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A Black Studies Curriculum Is (Defiantly) Rolling Out in New York City

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A Black Studies Curriculum Is (Defiantly) Rolling Out in New York City

Late last fall at the Hugo Newman School in Harlem, two social studies teachers handed out pages of hip-hop lyrics to their seventh graders, and then flicked off the lights. The students appeared surprised.

They had been studying ancient matriarchal societies, including Iroquois communities that had women leaders. Now, their teachers were about to play the song “Ladies First” by Queen Latifah and Monie Love. The teachers instructed their students to highlight any lyrics that reminded them of the Iroquois women, who were known as the Haudenosaunee Clan Mothers.

Although they did not know it, the middle schoolers were in the midst of their first lesson of “Black Studies as the Study of the World,” a curriculum that rolled out in September and is now available to every New York City public school.

Tristan Vanderhorst, 12, took notes and bobbed to the music. “I had never seen a woman rap like that,” he said afterward.

The curriculum, which spans from pre-K to 12th grade, covers early African civilizations, Black American history and the achievements and contributions of the African diaspora. The curriculum emphasizes what is known as “culturally relevant” teaching, an approach meant to help students connect their own lives with what they are learning. It has been used by dozens of schools across the city since the last school year, to little fanfare.

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But the Trump administration has moved aggressively in its first weeks to ban programs related to diversity and equity across government, including in schools.

Local school districts have traditionally been insulated from interference from the federal government. New York’s curriculum — and similar efforts to bring discussions about race and history into schools — could test those lines, and how far the Trump administration might go to enforce its edicts.

Already, many K-12 educators, including the architects of New York City’s new Black studies curriculum, appear defiant.

“In New York, we are trying our best to be Trump-proof,” Adrienne Adams, the speaker of the New York City Council, said in a recent interview. “We are doing everything we can to protect the curriculum.”

In his second week in office, President Trump signed an executive order to withhold funding from schools that teach that the United States is “fundamentally racist, sexist or otherwise discriminatory.” The order bans what it called “discriminatory equity ideology,” which “treats individuals as members of preferred or disfavored groups, rather than as individuals, and minimizes agency, merit and capability in favor of immoral generalizations.”

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Whether New York’s curriculum — or other Black history efforts — violate those terms is open to interpretation.

That executive order, and others like it, enter an ongoing debate about how schools should handle race and ethnicity. Some states, like California, have embraced ethnic studies education, a discipline born on the left that connects the experiences of people of color throughout history. Others have sought to limit or ban it. Since 2021, more than 44 states have restricted how race is discussed in public schools.

Last week, the Trump administration issued guidance to schools detailing how it might pursue its orders. Officials might examine elementary school with programs that “shame students of a particular race or ethnicity” or that “accuse them of being oppressors in a racial hierarchy.” In its guidance, the administration also suggested it would look at schools that it argued “have sought to veil discriminatory policies with terms like ‘social-emotional learning’ or ‘culturally responsive’ teaching.”

Ms. Adams, who helped allocate $27 million to develop the Black studies lessons, has called New York’s curriculum a “model of fearlessness.” The curriculum offers students an “African-centered perspective that predates slavery” and is optional for schools.

But about 200 have adopted it, and in early February, nearly 2,000 students gathered at the Channel View School for Research in Rockaway, Queens, for a Black studies student fair connected with the curriculum.

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Melissa Aviles-Ramos, the city’s schools chancellor, said the curriculum was essential in a diverse school district.

“When students connect with the material, they are more engaged, develop critical thinking skills and build a deeper sense of belonging,” she said in a statement. “I am proud to lead a school system that values inclusion and the powerful truth that our diversity is our strength.”

In the curriculum’s pre-K and elementary school lessons, students contemplate their identity through name study and ancestry exercises. In middle school, they are introduced to the concept of agency while studying local Black communities. They also learn about the Black media and the Black Panthers.

In high school, students explore Black liberation, slavery, disenfranchisement, policing and other hot-button political issues like reparations while reading Ta-Nehisi Coates’s article “The Case for Reparations.”

Peta-Gaye McLean, one of the seventh grade social studies teachers who began a lesson with a hip-hop music video, said she appreciates the new material, even though she has been teaching about Black history for years.

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“Not only does it legitimize it, it gives the teachers a responsibility,” she said.

Some of her students took personally the lesson comparing the roles of women in pre-colonial America and Africa. Tristan said his takeaways were “don’t take women for granted. Respect them highly.”

His classmate, Amelia Sierra, 12, said the class taught “all these good things about women and the ladies — how helpful they were and how important they were,” she said. “So I think that shows me how important I am.”

That is part of the goal. Some education experts say that making connections to students’ own lives and culture helps them master the material. One study found that students who take ethnic studies classes are more likely to graduate and go to college.

“The ability to really dig into problems that kids care about is one of the things that I think sets culturally relevant pedagogy apart,” Gloria Ladson-Billings, an education scholar who coined that term in the mid-1990s, said in an interview.

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Not all educators agree with that approach. Ian Rowe, the founder of Vertex Partnership Academies, a charter school in the Bronx that embraces the classics, urges students to “reject victimhood.” He said his school would never adopt the “Black Studies as the Study of the World” curriculum.

His students, who are predominantly Black and Latino, are still exposed to Black history, Mr. Rowe said. But, he added, “We’re going at it from the human condition, a universality. So we don’t want our kids to only see themselves through the prism of race only or gender only.”

Conservative and liberal educators may have more in common than they realize when it comes to teaching about Black history, said Frederick M. Hess, the director of education policy studies at the American Enterprise Institute, a right-leaning think tank.

In both right- and left-leaning parts of the country, new standards and lessons related to African American history often emphasize teaching about the strengths of the Black community. He said that heated political rhetoric prevents both sides from appreciating some of their shared values.

“Instead of trying to find common ground on antiracism or inclusive history or ways in which we can broaden the canon,” he said, partisans “have instead found it more politically beneficial to plant an extremist flag.”

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Alesha Smith, an English Language Arts teacher at Eagle Academy in Harlem, an all-boys school that is using the New York City curriculum, said she loved teaching about empowerment in difficult lessons about slavery, for example.

“The strengths of this curriculum are in identifying the strengths of the individuals and the flaws in the system,” she said.

Nevertheless, conservatives who have taken issue with ethnic studies might make similar criticisms of New York’s curriculum, which was informed by some of the issues the Trump orders condemn, like “equity.” It also does not discuss many Black conservatives.

Still, in some lessons, race never comes up. Professor Sonya Douglass, who oversaw the development of the curriculum as the director of the Black Education Research Center at Teachers College, Columbia University, said the intention was to have students think more about “concepts like identity and empowerment, self-knowledge, culture.”

In December, Ms. Smith led a lesson on how enslaved people subverted the institution of slavery. An illustration at the front of the room showed a rose climbing out of concrete, a reminder of the class’s previous discussion of Tupac Shakur’s poem that reflects on the same imagery.

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Students chose from several writing prompts, including one asking how they had overcome adversity in their own lives and another about the Rev. Dr. Martin Luther King Jr.

TriNahum Jones, 18, described how Dr. King used his platform as a minister to inspire legions of supporters. And Muhamed Toure, 17, wrote his essay about being stopped and frisked while walking home from the gym.

“It kind of just showed me racism hasn’t gone away,” he said. “It has just evolved and changed throughout time.”

After they put their pencils down, the class talked about Harriet Tubman and the Underground Railroad. They also spoke about quieter acts of rebellion, like learning how to read and write.

“I come out of class more impressed with the resilience of my race,” TriNahum said.

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Essential New York City Movies Picked by Ira Sachs and Blondie’s Debbie Harry and Chris Stein

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Essential New York City Movies Picked by Ira Sachs and Blondie’s Debbie Harry and Chris Stein

Film

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Leo McCarey’s “Make Way for Tomorrow” (1937). The Criterion Collection

‘Make Way for Tomorrow’ (1937), directed by Leo McCarey

The log line: After the bank forecloses on their home, an elderly couple must separate, each living with a different one of their adult children. 

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The pitch: “It’s a film that Orson Welles famously said ‘would make a stone cry,’” says Sachs, 60, about McCarey’s movie, singling out a long sequence at the end that depicts “a date through certain lobbies and bars of New York City that offers a snapshot of Midtown in the ’30s.” 

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Tippy Walker (left) and Merrie Spaeth in George Roy Hill’s “The World of Henry Orient” (1964). United Artists/Photofest

‘The World of Henry Orient’ (1964), directed by George Roy Hill

The log line: A wily 14-year-old girl and her best friend follow a ridiculous concert pianist, on whom they have a crush, around the city.

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The pitch: Hill’s 1960s romp inspired Sachs’s film “Little Men” (2016), which is about boys around the same age as these protagonists. “It’s an extraordinarily sweet film that also seems, to me, very honest,” he says. 

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Rip Torn (left) in Milton Moses Ginsberg’s “Coming Apart” (1969). Courtesy of the Everett Collection

‘Coming Apart’ (1969), directed by Milton Moses Ginsberg

The log line: Rip Torn plays an obsessive psychiatrist who secretly films all the women passing through his home office, inadvertently capturing his own mental breakdown. 

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The pitch: Shot in one room with a fixed camera, Ginsberg’s film “really feels of a time,” says Sachs. It’s also “very sexual and very free,” reminding him of what’s possible when it comes to making movies. 

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Don Murray and Diahn Williams in Ivan Nagy’s “Deadly Hero” (1975). Courtesy of the Everett Collection

‘Deadly Hero’ (1975), directed by Ivan Nagy

The log line: A disturbed, racist cop saves a cellist from a crook, only to become her tormentor. 

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The pitch: Harry, 80, and Stein, 76, were extras in Nagy’s film, which stars Don Murray, Diahn Williams and James Earl Jones as the cop, the cellist and the crook, respectively. The pair call the movie “[expletive] weird,” but also say that their day rate — $300 — “was the most money we’d ever made on anything” up to that point.

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Chantal Akerman’s “News From Home” (1976). Collections Cinematek © Fondation Chantal Akerman

‘News From Home’ (1976), directed by Chantal Akerman

The log line: An experimental documentary by Akerman, a Belgian filmmaker who moved to New York in her early 20s, the film features long takes of the city and voice-over in which the director reads letters from her mother. 

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The pitch: “I’m intrigued by how beauty contains sadness in the city,” says Sachs. Not only is her film a “beautiful record of the city” but it captures “what it is to be alone here, to have left some sort of community and, in particular for Chantal, separated from her mother.”

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Michael Wadleigh’s “Wolfen” (1981). Orion/Courtesy of the Everett Collection

‘Wolfen’ (1981), directed by Michael Wadleigh

The log line: Albert Finney stars as a former N.Y.P.D. detective who returns to the job to solve a violent and bizarre string of murders. 

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The pitch: Wadleigh’s film is not only a vehicle for Finney, says Stein, it also “has a lot of footage from the South Bronx when it was still completely destroyed” by widespread arson in the 1970s.

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Seret Scott in Kathleen Collins’s “Losing Ground” (1982).

‘Losing Ground’ (1982), directed by Kathleen Collins

The log line: Collins’s film — the first feature-length drama for a major studio directed by an African American woman — observes a rocky relationship between a college professor and her painter husband.

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The pitch: Sachs calls “Losing Ground” “a revelation.” The characters are “so human and fascinating and extremely modern,” he says, adding that he loves a movie that “exists in some very complete version of the local.”

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Griffin Dunne in Martin Scorsese’s “After Hours” (1985). Mary Evans/Ronald Grant/Everett Collection

‘After Hours’ (1985), directed by Martin Scorsese

The log line: In Scorsese’s black comedy, an office worker (Griffin Dunne) has a surreal and bizarre evening of misadventure while trying to get back uptown from a woman’s apartment in SoHo. 

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The pitch: Harry and Stein recommend this zany tale and borderline “nightmare” for the way it captures a bygone era of New York. “It’s this great image of [Lower Manhattan] when it was still raw, you know, Wild West territory,” Stein says. 

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A scene from Edo Bertoglio’s “Downtown 81” (1980-81/2000). Courtesy of Metrograph Pictures

‘Downtown 81’ (shot in 1980-81, released in 2000), directed by Edo Bertoglio

The log line: Bertoglio’s film is a striking portrait of a young artist who needs to raise money so he can return to the apartment from which he’s been evicted. 

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The pitch: Jean-Michel Basquiat stars as the artist in this snapshot of life in New York during the ’80s. Despite all the drama surrounding it — postproduction wasn’t completed until 20 years after filming, and for many years the movie was considered lost — the film is notable, says Stein, because “it’s got all the characters and all our buddies in it.”

These interviews have been edited and condensed.

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13 Actors You Should Never Miss on the New York Stage

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13 Actors You Should Never Miss on the New York Stage

Theater

Quincy Tyler Bernstine

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Sara Krulwich/The New York Times

A master of active stillness, the 52-year-old Bernstine (imposing in the 2024 revival of John Patrick Shanley’s “Doubt,” above) has that great actorly gift of making thought visible. A natural leader onstage, she compels audiences to follow her.

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Victoria Clark

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One of the theater’s best singing actors, with Tonys for Adam Guettel and Craig Lucas’s “The Light in the Piazza” (2005) and David Lindsay-Abaire and Jeanine Tesori’s “Kimberly Akimbo” (above, 2022), Clark, 66, performs not on top of the notes but through them, delivering complicated characterization and gorgeous sound in each breath.

Susannah Flood

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Flood, 43, is a true expert at confusion, a good thing because she often plays characters like the twisted-in-knots Lizzie in Bess Wohl’s “Liberation” (above, 2025). What makes that confusion thrilling is how she grounds it not in a lack of information or purpose but, just like real life, in an excess of both.

Jonathan Groff

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The rare musical theater man with the unstoppable drive of a diva, Groff, 41, sweats charisma, as audience members in ringside seats at Warren Leight and Isaac Oliver’s Broadway musical “Just in Time” (above, 2025) recently discovered. Giving you everything, he makes you want more.

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William Jackson Harper

Sara Krulwich/The New York Times

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Unmoored characters are often unsympathetic. But whether playing a confused doctor in the 2024 revival of Anton Chekhov’s “Uncle Vanya” or a delusional bookstore clerk in Eboni Booth’s “Primary Trust” (above, 2023), Harper, 46, makes vulnerability look easy, and hurt hard.

Joshua Henry

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Sara Krulwich/The New York Times

There are singers who blow the roof off theaters, but the 41-year-old Henry’s voice is so huge and deeply connected to universal feelings that he seems to be singing inside you. Currently starring in the Broadway revival of “Ragtime” (above, by Lynn Ahrens, Stephen Flaherty and Terrence McNally), he blows the roof off your head.

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Mia Katigbak

Superb and acidic in almost any role — in distress (Annie Baker’s 2023 “Infinite Life,” above) or in command (2024’s “Uncle Vanya”) — Katigbak, 71, finds the sweet spot in even the sourest truths of the human condition.

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Judy Kuhn

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Sara Krulwich/The New York Times

With detailed intelligence and specific intention informing everything she sings, Kuhn, 67, is (among other things) a Stephen Sondheim specialist — her take on Fosca in “Passion” (above, 2012) was almost literally wrenching. It requires intellectual stamina to keep up with the master word for word.

Laurie Metcalf

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Sara Krulwich/The New York Times

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The fierce, sharp persona you may know from her years on “Roseanne” (1988-97) is about a tenth of the blistering commitment Metcalf, 70, offers onstage in works like Samuel D. Hunter’s “Little Bear Ridge Road” (above, 2025). She goes there, no matter the destination.

Deirdre O’Connell

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Sara Krulwich/The New York Times

For 40 years an Off Broadway treasure, O’Connell, 72, handles the most daring, out-there material — including, recently, a 12-minute monologue of cataclysmic gibberish in Caryl Churchill’s “Kill” (above, 2025) — as if it were as ordinary as barroom gossip.

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Conrad Ricamora

Sara Krulwich/The New York Times

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Revealing the Buddy Holly in Benigno Aquino Jr. (in the 2023 Broadway production of David Byrne and Fatboy Slim’s “Here Lies Love”) or the queer wolf in Abraham Lincoln (in Cole Escola’s “Oh, Mary!,” above, last year), Ricamora, 47, is uniquely capable of great dignity and great silliness — and, wonderfully, both together.

Andrew Scott

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Sara Krulwich/The New York Times

It’s a tough competition, but Scott, 49, may have the thinnest skin of any actor. Whether he’s onstage (playing all the characters in Simon Stephens’s Off Broadway “Vanya,” above, in 2025) or on film, every emotion — especially rue — reads right through his translucence.

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Michael Patrick Thornton

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Sara Krulwich/The New York Times

Some actors are hedgehogs, projecting one idea blazingly. Thornton, 47, is a fox, carefully hoarding ideas and motivations. Keeping you guessing as Jessica Chastain’s benefactor in the 2023 revival of Henrik Ibsen’s “A Doll’s House” or as a pathetic lackey in last year’s production of Samuel Beckett’s “Waiting for Godot” (above, center), he holds you in his thrall.

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How a Geologist Lives on $200,000 in Bushwick, Brooklyn

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How a Geologist Lives on 0,000 in Bushwick, Brooklyn

How can people possibly afford to live in one of the most expensive cities on the planet? It’s a question New Yorkers hear a lot, often delivered with a mix of awe, pity and confusion.

We surveyed hundreds of New Yorkers about how they spend, splurge and save. We found that many people — rich, poor or somewhere in between — live life as a series of small calculations that add up to one big question: What makes living in New York worth it?

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Here’s one way to make New York more affordable: triple your income. After moving from Baton Rouge, La., in 2016 to attend graduate school, Daniel Babin lived mostly on red beans and rice or homemade “slop pots,” renting rooms in what he called a “cult house” and a building on a block his girlfriend was afraid to visit.

Then, in January, he got a job as a geologist with a mineral exploration company, with a salary of $200,000, plus a $15,000 signing bonus. A new city suddenly opened up to him. “I can take a woman out on a $300 dinner date and not look at the check and not feel bad about it,” he said. He also now has health insurance.

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Mr. Babin, 32, a marine geologist who also leads an acoustic string band, now navigates two economic worlds, one shaped to his postdoctoral income of $70,000 a year — when his idea of a date was a walk in Central Park — and the other reflecting his new income. In this world, he is shopping for a vintage Martin Dreadnought guitar, for which he will gladly drop $4,000.

Finding a New Base Line

On a recent morning at Mr. Babin’s home in Bushwick, Brooklyn, where he shares a 6,800-square-foot cohousing space with 17 roommates, he was still figuring out how to manage this split.

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Daniel Babin lives in a cohousing space modeled on the ethos of Burning Man, the annual arts festival in Nevada.

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“I’m feeling less inclined to just let it rip than I was a few months ago,” he said of his spending habits. He socks away $1,500 from each paycheck, and has not moved to replace his 2003 Toyota Corolla, an “absolute dump” given to him by his father. “Hopefully, I’m returning a little bit to some kind of base-line lifestyle that I’ve established for myself over the last five years,” he continued. “Because the fear is lifestyle inflation. You don’t want to just make more money to spend more money. That’s not the point, right?”

Lightning Lofts, the cohousing space where Mr. Babin has lived since January 2024, bills itself as part of a “social wellness movement” and seeks to continue the ethos of Burning Man, the annual communal art and cultural festival in the Nevada desert.

For a room with an elevated loft bed and use of common areas, Mr. Babin pays $1,400 a month in rent, plus another $250 for utilities and weekly housecleaning.

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He was first drawn to the organization through its events, including open mic “salons” where he played music or read from his science fiction writings. These were free or very cheap nights out, unpredictable and fascinating.

“You would see dance and tonal singing, and some dude wrote an algorithm that can auto-generate A.I. video based on what you’re saying — beautiful storytelling,” he said.

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“So I just showed up every month, basically, until they let me live here.”

The room was a good deal. He had looked at a nearby building where the rent was $1,900 for a room in a basement apartment that flooded once a month. “Ridiculous,” he said.

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But beyond its financial appeal, Mr. Babin liked the loft’s social life. “I used to be chronically lonely, and I just don’t feel lonely anymore,” he said. “Which is fantastic in a crazy place like New York. It’s so alive and it’s so isolating at the same time.”

Splurging on Ski Trips

Before Mr. Babin got his new job, he used to go to restaurants with friends and not eat, trying to save up $35 for a “burner” party — in the spirit of Burning Man — or Ecstatic Dance, a recurring substance-free dance party. He loved to ski but could not afford a hotel, so he would carry his old skis and beat-up boots to southern Vermont and back on the same day.

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“Going on a hike is a pretty cheap hobby,” he said, recalling his money-saving measures. “Living without health insurance is a good one.”

He still appreciates a good hike, he said. But on a recent ski trip, he splurged on new $700 boots and another $300 worth of gear. “I’m like, this is something I’ve wanted for 10 years, so I deserve it,” he said.

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He bought a $600 drone to take pictures for his social media accounts, and then promptly crashed it into the Caribbean (he’s now replacing the rotors in hopes of returning it to health).

He cut out the red beans and rice, he said, but his usual meal is still a modest $13 sandwich from the nearby bodega or $10 for pizza. “If I’m getting takeout and it’s less than $17, I don’t feel too bad about it,” he said.

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A Future After Cohousing

A big change is that dating is much more comfortable now, and he feels more attractive as a marriage prospect. “It turns out that a lot more people pay attention to you if you offer them dinner instead of a walk in the park,” he said.

He is now thinking of leaving the cohousing space — not just because he can afford to, but because his work has kept him from joining house events, like the regular potluck dinners. “I sometimes feel like a bad roommate, because part of being here is participating,” he said. “I feel like there might be someone who would enjoy the community aspect more than I’m capable of contributing right now.”

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He sounds almost wistful in discussing his former economizing. If it weren’t for the dating issue, he said, he would not need the higher income or lifestyle upgrades. “I never really felt like I was compromising on what I wanted to do,” he said.

He paused. “It’s just that what I was comfortable with has changed a little bit.”

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We are talking to New Yorkers about how they spend, splurge and save.

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