“As long as “diversity” and “representation” is on the website, we are safe.” These terms that hold immense impact, nowadays have almost become exploited as a marketable proof that an institution is “politically correct”. From casting a BIPOC actor to a stereotypical role to building diversity initiatives that are for the benefit of the institutions, we seek to examine the issue of a lack of authentic and genuine change and inclusion in the film industry. Discussions around “representation” on screen is essential. However, at the root, are the decision makers in the room and those behind the scenes. From a series of interviews of emerging and established female filmmakers of colour artists, interludes of immersive experiences and educational interpretations from professor, journalist and activist, Pamela Newkirk, we hear first hand from those who are struggling to navigate the film industry and learn from the implications of it - what do we need to do moving forward? The central question we’re tackling is this: does the increasing presence of diverse faces on our screen correlate with the faces that are present behind the camera? We want to explore how the representation of female directors of colour behind the scenes impacts films and their stories. Additionally, has the industry changed significantly or have things mostly stayed the same? We are bringing together female directors of colour from all stages of their careers to explore these questions and to lend their perspective to this multi-layered and complex question.

<description>&lt;p&gt; “As long as “diversity” and “representation” is on the website, we are safe.” These terms that hold immense impact, nowadays have almost become exploited as a marketable proof that an institution is “politically correct”. From casting a BIPOC actor to a stereotypical role to building diversity initiatives that are for the benefit of the institutions, we seek to examine the issue of a lack of authentic and genuine change and inclusion in the film industry. Discussions around “representation” on screen is essential. However, at the root, are the decision makers in the room and those behind the scenes. From a series of interviews of emerging and established female filmmakers of colour artists, interludes of immersive experiences and educational interpretations from professor, journalist and activist, Pamela Newkirk, we hear first hand from those who are struggling to navigate the film industry and learn from the implications of it - what do we need to do moving forward? &lt;/p&gt;&lt;p&gt;The central question we’re tackling is this: does the increasing presence of diverse faces on our screen correlate with the faces that are present behind the camera? We want to explore how the representation of female directors of colour behind the scenes impacts films and their stories. Additionally, has the industry changed significantly or have things mostly stayed the same? We are bringing together female directors of colour from all stages of their careers to explore these questions and to lend their perspective to this multi-layered and complex question. &lt;/p&gt;
</description>

What are the lasting effects of discrimination in film for people of colour? And more specifically, women of colour? Listen in as we explore this question by talking to female filmmakers of colour and get their take on representation in the entertainment industry and the history behind the lack of representation within film. 

This episode is a product of the Ignite Change Fellowship: a partnership between the Cross-Cutting Initiative on Inequality, the NYU Production Lab, and the Wasserman Center for Career Development. 

From Behind the Scenes to On the Screens

Ghazi Faisal Al-Muliafi’s journey began with one statement from his grandfather, who was once a Kuwaiti pearl diving shipmaster: “All the men died at sea”. Now an ethnomusicologist at NYU Abu Dhabi, Ghazi has spent his career researching Kuwaiti pearl diving music and the lives of the pearl divers in order to connect with his ancestral past. In the process, his work has uncovered long lost narratives that have larger implications on how we think about cultural appropriation, tradition, and national identity. When Kuwait became a nation in 1961, the music of pearl diving became codified as a national signifier for the country. The music was no longer allowed to morph and change as it had for hundreds of years prior when the pearl divers were out at sea, travelling along their trading routes. Ghazi realized that his ancestors were global citizens in their own right and, without the current ideals about fixed heritage and national identity, they experienced a freedom of cultural sharing that we no longer have today. From this revelation, Boom.Diwan, Ghazi’s collaborative global jazz ensemble, was created. Inspired by the Kuwaiti pearl diving music of the Indian Ocean trade, with influences all the way from Zanzibar to Calicut, Boom.Diwan emphasizes fluidity and cross-cultural conversations through their music. Today, their work is a fusion of latin, jazz, and middle eastern influence.As we familiarized ourselves with Ghazi’s work, we realized that his research was in direct opposition to what we had been previously taught about cultural appropriation. We had believed culture and heritage to be fixed, and that sharing, especially in music, often resulted in backlash. When the utilization of African American Vernacular English (AAVE) and the improper use of Pan Asian aesthetics by white pop artists negatively affects marginalized groups, is there another model of cultural sharing that doesn’t cause harm?Told through the music that inspired his research, Ghazi’s story contains reflections on the difference between tradition and heritage, national identity, and practical examples of what cultural sharing can look like. We relate these ideas back to similar narratives around the world and explain what Ghazi’s research means for how we move forward in the conversation about cultural appropriation versus appreciation. Our deep dive into the history of this music and culture is perfect for music and history lovers alike, and anyone interested in exploring the concepts of heritage, tradition, and cultural appropriation.

<description>&lt;p&gt;Ghazi Faisal Al-Muliafi’s journey began with one statement from his grandfather, who was once a Kuwaiti pearl diving shipmaster: “All the men died at sea”. Now an ethnomusicologist at NYU Abu Dhabi, Ghazi has spent his career researching Kuwaiti pearl diving music and the lives of the pearl divers in order to connect with his ancestral past. In the process, his work has uncovered long lost narratives that have larger implications on how we think about cultural appropriation, tradition, and national identity. &lt;/p&gt;&lt;p&gt;When Kuwait became a nation in 1961, the music of pearl diving became codified as a national signifier for the country. The music was no longer allowed to morph and change as it had for hundreds of years prior when the pearl divers were out at sea, travelling along their trading routes. Ghazi realized that his ancestors were global citizens in their own right and, without the current ideals about fixed heritage and national identity, they experienced a freedom of cultural sharing that we no longer have today. &lt;/p&gt;&lt;p&gt;From this revelation, Boom.Diwan, Ghazi’s collaborative global jazz ensemble, was created. Inspired by the Kuwaiti pearl diving music of the Indian Ocean trade, with influences all the way from Zanzibar to Calicut, Boom.Diwan emphasizes fluidity and cross-cultural conversations through their music. Today, their work is a fusion of latin, jazz, and middle eastern influence.&lt;/p&gt;&lt;p&gt;As we familiarized ourselves with Ghazi’s work, we realized that his research was in direct opposition to what we had been previously taught about cultural appropriation. We had believed culture and heritage to be fixed, and that sharing, especially in music, often resulted in backlash. When the utilization of African American Vernacular English (AAVE) and the improper use of Pan Asian aesthetics by white pop artists negatively affects marginalized groups, is there another model of cultural sharing that doesn’t cause harm?&lt;/p&gt;&lt;p&gt;Told through the music that inspired his research, Ghazi’s story contains reflections on the difference between tradition and heritage, national identity, and practical examples of what cultural sharing can look like. We relate these ideas back to similar narratives around the world and explain what Ghazi’s research means for how we move forward in the conversation about cultural appropriation versus appreciation. Our deep dive into the history of this music and culture is perfect for music and history lovers alike, and anyone interested in exploring the concepts of heritage, tradition, and cultural appropriation. &lt;/p&gt;
</description>

Ghazi Faisal Al-Muliafi’s journey began with one statement from his grandfather, who was once a Kuwaiti pearl diving shipmaster: “All the men died at sea”. Now an ethnomusicologist at NYU Abu Dhabi, Ghazi has spent his career researching Kuwaiti pearl diving music and the lives of the pearl divers in order to connect with his ancestral past. In the process, however, he may have uncovered long lost narratives that have larger implications on how we think about cultural appropriation, tradition, and national identity. 

This episode is a product of the Ignite Change Fellowship: a partnership between the Cross-Cutting Initiative on Inequality, the NYU Production Lab, and the Wasserman Center for Career Development. 

Uncovering Bridges

In the months preceding the 2020 elections, NYU Professors Erica Foldy and John Gershman were concerned about voter turnout. The country continued to reckon with one crisis after another—from the ramifications of the COVID-19 pandemic to persistent demonstrations against racial inequity—and the ballot box would be a powerful opportunity for Americans to respond. But would voters show up on election day? And even more alarmingly, would those who want to vote even be able to? The solution, Erica and John realized, was to mobilize organizers who could educate and empower America’s electorate—and who better to mobilize than their students at NYU? And so began the university’s VOTE 2020 Fellowship.From the summer preceding the elections to the senatorial run-offs in January, the VOTE 2020 Fellowship partnered NYU students with grassroots organizations that champion voting rights. Erica and John secured funding from the university provost to support the students, and then, like matchmakers, paired students with organizations that could utilize their talents. In total, thirty-two fellows partnered with nearly ten organizations around the country—they taught constituents how to use mail-in ballots, advocated voting accessibility for people with disabilities, challenged the discriminatory use of A.I. intelligence, and worked to prepare election sites for the logistical challenges of a pandemic.“By the People, For the People: The VOTE 2020 Initiative'' chronicles this experimental fellowship through one student, Maya, and her two partner organizations, Mi Familia Vota and Detroit Action. As Maya encountered, the challenges to voter access are often historically complex, politically weaponized, and contrary to the principles of democracy they’re meant to uphold. But just as elites can erode the foundations of democracy, so can everyday people uphold them. And “By the People, For the People” examines what happens when these everyday people—like Erica, John, Maya, and Carlos, a lifelong advocate and organizer—take ownership of their democracy.

<description>&lt;p&gt;In the months preceding the 2020 elections, NYU Professors Erica Foldy and John Gershman were concerned about voter turnout. The country continued to reckon with one crisis after another—from the ramifications of the COVID-19 pandemic to persistent demonstrations against racial inequity—and the ballot box would be a powerful opportunity for Americans to respond. But would voters show up on election day? And even more alarmingly, would those who want to vote even be able to? The solution, Erica and John realized, was to mobilize organizers who could educate and empower America’s electorate—and who better to mobilize than their students at NYU? And so began the university’s VOTE 2020 Fellowship.&lt;/p&gt;&lt;p&gt;From the summer preceding the elections to the senatorial run-offs in January, the VOTE 2020 Fellowship partnered NYU students with grassroots organizations that champion voting rights. Erica and John secured funding from the university provost to support the students, and then, like matchmakers, paired students with organizations that could utilize their talents. In total, thirty-two fellows partnered with nearly ten organizations around the country—they taught constituents how to use mail-in ballots, advocated voting accessibility for people with disabilities, challenged the discriminatory use of A.I. intelligence, and worked to prepare election sites for the logistical challenges of a pandemic.&lt;/p&gt;&lt;p&gt;“By the People, For the People: The VOTE 2020 Initiative'' chronicles this experimental fellowship through one student, Maya, and her two partner organizations, Mi Familia Vota and Detroit Action. As Maya encountered, the challenges to voter access are often historically complex, politically weaponized, and contrary to the principles of democracy they’re meant to uphold. But just as elites can erode the foundations of democracy, so can everyday people uphold them. And “By the People, For the People” examines what happens when these everyday people—like Erica, John, Maya, and Carlos, a lifelong advocate and organizer—take ownership of their democracy.&lt;/p&gt;
</description>

How do we keep our democracy healthy? Especially when politics and policies keep people from participating? As the consequential elections of 2020 approached, NYU professors Erica Foldy and John Gershman began asking these questions—and the VOTE 2020 Fellowship was their answer. “By the People, For the People” tells the story of this experimental initiative, and examines what happens when everyday people, like Erica, John, and their students at NYU, take ownership of their democracy.

This episode was created through the Ignite Change Fellowship: a partnership of the Cross-Cutting Initiative on Inequality, the NYU Production Lab, and the Wasserman Center for Career Development. 

By the People for the People: the Vote 2020 Initiative

Hello LabCast family,
We hope you are all safe and managing as best you can during these challenging times. We are happy to (finally) bring you our spring 2020 season, delayed, in no small part, due to COVID, remote work, and recent events.
Given the obstacles our team faced recording and finishing the episodes, we ask that you forgive any sound hiccups and join us in applauding our student editors and audio engineers who managed the challenges and limitations with grace and skill. Thank you students!
We think it’s also important to note that both the episodes and the introduction to episode 23 were recorded prior to the tragedies surrounding George Floyd and the BLM movement. The Lab reiterates its unequivocal support of the members of the Black creative community at NYU and the BLM movement more generally. We have compiled resources on our website for those looking to learn more and support BIPOC artists.
The episodes this season center two Black voices from our community: Michael R. Jackson and Joshua Pierce. We hope their stories will be educational and inspiring. Thank you for your support as listeners. We will return in the fall with new episodes.
Best 
LabCast Team
In this episode, we talk with Pulitzer Prize winner, Michael R. Jackon, about art, politics, and queer identity.
Hosts: Ronica Reddick and Jerusalem Adams-Shepard 
Recording Supervision: Joey Carducci 
Editor: Jeric Brual 
Sound Engineers: NYU Abu Dhabi and the Music Technology &amp; Sound Recording Group -- Farah Elmowafy, Aaron Marcus-Willers, and Bea Lazlo. 
Thanks to: John Tintori and Matteo Marciano (Head of the Production) and Reema El-Kaiali and Toby Tinson (Assistant Heads of Production)
Theme Song: &quot;Wrong Turn&quot; by Abby T 
Sun Tan Lines by Florian Decros from WFMU Free Music Archives

<description>&lt;p&gt;Hello LabCast family,&lt;/p&gt;
&lt;p&gt;We hope you are all safe and managing as best you can during these challenging times. We are happy to (finally) bring you our spring 2020 season, delayed, in no small part, due to COVID, remote work, and recent events.&lt;/p&gt;
&lt;p&gt;Given the obstacles our team faced recording and finishing the episodes, we ask that you forgive any sound hiccups and join us in applauding our student editors and audio engineers who managed the challenges and limitations with grace and skill. Thank you students!&lt;/p&gt;
&lt;p&gt;We think it’s also important to note that both the episodes and the introduction to episode 23 were recorded prior to the tragedies surrounding George Floyd and the BLM movement. The Lab reiterates its unequivocal support of the members of the Black creative community at NYU and the BLM movement more generally. We have compiled resources on our website for those looking to learn more and support BIPOC artists.&lt;/p&gt;
&lt;p&gt;The episodes this season center two Black voices from our community: Michael R. Jackson and Joshua Pierce. We hope their stories will be educational and inspiring. Thank you for your support as listeners. We will return in the fall with new episodes.&lt;/p&gt;
&lt;p&gt;Best&lt;br /&gt;
LabCast Team&lt;/p&gt;
&lt;p&gt;In this episode, we talk with Pulitzer Prize winner, Michael R. Jackon, about art, politics, and queer identity.&lt;/p&gt;
&lt;p&gt;Hosts: Ronica Reddick and Jerusalem Adams-Shepard&lt;br /&gt;
Recording Supervision: Joey Carducci&lt;br /&gt;
Editor: Jeric Brual&lt;br /&gt;
Sound Engineers: NYU Abu Dhabi and the Music Technology &amp;amp; Sound Recording Group -- Farah Elmowafy, Aaron Marcus-Willers, and Bea Lazlo.&lt;br /&gt;
Thanks to: John Tintori and Matteo Marciano (Head of the Production) and Reema El-Kaiali and Toby Tinson (Assistant Heads of Production)&lt;/p&gt;
&lt;p&gt;Theme Song: &amp;quot;Wrong Turn&amp;quot; by Abby T&lt;br /&gt;
Sun Tan Lines by Florian Decros from WFMU Free Music Archives&lt;/p&gt;
</description>

In this episode, we talk with Pulitzer Prize winner, Michael R. Jackon, about art, politics, and queer identity. 

#23 Everything in Art is Politics

Hello LabCast family,
We hope you are all safe and managing as best you can during these challenging times. We are happy to (finally) bring you our spring 2020 season, delayed, in no small part, due to COVID, remote work, and recent events.
Given the obstacles our team faced recording and finishing the episodes, we ask that you forgive any sound hiccups and join us in applauding our student editors and audio engineers who managed the challenges and limitations with grace and skill. Thank you students! We absolutely couldn't do it without you.
We think it’s also important to note that both the episodes were recorded prior to the tragedies surrounding George Floyd and the BLM movement. The Lab reiterates its unequivocal support of the members of the Black creative community at NYU and the BLM movement more generally. We have compiled resources on our website for those looking to learn more and support BIPOC artists.
The episodes this season center two Black voices from our community: Michael R. Jackson and Joshua Pierce. We hope their stories will be educational and inspiring. Thank you for your support as listeners. We will return in the fall with new episodes.
Best 
LabCast Team
In this episode, we talk with Joshua Pierce, CEO and founder of The Diversity Org, about launching a creative start-up and giving back to the community.
Hosts: Ronica Reddick and Jeremiah Campoverde 
Recording Supervision: Joey Carducci 
Editor: Jeric Brual 
Sound Engineers: NYU Abu Dhabi and the Music Technology &amp; Sound Recording Group -- Farah Elmowafy, Aaron Marcus-Willers, and Bea Lazlo. 
Thanks to: John Tintori and Matteo Marciano (Head of the Production) and Reema El-Kaiali and Toby Tinson (Assistant Heads of Production)
Theme Song: &quot;Wrong Turn&quot; by Abby T 
Sun Tan Lines by Florian Decros from WFMU Free Music Archives

<description>&lt;p&gt;Hello LabCast family,&lt;/p&gt;
&lt;p&gt;We hope you are all safe and managing as best you can during these challenging times. We are happy to (finally) bring you our spring 2020 season, delayed, in no small part, due to COVID, remote work, and recent events.&lt;/p&gt;
&lt;p&gt;Given the obstacles our team faced recording and finishing the episodes, we ask that you forgive any sound hiccups and join us in applauding our student editors and audio engineers who managed the challenges and limitations with grace and skill. Thank you students! We absolutely couldn't do it without you.&lt;/p&gt;
&lt;p&gt;We think it’s also important to note that both the episodes were recorded prior to the tragedies surrounding George Floyd and the BLM movement. The Lab reiterates its unequivocal support of the members of the Black creative community at NYU and the BLM movement more generally. We have compiled resources on our website for those looking to learn more and support BIPOC artists.&lt;/p&gt;
&lt;p&gt;The episodes this season center two Black voices from our community: Michael R. Jackson and Joshua Pierce. We hope their stories will be educational and inspiring. Thank you for your support as listeners. We will return in the fall with new episodes.&lt;/p&gt;
&lt;p&gt;Best&lt;br /&gt;
LabCast Team&lt;/p&gt;
&lt;p&gt;In this episode, we talk with Joshua Pierce, CEO and founder of The Diversity Org, about launching a creative start-up and giving back to the community.&lt;/p&gt;
&lt;p&gt;Hosts: Ronica Reddick and Jeremiah Campoverde&lt;br /&gt;
Recording Supervision: Joey Carducci&lt;br /&gt;
Editor: Jeric Brual&lt;br /&gt;
Sound Engineers: NYU Abu Dhabi and the Music Technology &amp;amp; Sound Recording Group -- Farah Elmowafy, Aaron Marcus-Willers, and Bea Lazlo.&lt;br /&gt;
Thanks to: John Tintori and Matteo Marciano (Head of the Production) and Reema El-Kaiali and Toby Tinson (Assistant Heads of Production)&lt;/p&gt;
&lt;p&gt;Theme Song: &amp;quot;Wrong Turn&amp;quot; by Abby T&lt;br /&gt;
Sun Tan Lines by Florian Decros from WFMU Free Music Archives&lt;/p&gt;
</description>

In this episode, we talk with Joshua Pierce, CEO and founder of The Diversity Org, about launching a creative start-up and giving back to the community. 

#22 Bridging Divides

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