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Thanks to the generosity of Scribe Video Center and the Precious Places Community History Project, we are excited to bring you new short films by Philly community members each week from April 20 through June 1! Each film will be available for one week only so make sure to catch it before its gone! Find the schedule below. These films are from Scribe Video Center's Precious Places Community History Project in the 2018 and 2019 seasons. Precious Places is a community oral history project inviting members of the Philadelphia region's many neighborhoods to document the buildings, public spaces, parks, landmarks and other sites that hold the memories of our communities and define where we live. Precious Places teaches the video production process to participating groups, fostering projects authored by those who intimately know the featured neighborhoods. Conceived as a way to allow neighborhood groups to celebrate their unique histories and as a tool to address current-day concerns, the Precious Places video documentaries explore the rich stories of our communities, the memories, and stories held in public spaces and community landmarks. They record community histories and help define where we live at a time when so many of the city's memories are undergoing so much change (Precious Places description from Scribe.Org 2020). The Precious Places Community History Project is funded by The Independence Public Media Foundation, Comcast NBCUniversal Foundation, Dolfinger-McMahon Foundation, and The Alston Beech Foundation. SCHEDULE OF SUMMER 2020 SCREENINGS
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 Film still from "We Are One, the Love and Life of Norris Homes" (2019) "People may move, but they don't leave Norris."
Join us this week in watching We One, the Love and Life of Norris Homes by members of the Norris Homes community. It documents the history of a North Philadelphia public housing community affected by federal policy and is told from the perspective of former residents who lived at Norris going back to its earliest days in the 1950’s. The film will be available for the next seven days, until Monday the 27th of April.  We are excited to bring you an aural experience during this time of quarantine and isolation: an online audio exhibit from student-creators in 2019 CEE Fellow Ernst Karel's course "Audio Ethnography". Ernst Karel designed the course as an opportunity to open up the question: what might constitute 'audio documentary' or 'ethnographic audio'? Student audio ethnographies from the course, which covered historic sites in and around Philadelphia as well as contemporary social movements in Hong Kong, were originally presented as part of a CEE live listening event on December 9, 2019, held at the Penn Museum in the Rainey Auditorium.
This digital exhibit reprises the live listening event. Experiments in Audio Ethnography features the work of six student-creators in the course: Florence Madenga, Austin Fisher, Armaghan Fakhraeirad, Juliet Glazer, Jacob Nussbaum, and Pablo Aguilera del Castillo. A conversation about everything between CEE Fellows Emily Carris and Wayne Modest Since we were unable to converse publicly at SSMF this spring, we convened online to hear from our Spring 2020 CEE Fellows on the topics of love, joy, laughter, being black today, materiality, and the urgencies of our contemporary condition...
Arielle’s work and writing on Black political performance has been published in the anthology Revolutionary Mothering: Love on the Frontlines, ARTS.BLACK and Public Art Dialogue and others. Arielle was a 2017-2018 Diversity and Leadership Fellow with Alliance of Artists Communities, a 2019 Monument Lab National Fellow, and she serves as a cultural planning consultant for the Penn and Slavery Project at the University of Pennsylvania. Recent dramaturgical credits include Grounds That Shout! And Others Merely Shaking (Fist and Heel Performance Group, Partners for Sacred Places and Philadelphia Contemporary) 2019 and SaltPepperKetchup (InterACT Theatre) 2018.
 The Documentaries & the Law lecture series on Media and the First Amendment, sponsored by Stephanie Abrutyn L’91, will consider the impact of the first amendment in documentaries and modern media. This year’s lecture will be a Dialogue On Demagoguery and Free Speech between Professor Patricia Roberts-Miller, Professor and Director of the University Writing Center, Department of Rhetoric, The University of Texas at Austin and Professor Seth Kreimer, Kenneth W. Gemmill Professor of Law, University of Pennsylvania Carey Law School. Demagoguery has been a frequent topic of American documentary films. Demagoguery is also seen as posing a threat to news media around the world today. But what precisely is “demagoguery”? Where does the power of its appeal of populism and irrational prejudice come from? American demagoguery has a “peculiar” relationship to the First Amendment. Freedom of speech allows demagoguery to develop, yet free speech is generally among its targets. Nonetheless, a democratic society that pursues a political praxis of robust debate and disagreement is best able to fend off and recover from demagoguery’s polarization and factionalism. Can we trust the First Amendment to right the ship of state if it is overtaken by demagoguery and bring about a return to democratic deliberation? Professor Roberts-Miller, a distant relative of Penn Law’s own Justice Owen J. Roberts, is the author of Demagoguery and Democracy, a pocket-size primer from Experiment Books. Professor Seth Kreimer is a constitutional law scholar who has represented plaintiffs in a range of constitutional litigation. Held in GITTIS 214 | HAAGA CLASSROOM on Feb 20 at 5:00-7:30 PM  Prof. Roberts-Miller  Photo of Christian McBride by Anna Webb Please join us for this very special discussion, moderated by Dyana Williams, and duo performance in celebration of Christian McBride’s The Movement Revisited: A Musical Portrait of Four Icons (Mack Avenue Records) at Penn Museum’s Widener Lecture Hall. Attendees are invited to visit the new Africa galleries from 5-6:30pm.
When Philadelphia-born bassist and bandleader Christian McBride arrived in New York in 1989 as a Juilliard student, he was the “Godchild of the Groove” with unlimited potential. Today, with over 300 recordings as a sideman and 11 critically- acclaimed albums as a leader, he now reigns supreme as the “Lord of the Lower Frequencies.” He’s the influential and ubiquitous bassist of his generation, as evidenced by his quintet Inside Straight, his big band, his trio and his work with everybody from James Brown, Pat Metheny, Chick Corea and Wynton Marsalis to Sting, The Roots, Bruce Hornsby and Paul McCartney.   Emily Carris began her presentation posing a question she first asked in England, while contemplating an image of a slave ship in a tumultuous ocean, "what does salt know?" Seven years after her work in England, Emily returned to Philadelphia to work on developing institutional space for art as scholarship, which culminated in her founding the Art Dept. Collective. Engaging with Black women’s traditions of quilting, textile work, and healing, one of Emily’s most exhibited pieces features indigo and silk matta root embroidered over the raised whip scars on a famous portrait of “Peter,” an enslaved man who escaped from a Louisiana plantation in 1868. She is following this interest in textiles and quilting to explore the concept of armor as clothing, and the powerful historical intersections of quilting and warrior culture. Following Emily Carris's presentation, dr. Prof. Wayne Modest began by introducing his current project as the Director of the Research Center for Material Culture (RCMC). He began his talk with an insightful provocation: “What happens to a history of design if we look outside the West...or teach a history of photography starting in 1842 in Jamaica rather than one starting in 1839 in Europe?” Wayne then drew attention to the histories that remain to be written, and the voices that remain to speak, Wayne argued that ethnographic objects in these collections carry within them ways of thinking history and write history otherwise. Throughout his presentation, Wayne highlighted that decolonization also requires that we challenge the taken-for-granted assumption that museums are inherently socially useful institutions; they may or may not be such, but assumptions around the "obviousness" of their value to society serve to hold critique back about how things could be different, or transformations could be made in the role they play in society. These presentations were followed by a lively discussion session and lunch that grappled with the complicity of scholars, academics, and artists working in institutions deeply involved in the colonial project. Several attendees highlighted how uncomfortable such institutional complicity is, and in response others spoke of the need to live with and in this discomfort rather than dismiss it: Institutional repair requires work, and part of that work can be done by laying claim to institutional spaces in the way we speak, move, and gather, and in so doing carve out spaces for other voices and other histories. Following this discussion, other smaller discussions occurred around repatriating photography, the question of archival and imagery ownership, and the revolutionary histories embedded within objects that we are obligated to preserve though we may not yet be able to hear them.   Join us December 8, 2019 at the Penn Museum for sound installations beginning in the Mosaic Hall at 2pm. These installations take you through gardens in New Jersey, a historic Philadelphia prison, Hong Kong social movements, the Schukyill river and environs, a downtown mall, two Penn laboratory spaces, and other sites. These projects are brought to you by the following creators and students in Ernst Karel's Audio Ethnography course.
CRAZINIST ARTIST  Photo Courtesy Artist "x in red" Va Bene Elikem Fiatsi (preferred pronoun "sHe/it"), who performs under the name crazinisT artisT, will give a lunch presentation on Thursday, Dec 5. at 1 PM at the Penn Museum.
Vab's multimedia and installation/performance work uses the body as a thought provoking tool to explore the constructedness of identity, themes of bodily entrapment, public violence, and extreme marginality. During the lunch, Va Bene will discuss sHe/it's most recent work in decolonial arts organizing as the creator and director of an Ghana-based artists residency that, for its second year in 2020, will bring 56 international artists from dozens of nations for a 2 month collaborative residency in public contemporary art in Kumasi, Ghana. Va bene's past projects have been internationally covered in African Arts, CNN, OkayAfrica, CCQ, Diario de Regiao, Apollo, and other venues, and Vab has completed residencies in France, Germany, England, Nigeria, Cape Verde, Switzerland, Netherlands, Brazil, New York and more (full CV here). |
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