lamps):

May Heaven keep/ The grandeur of Benares/ Arbour of bliss, meadow of joy,/ For oft-returning souls/ Their journey’s end./ In this weary Temple-land of the world/ Safe from the whirlwind of Time,/ Benaras is forever spring,/ Where autumn turns/ Into the touch of sandal on their foreheads/ Springtime wears the sacred thread/ Of flower-waves/ And the splash of twilight/ Is the crimson mark of Kashi’s/ Dust on heaven’s brow.

We’ve seen snapshots of Modi’s engagements with his Indian fans abroad. Had he gone to New York to gain first-hand knowledge about a multicultural city instead, the prime minister would have visited the streets of Harlem with Savona Bailey-McClain. The African-American art curator and historian would have walked him through the evolution of the district. Ghalib described British vengeance when they flattened the old city of Delhi after 1857. Modi would now learn that the British also burnt down the district of Manhattan (centuries before the advent of Osama bin Laden) in their pursuit of George Washington’s ragtag militia.

Savona, if she found any curiosity in him, would escort Modi to Harlem’s Schomberg Centre, currently celebrating the 50th anniversary of the Black Power movement. Visitors here delve deeper into the heterogeneous and ideologically diverse global movement that shaped black consciousness.

Would Modi visit the Stonewall Inn in Greenwich Village in New York, a catalyst for the gay rights movement in the United States and around the world? Marie’s Crisis is a piano bar in the vicinity. Its main room is wedged below street level, so that you descend into it as you would to a secret rendezvous. All the men and women of varied sexual orientations can be found in the evenings singing everything under the sun — and utterly tunefully too. What they would not sing is any remotely patriotic song — a lesson for the zealous South Asians.

The inimitable pamphleteer and documentary-maker Michael Moore is currently appearing on Broadway in a play about himself. It is called The Terms of My Surrender, a 90-minute one-man show mostly about how to get even with Donald Trump’s ideology of hate and racist violence. Moore announces to each packed show how he keeps a seat in the balcony for the president of the United States. We recommend he keep a place for Mr Modi too.

“How the hell did this happen?” Moore’s opening gambit sets the tempo for the absorbing monologue. The audience goes into raptures. Moore reasons how things may not be as bad as they look. The president, the vice president, the supreme court, both houses of Congress belong to the rivals. “But we have the majority.” Moore’s optimism flows from the actual headcount, which gave the Democrats a majority of the votes while the electoral college robbed them of victory — a message for the needlessly disheartened on how to bring down a Nixon.

Ghalib would enjoy the planetarium in New York. “Our sun is an ordinary star, just one among hundreds of billions of stars in the Milky Way Galaxy,” a plaque reminds us tersely. “As the only star we can observe in detail, it provides a basis for our understanding of all stars.”

The message unwittingly summarises Ghalib’s own fulminations: Hasti ke mat fareb mein aajaaiyo Asad/ Aalam tamaam halqa-i-daam-i-khayaal hai. The universe deceptively fits into a single hole of the fisherman’s net that resembles the mind, said the poet. The Big Bang occurred 13 billion years ago. And 3.8bn years ago, life took root on Earth. How ancient is religion or any nation, including Mr Modi’s?

The writer is Dawn’s correspondent in Delhi.

jawednaqvi@yahoo.com

Published in Dawn, August 15th, 2017

RankTribe™ Black Business Directory News – Arts & Entertainment

Tate installation invites art fans to make their own ceramic masterpieces

Art fans will be able to create their own ceramic masterpieces as London’s Tate Modern museum hosts a new ceramics “factory”.

The temporary attraction entitled FACTORY: the seen and the unseen is an installation by artist Clare Twomey, opening next month as part of the return of the Tate Exchange.

It will take over the museum’s Blavatnik Building with a 30-metre production line, eight tonnes of clay, a wall of drying racks and more than 2,000 fired clay objects.

Clare Twomey's Dudson Factory.
Clare Twomey’s Dudson Factory (Tate/PA)

Over two weeks, visitors will have the chance to learn, make and exchange clay items such as jugs, teapots and flowers before joining a factory tour delving into how communities are built by collective labour, celebrating the relationship between human and machine innovation.

Now in its second year, the theme of this year’s Tate Exchange is “production” and it will showcase artists’ work examining the museum’s role in various type of production from a range of viewpoints.

It will run until January before joining with a number of other organisations – including Tate Liverpool and The Royal Standard artist-led gallery – to continue the theme with further projects.

Schemes in the works so far include artists BBZ’s exploration of non-binary black artists in the UK and politically-charged group Cooking Sections’ creation that devises new systems for producing and consuming food.

Collect – international art fair
Twomey’s previous Everyman’s Dream exhibition saw her display 1,000 inscribed ceramic bowls at London’s Saatchi Gallery (Dominic Lipinski/PA)

The overall Tate Exchange theme aims to fit into the museum’s general plans for the year, including the upcoming Picasso exhibition, which looks at the famous artist’s period of production during the great Depression.

Tate Learning director Anna Cutler said of the interactive scheme, which saw 200,000 people take part in activities in its inaugural year: “We were overwhelmed by the generous public response to Tate Exchange in its first year.

“It became a civic space in which the public got to share their ideas, thoughts and opinions.

“We are indebted to the work of the associates who generated extraordinary programmes and took on the task of an open experiment with great skill and verve.

“In our second year we will look at the theme of production and dig even deeper into debate and the nature of exchange.”

RankTribe™ Black Business Directory News – Arts & Entertainment