Co-Sponsored by The University Seminars on Cultural Memory and Public Humanities: Expanding Scholarship and Pedagogy (Faculty House and Heyman Center for The Humanities) For the past 50 years, the Columbia Society of Fellows has welcomed early-career researchers into a community of scholars whose research projects and teaching open new avenues of inquiry both within and across disciplines. From its earliest years when it gathered in Faculty House, the Society of Fellows has enjoyed a longstanding partnership with University Seminars in bringing together researchers to think together. In celebration of this partnership and of the milestone anniversaries of both the Society of Fellows and The University Seminars, the Society of Fellows and Heyman Center for the Humanities and The University Seminars on Cultural Memory (#717) and Public Humanities (#805) are hosting a three-day conference, Humanities in the World, to welcome scholars from across the generations to discuss topics and questions that are of particular urgency for scholar-citizens at the present time—and to celebrate what we have accomplished together.
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This event is open to members of The University Seminars community only. Registration is required. TANNENBAUM LECTURE "Arthur Mitchell: The Extraordinary Life of Harlem's Ballet Visionary" Lynn Garafola Professor Emerita of Dance at Barnard College Born in 1934 to parents who came to Harlem during the Great Migration, Arthur Mitchell fell in love with ballet as a teenager and against all odds became New York City Ballet's first African American star. Like Jackie Robinson and other civil rights heroes, Mitchell stood on the front line of integration, even as he left a lasting mark on ballets such as Agon and A Midsummer Night’s Dream by George Balanchine that defined a new era in American dance. Outraged by the assassination of Martin Luther King at the height of the Black Arts Movement, in 1969 Mitchell founded Dance Theatre of Harlem, the first enduring majority-Black company. Under Mitchell's inspired direction, DTH quickly became a racial and artistic change-maker, enabling large numbers of Black dancers to pursue a professional career in ballet for the first time, even as the company became the incubator of ballets that spoke directly to the Black experience. Mitchell seldom spoke of the racism he had encountered, his closeted […] |
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