BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Center for the Study of Africa and the African Diaspora - ECPv6.17.4//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:Center for the Study of Africa and the African Diaspora
X-ORIGINAL-URL:https://csaad.nyu.edu
X-WR-CALDESC:Events for Center for the Study of Africa and the African Diaspora
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20170312T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20171105T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20180311T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20181104T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20190310T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20191103T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20200308T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20201101T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190404T180000
DTEND;TZID=America/New_York:20190404T200000
DTSTAMP:20190402T220228Z
CREATED:20190402T220107Z
LAST-MODIFIED:20190402T220228Z
UID:791-1554400800-1554408000@csaad.nyu.edu
SUMMARY:RACISMS IN COMPARATIVE PERSPECTIVE: “INNOCENCE LOST”
DESCRIPTION:CLACS is proud to present “Innocence Lost”\,  by Marie Cruz Soto (NYU Gallatin) as part of the Racisms in Comparative Perspective Working Group. \nAbstract: \n“Innocent Lost” is the fifth chapter of The Life of Isla Nena: Disposability\, Unruliness and the Colonial Order of Things in Vieques\, Puerto Rico.  The book manuscript broadly traces the makings of disposability and the efforts to unmake it.  It delves into how islanders have been branded disposable and into how that disposability has hinged on the value assigned by empires to the island over the past five centuries.  The colonial order of things in Vieques has made not only racialized others but disposable ones.  Chapter 5 discusses the entrance of the U.S. Navy into Vieques and the changes it forced upon the island-community.  The 1940s expropriations of three-fourths of the island to make way for the Navy destroyed agricultural activities and broke people’s attachments to land and barrios.  It precipitated a re-articulation of communal bonds and overall politics of belonging.  Furthermore\, the arrival of the Navy made the Viequense identity inseparable from the experience of displacement and dispossession.  To be a Viequense after the 1940s has been in many ways to be an expropiada.  But an unruly one. \nAbout Marie Cruz Soto: \nMarie Cruz Soto received her Ph.D. in History from the University of Michigan\, Ann Arbor\, and teaches at the Gallatin School of Individualized Study\, New York University.  She is interested in processes of becoming that denote the workings of empires\, and in decolonizing struggles to un-become.  Her works focuses on Vieques\, Puerto Rico\, and explores how colonialism\, particularly in its militarized iteration\, has impacted the island-community.  She is currently working on a book tentatively titled The Life of Isla Nena: Disposability\, Unruliness and the Colonial Order of Things in Vieques\, Puerto Rico.  It traces how Viequenses have been branded disposable through a long history of violent imperial interventions.  She argues that the marking of disposability ensures a vulnerable and unruly population. \nCruz Soto is also a peace activist who has participated in Viequense community initiatives\, in the organization New York Solidarity with Vieques and in transnational networks of solidarity against U.S. military bases. \nAbout Racisms in Comparative Perspective Working Group: \nIn this new/old political context\, discussions about race and racisms have exploded. Postraciality and the multicultural rights frame are being challenged at the core and more intensely than ever before\, glimpses of proto-fascist policies and actions are on the rise.  As a working group which is part of the larger Red de Investigacion Accion Antiracista en las Americas (RAIAR)\, we want to continue contributing to the debate on how best to fight against this emergent racist/classist backlash. The analysis of race and racism in the Americas being done by our presenters since 2010 when Carmen Medeiros and Pamela Started the started the group. \nThis event is free and open to the public. ID is required to access the building. The conversation will be held in English. \n 
URL:https://csaad.nyu.edu/event/racisms-in-comparative-perspective-innocence-lost/
LOCATION:King Juan Carlos Center\, Room 324
ATTACH;FMTTYPE=image/jpeg:https://csaad.nyu.edu/wp-content/uploads/2019/04/w_tpY8f1_400x400.jpg
ORGANIZER;CN="The Center for Latin American and Caribbean Studies (CLACS)":MAILTO:clacs@nyu.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181127T180000
DTEND;TZID=America/New_York:20181127T210000
DTSTAMP:20181116T233721Z
CREATED:20181116T233721Z
LAST-MODIFIED:20181116T233721Z
UID:562-1543341600-1543352400@csaad.nyu.edu
SUMMARY:Indocumentales-En el Séptimo día/On The Seventh Day
DESCRIPTION:The Center for Latin American and Caribbean Studies at New York University (CLACS)\, Cinema Tropical\, and the World Council of Peoples for the United Nations / What Moves You?\, are proud to announce the official re-launch of INDOCUMENTALES – a film and conversation series committed to exploring the multiplicity of Latin American migrant experiences in our country through compassionate representation and critical dialogue. \nINDOCUMENTALES began in May of 2010 as Indocumentales: the US/Mexico Interdependent Film Series with screenings and panel discussions at New York University’s King Juan Carlos I of Spain Center and other venues throughout the five boroughs including the Americas Society and Cervantes Institute in Midtown Manhattan\, the Dwyer Cultural Center in Harlem\, the Casita Maria Center for the Arts in the Bronx\, the Beacon Center for the Arts in Bushwick\, Brooklyn\, and the Queens Museum in Corona\, New York. It since traveled across the U.S.\, as well as to Mexico and Canada\, engaging diverse communities in reflecting on their relationship to the questions posed in the films. \nFor the fall of 2018 re-launch\, INDOCUMENTALES is returning to its origins in New York City with two films that focus on immigrant experiences in this city. We are proud to present David Riker’s critically-acclaimed film La Ciudad (1998) followed by Jim McKay’s most recent feature En El Séptimo Día (2018). Twenty years between their releases\, the films nevertheless employ similar narrative structures and production models: both are filmed on location in New York\, in Spanish\, with majority non-professional actors. Moreover\, both films\, through contrasting but complimentary styles\, speak to the struggle of newly-arrived Latin American migrants for survival\, respect\, and meaning in unfamiliar territories. \nThe series is free and open to the public. All screenings are followed by panel discussions meant to bring together filmmakers\, scholars\, activists\, policy makers\, and community representatives concerned with the fortification of immigrant rights. \n____________________________________________________________________________ \n\nEN EL SEPTIMO DIA (Jim McKay\, USA\, 2018\, 92 min. In Spanish with English subtitles) \nEn el Séptimo Día is a fiction feature following a group of undocumented immigrants living in Sunset Park\, Brooklyn over the course of seven days. Bicycle delivery guys\, construction workers\, dishwashers\, deli workers\, and cotton candy vendors\, they work long hours six days a week and then savor their day of rest on Sundays on the soccer fields of Sunset Park. José\, a bicycle delivery worker\, is the team’s captain – young\, talented\, hardworking and responsible. When José’s team makes it to the finals\, he and his teammates are thrilled. But his boss throws a wrench into the celebration when he tells José he has to work on Sunday\, the day of the finals. José tries to reason with his boss or replace himself\, but his efforts fail. If he doesn’t work on Sunday\, his job and his future will be on the line. But if he doesn’t stand up for himself and his teammates\, his dignity will be crushed. Shot in the neighborhoods of Sunset Park\, Park Slope\, and Gowanus\, En el Séptimo Día is a humane\, sensitive\, and humorous window into a world rarely seen. The film’s impact is made quietly\, with restraint and respect for the individual experiences\, everyday challenges\, and small triumphs of its characters. \n\nTrailer: https://www.youtube.com/watch?v=gYg3mAJTWSE \n\nAbout the Director: \nJim McKay (Writer/Director/Producer) is a filmmaker and co-founder\, along with Michael Stipe\, of C-Hundred Film Corp. He has produced and directed a feature-length documentary\, Lighthearted Nation; a feature-length concert film\, R.E.M.’s Tourfilm; numerous music videos and an award-winning series of public service announcements called Direct Effect. In 1995\, McKay co-wrote\, directed and co-produced Girls Town\, which received the Filmmakers Trophy and a Special Jury Prize for Collaboration at the 1996 Sundance Film Festival. The film was released in 1996 in the U.S. by October Films. His second feature as a director was Our Song (1999)\, which premiered at the 2000 Sundance Film Festival\, played at New Directors/New Films in 2000\, and was distributed theatrically in the U.S. by IFC Films. McKay’s third feature\, Everyday People (2004)\, was selected as the Opening Night Film of New Directors/New Films 2004 and played at festivals around the U.S. before showing on HBO. His fourth feature\, Angel Rodriguez\, co-written with Hannah Weyer\, premiered at the Toronto Film Festival in 2005\, had its U.S. premiere at MoMA and showed on HBO in fall 2006. McKay was a co-writer of Nelson George’s Golden Globe Award-winning HBO Film Life Support\, starring Queen Latifah. McKay has directed numerous tv shows\, including The Wire\, Big Love\, Treme\, In Treatment\, Mr. Robot\, The Americans\, The Good Wife\, Boss\, Breaking Bad\, Rectify\, Power\, BrainDead and Law and Order. McKay served as a producer on American Movie (Chris Smith)\, The Sleepy Time Gal (Christopher Munch)\, Spring Forward (Tom Gilroy)\, Stranger Inside (Cheryl Dunye)\, La Boda and Escuela (Hannah Weyer)\, Brother to Brother (Rodney Evans)\, Room and Fourplay (Kyle Henry)\, Memorial Day (Josh Fox) and Mosquita y Mari (Aurora Guerrero). McKay was a Rockefeller Fellow in 2003 and a Guggenheim Fellow in 2004. In 2005\, he was a recipient of the Lincoln Center Martin E. Segal Award.x
URL:https://csaad.nyu.edu/event/indocumentales-en-el-septimo-dia-on-the-seventh-day/
ATTACH;FMTTYPE=image/jpeg:https://csaad.nyu.edu/wp-content/uploads/2018/11/https_2F2Fcdn.evbuc_.com2Fimages2F524836052F472989340012F12Foriginal.jpg
ORGANIZER;CN="The Center for Latin American and Caribbean Studies (CLACS)":MAILTO:clacs@nyu.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181119T180000
DTEND;TZID=America/New_York:20181119T210000
DTSTAMP:20181116T221406Z
CREATED:20181116T221406Z
LAST-MODIFIED:20181116T221406Z
UID:544-1542650400-1542661200@csaad.nyu.edu
SUMMARY:Latin America's 1968 - Marta Minuj´ín
DESCRIPTION:As part of the Latin America’s 1968 Colloquium series\, New York University’s Center for Latin American and Caribbean Studies (CLACS)\, Department of Spanish and Portuguese\, The Hemisphiric Institute of Performance and Politics\, and The Institute of Fine Arts (IFA)\, are proud to present a conversation with internationally acclaimed Argentine performance and conceptual artist Marta Minujín and IFA’s Deputy Director Edward Sullivan. \nThis event is free and open to the public. Ticket holders receive priority seating. \nAbout the speakers: \nMarta Minujín is an internationally acclaimed Argentine performance and conceptual artist whose career has helped define the role of participation\, performance\, and media in contemporary visual art. Minujín created her first “ephemeral” works in the 1960s in Paris and New York\, where she and became an innovator of pop art\, happenings\, soft sculpture\, and early video. Her celebrated La Menesunda (1965) created a sequence of 16 multi-sensory “situations” or environments for spectators to traverse; these included a beauty parlor\, a couple in bed\, and a shower of a confetti in an octagonal mirror chamber. Her 1967 Minuphone created an interactive “psychedelic” telephone booth in which voice triggered sensory changes in light\, image\, and sound. In May 1968—at the height of the cultural and political ferment of global 1968—Minujín hosted a series of soirèes/happenings with luminaries of fashion\, art\, finance\, and politics at Manhattan’s Center for Inter-American Relations (now Americas Society); the documentation became the basis of an immersive film installation\, known as Minucode\, which advanced a subtle critique of the role of “cultural” diplomacy needed to carry out the US cold war in Latin America. While in New York she participated in activities at Andy Warhol’s Factory\, and in the 1980s\, created a performance in which she offered Warhol a corn on the cob as a way of paying off Argentina’s foreign debt. She is perhaps best known for the 1983 piece The Parthenon of Books\, a large-scale replica of a Greek parthenon built on Buenos Aires’s main avenue\, comprised of 30\,000 books banned by the military regime during Argentina’s “Dirty War\,” including works by Marx\, Freud\, and Foucault. Spectators were then invited to dismantle work. She has continued to create works that combine ephemeral materials with monumental scale\, including Tower of Babel (2011)\, Agora of Peace (2013)\, and Hopscotch Art (2014). She lives and works in Buenos Aires. \nEdward J. Sullivan is the Helen Gould Sheppard Professor in the History of Art and the Deputy Director of the Institute of Fine Arts New York University. He has developed extensive research and curated several shows on the arts and visual cultures of the Americas from a transnational perspective\, with a particular concentration in Mexico\, Cuba\, Brazil\, Argentina\, Puerto Rico\, and Uruguay. Edward is the author of From San Juan to Paris and Back: Francisco Oller and Caribbean Art in the Era of Impressionism\, published by Yale University Press in 2014\, and The Language of Objects in the Art of the Americas\, published also by Yale in 2007\, among many other books and catalogs. \nSullivan’s latest book is entitled “Making the Americas Modern. Hemispheric Art 1910-1960” published this past March. He is currently curating a major exhibition of the Brazilian garden architect and painter Roberto Burle-Marx that opens in June next year at the New York Botanical Garden. His next book project concerns the relationships between artists and choreographers in the US and Latin America in the mid twentieth century. \nAbout the series: \nLatin America’s 1968; Curated by Jill Lane & Dylon Robbins. \nIn Latin America\, the year 1968 marked a turning point in the social\, political\, and cultural transformations that had been unfolding in the wide wake of the Cuban Revolution of 1959. For Latin America\, as for the rest of the world\, the sixties were shaped by geopolitics of the Cold War\, and of anti-colonial struggles across the globe. Yet they are most remembered by those who lived them as a time when ordinary people felt\, like never before and perhaps never after\, that they could change the course of history: millions of youth in student movements\, advocates for indigenous rights\, workers\, campesinos\, educators\, intellectuals\, and artists\, long with guerillas and other armed insurgents\, were self-aware in world-historical projects of radical social\, political\, economic\, and cultural change. In these years\, the personal became the political\, politics became theatrical\, theatre became a weapon\, and the lines between self\, art\, and politics were forever redrawn. To mark the 50th anniversary of this momentous year\, the Center for Latin American and Caribbean Studies (CLACS) offers a film and lecture series that will explore and celebrate its significance in the region. \nImage: Marta Minujin | by Martin Lucesole | Flickr
URL:https://csaad.nyu.edu/event/latin-americas-1968-marta-minujin/
LOCATION:Location: King Juan Carlos I of Spain Center Room 342E\, 53 Washington Square S\, New York\, NY\, 10012\, United States
ORGANIZER;CN="The Center for Latin American and Caribbean Studies (CLACS)":MAILTO:clacs@nyu.edu
GEO:40.7303742;-73.9986799
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Location: King Juan Carlos I of Spain Center Room 342E 53 Washington Square S New York NY 10012 United States;X-APPLE-RADIUS=500;X-TITLE=53 Washington Square S:geo:-73.9986799,40.7303742
END:VEVENT
END:VCALENDAR