New York
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.
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.”
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.
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.
“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.
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.”
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.
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.
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?
Glennys Torres’s door in the Bronx is, at once, a portal to a small business and a home. Stepping in, a cacophony of children’s voices rises from the first floor. Along the stairs that lead to the second floor are paper tapestries covered in finger paint drying in the midafternoon sun.
These are the early signs of a business beginning to flourish, but one that comes with risks.
For much of her adulthood, Ms. Torres, 36, worked long hours as a teacher’s assistant in Manhattan, living in her mother-in-law’s rent controlled apartment in the Bronx with her family of five.
But after 10 years, Ms. Torres felt as if her wages were stagnating at the same time the city was getting more expensive. Despite a decade of experience, she lacked a teaching degree, which prevented her from getting raises, she said.
So last year, Ms. Torres made the decision to leave behind the security of her job to start a day care — one that she hopes will eventually offer her family the ability to propel themselves across income brackets and ZIP codes.
“I know one day I’d like to have a house with a backyard where my kids can play and get dirty and I can garden,” said Ms. Torres, who immigrated to New York from the Dominican Republic at 18. “I don’t need luxuries, I would still manage my business but just maybe from a house upstate. It would be nice to not worry about rent every month.”
Budgeting with Debt
Before opening the day care, Ms. Torres earned $46,000 annually, which amounted to roughly $36,000 a year after taxes. Her husband, Edward Torres, 39, works part time as a home health aide and his earnings brought the family’s after tax income to roughly $45,000.
The income wasn’t high enough to qualify for small business loans, so Ms. Torres took what little savings she had and poured it into the lease for the day care. That cost $10,500, including first and last month’s rent plus a security deposit.
The family now lives on the second floor of the building in the Wakefield section of the Bronx and operates the day care downstairs.
“I feel proud, but, at the same time, I feel a lot of fear because what happens if none of this works? What will I do then?” Ms. Torres said. “I used to cry every first day of the month because I knew rent was due. I still do cry — a lot.”
At first, the business was slow to take off. For six months, they only had one student. Ms. Torres would compose herself in front of parents, but would often go to an empty room to sob alone.
Today, the family pays $3,500 a month for a renovated 3-bedroom apartment and $3,500 a month to lease the unit below them for the day care. Utilities stack up: roughly $500 in electricity for both units, $200 for the family’s cellphone plan and about $80 a month for the internet.
Ms. Torres, who has an associate degree in business, used credit cards in order to finance her business. The family currently has over $20,000 in business related debt and has had to tighten the spending belt.
“Money right now, there’s not enough. Literalmente,” said Ms. Torres, speaking Spanglish. “Sometimes I feel bad, like I can’t do enough for my kids.”
Her husband earns $19.65 per hour, working 20 hours per week. The rest of the time he is at the center, driving children via a car-pooling service they offer. The family receives SNAP benefits for food, but estimates that they still spend almost $200 a month on groceries.
Affording Summer Camp
While working her old job, Ms. Torres struggled with where to send her children during the day. They would sometimes return home rattled from free summer camps offered by public schools. There were fights, unruly children and overworked teachers, she said. Leaving them at home in front of a screen was no better.
With the day care, she can keep an eye on her children upstairs while she runs the business downstairs. Most importantly, she makes sure none of the children are glued to their devices.
“I have a zero electronics policy,” Ms. Torres said. “If you are with a kid and he’s on a tablet, he’s not processing the world around him. But if you give him a paint brush and a canvas, you see his personality start to come out.”
The day care’s name is a nod to this value: Little Creators Daycare.
The family caught a break with The Fresh Air Fund, which provides sleepaway camps to children in underserved communities, including free gear, transportation and lodging. The family enrolled their three children in a camp set up in honor of 15-year-old Lesandro “Junior” Guzman-Feliz, who was a victim of gang violence in the Bronx.
Ms. Torres’s oldest son, Ryan, 16, has attended for eight years and is a camp counselor in training. Her other two children, Darius, 11, and Evander, 10, are returning for their third summer.
“I wanted them to be in nature, play in the dirt, get dirty,” Ms. Torres said. “When they came back saying that they couldn’t wait for next year, I knew it was the right decision.”
New Business, New Opportunities
Ms. Torres uses free time to pick up extra work. She prepares paperwork for other day cares, earning $150 per consultation.
After months of struggling, Ms. Torres now has nine students, which pulls in roughly $4,500 a month — just enough to break even. On a recent Tuesday she fielded calls from families hoping to enroll their children. Business was picking up.
“I can feel things are starting to turn around,” Ms. Torres said. “The parents love me, and I have five stars on Google.”
Over the past year the family has had to cut out gifts, activities and expenses in order to focus on the business. Ms. Torres and her husband used to go on frequent dates, but they last went out on Juneteenth. They went to a happy hour at Pier 26, spending less than $50 on a glass of cabernet sauvignon, an order of calamari and a chicken appetizer.
Good news arrived in the spring when Ms. Torres learned that she had qualified for the city’s 2-K program. She expects eight to 12 students in the fall at a higher price point per student than traditional day care, and she will also be able to offer “after-school” day care when the 2-K day wraps up.
When she told her landlord about the new income he cut her a deal: He said he would give her four months rent free as a way to invest in her business so that he could keep her as a long term tenant.
“There was one point when I said to my husband, ‘I think I’m going to give this house back and go back to your mother’s,’” Ms. Torres said. “That wasn’t long ago and my husband said, ‘Stop, you have the experience to do this. You can do this.’ He was right. I left my job for this. I can’t backtrack. This is New York City.”
We are talking to New Yorkers about how they spend, splurge and save.
Nearly two decades have passed since “The Wire” ended, yet Jamie Hector’s haunting turn as the drug kingpin Marlo Stanfield still resonates. Jay-Z recently referred to the character during a freestyle at the Roots Picnic.
“I respect the fact that artists find time to appreciate another artist in that way,” Mr. Hector said. “I consider the work that we do at the highest level with great art. His is literary. His is over a track, making you feel, and mine was visual.”
Mr. Hector, 50, also a director, producer and children’s book author, has devoted much of his life to the arts as one of television’s most compelling, understated figures, currently seen in Apple TV’s “Cape Fear.”
He splits his time between his family, dramatic roles, his own projects and shepherding the next generation of artists. Mr. Hector spent a recent blistering Thursday in Brooklyn with The New York Times.
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?
Ryan Compton knows a thing or two about gigs. To make it in New York, he has worked as a retail associate inside the Museum of Modern Art’s gift store, a cashier for a downtown taqueria and a paint mixer for Takashi Murakami. He has experienced the paradox of a city both known for its artists and for pricing artists out.
Financial constraints forced Mr. Compton, who is from South Jersey, to move away from New York twice over the course of two decades. He has lived in Baltimore, Chicago and Philadelphia, but remains convinced the resources and people inside New York are unparalleled.
“You never know who you’re going to run into,” he said. “Everyone’s curious about each other.”
Since moving back in 2022, he has whittled down his source of income to a single gig as a security guard at the Metropolitan Museum of Art, where he made $51,000 before taxes last year. It’s his second time at the museum. He first worked there part-time in 2011 before leaving in 2015 to earn his master’s degree in sculpture from the School of the Art Institute of Chicago.
“I know I couldn’t afford graduate school and the cost of living in New York at the same time,” he said.
A third try at New York life has forced Mr. Compton, now 46, to confront the sustainability behind a career as both an interdisciplinary artist and a security guard — even inside one of the most famous museums in the world.
Love at First Sight (With New York)
As an undergraduate student at the Maryland Institute College of Art, Mr. Compton looked forward to spending weekends at his friend’s apartment gallery in the East Village in Manhattan.
A combination of showing face and knowing the right person led to his side project at the time — fashioning 3-d printed stuffed animals with skull faces — which were featured in an issue of Vogue Japan. He even sold a few inside a handmade craft store in Tokyo’s Ginza district for about $1,000.
“I was interested in the contrast between fuzzy-shaped animals and skulls,” he said, later adding, “You know, stuff when you’re a 20-something-year-old being kind of edgy.”
The early moment of success propelled Mr. Compton to chase after opportunities to showcase his work. While supporting himself financially through retail and service jobs, he helped write the artist Roman Ondak’s interactive performance piece at MoMA, “Measuring the Universe;” and worked as a collaborator for “No Souls for Sale,” an experimental project temporarily at Dia Chelsea and later, the Tate Modern in London. Both went unpaid.
“The chance to work in modern art before I was 30 is unheard of,” Mr. Compton said. “It only happens in New York.”
A Slower Pace
Tens of thousands of people flock to the Metropolitan on weekends, and it’s Mr. Compton’s job — one he has found increasingly difficult — to make sure the art is untouched. He believes social media has altered the way visitors engage with the museum. Think more selfies and poses leaned against Hellenistic marble.
The one hour work commute from Parkchester in the East Bronx gives him time to prepare for a long day ahead. He splits a two-bedroom with a co-worker for $1,000 a month and pays $50 in utilities. Heat and water are included in his rent, and his roommate covers the cost of Wi-Fi. He pays $90 each month for his phone bill.
The slower pace of the residential neighborhood matches the stage of life he’s in now. In the last few years, Mr. Compton has slowed down as he has come to terms with the expenses behind his art.
He no longer has free access to fabrication laboratories pegged to his university, and he has opted for the more cost-friendly hobbies of zine-making and book binding. He is, however, eyeing a $1,000 3-d printer. For now, he has settled on $20 a month Photoshop subscription.
The largest constraint tempering Mr. Compton’s spending is his $100,000 student loan debt from graduate school. The window for his deferment period closed, and even with some money he inherited after his mother passed, he says he needs a miracle to finish paying off his loans. “I’m not sure what to do anymore,” he said.
Splurging on Plants and Experimental Harsh Noise Records
Mr. Compton may not have any children, but he is a proud “plant dad.”
His apartment houses $1,000 worth of plants sourced through Facebook groups, pop-ups and by following Brooklyn Horticulture online. He typically pays $30-$50 for medium to large sized plants, but he is constantly on the lookout for deals.
When he isn’t at home with his plants, Mr. Compton treks into Manhattan to do his weekly grocery shopping at Trader Joe’s. He prefers the prices there to local spots in the Bronx and estimates he spends $70 each week.
A cash guzzler of Mr. Compton’s food budget is the $20 a day — an additional $80 a week — he spends at the Metropolitan’s staff cafeteria for breakfast and lunch. When working 12 hour shifts, “I’m not gonna go home and make something to bring the next day,” he said.
On his days off, he seeks out affordable food deals. He frequents Vanessa’s Dumplings in Chinatown for their $8 dumpling special.
When in the mood to treat himself, Mr. Compton rides the train a few more stops out to Ridgewood, Queens and Bushwick, Brooklyn, to visit his favorite record stores like Fringe Records and Nexus Records. An experimental harsh noise aficionado, he spends no less than $100 each visit.
His biggest and most recent splurge was a 10-day trip to Tokyo, Kyoto and Osaka in Japan in February. He was able to cut his $900 round trip ticket to $700 with credit card points. Add in the cost of hotels, meals and souvenirs, he spent close to $5,000 total.
“I wanted to go because my artwork had been to Japan, but I haven’t been to Japan,” he said.
Looking Ahead
Mr. Compton wants to strike a balance between saving and enjoying the life he dreamed of in New York. To help pay off his loans, he considered applying to be an art handler for the Metropolitan, a job with a slight pay bump. But without his present benefit of overtime pay, he’s afraid he would be making less than he does currently.
Over the years, Mr. Compton has found community among other security guards at the Metropolitan, who, like him, are artists. He has also built inroads with notable names at the museum, one being Sheena Wagstaff, the former chairman of modern and contemporary art, who he said took the time to know Mr. Compton not only as a co-worker, but also as an individual, too.
Because of his connections, he feels like he has nowhere else to go. He considered a quieter lifestyle upstate in Westchester or the Catskills, but believes he will make less money outside of the city. And, of course, he would have to leave the place he’s called home for the majority of his adult years.
“I did four other cities, and they weren’t as good or great as I like New York,” he said. “I always end up here.”
We are talking to New Yorkers about how they spend, splurge and save.
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