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The Global Liberal Studies Course Taught Around the World

Posted on , modified on by Maxine P
A group of students smile at the camera on a city sidewalk

Students in Cecilia Palmeiro’s “City as Text” class in Buenos Aires’ La Boca neighborhood. The class studies its traditional tenements—painted in different colors—in reading the history of Buenos Aires through its architecture. Photo credit: Daniel Espinoza

Global Liberal Studies (GLS) majors have the unique opportunity to take the course City As Text during the fall semester at most locations in NYU’s global network. The course, part of the GLS junior-year learning sequence, selects location-specific texts to immerse students in the setting where they’re living and learning. “Across all City As Text courses, emphasis is placed on the importance of primary sources. Students academically investigate their present geographic setting but also experience its profound intricacies on-site. The classroom work, alongside the field trips, is designed to facilitate the framing and contextualization of the study away experience,” says Philip Kain, the director of academic engagement and experiential learning and a clinical professor at Liberal Studies.

For example, at NYU Buenos Aires, readings and lectures are enhanced with visits from local government officials and activists. And, of course, excursions throughout the city to places like the Palace of the Argentine National Congress, Plaza de Mayo, and La Boca neighborhood, an artists’ haven that many 19th- and 20th-century European immigrants called home, provide further insight for students. “We produce a kind of knowledge that fosters reflection and analysis that exceeds the singularity of Buenos Aires and inspires their approach to other places,” says NYU Buenos Aires course instructor Cecelia Palmeiro, an expert on Argentine and Brazilian literature and gender issues, a researcher at the National Scientific and Technical Research Council, and the coordinator of the Interdisciplinary Center for Gender Studies and Policies at the National University of Tres de Febrero. 

A group of students stand in front of a street mural featuring Argentinian soccer player Diego Maradona

Students in Cecilia Palmeiro’s “City as Text” in front of a mural of Argentinian soccer star Diego Maradona in Buenos Aries’ La Boca neighborhood. Photo credit: Daniel Espinoza.

This fall in Palmeiro’s class, students considered the past and present of Buenos Aires through the lenses of immigration, environmental concerns, art and its role in political protest, and reproductive health. “In order to obtain the critical tools necessary to make sense and produce academic knowledge out of this experience, students read ‘Neoliberal Reform and Landscape Change in Buenos Aires, Argentina’ by David Keeling and the classic ‘The Right to the City’ by David Harvey,” explains Palmeiro.

This approach is not singular to NYU Buenos Aires, however, as students at NYU London traveled to the city’s Brixton district to learn about the area’s musical history and shifting racial makeup. And at NYU Accra, students focused on how migration and religion shaped the Ghanaian capital, visiting places of worship to learn in context.

Architect Cecilia Alvis points to a colorful mural

Architect Cecilia Alvis with “City as Text” students in front of a mural on the Nicolás Avellaneda Bridge. Photo credit: Daniel Espinoza

NYU Paris students studied the potential impacts of the 2024 Summer Olympics, learning about the social and environmental impacts of the upcoming event, and in NYU Berlin, students contextualized their learning with the history and landmarks of the Weimar Republic, the Third Reich, and the Cold War. “City As Text has played a significant role in the GLS curriculum since its inception. Our aim was to create a course centered on active engagement at the study away locations with a global perspective as its foundation,” concludes Kain.

Repurposed from NYU News 

Akkasah: Illuminating History Through Photography

Posted on by Maxine P

This summer, Akkasah, the photography archive at NYU Abu Dhabi’s al Mawrid Arab Center for the Study of Art, released 1,500 digitized photographs from across the Middle East, with some photographs dating back to the 19th century. Located within the NYU Abu Dhabi Library, this remarkable collection houses a treasure trove of images that chronicle the history, culture, and transformation of the Middle East and beyond.

A black and white image of two woman in the back of a car with a male drive in the front.

An example from the archive: Taken in 1949 by Ibrahim Omara, this image of Egyptian actresses Aziza Helmy and Laily Fawzy in the back of a car is available in the Samir Farid Collection.
Reference ID: ref34_000002

 

Origins of the Archive

This fascinating collection of the photographic heritage of the Middle East was established in 2014 by Professor Shamoon Zamir, who still serves as its director. “When I joined NYU Abu Dhabi, I very much wanted to make some kind of contribution to work in the region,” says Professor Zamir. After noticing a lack of Middle Eastern photography archives, he designed Akkasah to be completely accessible, both online and in person.

 Akkasah acquires photos from donations, family albums, studios, and even flea markets. They also work with people who allow Akkasah to digitally archive their collections while they retain the physical copies of their photographs. 

 Once collected, each photo is individually cataloged with any available metadata, such as the subject matter and location. Although most archives catalog their collections folder by folder, Akkasah catalogs each photograph. It’s a time-consuming process, but the extensive metadata and easy searchability put Akkasah in a class of its own.

 Scholarly Impact

With its diverse collection of roughly 40,000 images spanning the late 1800s to the present, Akkasah provides a unique window into the past. Anthropologists, historians, and social scientists from around the world have access to this invaluable resource, offering insights into education, religion, fashion, and more.

 “There are both amazing surprises and expected things in there,” says Professor Zamir. Some subjects provoke questions, for instance, two women kissing in a Cairo photobooth in the 1940s.

 Beyond its role as a scholarly resource, Akkasah opens its doors to students and the wider community by hosting exhibitions, seminars, and lectures. They have taught workshops on skills such as archiving and constructing photo books. And anyone can browse the archive in person or online. 

 “Anyone, academic or nonacademic, can make an appointment and see whatever they want to see,” says Professor Zamir. “In fact, we very much welcome it.”

 Professional Development Opportunities

For students who want to learn even more about archiving, Akkasah offers paid internships. Undergraduates can gain valuable experience in photography, digitization, and curation.

A studio portrait of a seated woman wearing a dark dress

An example from the archive: This studio portrait of a seated woman comes from the Kadikoy Foto Aile in Turkey and is available in the Ozge Calafato Collection.
Reference ID: ref263

Emily Broad, a Raleigh, North Carolina, native who graduated from NYU Abu Dhabi in 2022 with a degree in Art and Art History, is one former intern. “Akkasah is one of the reasons why I applied to NYU Abu Dhabi,” says Emily. “I was able to develop my interest in photography not only as a practice but also as an academic discipline.”

 As part of a summer research project, she cataloged a collection from the granddaughter of Butti Bin Bishr who worked closely with Sheikh Zayed, the United Arab Emirates’ founder. “I spent the whole summer talking with her and going through each image, dating them and writing descriptions. That was a unique experience because I got to work with someone who was high-level in the UAE as well as form a relationship with her through the archival work.”

 Building on the skills she learned, Emily went on to do an internship at the Metropolitan Museum of Art and is now pursuing her PhD in Visual and Cultural Studies at the University of Rochester.

 A Cultural Reservoir

Perhaps one of the archive’s most important roles is the preservation of cultural heritage. It documents traditions, customs, and art forms, helping safeguard the rich cultural tapestry of the Middle East. Anyone can stop in to reconstruct narratives, explore societal changes, and gain insights into the past.

Emily encourages students to take advantage of the unique resource. “Akkasah gives you a different look at the region than what people are used to, especially if you’re an American student,” she says. “I feel like we have preconceived notions about the Arab world that working with Akkasah really changed for me.”

Written by Kelsey Rexroat

Diversity and Inclusion in the NYU Global Network: Chijioke Obasi Named Director for Global Programs Inclusive Engagement

Posted on , modified on by Maxine P

When Chijioke Obasi joined NYU earlier this year as director for global programs inclusive engagement, she brought a wealth of experience to the role. Dr. Obasi, who is based in London, began her higher education career as a communication support worker for deaf students who use sign language. Since then, she’s held various faculty and administrative roles in both social work and diversity, equity, and inclusion (DEI). And she’s found that the two areas are more connected than one might think at first. “Valuing lived experience and cultural humility is transferable across both areas,” she says. “Working with difference and developing good intercultural communication skills are essential to both.”

Portrait of Dr. Chijioke Obasi

Dr. Chijioke Obasi

Dr. Obasi’s doctoral research at the University of Central Lancashire centered the experiences of Black women and culturally Deaf women at work in the UK. She notes that her previous experience and research are directly applicable to her new role. “My work for the Office of Global Programs has made me think about how accessible our study away programs are for students from many different backgrounds,” she says. “It would be great to increase access for students with physical disabilities, for example, but this would need to be done in a way that promotes a truly inclusive environment, where students feel a true sense of belonging. I am keen to work with students and other colleagues to look at how we might best do this.”

Given how different DEI is across the world, it’s no small feat to ensure students from all backgrounds feel this sense of belonging and are able to realize their full potential while studying away. “Because of all the wide-ranging histories, legislation, and cultural practices across the world, we are not looking for a one-size-fits-all approach,” says Dr. Obasi. 

It takes time to adjust to the culture, language, and even climate in a new country. Dr. Obasi offers students opportunities to tap into all the resources they have available for intercultural learning and communication. “From their predeparture to their return and beyond, our office ensures that all students have the chance to engage with their personal issues of identity and self-awareness as well as wider issues of global inclusion.”

To further their mission, Dr. Obasi and the Office of Global Programs now hold an online mixer where students from across the NYU global network can build community and discuss DEI issues. She also hopes to work closely with students currently studying away to make a series of videos about the global sites and student experiences within particular affinity groups. In addition, her plans to work closely with NYU staff and develop intercultural competence extend the scope of the typical global programs audience. The hope is that every community member can help make the NYU global network an even more diverse, welcoming, and vibrant place than it is already.

Written by Kristin Maffei

A Universal Language at Every Age

Posted on by Maxine P

Through internships, volunteer opportunities, and class projects, NYU study away students can make a positive impact on the children in their local communities while also gaining valuable, real-world experience they can apply to their future careers.

While studying at NYU Prague last spring, Joey Duke, a junior majoring in Music Education at the NYU Steinhardt School of Culture, Education, and Human Development, found there is more to his field of study than he could have imagined. Through the class Foundations of Music Education led by Professor Klára Boudalová, he had the opportunity to work with the Prague Symphony Orchestra to help make classical music accessible to children in the Czech Republic.

Seven people pose for a camera on the orchestra stage

Concert planners and participants pose for a photo onstage at Smetana Hall after the orchestra performance. Pictured from left to right are: Jaime Patterson, Jair Gonzales, director Klara Boudalova, Joey Duke, actress Veronika Kubarova, Jahnvi Seshadri, and conductor Jan Kucera.

“We worked on the Orchestr na dotek, which means ‘the orchestra to listen,’” Joey says. After a semester of learning from the orchestra, the class’ final project was to organize an orchestra completely on their own. “It’s their program created just for young audiences, and it was a game changer for me. It showed me there’s a lot more you can do with music education.”

Joey and his classmates “took a part in everything” when it came to creating the orchestra. They chose composers, selected and cut the music, wrote a storyline, and worked with the musicians and performers to ensure the performance went off without a hitch. 

“We knew we would be these kids’ first impressions of the composers, and we wanted to make sure we selected the right pieces and cuts,” explains Joey. Their orchestra focused on the works of Claude Debussy and Maurice Ravel, which they intertwined with a story about pirates. “The music really couldn’t be more than three minutes at a time, so we had to select the most important parts. That took a lot of score reading and musical knowledge. Then for the story, Debussy features a lot of ocean music and Ravel features a lot of Spanish music, so we were like, ‘We’ve got it! We’re getting on a ship, we’re venturing across the sea, we’re going to islands.’ It was this big, fantastical process, and once we got past the blank canvas, the possibilities were endless.”

Similarly, at NYU Florence, Anika Istok, a junior majoring in Psychology at the College of Arts and Science and minoring in both Italian Studies and Child and Adolescent Mental Health Studies (CAMS), had the chance to connect with children through music. 

“Music is so important for kids,” says Anika who spent the fall of 2022 volunteering with NPM Bambini in Movimento, an organization that provides support, therapy, and inclusive recreational activities for children, adolescents, and their families to help improve their health and wellness. “It’s an important way for kids to express themselves, especially if they’re nonverbal, shy, or don’t initiate interactions. It’s amazing because, through something simple like playing our community drum together, they were able to bond in a way that, even with words, you can’t accomplish.”

Photo of Anika wearing an NPM Bambini in Movimento polo shirt

Anika Istok in her NPM Bambini in Movimento shirt

Volunteering with NPM Bambini in Movimento was fulfilling for Anika on multiple levels. It not only advanced her work in psychology and CAMS but also helped her become fluent in Italian. She noted volunteering as part of the culture at NYU Florence, so she knew she would get involved somewhere. Still, it was important for her to find an organization where she could really make an impact, and at NPM Bambini in Movimento, she was able to do just that. 

“We weren’t necessarily teaching music; rather, we were experiencing music together,” Anika adds. Anika helped teach two after-school classes, one for children between 2 and 5 and one for children between 6 and 8 years old. “A lot of the kids we worked with had either a disability or some sort of special need, and a lot of them were too young to be in school full time or had some trouble in school. Connecting with them outside of their normal educational environment was really important.”

Both Joey and Anika returned to New York City after their semesters away with newfound knowledge and appreciation for their selected fields of study. “This opportunity showed me that I could not only aspire to do something like this but do it. And then we watched it happen,” says Joey. “At the end of the day, music is who we are as a people. It carries all of our cultural meaning, it carries a message, and for kids to understand the music from where they are is for them to participate in their communities. For me, I realized there’s so much more we can do. That semester really opened my eyes to the impact we can make through music.”

Written by Kelly McHugh-Stewart

NYU Affiliations Around the World: A Robust Network for Research and Study

Posted on by Maxine P

Students not only gain perspective and knowledge from time spent away from their home campus but also benefit from NYU partnerships with local institutions in the University’s global network. With one partnership that began before the global site itself was founded and another established over 50 years ago, it’s clear these relationships are invaluable to NYU research, scholarship, and community.

NYU Berlin

The Wilhelm von Humboldt Memorial in front of Humboldt University

Humboldt University in Berlin

NYU Berlin’s first agreement with Humboldt-Universität zu Berlin was in 1995, and the partnership remains as strong as ever. Today, students can enroll in courses at Humboldt and access its library. In addition to its partnership with Humboldt-Universität, NYU Berlin has an impressive record of establishing—and continuing—student and faculty exchange programs with other German universities. For example, in 1995 NYU established an agreement with the Freie Universität Berlin. Over 20 years later, in 2019, Freie Universität hosted Radha S. Hegde, NYU professor of media, culture, and communication, as the Dahlem International Network Professor in Gender Studies to teach two seminars. 

 

NYU London

Before NYU London was established in 1999, the University held a partnership with the Royal Academy of Dramatic Art (RADA) for NYU Tisch School of the Arts students. Even as course offerings and programming expanded into the NYU London we know today, that relationship has remained steadfast for over 20 years. Each semester, a small group of NYU students audition for placement in RADA’s Shakespeare in Performance program. Students learn all aspects of performing Shakespeare as they work with a variety of RADA instructors. The intensive program culminates with the performance of one of Shakespeare’s plays. A more recent partnership with the National Film and Television School was established in 2018, with the first NYU students taking Directing the Actor: London in 2019. At the end of the course, students shoot and direct professional actors on a soundstage.

NYU Paris

A young woman on a laptop sits on the steps to the Sorbonne, a building with large columns.

The Sorbonne building houses various Parisian universities including the Université Paris 1 Panthéon-Sorbonne

Over the years, NYU Paris has established a number of agreements with local universities, including Université Paris 1 Panthéon-Sorbonne, Université Paris Cité, Université Sorbonne Nouvelle, and Université Paris Sciences et Lettres. These agreements allow NYU Paris students to take courses at these institutions, while Paris-based students have the opportunity to study at NYU’s campus in New York City. The relationship between NYU and Université Paris 1 Panthéon-Sorbonne dates back to the founding of NYU Paris in 1969. Currently, the agreement allows NYU Paris students with advanced proficiency in French to take Paris 1 Panthéon-Sorbonne classes in subjects ranging from art and history to philosophy and mathematics. In addition, the University’s partnership with Université Sorbonne Nouvelle dates back almost as long—to 1975. Eligible NYU Paris students can take courses there in literature, cinema, theatre, and media studies. 

NYU Sydney

A building in the Victorian Academic Gothic Revival style in front of a green manicured lawn

A view from inside the University of Sydney Quadrangle

In November 2021 NYU established a new partnership with the oldest university in Australia, the University of Sydney (USYD). Through the partnership, NYU Sydney students have all the benefits of being a full-time USYD student: living on campus, enrolling in USYD courses, and participating in the Industry and Community Projects Units (ICPUs). ICPUs pair students with an industry partner and academic lead to work on real issues that industry, community, and government organizations encounter. And the partnership benefits are reciprocal—USYD students have the opportunity to enroll in Sydney-based courses taught by NYU instructors or spend a semester abroad at NYU’s campus in New York City or one of NYU’s global academic sites.

 

NYU Tel Aviv

A partnership with Tel Aviv University (TAU) further enriches students taking science courses at NYU Tel Aviv. TAU, Israel’s largest university, is just a short distance from the NYU global academic center. While NYU Tel Aviv offers science courses, including Organic Chemistry II and General Physics II, TAU offers the lab sections for those courses.

Three people in white lab coats and safety glasses in a chemistry lab

NYU Tel Aviv students take a chemistry course at Tel Aviv University’s labs.

In addition, undergraduate students can intern in a research lab through NYU Tel Aviv’s biology internships at TAU. Depending on the type of research conducted at each lab, students may learn different techniques like cell culture, gel electrophoresis, and microscopy. During the internship, students take part in the experimentation, research, and writing processes with at least one PhD student. What’s more, TAU students can also take advantage of NYU’s resources in return by enrolling at one of the University’s global academic sites for a semester.

Faculty Spotlight: Justin Randolph Thompson

Posted on by Maxine P
Three students of color talking with the Florence Duomo in the distance.

NYU Florence students enjoying the view of the Duomo from Piazzale Michelangelo

One marker of success when spending extended time in a new place (especially as a student) is how comprehensively one engages with the local culture. At NYU Florence, students are immersed in Italian and, specifically, Florentine culture through a range of courses and activities. And for over six years, Global Lecturer Justin Randolph Thompson has worked to ensure that experience includes the rich history of Black people in Italy.

In addition to his role as a lecturer at NYU Florence, Thompson, an artist, cultural facilitator, and educator, is the cofounder and director of Black History Month Florence, a multifaceted exploration of Black histories and cultures in the context of Italy. He also works with faculty and students to provide support for study abroad programs, offer internships and workshops, and share a space to connect with Black culture abroad. As a young man living in Italy, Thompson, who has lived between the United States and Italy since 1999, found that his relationship to Blackness was very much shaped by his environment.

Black History Month Florence

The first Black History Month Florence was created in 2016 to inspire much-needed connection—as a way to link Thompson’s projects to institutions in Florence and elevate his message. “Blackness extends into antiquity; there has never been a time in Italian history when there were not Black people here. But the country needed a framework to engage in more expansive conversations about Blackness.” Therefore, Thompson and cofounder Andre Thomas Halyard worked to build a network of like-minded people, artists, and writers to engage people with this history.

“In 1926 historian Carter G. Woodson established Black History Month because there was a need to tell a more complete story about the United States. And 90 years later, there was a need to tell a more complete story about Italy,” Thompson explains. This year’s celebration, which began on February 1, has expanded to include about 50 events, and its network now stretches across Italy and beyond. “It’s a huge cultural moment,” Thompson says. “Every single time we’re able to pull this together thanks to a range of partners, it is an incredible demonstration of what’s possible.”

The Recovery Plan

Now that Thompson’s work has grown, Black History Month Florence is but one piece of a much more comprehensive puzzle. The Recovery Plan, which developed from the success of Black History Month Florence, is a Black cultural center that examines the history and contemporary legacy of Blackness in a global context. The center hosts a range of exhibitions, performances, lectures, seminars, workshops, and residencies designed to reflect upon Italy as a historic site for cultural exchange.

The Recovery Plan collaborates with organizations and institutions throughout and beyond Italy, supporting young Black Italian artists. The center also nourishes an archive and library for the study of Afrodescendent cultures while helping to provide training and support to its partners.

“This is the work that really needs to happen in order to safeguard layers of history that have been consistently excluded,” Thompson says. “These absences impact all of society.”

The Work Together Is the Reward

Thompson has exhibited and performed at institutions all over the world, including the Contemporary at Blue Star art institution in San Antonio, Texas; Villa Romana in Florence, Italy; the Whitney Museum of American Art in New York, New York; and the Museo Nacional Centro de Arte Reina Sofía in Madrid, Spain. He has also won a number of awards, including a 2022 Creative Capital Award, a 2020 Italian Council Research Fellowship, and a Louis Comfort Tiffany Foundation Biennial Competition award.

These awards have given Thompson the freedom to experiment and push the boundaries of his work, beginning projects and bringing on new partners even if he doesn’t know the outcome from the start. As an educator, he follows a similar philosophy: “My teaching—and the way I live my life—is about developing a relationship where we can question everything and exchange what it is that we do know,” he says. “Together, we create a more complete picture. Every one of us can contribute such important things to this world.”

Written by Sarah Bender

At NYU Buenos Aires and NYU Madrid, Students Learn Spanish in Context

Posted on by Katie L

Foreign languages can provide a gateway to new cultures, new relationships, and new opportunities. And, of course, an organic environment where students engage with native users is one of the best ways for students to hone language skills. At NYU Buenos Aires and NYU Madrid, the University’s two Spanish-using locations, students can learn Spanish in and out of the classroom through language exchange programs, field trips, and everyday conversation.

“A language is never easy to learn, and it’s even harder to learn it by yourself,” explains Haiam Husain Lara, cultural program coordinator at NYU Madrid. “Ultimately, language is used for communication. So studying a language in context is crucial because you’re learning the language in the same circumstances you’ll use it: for conversation. There is just no other better way to acquire knowledge in something so distant yet so close to us.”

Argentina Hoy/Argentina Today at NYU Buenos Aires

A smiling student dances in a dance class

NYU Buenos Aires students join a local dance class with Buenos Aires residents

In the NYU Buenos Aires class Argentina Hoy/Argentina Today, taught by Language Coordinator and Professor Silvia Luppino, students explore current issues in Argentine society as they practice their Spanish language skills. The class visits sites like the Parque de la Memoria, a riverside park, and the Museo Etnográfico Juan B. Ambrosetti, the University of Buenos Aires’ ethnographic museum, as well as attends a cultural workshop about the Guaraní, one of the Indigenous peoples in Argentina and South America. Additionally, students participate in regular language exchanges with Argentine students through the Asociación de Centros de Idiomas, a local association of language centers. “Students can engage in a lively and relaxed atmosphere and share how they live and study, where they travel, and what they expect,” explains Luppino.

Each semester, Luppino changes the syllabus to reflect the latest trends and topics. Recently, the class attended a screening of the film Argentina, 1985, an Argentine movie about the civil trial of the last dictatorship’s military juntas. “It made a big impact on the students,” says Luppino. “They saw the audience’s emotional reaction, and they could appreciate that this didn’t feel like a ‘past’ event for Argentinians. Rather, it is a central part of the social experience.” That emotional connection to “the real language,” in Luppino’s words, is why immersive learning is so vital. “I always tell students that the journey is not only to cross the equator. Here, their cultural values and certainties will be put to the test, and that includes the Spanish language they learned from textbooks.”

NYU Madrid’s Language Exchange Program

A group of cyclists

NYU Madrid students participate in a language exchange bike ride at Rio Park.

“At NYU Madrid, we aim to ensure each student feels comfortable exploring the city and the Spanish language through activities that require participation and collaboration with native speakers. And we make sure they have fun while doing it,” says Husain Lara. Each semester, NYU students pair up with local university students to participate in weekly language exchanges. Since every student already takes intensive Spanish, the program emphasizes getting out of the classroom. Recent excursions included bowling, museums, and even miniature golf. During each outing, students learn terminology related to the activity in action. For example, during a recent salsa and bachata class, NYU students received cards with dance moves in Spanish while Spanish users received them in English. Then they had to communicate in their non-native languages to coordinate their dances.

“Studying a language in context breathes life into that language,” says Alejandro Pérez Pardo, assistant director for student life and housing at NYU Madrid. “Spanish can be very difficult, and in class, it sometimes doesn’t make sense because you’re not experiencing how it’s actually used. But when you go out, you start to understand why and how to use it—and why it’s important. By actually talking to Spanish people, students bond with one another and develop a real love of the language.” Husain Lara adds, “The idea we want to spread is that a language is never a barrier. Rather, it’s a bridge that helps us cross to another land we haven’t explored yet.”

Written by Dana Guterman

Adapting the African City

Posted on , modified on by Chelsea Robles
 

“What students are doing now ⁠— asking the subjects themselves to take part in creating a documentary ⁠— is their contribution to how the genre has been evolving since its inception in the early 1920s,” explains filmmaker Yahaya Alpha Suberu, a lecturer at NYU Accra. Instead of having films take the stance of a passive observer, “documentaries are now engaging the subjects, they are filming their own voices, and the collaborative process has changed between subject and documenter,” says Suberu.

In “Documenting the African City,” a course that has been offered at NYU Accra since its establishment 15 years ago, students learn how to tell stories using the language of film. The class is open to all students, regardless of their discipline — a background in film is not required — and helps students discover more about the city during the process of shooting short pieces, recording sound, and editing their work. “The topics of their documentaries,” said Suberu, “are as varied as NYU’s diversity. Music, religion, race, politics, transportation, education, gender, sexuality, streetism, commerce, health, dance, tradition, the list goes on and on.” 

“Usually by mid-semester students have all the basic skills for pre-production, production, and post-production to finish five-minute individual or group projects. By the end of the semester they would have honed their skills and produced a longer documentary which is about ten minutes in duration.” The longer documentaries are screened outdoors in Accra to an audience from NYU Accra and the surrounding community.

My students have adapted in their learning process as much as I have in my pedagogy. They have had to quickly learn to shoot and record sound using their smartphones, and they also learned to engage their subjects by making them a part of the documentary process. Yahaya Alpha Suberu

However, this spring presented a set of unique challenges, as NYU Accra, like the rest of NYU’s campuses and academic centers, was forced to suspend in-person operations due to the COVID-19 virus, and the cohort found themselves in a range of unexpected locations. “Some were in quarantine in their home countries, some at a place that was a ‘stopover’ or a place that was not home,” said Suberu. In response, the entire structure of the course had to be reshaped and the course’s focal point on Accra also had to adapt given that most of the cohort was no longer in Africa.

How exactly did Suberu adapt his instruction for a course that is typically very hands on, particularly in the locational aspect of the documentaries and the use of NYU Accra’s on-site film equipment and editing suite? And how did he support the continuity of a course that requires a high level of focused creativity in the midst of the chaos and stress? 

As he adapted how classes were conducted, spent time identifying short-format films that addressed the needs of the syllabus, and worked with students to expand their story themes beyond the city limits of Accra, Suberu found himself spending more time identifying resources and engaging with students online than in-person. “Even though class is over, I’m still doing research and communicating by email — when you end class, you are still on the screen, spending more time there than one usually would in more familiar circumstances. And along with the move from campus to computer, there has been a shift in how we think about time in terms of teaching and student engagement.”

“My students have adapted in their learning process as much as I have in my pedagogy. They have had to quickly learn to shoot and record sound using their smartphones, and they also learned to engage their subjects by making them a part of the documentary process. For instance, one student wanted to interview an individual in Accra, so the subject filmed herself and sent the footage to the student. Another documented the journey of a friend from NYU New York who travelled back home to China, and self-recorded the experience of being in quarantine.” 

Interestingly, the class produced films that have taken a timely look at different angles of the COVID-19 pandemic, said Suberu. “One student’s dad works in virology and he was able to tie his dad’s work into a story that was driven by his interest in biological warfare. Along similar lines, another student investigated how her mom is taking care of herself as a front-line medical worker.” 

The final projects from the course will be screened online on May 15th to a public audience. Open to 300 participants via Zoom, Suberu says “it will be quite fascinating to see how many viewers tune in from all over the world.”

 
 
 
 
 

NYU Berlin Offers Virtual Tour of Humboldt Forum

Posted on , modified on by Martha J Bekink

view out the window of Humboldt Forum

NYU Berlin recently sought to foster community by giving students a unique opportunity to stay connected to Berlin through a virtual tour of the Humboldt Forum. The Humboldt Forum has not yet opened to the public, but NYU alum, NYU Berlin lecturer, architect and art historian Tarek Ibrahim was able to lead the tour.

For those unfamiliar, the Humboldt Forum is the largest cultural project under construction in Germany. In its own words: The Humboldt Forum opens in phases beginning in September 2020 as a unique place of experience, learning and encounter in the heart of Berlin. Discover the world and immerse yourself in the exhibits, marvel at the remarkable fusion of Baroque and contemporary architecture, visit restaurants and cafes, gaze out from the rooftop terrace over the panorama that stretches to the Brandenburg Gate, find inspiration in concerts, readings and discussions, and dive into Berlin’s multifaceted present and past.

Tarek graduated from NYU in 2000, before NYU Berlin existed. He came to the German capital in 2008 and worked for four years as practicing architect at Sauerbruch Hutton, one of Europe’s most innovative firms. In 2012, he decided to obtain a second master’s degree in Art and Architectural History at Humboldt University of Berlin. During this time, he became involved with NYU Berlin. Shortly after submitting his thesis, he began work as a research associate for the founding directors of the Humboldt Forum, where he continues to this day. In addition to his full-time work at the Forum, he is pursuing his PhD.

Hallway at Humboldt ForumTarek first began teaching at NYU Berlin as an assistant lecturer in an architecture course with emphasis on “graphics, the basics of design, text and image.” After joining the Humboldt Forum team, Tarek stepped back from the course, but remained affiliated with NYU Berlin, taking the lead in organizing learning journeys for students, excursions, and teaching J-term courses in Berlin, Hamburg, and Potsdam.

In his Berlin learning journeys, Tarek strives “to contrast the classic and contemporary official representations of Berlin since reunification – the museums, cultural and historical institutions, opera houses, universities and libraries  – with what modern Berlin is really known for – decadence, its rough edge, and vibrant nightlife.” The move from curated architecture and representation to the more intense underbelly of Berlin can sometimes be jarring for students, but it is always illuminating. “There are two sides of the city” according to Tarek, “and one cannot be understood without the other.” Berlin needs its darker side, a descendant of the city’s well-known hedonism during the 1920s and later its Cold War division, as much as it needs the curated “official” representation. Tarek was leading excursions through mid-March before COVID-19 prompted the cancellation of his Potsdam and Dresden trips and the transition to online learning.

statutes being placed in Humboldt ForumTarek feels it is important to remind students that they will again have the chance to see iconic places in Berlin and beyond. “The opportunity and ability to discover are not lost, but merely on hold. Nothing lasts forever.” This is partially why he was glad to offer students an exclusive glimpse inside the Humboldt Forum. Currently under construction, there is no access to the building for anyone not directly involved in the process. After obtaining the requisite permissions, Tarek was able to offer an insider tour.

The tour also demonstrated that learning and exploration continues at NYU Berlin. We have all adapted our behaviors because of the pandemic, but we will go on. Shot on an iPhone which provided an ad hoc, gritty feel, Tarek offered a slightly unpolished but all the more exclusive look into the world of the Humboldt Forum by leading viewers through the building. He selected a sequence of rooms, sometimes needing one of the countless keys to gain access to off-limits spaces. Covering all the key features of the building, he shared some of the projects he is personally working on and showed views from particular windows or points in the building. He concluded the tour on the roof which offers – hands down – the best view over the city, from the Soviet-style apartment blocks of the former East to the illustrious neoclassical buildings on the Museum Island and Unter den Linden, and as far as the abandoned US spy station on the “Devil’s Mountain.” in the West. This concluding image conveyed to the students that “Berlin is still here and it will all be here for you when you come back.”

Berlin skylineTarek hopes to remind students that Berlin and all it has to offer will not disappear. It will all be there when and if students take the opportunity to return whether through study, internships, or travel. By then the Humboldt Forum should be open. Although this has been a challenging time, even in the face of adversity, we endure. Tarek also hopes that we all might find some perspective in this pause. Recalling Douglas Adams, he noted “I may not have gone where I intended to go, but I think I have ended up where I needed to be.”

We do not yet know where life after COVID-19 will take us or how it may change us, but finding ways to reflect, stay connected with one another, and continuing to explore may help us be open to possibilities. NYU Berlin’s virtual tour is a lovely example of just that.

NYU London, Tisch, and RADA Modernize Shakespeare in a Virtual Performance

Posted on , modified on by Martha J Bekink

students actingNYU London’s intensive Shakespeare in Performance course involves sixteen actors who audition for their places and who train at London’s Royal Academy of Dramatic Art (RADA). The course, part of a long-standing partnership between NYU London, Tisch, and RADA, always concludes with the performance of a Shakespeare play. When COVID-19 necessitated the move to distance learning, both students and instructors were determined that the show must go on.

In a normal semester, the students train at RADA for full days on Wednesdays, Thursdays and Fridays throughout the term. The training culminates in two full-time weeks of rehearsals and a final performance of the Shakespeare play. This final performance is always organised such that students share roles so that each actor has approximately the same number of lines and stage time. It is usually an intense and intimate experience.

Course Director Geoff Bullen, in collaboration with his RADA colleagues, has chosen to see this forced change of approach as an opportunity to experiment. This year, RADA’s Gary Lagden, whom Geoff calls  “an exceptional teacher / director,” with whom only half of the students had a chance to work with before NYU London closed, will direct an abridged Coriolanus, tailored to video. According to Geoff, “The plan is to take advantage of the format (and its inevitable unevenness) and have the play be devised as a kind of samizdat, an underground or revolutionary kind of action, but still with a keen focus on language, imagery, and delivery. It could be ideal for editing into a showcase.” The virtual performance will be delivered via NYU Zoom.

Instead of two weeks rehearsing together in person, the students will put the performance together over four days of intensive rehearsals. Director Gary Lagden is “really excited about this production.” Having never directed an online Shakespeare play before, he is enthusiastic about the challenge and looking forward to working with the students, saying “my mind has been wonderfully active with ideas.” The challenge, according to Gary, is to in four days create a performance of Coriolanus that “uses the voice as the tool of communication” with the actors “using their own vocality to create scene, mood and character.” He believes it will be both demanding and fun.

Meanwhile, before the rehearsals commence, the training classes that provide the foundation for this final performance are underway. Students in this course are taking on Shakespeare together from around the world. RADA tutor Adrienne Thomas has been very impressed with how constructively the students are working, saying, “I’ve been happily reminded of what a delightful group they are, supportive, bright and imaginative with a real commitment to the work.” She has also seen improvements in their work as they develop their connection to language through breath, body and voice. Although not anticipated, she and others are finding the virtual learning a meaningful experience. “I’m very moved at our ability to communicate over these great distances and at this difficult time. Long may we continue to explore what we share as human beings and what unites us, through the medium of Shakespeare’s wonderful language.”

Marie Kallis, a Tisch junior majoring in Drama, has found the transition to remote learning “fairly smooth” and also inspiring. Marie had known she wanted to study at RADA since she was a freshman because she “adores Shakespeare” and was “really eager to study his worth with the RADA faculty.” Having been looking forward to the experience for so long, Marie was disappointed when she had to leave London but has found the NYU London and RADA teams “have done an excellent job putting together a course for us online and my classmates have continued to stay motivated and engaged, which is such a positive energy and outlook to have.” Although “studying acting is super challenging over Zoom because it primarily relies on being present with your partner(s)”, there have been some opportunities presented by remote learning. Marie appreciates the many individual tutorials, which she finds “immensely beneficial.”In addition, they have found ways to continue some classes that would seem impossible over Zoom, including a Physical Performance class.

Zoom classMarie feels that remote learning has provided some unique learning opportunities: I have definitely acquired some tools and techniques that I’ll carry throughout my work. For example, in our physical performance class, it’s been so freeing to not be able to see my classmates or myself on the screen. I feel the freedom to move without ever worrying about if what I’m doing is “incorrect” based on what other people in the class are doing.”And, during our presentations, Zoom made it possible for me to feel like my scene partner and I were the only two in the room, as we couldn’t see the rest of the faculty. And, that’s how it should always feel – feeling present in the moment with who is on stage with you and having an awareness that the audience is there, but throwing all the judgement and the feeling like you’re being “watched” out the window. 

All are optimistic that the course work will pay off. As the training continues and preparations for the final performance commence, Director Gary Lagden is hoping to explore theatrical truth through the screen. “The glory of this new digital restriction being mined and exploited to create a creative constraint that can achieve a true synthesis of performer and sound. This production will be in close up. It will be necessarily low tech and edgy. It will aim for truth and transformation. The wonderful work that the actors have undertaken with the RADA tutors now being the foundation of this performance.”

Marie is similarly enthusiastic about the online production. The final show is something all the students look forward to, so she was “thrilled” to learn it would go forward and finds it “really thoughtful of our faculty to make this possible for us.” Although it has “definitely been an adjustment to perform via the camera and work out all the technical kinks that come with an online production,” Marie is grateful to work with “an amazing director” who is Gary Lagden, who we were all so excited to work with again. He is “really making this process worthwhile.”

Understanding the challenges of an online performance, Geoff and Gary and the students have chosen to embrace the challenge and not aim for perfection in this unique, shared event. They will celebrate the happy accidents in performance and technical blips. Gary’s vision is that, “We will work together to tell this tale; we will challenge ourselves to be present and heroic in action.”