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Stealing Beauty is a video performance by Guy Ben-Ner, where he films himself and his family surreptitiously in IKEA's Berlin, New York, and Netanya (Israel) showrooms. Stealing Beauty uses American family sitcom conventions to criticize global consumer culture and its related fantasies. Focusing on Stealing Beauty's secret process of production I argue that it employs anarchist-like strategies that hijacked the space of consumer culture and evoked Guy Debord's and Hakim Bey's anti-consumerist writings. Although this work circulates in international fine arts arenas and self- references itself as an art commodity, Stealing Beauty's use of hoax and critical engagements are further analysed as sharing elements with cultural-jamming practices by being subversive in public spaces and media arenas. Also addressed in this article are the gendered ramifications of Ben-Ner's performance as an artist and as a father and how he employs his family as a subversive collectivity. [ABSTRACT FROM AUTHOR]

"But We Are Still Living in Maafa": Commemorating 1619-2019 through Ritual Performances of Healing and Hope in New Orleans and New York Keywords: Maafa; ritual; performance; Ashe Cultural Arts Center; Africana Liturgy EN Maafa ritual performance Ashe Cultural Arts Center Africana Liturgy 42 50 9 12/05/20 20201001 NES 201001 Since the mid-1990s, Maafa commemorations have emerged in various cities throughout the United States as ways to ritualize remembrance of a painful Black past. More specifically, the article focuses on The Ashé Center's and St. Paul Church's 2019 Maafa commemorations in the context of marking four hundred years since the first enslaved Africans were forcibly brought to Jamestown, Virginia in 1619. As such, the New Orleans Maafa commemoration is a mode of communal healing that attends to both personal and social ills "by addressing the participant's needs for commemoration of the past while moving forward to a more positive future."[20] Mitchem's argument concerning the reconfiguring of the past and future is captured in the Ashé Center's language surrounding their commemoration of the Maafa. [Extracted from the article]

The aim of the study was to investigate how women and men age group runners pace during a large city marathon. We analysed changes in running speed by splits of 5 km in 20,283 women and 28,282 men age group runners competing in the 2015 edition of the "New York City Marathon". A moderate split×sex interaction on running speed (p < 0.001, η2 = 0.108) was observed with men showing a larger decrease in speed from the fastest split (5-10 km) to the slowest one (35-40 km) than women (21.1 vs. 16.7%), and a different pattern was observed in the 25-30 km split (increase in women, decrease in men). A trivial split×age group interaction on speed was observed in women (p < 0.001, η2 = 0.003) and men (p < 0.001, η2 = 0.004). In summary, men and women of all age groups reduced running speed during the marathon with a final spurt in the last segment (i.e. 40-42.2 km). [ABSTRACT FROM AUTHOR]

This article examines how funders and the nonprofit organizations they support view current feedback practices and explore the similarities and differences in their perspectives. A survey of funders and nonprofit service providers in a six-county area in south-central New York State found that funders value feedback as a way to verify that funded activities have been completed and to assess outcomes, whereas providers use feedback to improve service and to ensure that their organizations are responsive to clients. Some funders were uncertain about how providers use feedback, some providers were uncertain about how funders use it, and some respondents in both categories were not confident about the capacity of their own organizations to use feedback information. Many funders and providers discuss feedback results and implications with each other, but funders and providers collaborate less in other aspects of the feedback process. These findings have implications for theory and practice and for future research. [ABSTRACT FROM AUTHOR]

This article analyses the relationship between artistic practice and mobility through a focus on the translocal circulation of theatre. It works against the assumption that art and its creative practices are tied to particular contexts. Instead I suggest that examining translocal connection provides a framework through which to consider how practices of art-making are emplaced and differentiated, whilst also encompassing physical and imaginative movement. I demonstrate this argument by examining the writing, casting, and staging of the play M. Butterfly in New York City, London and Singapore. I analyse how these creative practices were related to translocal travel, but also demonstrate that such activities spilled beyond the performance to reorganise socio-cultural relations. As a result, my analysis views creativity as an interrelated set of artistic and social processes. This article thus extends contemporary geographical work on art and performance in two ways: first, by considering how artistic practices draw upon, and are influenced by, spatially extensive flows of people, finance and ideas; and second, by considering the creative effects of artworks as they circulate through different contexts. [ABSTRACT FROM AUTHOR]

How do principals adjust to new standards and measurement rulers of school performance when they are coupled with high-stakes consequences? Adopting a contingent view of leadership and a multiple accountabilities framework, this qualitative study explores how high school principals enacted their accountability in New York City, by comparing two periods: just before such policy changes took effect and just after. We observed large differences in principals' attention to external political, bureaucratic, and market accountabilities; how much accountability conflict or alignment was experienced; and how principals' sense of professionalism was constructed. These differences may portend a new politics of the principalship. [ABSTRACT FROM AUTHOR]

P.A.R.G.O.: Los Pecados Permitidos (2001) by the Dominican playwright, director, and actor Waddys Jaquez has resonated with diverse audiences across the United States, Latin America, and the Caribbean because it presents a tragicomic vision of the interchange of people, capital, and culture between the north and the south. The author argues that the abject immigrant characters in Jaquez's darkly comic play perform the exclusion of transnational subjectivities from orthodox national imaginaries. In the play, four supposedly rehabilitated Latinos in New York City resist the normalizing action of a support group session—read here as assimilation—and display a politics of abjection that exposes the unremitting "ontological discomfort" of their transnationality. [ABSTRACT FROM AUTHOR]

This essay explores the politics of memorialization and the relationship between grief, death, gesture and public space in the performances of Pia Lindman in New York City between 2002 and 2005. [ABSTRACT FROM AUTHOR]

Some events have such an impact on society that it is unclear whether the standard rules of political decision making still apply. This paper analyses the planning process of rebuilding Ground Zero as a case in which politics was unhinged and new procedures were invented on the spot. The politics of planning was not only about what should be done on the site, but also about the sort of procedure that should be followed to take a legitimate decision. The paper conceives of the political process as a sequence of staged performances and introduces a model that analyses policy processes in terms of discourse, dramaturgy and deliberation. It describes the rebuilding of Ground Zero as a case of an ‘unhappy performance’ in which, as the process continued, the wider publicly-shared determination to create a bold symbolic response to terrorism lost out to uninspired political-economic reasoning. It argues that this analysis of policy processes as performance deserves a much wider application as today's world is full of situations in which decisions are made in networks marked by unclear rules as to how to arrive at a legitimate decision. [ABSTRACT FROM AUTHOR]

Examines the motion picture 'Without You I'm Nothing' by Sandra Bernhard in New York, New York. Description on Bernhard as an actress; Use of fictional live performance; Multiplicity of performative positions by Bernhard in the course of a single performance.

A review of the literature indicates that little empirical knowledge exists about what influences learning in master of social work (MSW) research courses. The current study presents data on selected student characteristics and course performance collected from 162 students in several sections of an MSW foundation research course in a single university. The sections had the same curricular content but were taught by four instructors with quite different professional backgrounds and teaching styles. Student performance did not differ across the different instructors. Undergraduate grade point average was positively correlated with performance, and having an undergraduate major in social service was negatively correlated, but other student characteristics were unrelated to performance. [ABSTRACT FROM AUTHOR]

The shadows that had immured France exploded. The tall soldiers, dressed in khaki and chewing their gum, were living proof that you could cross the seas again. They ambled past, and often they stumbled. Singing and whistling, they stumbled along the sidewalks and subway platforms: stumbling, they danced at night in the bistros and laughed their loud laughs, showing teeth white as children's. Jean Genet ... declared loudly on the terrace of the Rhumerie that these costumed civilians had no style. Stiff in their black and green carapaces, the occupiers had been something else! For me, these carefree young Americans were freedom incarnate: our own and also the freedom that was about to spread—we had no doubts on this score—throughout the world.[[1]] (emphasis mine) [ABSTRACT FROM AUTHOR]