THE CITY UNIVERSITY OF NEW YORK: JOB POSTING
The African American Studies (AFR) Department at New York City College of Technology (CityTech) - CUNY is pleased to announce that we have a full-time faculty opening in the department. We are most interested in a candidate with instruction and research interests in at least two areas of the creative arts (visual art, music, dance, and/or theatre).We would like the successful candidate to begin in Fall 2014. Please see the details below and on the CUNY website.
Marta Effinger-Crichlow, Ph.D Chair and Professor of Literature and Drama Department of African American Studies
New York City College of Technology, 300 Jay Street, Brooklyn, New York 11201-2983, 718.260.5254
*********************************THE CITY UNIVERSITY OF NEW YORK: JOB POSTING
New York City College of Technology
Title Assistant Professor – African American Studies
Payroll Title or Level: Assistant Professor
Department: African American Studies
Position Type Assistant Professor - Teaching
FLSA Status EXEMPT
Salary Commensurate with education and experience.
Position Description and Duties
New York City College of Technology, a comprehensive college of over 16,000 students in downtown Brooklyn, offering associate and baccalaureate degrees, invites applications for a tenure-track position at the Assistant Professor level, to begin during the 2014-2015 academic year. The position requires a commitment to teaching, research and other scholarly pursuits, service to the college, and student advisement.
The African American Studies Department invites applications for a tenure track position at the Assistant Professor level. All applicants must have a Ph.D. at time of appointment in African American Studies or the creative arts (visual art, music, dance, and/or theatre). The department seeks candidates with a strong commitment to teaching and with teaching experience at the college level. Preference will be given to candidates with interdisciplinary approaches to instruction and research interests in at least two areas of the creative arts (visual art, music, dance, and/or theatre). The successful candidate will be expected to prepare and present lectures for undergraduate courses about the African, African American and Caribbean experiences. He or she will be expected to develop and maintain an active research agenda leading to presentations as well as publications. In addition, the successful candidate will be required to actively participate in departmental and college-wide activities. City Tech offers opportunity for professional development through collaborations with the College’s various programs in Arts and Sciences, Professional Studies, and Technology and Design and with those of the larger CUNY community.
How To Apply
Visit http://www.cuny.edu/, access the employment page, log in or create a new user account, and search for this vacancy using the Job ID or Title. Select "Apply Now" and provide the requested information. Please include a research sample with the application.
Requested Items: Cover letter of introduction. Curriculum Vitae. Research Sample.
Applications will be accepted until the position is filled. Review of resumes will begin 4/23/14.
Direct all inquiries to Renee' firstname.lastname@example.org
For additional info visit http://www.blacktheatrenetwork.org/ Michael Dinwiddie President Black Theatre Network Dedicated to the Exploration & Preservation of the Theatrical Visions of the African Diaspora
With construction at the midway point, the National Museum of African American History and Culture is taking shape on the National Mall in Washington, D.C.,
Expected to open by early 2016, the museum has raised approximately $410 million of its $500 million cost of construction $250 million from Congress and more than $160 million to date from private funders, including $12 million from Oprah Winfrey, who will have a theater inside the museum named in her honor. “By investing in this museum, I want to help ensure that we both honor and preserve our culture and history, so that the stories of who we are will live on for generations to come,” Winfrey said last year. "It's humbling," said Lonnie Bunch, the museum’s founding director. "For the last eight and a half years, it was my job to make people believe."
Earlier this month the Links Foundation, the philanthropic arm of an organization of professional women of color, pledged $1 million toward the museum's construction costs. "We are thrilled to contribute to the National Museum of African American History and Culture," said Margot James Copeland, president of The Links, Inc. and its foundation. "This museum will allow our rich African-American story to be told and displayed for all to see. The contributions of our people, from the past and present, will be showcased and will provide hope and inspiration to continue building on our great legacy."
Designed by African-American architect Phil Freelon, the building will be a three-tiered ten-story structure with five stories above ground and five below. Inspired by the decorative ironwork crafted by slaves in Charleston and New Orleans, the exterior of the building will be layered with thirty-six hundred latticed bronze panels. Bunch told McClatchy the overall design was intended to be "an homage to those hiding in plain sight." The nineteenth Smithsonian museum is likely to be the last building to go up on already-crowded National Mall.
Some of the larger artifacts to be featured in the museum, including a restored Jim Crow-era railroad car with segregated compartments, already have been put in place so the building can be built around them. Visitors will be able to walk through the Southern Railway car, which was used between 1940 and 1960 on routes in Kentucky, Tennessee, Georgia, and Florida, and see firsthand the comfortable seating for whites and the divider that kept African Americans in basic seating in the back of the car. “This rail car is a tangible remnant from America’s long years of segregation, and those remnants are rare,” said Peter Claussen, the chair and CEO of Gulf & Ohio Railways, who donated the rail car to the museum and who is a member of the Smithsonian National Board. “The separate water fountains are gone. The black and white sections of movie theaters are gone. There are very few objects that allow people to see what segregation was like, and this is one of them.”
There is also a 21-foot concrete guard tower from Angola prison, the Louisiana State Penitentiary that was built in the 1930s and to Bunch serves as a powerful symbol of the oppression of African-Americans.
Many were rounded up as vagrants and, in a practice of “convict-leasing” that began at the turn of the 20th century, “it became a way to reinstitute slavery,” Bunch said, explaining that prisoners were leased out to work for residents.
The guard tower and the railway car will be featured in the museum’s Segregation Gallery as part of an inaugural exhibition, “Defending Freedom, Defining Freedom: Era of Segregation 1876-1968.”
A slave cabin from Point of Pines Plantation on Edisto Island, S.C., dating to the early 19th century, will tell a similar tale of life during slavery. The clapboard cabin, which will display the narrow confines of slave life, was dismantled piece by piece and shipped to Washington last May, where it will be reassembled for an exhibition called “Slavery and Freedom” when the museum opens.
Currently, some artifacts intended for the museum are displayed in a temporary space in the Smithsonian’s National Museum of American History, across the street from the black history museum’s five-acre site.
President Barack Obama, the first African-American chief executive, attended the groundbreaking two years ago. However, as Bunch raised money and developed the collection, he had to make sure people believed that the museum would be built.
“I get very emotional when I come here,” he told McClatchy on a recent tour of the site.
It could very well be the last building to go up on the mall, sometimes referred to as the “nation’s front lawn.” Mall advocates, from Congress to the National Park Service to arts experts, seem to agree that nothing more can be placed along the nearly two-mile corridor from the U.S. Capitol to the Lincoln Memorial without detracting from the green space and the existing array of museums and memorials.
The Smithsonian will use its empty Arts and Industries Building for a National Museum of the American Latino, still awaiting congressional approval.
Phil Freelon, the African-American architect from Durham, N.C., who designed the building, imagined an angular, three-tiered boxlike structure with 10 stories – five above ground, five below.
The exterior will be layered with 3,600 bronze latticed panels – “coronas” – to make it gleam, inspired by the decorative ironwork crafted by slaves in Charleston, S.C., and New Orleans.
“The skin of the building,” Bunch said, calling the overall design “a homage to those hiding in plain sight.”
One of the goals is to provide a sense of the struggles and successes of African-Americans. Entering, for instance, museumgoers will cross a water feature to recall the experience of slaves crossing the ocean to come to America.
From its site near the Ellipse, the building offers vistas that extend across the Potomac River to Arlington National Cemetery in one direction and to the Capitol in another.
Bunch, who went up in a hydraulic cherry picker to see the views for himself, said, “We wanted to have that right tension of the building and one of the most sacred spaces in America.”
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