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Posts tagged as “Bradford Young”

Art Project "Funk, God, Jazz & Medicine" Celebrates Black Heritage in Brooklyn This Weekend

“Funk, God, Jazz & Medicine: Black Radical Brooklyn” (Credit: Todd Heisler/The New York Times)

New York City so knows how to lose — and save, and lose again — its history. Among notable rescues of the past several decades were material remains of the vanished 19th-century African-American village of Weeksville in Brooklyn, snatched from the jaws of 1960s urban renewal. Once in parts of what are now Bedford-Stuyvesant and Crown Heights, the village is currently getting fresh and needed attention in an art project organized by the Weeksville Heritage Center and Creative Time called “Funk, God, Jazz & Medicine: Black Radical Brooklyn,which runs Friday through Sunday (October 10-12).

Spread over four sites, the project roughly maps the footprint of the original settlement. More important, it strengthens the memory of a local past that could easily be swallowed up by gentrification.

The village was named for James Weeks, an ex-slave from Virginia who came to New York in 1838. His intention was to create a community of landowning African-Americans at a time when such ownership was a requirement for voting. The plan took hold. By the time of the Civil War, the village had more than 500 residents, two churches, a school, an orphanage, an old-age home, a cemetery and its own newspaper, The Freedman’s Torchlight. Blacks fleeing the draft riots in Manhattan in 1863 sought refuge there and stayed. But after the opening of the Brooklyn Bridge, with a swelling in the general population, Weeksville was gradually absorbed into newer communities that surrounded it.

In 1968, four of the village’s 19th-century wood-frame houses were rediscovered, in derelict shape, on an oddly angled street that had once been a section of Hunterfly Road in Weeksville, and before that, an American Indian trail. The area was scheduled for demolition, but after community pressure, the houses were declared city landmarks. Restored, they are now part of the Heritage Center, which encompasses vegetable and flower gardens and, as of 2013, an education building with an auditorium and classrooms.

Howard University has Become Incubator for Cinematographers

Matt McClain/For The Washington Post – Bradford Young poses for a portrait at Howard University on Monday January 28, 2013 in Washington, D.C. Young won the Excellence in Cinematography award at the Sundance Film Festival for his work on “Mother of George,” and “Ain’t them Bodies Saints.”
At the Sundance Film Festival last weekend, Howard University graduate Bradford Young won the dramatic-feature cinematography award for his work on the films “Ain’t Them Bodies Saints” and “Mother of George” — his second time accepting the honor, having won in 2011 for the coming-of-age drama “Pariah.”
The Sundance recognition reinforces what many in the industry have known for a few years now: Howard, best known for its law and medical schools, has become an incubator for people whose work with lighting, lenses, camera movement, film stocks and visual textures has profoundly influenced contemporary cinematic grammar.
“The interesting thing about it is that there is no formal cinematography department,” filmmaker Ava DuVernay says. “It’s jaw-dropping that you’ve had so many come out [of Howard] with such distinct styles.”
The floating-camera dolly shot and super-saturated color palette that are trademarks of Spike Lee’s work are the best known among several innovations that Howard-trained cinematographers have contributed to the films they’ve worked on. Early in his career, Lee developed these techniques in close collaboration with a Howard graduate, Ernest Dickerson.