By Chloe Smolarski
Recovering New York’s Entangled Dutch, Native American, and African Histories: An Interview with Jennifer Tosch
By Andrea Mosterman
The tour, which she describes as “a pilgrimage,” addresses the difficult histories of slavery practiced by the region’s Dutch descendants. In 2017, Jennifer and her colleagues of the Mapping Slavery Project, a public history project based in the Netherlands that focuses on the Dutch history of slavery, published Dutch New York Histories: Connecting African, Native America and Slavery Heritage, a collection of New York sites that in some way are linked to the interconnected histories of the area’s Dutch, Indigenous, and African American peoples. The tour and publication highlight many important New York City sites. I talked to Jennifer about the tour, the book, and her motivations to start this project.
By Matt Kautz
However, the rehabilitative push was short-lived and movements to punish drug users and distributors culminated in the passage of the country’s harshest drug laws, the Rockefeller Drug Laws, in 1973. In large part, the criminalization of Black drug users and dealers in New York City drove this punitive turn. By looking at New York state’s response to heroin in Harlem during the 1960s, we can better understand how racialized narratives about drug addiction impact policy.
By Terri N. Watson
Edwards led I.S. 201’s Community Education Center and, along with her dear friend and neighbor Hannah Brockington, served on its 21-member governing body. The center was housed in I.S. 201: a windowless structure that contained an intermediate school and nearly a dozen centers and programs created to meet Harlem’s needs. It was also one of the three demonstration school districts established in 1967 after New York City’s Black and Hispanic parents demanded a say in their children’s schooling. The other two districts were located in Ocean Hill-Brownsville, Brooklyn, and in lower Manhattan.
By Jarrod Shanahan
Inside the courtroom, New York Panther Abayama Katara recalled, uniformed police sought to provoke the Panthers by poking them with nightsticks. But Katara and his comrades “weren’t fools and were completely outnumbered.” Facing around 250 cops in and out of uniform, the Panthers attempted to leave in peace. As they filed out, however, an off-duty cop with a gun scarcely concealed in his right hip pocket shouted: “There’re the Panthers! Let’s get ‘em!” At this, the mob of cops attacked, throwing punches and kicks, and swinging blackjacks high above their heads and down onto the heads of the young activists and militants while maniacally chanting “Wallace for President,” and “White Tigers eat Black Panthers!”
Today on Gotham, Minju Bae interviews Diane Wong, co-curator of Homeward Bound: Global Intimacies in Converging Chinatowns, a recently-concluded exhibition at Pearl River Mart. Homeward Bound displayed photographs from thirteen Chinatowns around the world. These photographs came from the curators’ personal projects to learn from the people who have built homes, families, and communities in a global diaspora. The exhibit will travel to a number of other locations starting in the spring of next year.
Diane, we first met at the thirtieth-anniversary gala for CAAAV: Organizing Asian Communities. Over the years, we have discussed our related projects and aligned political frameworks, often while sharing food. What are the origins of this exhibition?
The exhibit was inspired by the Homeward Bound series I did with the W.O.W Project at Wing on Wo & Co last winter. The series of public programs was done in collaboration with Mei Lum, founding director of the W.O.W. Project, and Huiying B. Chan, a multimedia storyteller whom I met through the Chinatown Art Brigade. It featured stories of migration, displacement, and everyday resilience in Chinatowns around the world including Lima, Havana, Johannesburg, Guangzhou, Ho Chi Minh City, Sydney, Singapore, New York, San Francisco, Boston, Los Angeles, Vancouver, and Seattle. The exhibit builds from the series and uses photographs and oral histories from our own academic research to honor, preserve, and build on the histories and contemporary issues of Chinatowns through community-led and curated narratives of residents. There is a lot of work to be done when it comes to connecting our academic scholarship to what is happening on the ground in communities and to more intimate spaces like our homes. This exhibit was a way for me to be creative and to redefine what I have been taught about academic knowledge production and rigor — and to produce work that is accountable and responsive to the demands of the communities I write about.
What was your journey to working on the interpretation of Lenape history at the museum?
I have a background in Native American studies and Art History from Vassar College where I helped curate an exhibition of Inuit prints and drawings at the Frances Lehman Loeb Art Center in 2014, and wrote my thesis on the legacy of female Pueblo pottery artists at the Santa Fe Indian Market from 1920 to today. I joined the staff of the FAO Schwarz Education Center at the Museum of the City of New York in 2015. With my Native Studies background I was immediately excited by the opportunity to teach about local Native culture and I have spent the past three and a half years working closely with my colleagues to improve and deepen the Native American programming that we teach here at the Museum.
Tre Donne: Kitty Genovese, Diane di Prima, Virginia Apuzzo and the Roots of Italian-American Feminism in 1960s New York
By Marcia M. Gallo
Kitty Genovese, Diane di Prima, and Virginia Apuzzo are iconic Italian American New Yorkers who came of age in the 1950s and challenged familial and social expectations. All three present novel perspectives on women’s oppression and liberation in the 1960s and beyond. Yet rarely are they considered together as examples of ethnic “gender rebels.”
Kitty Genovese was a smart, passionate lesbian who became a national symbol of urban apathy after her 1964 murder in Queens at age 28. Diane di Prima helped launch the Beat literary movement in New York and has been a prolific feminist poet, playwright, memoirist, and activist throughout her life. Virginia Apuzzo is a former nun and pioneer gay rights, feminist, and AIDS organizer and leader who was appointed to high-level positions in the administrations of former New York Governor Mario Cuomo and President Bill Clinton. All three of them are part of my current research that reexamines mid-twentieth century feminism by centering women of color, ethnic women, working class and poor women — artists, public intellectuals, activists — who have been subsumed or ignored in traditional accounts of American women’s liberation movements.
By Joseph Alexiou
On a cool November morning in 1883, George J. Hardy, Deputy Sheriff of Brooklyn, marched toward the city’s most notorious slum. Behind him followed a small army of fourteen “special assistants” — nameless men in frock coats and bowler hats — Sergeant Reeves of Brooklyn’s 10th Precinct with three of his own officers and some newspaper reporters.
Upon first approach it appeared as though nobody was lived among the meandering rows of one-story shanties. The officers commented that it seemed odd. Goats snacked on bits of scrap metal and old hoop skirts that littered the dirt-path while pigs of varying age frolicked, but no people could be seen. Still they advanced on Darby’s Patch as though ready to battle an absentee goatherd.
But when Hardy’s crew reached fifty yards from the bounds of “the Patch,” suddenly “the hillocks teemed with life, every male inhabitant coming up as if from the ground, armed to the teeth with every conceivable implement,” as described one reporter from the Brooklyn Daily Eagle. In 1883 this would mean metal rakes and ice picks, hammers or pokers, perhaps intentionally rusty. He added: “and the females also equipped with kitchen and other utensils, ready to defend their shanties.”
Hardy turned to the reporter, saying: “My letters must have been given to the goats and they forgot to read them.”
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