We saved hundreds of at-risk and challenged teens with the establishment of Nelson Mandela Alternative High School. We were given free reign by Dr. William Pratella and the Board of Education to be as creative and as innovative as possible. Our school operated totally different from other schools in the district. We believed that all children “could learn and would learn”. Our mission was to “save one child at a time by any means possible. Failure was not an option” At Mandela, we created a world of success. Everybody had to be successful. Students thought and believed in themselves. They felt good about Nelson Mandela and their future. Success in school and after high school was their main goal. I feel bad because we lost too many young brothers to crime, drugs, gangs and violence. None of these young brothers had to go the way they did. If their fathers had been in their lives they would have chosen a different path. I continue to reach out to fathers to encourage them to reconnect with their sons and daughters. Fathers can make the difference in saving their son’s and daughter’s lives. I was an at-risk and challenged young brother. I was a thirteen-year-old country boy from rural Mississippi who was illiterate when my family and I had arrived in Washington, D.C., in 1950. I lost all my grammar and elementary school education in Mississippi because I never attended with any consistency. But God was on my side. Faith and prayer made the difference. I hope to inspire other young brothers to turn their lives around as I did. My saving grace was a praying mother. She kept us in church and away from the wrong people. We were in church seven days a week. I was blessed to have made significant accomplishments in higher education, including my Doctorate, Master and Bachelor’s degrees. I served as a Head Coach and Human Rights Commissioner. I also developed the first college degree program for prison inmates.
We saved hundreds of at-risk and challenged teens with the establishment of Nelson Mandela Alternative High School. We were given free reign by Dr. William Pratella and the Board of Education to be as creative and as innovative as possible. Our school operated totally different from other schools in the district. We believed that all children “could learn and would learn”. Our mission was to “save one child at a time by any means possible. Failure was not an option” At Mandela, we created a world of success. Everybody had to be successful. Students thought and believed in themselves. They felt good about Nelson Mandela and their future. Success in school and after high school was their main goal. I feel bad because we lost too many young brothers to crime, drugs, gangs and violence. None of these young brothers had to go the way they did. If their fathers had been in their lives they would have chosen a different path. I continue to reach out to fathers to encourage them to reconnect with their sons and daughters. Fathers can make the difference in saving their son’s and daughter’s lives. I was an at-risk and challenged young brother. I was a thirteen-year-old country boy from rural Mississippi who was illiterate when my family and I had arrived in Washington, D.C., in 1950. I lost all my grammar and elementary school education in Mississippi because I never attended with any consistency. But God was on my side. Faith and prayer made the difference. I hope to inspire other young brothers to turn their lives around as I did. My saving grace was a praying mother. She kept us in church and away from the wrong people. We were in church seven days a week. I was blessed to have made significant accomplishments in higher education, including my Doctorate, Master and Bachelor’s degrees. I served as a Head Coach and Human Rights Commissioner. I also developed the first college degree program for prison inmates.
Reprint of the original, first published in 1859. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.
What is 'performance drawing'? When does a drawing turn into a performance? Is the act of drawing in itself a performative process, whether a viewer is present or not? Through conversation, interviews and essays, the authors illuminate these questions, and what it might mean to perform, and what it might mean to draw, in a diverse and expressive contemporary practice since 1945. The term 'performance drawing' first appeared in the subtitle of Catherine de Zegher's Drawing Papers 20: Performance Drawings, in particular with reference to Alison Knowles and Elena del Rivero. In this book, it is used as a trope, and a thread of thinking, to describe a process dedicated to broadening the field of drawing through resourceful practices and cross-disciplinary influence. Featuring a wide range of international artists, this book presents pioneering practitioners, alongside current and emerging artists. The combination of experiences and disciplines in the expanded field has established a vibrant art movement that has been progressively burgeoning in the last few years. The Introduction contextualises the background and identifies contemporary approaches to performance drawing. As a way to embrace the different voices and various lenses in producing this book, the authors combine individual perspectives and critical methodology in the five chapters. While embedded in ephemerality and immediacy, the themes encompass body and energy, time and motion, light and space, imagined and observed, demonstrating how drawing can act as a performative tool. The dynamic interaction leads to a collective understanding of the term, performance drawing, and addresses the key developments and future directions of this applied drawing process.
If the postmodernist ethical onslaught has led to the demise of literature by exposing its political agenda, if all literature is compromised by its entanglement with power, why does literature’s subterranean voice still seduce us into reading? Why do the madness and the scandal of transgressive literature, its power to force us to begin anew, its evil, escape the gaze of contemporary literary criticism? Why do we dare not reject ethics and the ethical approach to literature? If the primary task of literary criticism is to correct others’ ethical missteps, should we not begin by confronting the seductiveness of ethics, our desire for ethics, the pleasure we take in being ethical? And what is the relationship between ethics and history in the study of literature? What would be the ethical consequences of an erasure of history from literary criticism? In a series of essays on the writings of Kawabata Yasunari, Murakami Haruki, Karatani Kjin, Furui Yoshikichi, Mishima Yukio, Oe Kenzaburo, Natsume Soseki, and Kobayashi Hideo, Hosea Hirata visits the primal force of the scandalous in an effort to repeat (in the Kierkegaardian sense) the originary scene that initiates the obscure yet insistent poetry that is literature and to confront the questions raised.
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