At the second annual Bronx Celebration Day on April 21, a Mexican folk dance troupe, Marzarte Dance Company, held hands with Fordham students and local residents for an energetic chain dance around the Walsh Lot of the Rose Hill campus.
Folklorist and choreographer Martha Nora Zarate-Alvarez, who heads the Bronx-based ensemble, said the group’s lively performance represented the traditions of the Huasteco and Jalisco regions of Mexico.
“We wanted to showcase the importance of Mexican culture in the Bronx and traditional Mexican dance,” said Zarate-Alvarez, who was dressed in a multicolored tiered skirt. “Mexican culture is more than just mariachi music.”
Bronx Celebration Day was presented by the Bronx Collaboration Committee, a division of the Fordham Club, and co-sponsored by Bronx Community Board 6, Fordham University Commuting Students Association, Fordham Road BID, and the Office of the Chief Diversity Officer at Fordham University.
Anyone who thinks immigrants from Muslim countries are here to wage war on Christianity, or that Islam is a “terrorist religion,” would have left yesterday’s “Young African Immigrant Voices” panel at Fordham, organized by the Bronx African American History Project, with their belief system shaken to the core.
On the outside, the panel looked like White Conservative America’s worst nightmare. Five of the seven young women on the panel wore hijabs and both of the men–and one of the women–had “Muhammed” in their names.
But once they started speaking, every stereotype started to shatter. One young woman, a recent immigrant from Ghana who attended Kappa International High School across the street from Fordham, wore an Army ROTC sweatshirt along with her hijab, and spoke how much she loved the military and of her plans to pursue a career in the United States Armed Forces.
One of the men on the panel, an artist and teacher whose work promoting peace and gender equality has taken him all over the world, spoke of how his father, an Imam in Ghana, sent him to a Catholic boarding school, allowing him to sing all the same songs as his Christian friends and endowing him with a lifelong commitment to bringing people of different nationalities and faiths together.
A young women recently arrived from from Nigeria, now a student leader at Lehman College in the Bronx, spoke of how her Muslim faith did not separate her from her Christian siblings and spoke proudly of her family as a model of mutual understanding between people of different faiths.
And finally, three of the elders in the group–two Muslim, one Christian, who had worked for groups ranging from the Mayor’s Office to the City Commission on Human Rights to the offices of Bronx City Council members and Congressman Serrano, spoke of how you could not work effectively in the African Immigrant communities of the Bronx by dividing people along religious lines. They said Christians and Muslims faced the same issues and lived and worked in harmony.
On a panel that was diverse in age and experience as well as religion, there was not a single moment where anyone spoke critically of people of other faiths. And when people spoke of their own religious background, they invoked that tradition as something which promoted peace and the building of strong families and communities.
At a time when fear of immigrants, and Muslims, is being promoted in the highest places, the Bronx African American History Project provided an extremely valuable counterweight to misinformation and hysteria.
Special thanks must be given to the organizer of this panel, Jane Edward, Ph.D., a brilliant scholar brought up Christian in South Sudan, who has worked closely with the African Islamic Community of the Bronx since her arrival at Fordham ten years ago, and who has won their respect through her writing, speaking and advocacy.
The young people she brought together exemplified, for all who wanted to see it, the promise of an American future where people of all faiths, and nations and values live together in harmony and mutual understanding.
I know, that the shortest month of the year is devoted to honoring black Americans is a disgrace, but being that it is Black History Month, I wanted to share some of the awesome work by faculty from Fordham’s African American History department:
Watch a clip of Dr. Cox on the Melissa Harris-Perry show on MSNBC here.
Christina Greer‘s research and teaching focus on American politics, black ethnic politics, urban politics, immigration, quantitative methods, Congress, city and state politics, campaigns and elections, and public opinion.
and the Normalization of US-Cuba Relations with Margaret Crahan, Sujatha Fernandes, and Alberto R. Tornés
In a historic broadcast on December 17, Presidents Obama and Castro simultaneously announced the normalization of diplomatic ties between Cuba and the United States, severed in January of 1961. The aim of this policy change, President Obama explained, is to“unleash the potential of 11 million Cubans” to create a more democratic and prosperous social and economic system. Panelists include renowned Cuba scholars and humanitarian aid activists who will explore the impact of the normalization of US-Cuba relations on the empowerment of the Cuban people and on our humanitarian assistance to the island:
Margaret E. Crahan is Director of the Cuba Program at the Institute for Latin American Studies at Columbia University. Watch a recent talk she gave on Cuba here.
Alberto R. Tornés, who holds a BA in International Relations from Fordham and an MA in Special and Bilingual Education from CUNY’s City College, is Director of Economic Empowerment at Raíces de Esperanza or Roots of Hope, an international non-profit, non-partisan network of young people who sponsor academic and cultural initiatives focused on youth empowerment in Cuba.
Rose M. Perez was 8 years old when her family left Cuba.
She remembers holding her mother’s hand as they marched with the line of travelers across the tarmac toward the plane. Suddenly her mother paused and looked upward, her expression stoic.
“I said ‘Mom, come on, the line is getting ahead of us,’” said Perez, Ph.D., an assistant professor at the Graduate School of Social Service (GSS). “I knew something was wrong, because she didn’t respond.”
Years later Perez learned that her mother had intentionally slowed down so that her relatives who gathered to watch the family depart would be able to see their place in the line.
Perez’s struggle to balance her Cuban and American cultures inspired her research on the adaptation of immigrants and refugees to U.S. society and how immigrants reconcile the worlds they must straddle.
I was writing to an editor at a magazine this evening about an opinion piece one of our law professors is going to write for them, and as I was going through her credentials, I thought, “She’s one brilliant Latina!”
An alumna of Brown University and Yale Law School, Tanya Hernandez is a professor of law at Fordham School of Law. Her expertise centers on discrimination; Latin America/Latin American law; and employment.
And in this piece she penned for the Huffington Post (before the Supreme Court ruled on Affirmative Action), she covered one of my favorite things to bring up when debating matters of race with friends: implicit bias.
The thing is, once I bring it up, it usually shuts the (Facebook) discussion down. The person feels I’ve insulted them, when in reality, I haven’t, because I’ve had implicit racial biases as well. We all have! And as Hernandez explains, they can be overcome:
As a decision is expected within the next two weeks, one thing I hope the Court will consider is that research in the field of cognitive psychology reveals that we all harbor biases and that affirmative action policies assist in addressing those biases.
Part of the reason for enduring social hierarchies is that individuals rely on stereotypes to process information and have biases that they don’t know they have. These implicit biases, as psychologists call them, are picked up over a lifetime, absorbed from our culture, and work automatically to color our perceptions and influence our choices.
Over a decade of testing with six million participants of the collaborative research venture between Harvard University, University of Virginia, and the University of Washington, called “Project Implicit,” demonstrates pervasive ongoing bias against non-Whites and lingering suspicion of Blacks in particular. Some 75 percent of Whites, Latinos, and Asians show a bias for Whites over Blacks. In addition, Blacks also show a preference for Whites.
In the educational context, studies of school teachers indicate that teachers generally hold differential expectations of students from different ethnic origins, and that implicit prejudiced attitudes were responsible for these differential expectations as well as the ethnic achievement gap in their classrooms. This is because teachers who hold negative prejudiced attitudes appear more predisposed to evaluate their ethnic minority students as being less intelligent and having less promising prospects for their school careers.
The pervasive existence of implicit bias in society and its manifestation in the educational setting, strongly suggests that the selection of students can be similarly affected by unexamined stereotypes and implicit biases. Bluntly stated university Admission Offices are not immune from the operation of implicit bias.
But we are not slaves to our implicit associations. The social science research indicates that biases can be overridden with concerted effort. Remaining alert to the existence of the bias and recognizing that it may intrude in an unwanted fashion into judgments and actions, can help to counter the influence of the bias. Instead of repressing one’s prejudices, if one openly acknowledges one’s biases, and directly challenges or refutes them, one can overcome them.
Read the rest of that piece here, and then check out this sampling of academic articles she’s written on a bevy of important topics:
Defending Affirmative Action: An International Legal Response, in vol. 29 Civil Rights Litigation and Attorney Fees Annual Handbook (eds. Steven Saltzman & Cheryl I. Harris 2013).
“What Not to Wear” — Race and Unwelcomeness in Sexual Harassment Law: The Story of Meritor Savings Bank v. Vinson, in Women and the Law Stories 277-306 (2010 Foundation Press book chapter, Elizabeth Schneider & Stephanie Wildman eds.).
Afro-Latin@s and the Latino Workplace, in The Afro-Latin@ Reader: History and Culture in the United States 520-526 (2010 Duke Univ. Press book chapter, Juan Flores & Miriam Jimenez Roman, eds.).
Latino Anti-Black Violence in Los Angeles: Not “Made in the USA,” 13 Harvard Journal African American Public Policy 37-40 (2007).
Sex in the [Foreign] City: Commodification and the Female Sex Tourist, in Rethinking Commodification: Cases and Readings in Law and Culture 222-242 (Joan Williams & Martha Ertman eds., NYU Press 2005) (book chapter).
Proud to say this anti-violence conference is happening at my place of work:
The 1st Annual PEACE IS A LIFESTYLE Conference
“How we can stop the violence in our communities”
(A One-Day CITYWIDE Conference)
Saturday, June 28, 2014
9:00am – 3:00pm
Lincoln Center Campus
113 West 60th Street
(at the corner of 60th St. & Columbus Ave.)
NEW YORK CITY
A, B, C, D and 1 subway trains to 59th Street/Columbus Circle
Throughout the day we will discuss issues like gun violence, hate crimes, bullying, and violence against women and girls, their causes and effects, PLUS solutions and what action steps we can take going forward.
KEYNOTE SPEAKER: Kevin Powell, President & Co-Founder of BK Nation (of MTV’s first even season of The Real World! Remember him?)
FREE & OPEN TO ALL
For more information email email@example.com or call 212-636-6623
The guest speaker will be Mark Naison, Ph.D., professor of history and African American history at Fordham.
The film is the brainchild of East Harlem’s Andrew J. Padilla, who is a Fordham alumnus (2011). Though his roots in “El Barrio” go back to when his grandfather first moved to East Harlem 60 years ago, the filmmaker says it’s getting increasingly difficult to live there due the higher cost of living gentrification brings with it.
Among the many things I love about my job at Fordham University is that I get to deal with academics on a daily basis. Sometimes, I sit in on their classes. One of the most interesting professors is Mark Naison, professor of history and African American Studies.
For as long as I’ve been here, he’s taught a very popular, hard to get into (due to it filling up very quickly) class called, “From Rock & Roll to Hip Hop: Urban Youth Cultures in Post War America.” It’s a class where music is heard (the rock & roll and soul stuff is GREAT) and special guest musicians give performances and mini-lectures. It all makes me wish I was an undergrad!
You can read some media coverage of Dr. Naison’s class, as well as his alter-ego, “The Notorious Ph.D., below. (Yes, Dr. Naison is known to rap.)
Check out the syllabus for the Fall 2013 semester here (bold emphasis mine):
AFAM 3134 From Rock and Roll to Hip Hop: Urban Youth Cultures in Post War America Dr. Mark Naison
Since the late 19th Century African Americans have exerted a powerful influence on the development of American popular music. Forms of musical expression developed in African-American communities have been reinterpreted and marketed to create the modern music industry, shaping the development of Tin Pan Alley, the Broadway musical stage, the record industry, the modern dance band, and music radio.
Until the end of World War II, racism and lack of capital kept African-American artists and entrepreneurs on the margins of this activity, denying them access to commercial venues that would reward them for their creativity and create a national audience base outside the black community. Only a handful of Black artists -Louis Armstrong, Duke Ellington, Cab Calloway, Billie Holliday, Ella Fitzgerald, Marian Anderson, Paul Robeson- had large enough followings outside the “race market”- the section of the music industry targeted to blacks- to make them truly national figures In post World War II era, however, the terms of this cultural interchange began to shift. Civil rights victories, north and south, black migration to urban areas, and the opening of new economic opportunities in industry and government employment set the stage for a new relationship between blacks and the music industry. As radio stations in major cities began to tap into the growing African-American market, black music of all types-gospel blues, swing, rhythm and blues- began to hit the airwaves.
The newest of these genres, rhythm and blues, a urban music that fused sweet harmonies and powerful dance beats, sparked a musical and commercial revolution by attracting a huge underground audience among whites. By the early 1950’s, “black” music radio from Memphis to Los Angeles was attracting hundreds of thousands of white listeners, most of them under the age of twenty five, and sparking an unexpected growth of record sales for artists who had only aimed for the “race market.” In several cities, white disc jockeys decided to tap into this new youth audience by incorporating rhythm and blues into their formats and got such a huge response that they made it the centerpiece of their shows.
Calling it “rock and roll,” they marketed it as youth music rather than black music and looked for white artists who could play it to supplement the already established black stars. This marketing strategy was brilliantly successful. By the early sixties, rock and roll had become the musical language of a generation of American youth, crossing racial and cultural barriers that had never previously been bridged by the music industry.
Though white entrepreneurs and artists made the bulk of the profits in this billion dollar business, scores of black artists cracked into national markets that had previously been closed to them and shaped the musical tastes of millions of young whites. Chuck Berry, Little Richard, the Drifters, the Shirelles, the Coasters, Lloyd Price, Fats Domino, Sam Cooke, Ray Charles, to name a few, were central to the early success of rock and roll, and their influence would later be built on by Motown artists like the Supremes, the Four Tops and the Temptations, and soul singers like James Brown, Otis Redding and Aretha Franklin. The terms of cultural interchange in this music were shaped by the site of its creation; the post-war metropolis. Rock and roll was the product of a long economic boom that brought blacks into the center of the industrial economy and placed them in close proximity with the descendants of white and latino immigrants. On street corners and in school gymnasiums, in clubs and theaters, in radio stations and recording studious, African-American artists and entrepreneurs mingled with musicians, producers and songwriters of other nationalities.
In the earliest days of rock and roll, the sources of creativity flowed upward from city streets, but as the music became more popular, the recording industry was taken over by media conglomerates, removing its experimental, grass roots atmosphere and separating it from its African-American roots. By the late 1960’s and 1970’s rock and roll had become typecast as “white” music, identified more with its white suburban following than its African-American originators; while African-American artists moved into niches in the music market where a modified urban sensibility still prevailed- funk, disco, soul, and pop. However, African-American and Latino youths, trapped in decaying neighborhoods savaged by disinvestment and government neglect, found themselves disfranchised by these musical developments.
In post-industrial cities where vacant lots, shuttered factories, and decaying schools marked the boundaries of crushed hopes and declining opportunities, young blacks and Latinos, supported by a small number of adventurous whites, invented a new music that fused verbal improvisation, scratching and back beats and fragments of previous musical genres into a jarring, densely rhythmic, compulsively danceable mix. Played in community centers and schoolyards, house parties and small clubs, the music initially attracted little interest from recording companies or commercial radio. But its extraordinary popularity among urban youth soon caught the attention of neighborhood promoters, who began recording the music, and hip audiences in the largely white downtown “punk” scene.
By the early 80’s, hip hop or rap, had started to crack into mass markets and commercial radio, even though most established professionals didn’t regard it as real music. But the music accurately expressed the sensibility of people who had been left out post-industrial social order or who were rebelling against its mores. Hip hop, despite fierce skepticism and opposition, not only survived, but exploded becoming the most commercially successful musical form in the world by the mid-90’s, defining not only the sensibility of urban youth in the United States, but young people of various backgrounds all over the world.Once again African-American cultural creativity, forged in an urban setting, had redefined the musical tastes of a generation.
In the course that follows, we will examine how the sensibility and musical creativity of urban youth, in two very different historical periods , inspired musical revolutions which transformed the tastes of entire generations, crossing boundaries of race, gender, nation and social class. How could this happen twice in fifty years? What does this say about the racial/cultural dynamics of post-war American society? About the connection between African-American culture and American culture? About race and gender dynamics in the culture industry? About the role of women in musical forms which emphasize an insurgent, eroticized masculinity and turn women into objects of desire and/or contempt? About how rebellion can be marketed, coopted and turned into an instrument for material gain?
To get at these questions, the course will use music, film, and literature as well as historical writings on the music industry and contemporary urban life. To add depth to our portrait, we will also explore musical countercultures of international derivation particularly punk, reggae, salsa and reggaeton, and look at how folk music and jazz periodically invade and occasionally shape popular musical forms. We will also explore how these musical forms become internationalized and how they are being brought to life today in new ways in nations around the world.
We have a graduate assistant working with the class, Melissa Castillo Garsow, who will give a few lectures and presentations on the globalization of hip hop. At various points in the class, people involved in the creation of the music we are studying will come to class to perform or talk about their work. There will also be an opportunity for students in the class to perform their music, inside or outside of class. We draw no line between musical creativity and musical analysis. Both are welcome in our classroom.
I. An Overview of Popular Music in the US: Garafalo and Waksman Rockin Out, Introduction
2. Some Antecedents of Rock and Roll: Garafalo and Waksman, Rockin Out, chapters 1 and 2, Rock and Roll, Race, and the invention of the “Teenager:” Garafalo and Waksman, Rockin Out, chapters 3-5 Echols, Scars of Sweet Paradise, chapter 1
3. Soundtrack to Social Revolution, Soul Music, Civil Rights and the Rise of the Counter Culture: Guralnick, Sweet Soul Music, 1, 3, 4, 5, 7, 10, 11 Echols, Scars of Sweet Paradise, 2-7 Garafalo and Waksman, Rockin Out, chapter 6
4. Black Power, White Flight and the Resegregation of Popular Music: Guralnick, Sweet Soul Music, ch. 12 Echols, Scars of Sweet Paradise, 8-9 Garafalo and Waksman, Rockin Out, Chapter 7, Mid-Term Examination
5. The Rise of Hip Hop: Creativity and Destruction in the Post-Industrial City: George, Hip Hop America, chapters 1-2, Foreman and Neal, That’s The Joint, selections Mark Naison “The Morrisania Roots of Hip Hop Culture” (article sent on internet) Mark Naison “From Doo Wop To Hip Hop” (article sent on internet)
6.. Caribbean and Latin Influences in Hip Hop Culture: Foreman and Neal, That’s The Joint, selections, Class Presentations/Lectures by Melissa Castillo-Garsow
7. Images of Rebellion: MTV, Music Videos, and Commercialization of Rap: Garafalo and Waksman, Rockin Out, chapters 8, 10 George, Hip Hop America, chapters 3-4, Foreman and Neal, That’s The Joint, selections
8. The Crack Epidemic and the Rise of Gangsta Rap: George, Hip Hop America, chs. 5-10 Foreman and Neal, That’s The Joint, 11, 17, 26, `44, Jay Z Decoded
9. Hip Hop Wars: Gender, Sexuality and the Politics of Contemporary Rap: George, Hip Hop America, chs. 11-18 Foreman and Neal, That’s The Joint, selections
10. The Globalization of Hip Hop: Foreman and Neal, That’s The Joint, selections, Class Presentations/Lectures by Melissa Castillo Garsow