THE AFRICANAA publication by the Africana Studies
Department at John Jay College
The 2015 Year-in-
Africana Studies Students
and Staff discuss this
year’s past, current, and
ongoing projects and
Learning, Growing, and
Serving in Tanzania
This past summer was quite a busy one for Dr. Crystal Endsley who led Africana Studies’ and John Jay’s very first study
abroad program in Tanzania. In this brief interview, she discusses the different cultural perceptions, types of community,
and opportunities for learning that students encountered on the island of Zanzibar.
WHAT WERE YOU AND THE STUDENTS AIMING TO ACCOMPLISH ON THIS TRIP?
One objective was partnering with an organization called the Zanzibar Outreach Program to
find an all-girls school and install solar suitcases donated by We Share Solar. One of my other
main objectives for the students was to immerse ourselves in Tanzanian culture in order to
understand the dynamics of gender and how arts and culture is used as activism in
Tanzanian society. And in doing so, we also learned a lot about what it means to serve a
community. How gender roles, politics of Muslim society, and education are all kind of bound
WHAT WOULD YOU SAY EVERYONE GAINED FROM THIS EXPERIENCE?
I think for the students, for a lot of them, it was their first time on the continent. There was a
sense of surprise to understand the way that Africa is perceived in the West. They all had
some kind of revelation about that and also about how Americans are perceived. It’s part of
the culture shock. You have a reputation that you have no control over. Even getting to
interact with the girls, there’s a serious culture of shyness there. They learned what it means
to be set up in a position where you’re perceived as wealthy and privileged and our students
don’t look at themselves that way here.
IS THERE ANYTHING YOU’D DO DIFFERENTLY?
No. I think the students got an incredible opportunity to see not only different types of
people but different types of landscape, different types of community, all within one island.
We saw different ways that women’s work supports different communities. We got to spend
time with these girls who couldn’t speak the language (English) or communicate verbally and
it turned the students inside out. I think that they really learned the most from the toughest
WHAT ARE SOME IMPORTANT THINGS ANYONE TRAVELING TO TANZANIA SHOULD
It is a warm and generous nation of people. It is an extremely diverse nation of people. And
prepare to learn. Be prepared to engage. There are many opportunities to do that wherever
you go in Tanzania.
Two of Dr. Endsley’s study abroad students had this to say about returning home after
their experience in Tanzania:
It was difficult for me to settle once I returned. Things that I took for granted or didn't
appreciate before...I began to value incredibly once I returned. The experience in Africa opened
my eyes to an entire world of possibility that is outside of my window. My perception, mentality
but also sense of entitlement has all matured to another level. My life was given a clearer
perspective as I was introduced to parts of myself that I didn't realize existed. I'm very grateful
for this growth and the strength of my heart.–
My Study Abroad trip to Tanzania has widened and deepened my perspective; a gift that I am
forever grateful for. I continue to experience a profound change in my perception, sensitivity
and treatment of people and things around me. I look at an old city, and old things with new
eyes like I have been made anew. I am forced to be aware of my own cultural values, and biases,
and where they stem from…[It] has been one of the best and rewarding experiences of my life.–
At the Crossroads:
On Identity, Power, and
Interacting With Others
Africana Studies Honors Minor and recent John Jay College graduate, Keshawna Hunter was honored at the Second Annual
Africana Studies Recognition Ceremony back in May. Here, she reflects openly and honestly on her learning experience and
how her views have changed about the world around her.
WHY DID YOU CHOOSE TO MINOR IN AFRICANA STUDIES?
I wanted to minor in Africana Studies because I felt like I needed to know more about my
history as an African-American woman. In high school, I was taught about Black people being
slaves. I didn’t know anything about caricatures of Black men and women, blackface, the
oppression of Black men and women in the long-term effects until I came to John Jay.
WHEN YOU GOT HERE AND FINALLY LEARNED ABOUT ALL THOSE THINGS, WHAT WAS
I cried. Today it still has an effect on my mind because there was a lot of stuff that I didn’t
know. There’s stuff that I learned during my freshman through junior years that I see still
happening in the Black community today. I get upset and it really has taken a toll on me.
There’s so much on my mind. I wish I’d known all this a long time ago.
HOW DO YOU PLAN TO USE WHAT YOU’VE LEARNED AS AN AFRICANA STUDIES
I want to explore more of the themes such as negative exceptionalism, social constructions,
and other concepts that I didn’t have previous knowledge of but have been introduced to by
people like Dr. Adams, Dr. Gordon-Nembhard, and Dr. Endsley. I’d like to explore them
deeper and work with my colleagues and people in my network who care about these issues
and want to find real solutions to real problems.
AS FAR AS HOW YOU PERCEIVED YOURSELF AND YOUR PLACE IN THE WORLD, HOW
DOES YOUR PAST VIEW COMPARE WITH YOUR PRESENT GIVEN ALL THAT YOU’VE
Through high school, I didn’t see race as an issue. For myself or with others. When I got into
college I became more aware of stereotypes. The fact that I could see myself one way but
someone else might see me another way based on a stereotype and treat me accordingly. I
reflect more on my own views and I’m more conscious of how other people view me.
WHAT QUESTIONS DO YOU STILL WANT ANSWERED THAT YOU FEEL LIKE THE FIELD
OF AFRICANA STUDIES WOULD DO WELL TO ADDRESS?
I’m more concerned about Black economic empowerment. Figuring out how more Black
people can build and sustain their own businesses and serve their communities. There aren’t
many African-Americans that do. How we can build businesses that reflect our culture and
pride. Creating our own product. And this whole thing with beauty, I think should be
discussed more too. These self-esteem issues we have surrounding our hair. The psycho–
logical damage endured by Black men, women, and children from slavery until now.
DO YOU THINK PEOPLE HAVE TO ADDRESS THESE ISSUES ON AN INDIVIDUAL LEVEL
FIRST BEFORE COMING TOGETHER COLLECTIVELY OR IS IT POSSIBLE TO WORK
TOGETHER IN SPITE OF DIFFERENCES?
I’m in favor of coming together and discussing these things, sharing our perspectives. Talking
about our differences. I think it’s extremely important to talk about race relations too.
Dialogue is important. Nothing can be resolved without it.
Prison and Empowerment:
Rehabilitating of the Incarcerated Through Worker Co-ops
While Dr. Gordon-Nembhard is on sabbatical this semester, she’s working on a few exciting
projects, one of which includes researching and publicizing the ways that cooperative busi-
ness ownership is used to support dignified work, ownership, and more control over one's
life for incarcerated and returning citizens. The United States has done very little in this area,
but right in our back yard in Puerto Rico there has been exciting and important initiatives
that support prisoner-owned cooperatives.
Dr. Gordon-Nembhard was awarded a small grant to travel to several worker cooperative
conferences in the USA with two representatives from the Cooperativa ARIGOS in one of the
Puerto Rican prisons: Roberto Rodriguez the former secretary of the co-op who was released
from prison a few years ago, and Lymarie Nieves Marketing Director for a credit union in
Puerto Rico who has been providing co-op business education and training for prisoners in
Puerto Rico, and marketing consulting to the co-ops, particularly Cooperativa ARIGOS.
They gave presentations in July in Worcester, MA, at the Eastern Conference for Workplace
Democracy and in Amherst, MA at the Association of Cooperative Educators annual Institute.
In September they traveled to The Bay Area in California and gave presentations in Berkeley,
CA, at the Western Worker Co-op Conference and then gave a community presentation at the
offices of the Sustainable Economies Law Center on Oakland, CA.
Dr. Jessica Gordon-Nembhard (far right) with Lymarie Nieves and Roberto Rodriguez (representatives from Cooperativa
ARIGOS in Puerto Rico) at the Sustainable Economies Law Center in Oakland, California, September 2015.
The message was that imprisoned citizens can own and run their own business, can work in
collaboration with other inmates and with the prison authorities; and that engaging in coop-
erative business activities is personally and socially transforming for the incarcerated. They
gain skills and grow in innumerable ways that enable them to reduce their sentences and
return to society as whole productive citizens.
See the following links for more information:
The World’s First Prison Worker Co-Op
Worker Ownership Behind Bars
Worker Co-op Solutions in the Prison Industrial Complex (Recording)
Dr. Gordon-Nembhard also organized a panel discussion at the International Labour
Organization-International Cooperative Alliance cooperative research conference in Antalya,
Turkey on November 10th, 2015 with researchers from Italy (Valerio Pellirossi), Scotland
(Beth Weaver), and Canada (Isobel Findlay).
Participants discussed barriers to developing and supporting worker co-ops/social co-ops –
with the issues of prison directors constantly changing and not always interested; prison
bureaucracies; lack of coop information; society’s view of prisoners as non-deserving of
human rights; commodification of prisoners; and prison slave labor.
Nevertheless, they agreed on the wonderful possibilities for using social co-ops and worker
co-ops with incarcerated and returning citizens - because among all the benefits, they
provide more control, decent humanized work, true rehabilitation, and reduce recidivism.
The Song and the Struggle:
Celebrating Women Entertainers for Equality
Activist and entertainer, Professor Angeline Butler talks about her experience planning the department’s first
Women’s History Month Concert this past spring in honor of Afro-American songstresses who made meaningful
contributions to the Civil Rights Movement.
WHAT PROMPTED YOU TO PLAN THE CONCERT?
I’m a professional performing artist with a TV and theatrical history of some 50 or more
years in music and in drama teaching at John Jay since 2005. During this time, I have
attended the many events sponsored by different departments and groups. I don’t recall
having ever seen a focus on African American Women, except in books or lecture-panel
events, such as the "Hands on the Freedom Plow: Women of SNCC". Africana Studies was
offering a new course, AFR 132 Arts & Culture in the Diaspora. I felt this was a perfect
moment to have an educational concert on African American Women in Music.
WHAT WERE YOU HOPING STUDENTS WOULD COME AWAY WITH FROM THIS
New knowledge of the life, talent, and works of women composers, musicians, singers,
instrumentalists, and educators like Mary Lou Williams, Melba Liston, Bessie Smith, Ella
Fitzgerald, Sarah Vaughan, Lena Horne, and others. Also that they’d learn of the hardships,
the racism, and the climate of the segregated times these women had to overcome to become
the successes that they were. These women are role models for the younger generations.
WHAT’S THE MOST IMPORTANT/VALUABLE FEEDBACK YOU’VE RECEIVED?
Many of the instructors and directors from various departments sent favorable commentary
after the concert about the great value it had for the students. Students raved about the
different people celebrated and what they learned about their lives and their music.
IS THERE ANYTHING YOU’D HAVE DONE DIFFERENTLY?
Try to get off to an earlier start in terms of planning. I would have also solicited more student
participation on stage; we didn’t find as many as we would have liked. However, I did have
the help of a wonderful team of student coordinators (Vincent Palmeri, Jonilda Seitllari,
Herlinda Lainez, Kevin Lwango, Wung Mun, Abdoul Dicko, and Nana Kwame Reynolds) as
well as our student performer, Nathania Abraham. The overall results of this project were
Student/coordinator and volunteer, Jonilda Seitllari had this to say about planning the
I have always been interested in devoting some of my time to events like Women’s History
Month. I wanted to learn more about it and participating really helped me gain some
knowledge. I didn’t know anything about any of the women who were being honored prior to
working on this project and I learned a lot about them thanks to Professor Butler.
Most of the work was new to me and quite a bit of a challenge but I enjoyed it and gained a lot
of experience. I drafted press releases to different magazines, newspapers, radio stations, and
television networks. I also designed the program and tickets, assisted with rehearsals, and
worked backstage helping artists in the dressing room.
It was an honor. I enjoyed everything I did.
Professor Butler is now planning the Second Annual Women’s History Month Concert to honor Afro-American
women in theatre. The event is set to take place on Thursday, March 10th, 2016 , 7:00 p.m. at the Gerald Lynch
Theater. Follow us on Facebook and Twitter for more information as we move closer to the date.
The Police and the People:
John Jay’s Initiative on Building Community Trust in Law Enforcement
Dr. C. Jama Adams and Professor Tiffany Wheatland are two of the key organizers of the Bridging The Divide events. Here,
Wheatland explains exactly what BTD is, what issues will be explored, and what its goals are for the future.
FIRST, WHAT IS BRIDGING THE DIVIDE?
Bridging The Divide is a year-long initiative envisioned by President Jeremy Travis who
actually sent out a message to the John Jay community back in January signaling his intent to
have us begin focusing on these issues dealing with race, justice, and policing. I believe what
he envisioned was a year of programming, that would engage the community, primarily the
students, in what we would call an instructive but inclusive dialogue around those issues.
We’ve had have a variety of stakeholders contributing to the development of this initiative,
people from various backgrounds and disciplines coming to participate. And I think we’re
really trying to model an approach for how these types of conversations can be had,
especially within the context of a college campus.
WHY ARE THESE DISCUSSIONS IMPORTANT TO HAVE RIGHT NOW?
I think that’s probably the question on everyone’s mind. First, it’s important to note that this
is neither the first nor the last of these types of discussions to be had. I think we find our-
selves at a critical juncture at this moment in history where we have international attention
on issues of race and policing here in the United States. Most people will tell you that this is
not a new phenomenon; we have been looking at police brutality, especially within
communities of color for generations now. But I think that you have examples from places
like Los Angeles and other major cities of effective implementation of policies that facilitate
constructive engagement between police and the communities that they serve. So, I think
what we’re really trying to do is highlight best practices for what people and organizations or
institutions are doing now or have done in the past that work, effective strategies for how we
can all move forward in a more harmonious way, and really get to the root of this issue of in-
justice that a lot of us perceive to be prevailing at this moment. We’re trying to address the
criminalization of certain groups of people and figure out how we can overcome some of the
struggles we continue to face.
WHAT ARE YOU HOPING THAT PARTICIPANTS WILL TAKE AWAY FROM THIS?
I really hope, and I think we all expect, that this will not be just another conversation. We’ve
had plenty of conversations at John Jay and other places. I’m hoping that we can all take away
a strategy or way of modeling of how to have these conversations in ways that are construc-
tive but also in ways that will yield some sorts of policy change. I personally think that what
we should be trying to do is push for the implementation of effective policies that really re-
form the criminal justice system.
WHAT’S BEEN THE BIGGEST CHALLENGE OF ORGANIZING THESE EVENTS SO FAR?
One thing that’s important to note is that this has been a voluntary initiative. A lot of people
have voluntarily contributed their time and energy and thoughts to helping to develop it.
That being said, we wanted to make sure that we had a diversity of perspectives represented;
so, not just people from academia but especially people from the community and I think this
has been the broader focus. We want this to be a discussion that is informed by people who
have done the research but also by people who have the experience of working on the
ground. And who better to speak on these issues than those very people working within the
community? Whether it’s people who were formerly incarcerated themselves or people
working grassroots. We’ve gotten some feedback that we don’t have as much community
representation as we could have had. And so that’s something, especially for the spring, we’re
hoping to really see through.
The initiative kicked off on September 29th but you can find a list of upcoming Bridging The Divide events here.
NAME: TAMERA LEWIS
MAJOR: CRIMINAL JUSTICE
BEAT: SOCIETY & POLITICS/#BLACKLIVESMATTER
WHAT WERE YOUR ATTITUDES OR ASSUMPTIONS ABOUT THE POWER OF SOCIAL
MEDIA AS IT RELATES TO BLACK LIVES MATTER PRIOR TO COVERING STORIES FOR
AFRICANA STUDIES? DOES IT IN ANY WAY DIFFER FROM YOUR OPINION ABOUT
TRADITIONAL MEDIA’S IMPACT ON THESE KINDS OF STORIES?
It was very positive. I believe that at this time, social media is able to reach many people a lot
more than how print and television can. At this point, people live on their phones, Twitter,
Instagram, Facebook. There were many stories I found via social media before it hit the news
as well as stories that were never broadcasted.
HAVING HAD SOME EXPERIENCE WITH RESEARCH AND SCOURING THE NEWS FOR
GOOD STORIES ON YOUR TOPIC, WHICH SOURCES WOULD YOU SAY PROVIDE THE
BEST MATERIAL AND WHY?
I would say Huffington Post as well as the Atlantic because they give us stories as well as
blogs that other sources don’t have. The Atlantic has great articles on mass incarceration, for
example, and its’ effects on the Black community that I never knew about.
Africana’s Social Media Team Speaks
Fall 2015 marks Africana Studies’ first semester with an entirely student-run social media initiative for its’ Facebook and
Twitter pages. Here the team talks about their thoughts on what they’ve covered and the power of social media.
WHAT WOULD YOU SAY IS THE MOST INTERESTING STORY YOU’VE UNCOVERED THUS
This one published by The Atlantic. It was interesting to read that despite many challenges
people of color have faced and are still facing, polls find that African-Americans and Latinos
are far more likely to be optimistic than their White counterparts, both about their personal
life and future of the country.
WHAT’S ONE AREA OF PERSONAL INTEREST TO YOU THAT YOU WOULD LIKE TO
INVESTIGATE FURTHER AND WHY?
My personal interest is saving Black lives. Educating as well as promoting awareness about
human and civil rights for all. I want people of color to be able to go out and not have to won-
der if they’ll be able to come home later that day. I’m interested in young Black lives because
we are the future. We are the next generation that must continue the struggle fought by those
before us. I think by standing together, we can effect change.
NAME: TARIEL TURNER
MAJOR: FORENSIC SCIENCE
BEAT: ART & CULTURE
WHAT SORT OF IMPACT DO YOU THINK SOCIAL MEDIA HAS ON AFRICANA ARTS AND
CULTURE? DOES IT HELP OR HURT IN TERMS OF BROADENING REPRESENTATION AND
MEANINGFUL COVERAGE OF PERHAPS OTHERWISE UNDEREXPOSED ARTISTS,
CULTURAL MOVEMENTS, AND INNOVATORS?
I believe social media has a large impact on Africana arts and culture. Mainly because social
media is a web of connections that offer more connections to information about Africana cul-
ture. Also because you can report stories that can help spread information about under-
exposed artists. Social media is more helpful based on those reasons vs. TV, magazines, be-
cause people prefer things quickly such as reading something in the newsfeed vs. an actual
AS OF RIGHT NOW (AND BASED ON YOUR RESEARCH SO FAR) WHO OR WHAT IN
AFRICANA ARTS AND CULTURE WOULD YOU SAY IS GARNERING THE MOST MEDIA
Based on my research, AfroPunk was something is an even that I’ve come across a lot. I think
it’s popular because it’s a combination of African culture and modern day Black culture.
WHAT IS YOUR IMPRESSION OF THE ARTISTS, INNOVATORS, MOVEMENTS, YOU’VE RE-
SEARCHED SO FAR IN TERMS OF THEIR ATTITUDE TOWARDS POLITICS AND POWER?
DO YOU THINK THERE’S A SENSE OF OBLIGATION AMONG AFRICANA ARTISTS TO TAKE
A STANCE? OR ARE MOST CREATING ART FOR ART’S SAKE?
My impression of the attitudes of current artists is that they want to represent an attitude
that can be compared to every day interests, not just their feelings of how they were treated
or the struggle of being Black but that art is a representation of themselves and what they
love to do and surround themselves with such as fashion and/or comedy.
WHAT’S ONE AREA OF PERSONAL INTEREST THAT YOU WOULD LIKE TO DELVE INTO
I would actually like to explore my artistic side. I’ve always created my own stories through
drawings and drawn inspiration from my dreams. I’d like create my own short stories and
comic books. Those are personal, long-term goal of mine.
NAME: MOHAMMAD FAIZAN
BEAT: CAMPAIGN ZERO (Mohammad is working on a visual project on Campaign Zero, which
will be a series of visual representations of the different anti-police violence policies proposed by
WALK US THROUGH YOUR CREATIVE PROCESS. HOW DO YOU DECIDE ON THE BEST
WAY TO ARTISTICALLY CAPTURE A CONCEPT OR IDEA?
At first, I brainstorm various ideas pertaining to the particular theme and complete a rough
sketch. I feel brainstorming different ideas on where to position certain texts, symbols, and/
or images is a great place to start. My creative process involves inspiration from many of my
favorite graffiti, digital, traditional, and calligraphy artists. Oftentimes, it becomes difficult for
artists to come up with ideas so it’s extremely beneficial to be able to draw inspiration from
the work of others and build new ideas based on that.
WHAT HAS BEEN THE MOST CHALLENGING PART ABOUT BRINGING CAMPAIGN ZERO
TO LIFE IN A VISUAL WAY?
The most challenging part is to create an image that’s appealing to the audience: student, pro-
fessors, staff, and other people visiting the college. Growing up with friends and others who
introduced me to urban art in middle school, I decided and attempted to create a powerful
and meaningful message through graffiti.
YOU’VE BEEN ASKED TO LEND YOUR CREATIVE SKILLS TO A SUBJECT THAT’S QUITE
POLITICAL. DO YOU THINK ART IS INHERENTLY POLITICAL OR DOES ONE HAVE TO
MAKE A CONSCIOUS EFFORT TO MAKE THEIR ART POLITICAL?
Given that art is a form of expression and its purpose to convey an influential message, I feel
that it can be a combination of both. Depictions of sociopolitical criticism have been present
since the medieval era and were commonly found in classical literature—namely dramas,
novels, and poems. I feel art is naturally political while it also requires a conscious and
methodical approach of how one intends to illustrate his/her message.
WHAT DO YOU HOPE TO GAIN AS AN ARTIST FROM THIS EXPERIENCE AND WHAT DO
YOU HOPE TO CONTRIBUTE?
As an artist, I’m looking forward to gaining more ideas and creativity in my work related to
political issues that exists within our society. The experience of designing these posters on a
topic that needs to be addressed to the people has given me inspiration, knowledge, and
awareness to develop my thoughts on other political problems. I hope to convey a message to
viewers who may not be aware of the increasing police brutality that, unfortunately, has been
occurring across the country and that Campaign Zero’s agenda is a great movement to help
stop police violence. In addition, I also hope this inspires others to get involved with this
movement because the more people who get involved, the better the impact it will have on
policy reform. Not only does art offer the viewer pleasure but it also imparts knowledge and
Have a question for the social media team or a comment about any of their work or stories they’re sharing on
social media? Feel free to respond on Facebook or Twitter or email them at firstname.lastname@example.org.
On December 2, 2015, David Mendoza (a JJC history major and Africana Studies minor) presented his
paper “Understanding Nelson Mandela, Apartheid and the Role of the Truth and Reconciliation
Committee. As part of his AFR 410 independent studies requirement (supervised by Dr. Teresa A.
Booker), David presented his semester’s-long research project to more than twenty students,
professors and guests during community hour.
Mr. Mendoza (who graduates in December 2015), has been accepted to Hunter College’s Masters
Program in Adolescent Social Studies Education. He will begin his studies in Spring 2016.
Africana Studies Faculty
C. Jama Adams, Ph.D. (Chair) is a graduate of John Jay College (B.S., Psychology) and the
CUNY Graduate Center (M.A. and Ph.D., Psychology). His research interests include masculini-
ties, fatherhood, black identity in the age of cultural ambiguity, and Africana peoples in China.
Room: 9.63.03|Office Phone: 212.237.8761|Email: email@example.com
Teresa A. Booker, Ph.D. graduated from the University of North Carolina at Charlotte (B.A.,
Political Science) and the CUNY Graduate Center (M.A., M.Phil, Ph.D.). Her research focus is on
the Sudan, restorative justice, and human rights.
Room: 9.63.05|Office Phone: 212.237.8090|Email: firstname.lastname@example.org
Crystal Endsley, Ph.D. is a graduate of Pennsylvania State University (Ph.D., Women’s
Studies and Curriculum & Instruction). Here research interests include performance and
identity and their intersections with race, pop culture, and feminist pedagogy.
Room: 9.63.02|Office Phone: 212.393.6402|Email: email@example.com
Jessica Gordon-Nembhard, Ph.D. earned her Ph.D. and M.A. degrees in Economics from the
University of Massachusetts Amherst as well as an M.A.T. in Elementary Curriculum and
Teaching from Howard University. Her specializations include racial wealth inequality and
community-based economic development and approaches to justice.
Room: 9.63.06|Office Phone: 646.557.4658|Email: firstname.lastname@example.org
I. Xerxes Malki, Ph.D. earned his Ph.D. in Economics and Social History from Oxford. His
research areas of interest are immigrant communities of West Africa and his field work has
taken him to various countries in the area such as Ghana, Nigeria, Lebanon, and Syria.
Room: 9.63.04|Office Phone: 212.484.1194|Email: email@example.com
Charlotte Walker-Said, Ph.D. completed her Ph.D. in History at Yale University. Her research
interest include the history of law, Christianity, and society in Francophone Central Africa.
Room: 9.63.07|Office Phone: 212.237.8758|Email: firstname.lastname@example.org
Angeline Butler’s area of expertise are cultural studies and performing arts. She has studied at Fisk
University, the Julliard School of Music, UCLA, and Columbia University where she earned a Master’s degree in
Music and Ethno-musicology.
Room: 9.63.10|Office Phone: 212.237.8764|Email: email@example.com
Phillip Harvey holds an M.A. in Arts Administration from Columbia University. His interests lie in African
American and global art, music, film, and culture.
Room: 9.63.09|Office Phone: 212.237.8764|Email: firstname.lastname@example.org
Linda Humes earned her M.A. in Arts Administration at New York University. Founder of Yaffa Cultural Arts
Inc., she is also a storyteller and folklorist who performs and leads workshops both domestically and abroad.
Room: 9.63.10|Office Phone: 212.237.8764|Email: email@example.com
Herbert Johnson is a graduate of Fordham University (MSW). He has thirty-five years of educational experi-
ence in the areas of cultural/ethnic diversity and human relations.
Room: 9.63.08|Office Phone: 212.237.8764|Email: firstname.lastname@example.org
Patricia Johnson Coxx’, Ph.D. areas of expertise are Multigenerational Trauma of Africana Communities, Hip-
Hop, and Liberation Theology as it relates to the African Diaspora. She earned a Master of Arts degree from
John Jay College of Criminal Justice; a J.D. degree from Rutgers University School of Law; and a doctoral degree
from United Theological Seminary.
Room: 9.63.08|Office Phone: 212.237.8764|Email: email@example.com
Carl Paris, Ph.D. graduated from Temple University (Ph.D., Dance and Cultural Studies) and New York Univer-
sity (M.A., Dance and Dance Education). His areas of scholarly interest include Black Cultural Theory, Black
Performance, Critical Pedagogy, and Gender Studies.
Room: 9.63.10|Office Phone: 212.237.8764|Email: firstname.lastname@example.org
Damion Scott’s research focuses on Aesthetics and particularly issues in Black Science Fiction, Afro Futurism,
Technological Art and Music and Minimalism as both style and theme. He’s earned Master’s degrees at Stony
Brook and the University of London.
Room: 9.63.09|Office Phone: 212.237.8764|Email: email@example.com
Tiffany Wheatland’s areas of expertise are African development, transnational crime, and political corruption
in Sub Saharan Africa. She has studied at the University of Iowa, the University of Ghana and the New School
where she earned degrees in Political Science and International Affairs.
Room: 9.63.09|Office Phone: 212.247.8764|Email: firstname.lastname@example.org
Dr. C. Jama Adams, Chair
Samantha Lauren, Administrative Assistant