art/vision/voice - Maryland Institute College of Art

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Second line is a form of street dancing distinct to New Orleans that grew out of traditional African American parades. A “second line” refers to the people who follow a procession, but is also used to refer to the entire event—a jazz funeral, a Mardi Gras parade—or to the distinctive syncopated rhythm of the music associated with these events. case study: xavier university of louisiana 59 New Orleans is probably the most African-retentive city in the United States. You can see it across the board. When somebody asks me to describe this city I say that New Orleans is a polyrhythmic culture unlike any other. Just as polyrhythms are composed of multiple rhythms simultaneously, New Orleans culture is composed of this polyrhythmic thing. New Orleans is the only city in the United States where you can have absolute diversity and complete unity simultaneously, and it is not a contradiction. Example, if I go to a second line, there can be a thousand people in the street, they’re all doing their own thing, absolute diversity, and they’re all dancing on the exact beat. Complete unity. That’s what I think this community is about, that’s [a uniquely] African thing. And it’s an improvisational thing. I’ve traveled all over this world and a great many places, and yet here, you can get musicians, writers, dancers, poets in the same room talking about ideas and understanding what the others are saying without competition. That doesn’t happen anywhere else. But again, it’s the village; everybody in the village contributes what they contribute. Gumbo, you each put in the pot what you can bring. I think that’s why this place is so unique. I think if we could transpose that into what we call the educational system, we could revolutionize what is called an education. But because it’s not a part of the traditional European pedagogy, it’s very difficult for people to come to grips with it. richard Every year, I present a film to my students called Black Notions from White America. It presents the minstrel, presents the mammy, the pickaninny, the coon . . . and I get kids to recognize those images, and then to think about what are those images today in society. That’s how I get them to start looking at the symbolism and start relating them to how they have bought into someone else’s reality. It’s not your reality, but you embrace it as yours. And that’s really a problem [in] teenage life. Teenage artists are driven toward those images, but then when it comes down to them buying into what they’re trying to do and the language they’re trying to create, you know, their originality and that kind of thing, then you get them to see that they don’t want to conform to those images, and likenesses, they want to create their own. [Eminem is] the Elvis Presley of today. One thing, though, man, is that we don’t have a way of presenting that kind of information to challenge the kid. You know if you’re going to take those stereotypes, make a positive statement, that’s one thing. But if you’re going to reinforce those stereotypes to destroy the community, then that’s
60 art / vision / voice another thing. I mean, even the jokes about drugs, “aw, it’s okay.” Not if you’ve seen some of your best friends die because of drugs, it’s not okay. A lot of these kids see the romance, but the reality escapes. If you were to ask these kids, these young artist kids: Who’s your audience? “What you mean, audience? This is for me.” They could be the greatest performer in the world. I’ll be damned if you’re going to get on that stage out there and do your best and ain’t nobody listening to it? So if you’re a visual artist, who’s your audience? What is your program? You know, we are not culturally deprived. The way it’s been presented, they don’t need anybody to bring them the culture, they are a part of a culture, and they’ve just got to recognize it. Our job is to create recognition of this.
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art/vision/voice Cultural Conversat
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Contents 1 Looking Before You Leap:
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2 art / vision / voice air was thic
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4 art / vision / voice conventional
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6 art / vision / voice learning is
Page 15 and 16: 8 art / vision / voice Some leading
Page 17 and 18: 10 art / vision / voice to humanize
Page 20: cap program sites Reciprocal Univer
Page 23 and 24: 16 art / vision / voice work collab
Page 25 and 26: 18 art / vision / voice Standard ca
Page 27 and 28: 20 art / vision / voice working tog
Page 29 and 30: 22 art / vision / voice a youth-des
Page 31 and 32: 24 art / vision / voice [how to mea
Page 33 and 34: 26 art / vision / voice tree We dis
Page 35 and 36: 28 art / vision / voice mari The bo
Page 38 and 39: case authors Julie F. Simpson, Carm
Page 40 and 41: ii. introduction to the case case s
Page 42 and 43: case study: columbia college chicag
Page 48 and 49: william stretching his face. case s
Page 50 and 51: above, merging into you performance
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Page 55 and 56: 48 art / vision / voice These innov
Page 57 and 58: 50 art / vision / voice university.
Page 59 and 60: 52 art / vision / voice mindsets to
Page 61 and 62: 54 art / vision / voice Since the f
Page 63 and 64: 56 art / vision / voice and I wante
Page 65: 58 art / vision / voice john Some k
Page 70 and 71: case authors Marina Gutierrez and T
Page 72 and 73: cap students cindy barrios (attende
Page 74 and 75: case study: cooper union for the ad
Page 80 and 81: mary valverde posing for student ge
Page 82 and 83: cap instructor antoine touze, discu
Page 84 and 85: cap student karrah st. laurent (att
Page 86: cap student vorinica seepersaud (at
Page 89 and 90: 82 art / vision / voice Our program
Page 91 and 92: 84 art / vision / voice ii. introdu
Page 93 and 94: 86 art / vision / voice iii. case n
Page 95 and 96: 88 art / vision / voice The first s
Page 97 and 98: 90 art / vision / voice technology
Page 99 and 100: 92 art / vision / voice A project t
Page 102 and 103: La Resolana cap Directors Share Sto
Page 104 and 105: provide critical constituencies, fo
Page 106 and 107: conclusion: la resolana 99 visual a
Page 108 and 109: All quotations are from the cap Dir
Page 110 and 111: The Importance of Listening/Knowing
Page 112 and 113: conclusion: la resolana 105 value s
Page 114 and 115: Peter Cooper, in founding Cooper Un
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v Shared authorship. v Shared resou
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Tomas Atencio, Talk To Me, American
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114 art / vision / voice Getting St
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116 art / vision / voice Visiting a
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118 art / vision / voice stimulate
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120 art / vision / voice tackle. Wh
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One way to engage parents is for pr
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124 art / vision / voice After grad
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126 art / vision / voice It can be
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128 art / vision / voice socially c
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130 art / vision / voice was to bri
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Sandi McFadden is executive directo
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art/vision/voice - Maryland Institute College of Art

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