November 6, 2015, 6:51 a.m.,
Li, C.,
Allgemein.
After World War II, a remarkable, self-conscious process of community building has taken place in U.S. Chinatowns, especially when the institution of the Immigration and Nationality Act of 1965 led to the eventual abolition of Asian quotas. New York’s Chinatown presents a case study of the postwar transformation that was related to both the global geopolitical changes and domestic urban economic restructuring. With the liberation of immigration laws, the Chinese population in New York has been continuously growing and becoming diversified. Illustrating the way notions of identity and heritage function to (re)assert spatial identity, the article examines the contested process of landscape construction in New York’s Chinatown and the underpinning social agendas, cultural and political implications in the process of identity-making.
Quelle: http://juh.sagepub.com/cgi/content/abstract/41/6/1118?rss=1
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November 6, 2015, 6:51 a.m.,
Foulkes, J. L.,
Allgemein.
When West Side Story moved from stage to screen, the story became further enmeshed in the city of its setting. The filmmakers Jerome Robbins and Robert Wise used the cinematic elements of color, light, and camera angle to build a believable—but magical—place in which lovers sang and gang members danced. In the process, though, they also captured New York in the midst of urban renewal. The broad international distribution of the film spread an image of urban life that conveyed the abstract, aerial views of urban planners such as Robert Moses alongside the dynamic, street-level action of Jane Jacobs. While the filmmakers did not make pronouncements about urban theories, they visualized urban renewal in its grandeur and detail, animating cold concrete streets with dance and pitting vitality against human tragedy at the core of urban life.
Quelle: http://juh.sagepub.com/cgi/content/abstract/41/6/1032?rss=1
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November 6, 2015, 6:51 a.m.,
Foulkes, J. L.,
Allgemein.
This collection of essays on the arts in postwar U.S. cities offers a historical perspective on the contemporary embrace of the arts as a tool for urban placemaking, neighborhood revitalization, economic boosting, and market branding. Urban historians can add a longer perspective to this trend to explain not only the roots of its current popularity but also more detailed measures of the arts’ impact. These essays look at arts institutions, artists as residents, and artworks themselves from the 1950s-70s to uncover the entangled intersection of arts and urbanization – before the arts became a touted salvation for stagnant economies and run-down neighborhoods.
Quelle: http://juh.sagepub.com/cgi/content/abstract/41/6/955?rss=1
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November 6, 2015, 6:51 a.m.,
Trask, J.,
Allgemein.
The Westbeth Arts Center in New York’s Greenwich Village was one of the first large-scale institutionally sponsored conversions of nineteenth-century factories into residential lofts for artists. A privately and publicly financed project to provide housing for low-income artists, Westbeth stood apart from individual-artist-led loft conversion in SoHo in both its scope and its philanthropic goals of democratizing the arts in postwar America. Westbeth never met its sponsors’ hopes that it would serve as a model for similar nonprofit artist residences in cities throughout the nation, but it did prove to private real estate developers that residential lofts had cultural value in postindustrial cities. Ultimately, Westbeth represented a transitional moment in postwar urban development between publicly funded urban renewal and private real estate development.
Quelle: http://juh.sagepub.com/cgi/content/abstract/41/6/1017?rss=1
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November 6, 2015, 6:51 a.m.,
Vaz, M.,
Allgemein.
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November 6, 2015, 6:51 a.m.,
Shkuda, A.,
Allgemein.
Contemporary scholars have focused on creative placemaking and the role of the arts in urban development, but there is less of an academic understanding of how artists contribute to neighborhood revitalization "on the ground." In New York’s SoHo (South of Houston) neighborhood, artists created new methods of urban development in the 1960s by using their labor and design expertise to invent a new form of housing, the loft apartment, in former industrial space. They worked to legalize this novel form of residence through grassroots advocacy, lobbying, and collaborations with leading artists and politicians in New York. Their political advocacy, and the attractive loft homes they created, increased residential demand. By the 1970s, real estate speculation was rampant in SoHo, leading some artists to work with policymakers to rein in development and others to become investors themselves. SoHo’s history challenges the artist/developer binary usually associated with gentrification.
Quelle: http://juh.sagepub.com/cgi/content/abstract/41/6/999?rss=1
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November 6, 2015, 6:51 a.m.,
Souther, J. M.,
Allgemein.
Historians have devoted ample attention to the urban crisis, but few have explored symbolic actions to manage attitudes toward metropolitan change. In the 1980s, Cleveland, Ohio, experienced what many politicians and business and civic leaders called a "comeback." To understand the images and narratives constructed during this intended renaissance, it is necessary to examine earlier campaigns to revivify Cleveland and its reputation. This article traces three such campaigns in the 1960s and 1970s, as well as the better-known 1980s renaissance, and examines the tension between acceptance and rejection of these images and narratives. This interplay paralleled a tension between decline and renewal that has been a hallmark of the post–World War II American city.
Quelle: http://juh.sagepub.com/cgi/content/abstract/41/6/1091?rss=1
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November 6, 2015, 6:51 a.m.,
Das, J. D.,
Allgemein.
In 1967, the world-renowned African American choreographer Katherine Dunham moved to East St. Louis to open the Performing Arts Training Center (PATC), which offered free classes in dance, music, theater, and other art forms. This article examines why Dunham’s center flourished during the late 1960s and early 1970s and argues that her success lay in forging a middle path between liberal policymakers, who funded the PATC, and the city’s Black Power youth, who were her primary constituents. She understood the language of both the "culture of poverty" and the cultural revolution; she found common ground between the two by championing African diasporic performing arts education as a means of individual and community improvement. Although Dunham’s middle-ground approach had its limitations, the PATC bettered the lives of many East St. Louis residents and can serve as a model for urban arts programs today.
Quelle: http://juh.sagepub.com/cgi/content/abstract/41/6/981?rss=1
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November 6, 2015, 6:51 a.m.,
Bennett, L.,
Allgemein.
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November 6, 2015, 6:51 a.m.,
Engstrom, S.,
Allgemein.
In the late 1950s and early 1960s, the Twin Cities of Minneapolis and St. Paul faced an urban crisis similar to that of many American cities, as a growing ring of suburbs attracted residents and businesses out of the cities and increasingly deprived their urban centers of vitality and wealth. In addition to employing traditional urban renewal programs, a coalition of Twin City cultural, business, and political leaders turned to the arts, and in particular a brand new, high-profile theater institution, as a way to reinvigorate the local economy, craft a distinct identity as a "creative" urban center, and contribute to the development of the Upper Midwest region. This article focuses on these leaders’ underlying assumptions regarding the purpose and operation of the arts, particularly their expectations for professionalism and businesslike management, and the effect of this approach on the cultural landscape that resulted.
Quelle: http://juh.sagepub.com/cgi/content/abstract/41/6/962?rss=1
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