As a multifaceted creative artist, Parks stacked up firsts again and again in a long career that has been seeing numerous tributes over the past year. 2012 was the 100th anniversary of his birth, and exhibits are still underway. Continue reading
A huge bejeweled crowd could be glimpsed dancing and drinking through the wide octogon window. Continue reading
The images in Harlem: The People and Harlem: The Place show streetscapes that the photographer visited repeatedly over the course of thirty-eight years, so he could create a composite, time-lapse portrait of a vibrant, world-famous neighborhood seen as a place of ongoing transformation. The series has become a living historical record of Harlem. Vergara has been photographing this vital neighborhood of New York City since 1970, and in doing so he demonstrates, with powerful “before” and “after” images, how one of New York City’s most important neighborhoods has been redefined. As such, Vergara also captures the social and cultural changes in Harlem as he returns to photograph the same street corners and storefronts year after year. He continues to photograph these locations today and writes about his process:
“For a long time I have thought of myself as more a city builder than as a photographer. I think of my images as bricks which when placed next to each other give shape and meaning to a place. I see the images of neighborhoods arranged according to time and location, each one … linking the hundreds of stories that are a place’s history. This is how photographs tell how Harlem evolved and what it gained and lost in the process.”
Selected from the artist’s archive on the Invincible Cities
All of these historically compelling photographs were donated to the New-York Historical Society by Camilo Jose Vergara in 2009.
The uptown bankers, known colloquially as “kings” and “queens,” dealt not in stocks and bonds but in millions of paper slips, each one marked in pencil and each one representing a one, five, or maybe a ten-cent bet placed by a resident on the outcome of a three-digit number derived via a set formula from that day’s Clearing House results. “Playing the numbers” was a cultural institution in Harlem, one that about half the neighborhood’s population seems to have engaged in each day, one that tied them in strange ways to the city’s licit economy, but one that has been strangely understudied by scholars, who in the past have trained their focus largely on the high-cultural manifestations of Harlem’s remarkable flowering.
Playing the Numbers: Gambling in Harlem Between the Wars takes a different tack, utilizing the authors’ remarkable research to tell a story that illuminates the lives of the ordinary Harlemites who most often form little more than a colorful backdrop to accounts of the Harlem Renaissance. For a dozen years the “numbers game” was one of America’s rare black-owned businesses, turning over tens of millions of dollars every year. The astronomical success of “bankers” like Stephanie St. Clair and Casper Holstein attracted Dutch Schultz, Lucky Luciano, and organized crime, fresh off Prohibition and in need of a new hustle, to the game. By the late 1930s, most of the profits were being siphoned out of Harlem. All in all, Playing the Numbers reveals a unique dimension of African American culture that made not only Harlem but New York City itself the vibrant and energizing metropolis it was.
Interestingly, the authors of Playing the Numbers are four Australian academics who received a grant from their government to research this remarkable phenomenon. You can get a taste of the data itself on an innovative website they’ve produced called
Note: Books noticed on this site have been provided by the publishers. Purchases made through
Through a rich and colorful mix of spectacular costumes, stage props, posters, programs, intimate photographs and video recordings,
In a time when black dancers were all but invisible in mainstream ballet, Dance Theatre of Harlem, founded in 1969 by Arthur Mitchell and Karel Shook, brought ballet to the neighborhood and black dancers to the main stage. Since its inception the company has continued to cross social and geographic barriers by introducing the ballet world to a Creole Giselle, inviting audiences to a Caribbean wedding in Dougla, bringing black dancers to the international stage through programs such as Dancing Through Barriers® and bringing ballet to Harlem with education and community outreach.
Many of the stories behind the achievements of the company were artfully documented in photographs by Martha Swope, Marbeth and others. Those on display include photos of guests such as Hillary Clinton and Congressman Charles Rangel attending the company’s monthly open houses where performers of all arts and from other organizations showcase their talents to captivated audiences seated on folding chairs and sometimes on the floor.
One of the centerpieces of the show is an eight-foot-long three-dimensional puzzle that took artist Frank Bara two years to create. Completed in 1989, it was commissioned by Arthur Mitchell to celebrate the company’s 20th anniversary. Each layer of the puzzle, crafted entirely from wood, depicts a different aspect of the company’s first two decades in intricate detail, from ballet casts and music to floor plans and blueprints.
From the ceiling of the gallery hang original character costumes such as Firebird’s firebird and monster created by Geoffrey Holder and the wedding canopy from Dougla. Also on display are examples of tights and pointe shoes illustrating Mr. Mitchell’s ground-breaking insistence that they be dyed to match each dancer’s skin tones. Pictures from Footprints in Red document the stunning costumes designed by Salvatore Ferragamo, which needed to be such a specific blue that craftsmen were flown from Italy to Harlem to dye them just the right shade.
There are also many photographs that show rehearsals in churches and other borrowed spaces that were used before Dance Theatre of Harlem had a home of its own. Other pictures document the world-wide appeal of the company’s talent and show its famous fans like Nelson Mandela after a performance in South Africa and Princess Diana back stage in London.
Dance Theatre of Harlem’s dedication to dance and community has inspired support from a wide range of renowned figures from the world of dance. On view are pictures of candid moments in master classes being taught by such prominent dancers as Rosella Hightower and Carmen de Lavallade- William Dollar, who is coaching young ballerinas for Combat- Alexandra Danilova and Joseph Wyatt who are shown rehearsing Paquita- and Gregory Hines who is pictured tapping with children from the DTH school.
Throughout the gallery, cases exhibit show programs and tour materials including the Australian tour scrapbook that contains newspaper clips from the local press punctuated by negative stereotypes less commonly found in press coverage from the United States.
Also on view are a series of film clips including performances of Giselle and Streetcar Named Desire and a compilation of interviews with those close to the Dance Theatre of Harlem and press coverage the company has received over the years.
Free Public Programs Related to the Exhibition at the Library for the Performing Arts:
Thursday, February 12, 2009, 5:30 p.m.
Inspired by a Dream: The Dance Theatre of Harlem Story
Panel moderated by Anna Kisselgoff. With Robert Garland, Virginia Johnson and others.
Thursday, March 12, 2009, 3:00 p.m.
Dance Theatre of Harlem: Classically American
Panel moderated by Alastair Macaulay. With Frederic Franklin, Lorraine Graves, Suzanne Farrell, and others.
Thursday, March 12, 2009, 5:30 p.m.
The Stories I Could Tell: Arthur Mitchell at 75
The Founding Artistic Director of the Dance Theatre of Harlem in Conversation
with Robert Greskovic.
Thursday, May 7, 5:30 p.m.
African American Choreographers
Panel discussion on making work for Dance Theatre of Harlem
Free Public Programs Related to the Exhibition at the Schomburg Center for Research in Black Culture
Thursday, April 16, 2009, 7:00 p.m.
Where are the Black Swans?
A panel discussion.