Category Archives: Culture

On Graduate Student Unionisation

 That 49% of white college graduates voted for Trump speaks volumes about the state of American higher education. Now, let’s be clear: crisis-rhetoric is about the only way to talk about the American university system. All too often this crisis is imputed to a Closing of the American Mind, due to illiberal communists, feminists, Black scholars, undergraduate campus activists who can no longer tolerate uncomfortable disagreement and thus destroy the spirit of free inquiry from within. The very groups that have the least power in the university hierarchy. On the contrary, I would argue that there has been a closing of the American Mind on the elite private university campus. We’ve just missed whose minds have been closed, and look set to remain closed for a while now.

The University of Chicago is the prime site of many of these contradictions. It is in the midst of a $1.7 billion development plan, it has been borrowing close to $900 million in the last three years; the 2008-discredited credit-ratings firm Moody’s has cut the school’s credit outlook to AA-. The Board of Trustees have engaged in an expensive construction project to rapidly expand the undergraduate population and give them an “experience” to match or exceed the promised experiences of undergraduates of other elite universities. The idea behind all this seems to be: more undergraduates, more fees; more undergraduates, more wealthy alumni; more undergraduates more fees and more alumni, and we can safeguard and restore an endowment under an extraordinary debt load. To maintain this heavy level of borrowing and construction investment, the money needs to come from somewhere. The Trustees, those in charge of the allocation of the university budget, have decided that it will come from academic departments; the actual sites where teaching and research happen. To pay for a construction boom to raise the undergraduate population to save the endowment, the Trustees have decided to take money away from faculty, graduate students, and many other research-affiliated workers who are teaching actually existing undergraduates and doing the labour of what a university is supposed to do: develop the society’s collective knowledge for the common good. University workers are paying with their labour for what to all appearances, can be read as a debt-fueled Ponzi scheme to raise land prices in Hyde Park.

When capital becomes scarce, a private institution responds by increasing its rate of extraction of value from its labour. Faculty at the university have to increasingly take up administrative work as administrators in departments are laid off due to budget cuts, faculty have less time for teaching and research. Graduate students have to now simultaneously teach, take coursework, research, do the administrative work of organizing workshops and conferences, and accomplish all this in five years so that they can stand out in a labour market where few universities are hiring tenure-track faculty anymore. The undergraduate population is increasing as a lot of the buildings have now been completed, but faculty hiring hasn’t grown in proportion: graduate students and new cohorts of temporary post-docs pick up the teaching slack. This extraction of value can be witnessed most clearly in the experiences of over-work, stress, and anxiety shared by most in the graduate student community. Moreover, this extraction is differentiated by age, race, gender, and class. Women graduate students are picking up the administrative slack in their departments. Older, senior graduate students are taking up more teaching responsibilities, to make up for reduced stipends and fellowships in the advanced years of the PhD. Poorer graduate students are having to look for other jobs to stay in school, which has the effect of taking time away from research and thus slowing it.

This self-inflicted debt crisis has made teaching, research, writing, collaborating, and living harder for all of us on campus. The perverse way in which the University of Chicago views itself as the meta-University, the campus where faculty from all over the world come to visit to get their epistemic paradigms tested and where each disciplines’ best practices and practitioners can be found, forces us to internalize and take responsibility for this stress and over-work as a condition of excellence. If it doesn’t hurt, you’re not doing it right. The university claims to be based on a trusteeship model of education. We will look after the faculty, the Trustees argue, so that the faculty can be best placed to look after the students. The students aren’t really workers, they are apprentices, caringly trained by faculty members. In reality, the only people being trained are the university’s accountants. Trustees have made things difficult for the faculty, and the faculty can’t but help relay some of that difficulty to their students – because a university has to be run while all this is going on. These issues have been made raised repeatedly by many voices on campus. Communication in this hierarchy is a one-way street.

Since 2007, the Graduate Student Union (GSU) at the University of Chicago has consistently articulated this critique and has organized to win many victories to make the work of education possible in an administrative environment designed to make it impossible. Salaries for TA positions have been doubled. Salaries for Lecturer positions have been increased by a third. Advanced residency tuition hikes have been frozen since 2010: an absurd practice where the university penalizes a graduate student for having spent too long on their research, when research of any kind takes time in ways that cannot be easily predicted. The parental leave policy for graduate students has been improved. All in all, the GSU has recognized that good research and teaching takes time, and to be asked to divide our labour in these many contradictory tasks means that we should be adequately paid for it. Insofar as the university has shied away from systematically addressing racism and sexism on campus, including cases of sexual harassment; the GSU, along with other campus groups, has consistently stepped up to support the victims whose dignity has been denied. In other words, the GSU has done its best to save the University of Chicago from itself.

This is why I believe we should unionise. Collective bargaining means that there will be a legally enforceable system by which graduate students can participate in negotiating and designing the conditions of their labour: the labour of education and research, the labour that makes a university a university. If the Trustees want to go and build a $1 billion casino on campus to compete with a future Trump University, a legally recognized graduate student union will be able to fight their attempts to pay for it out of the graduate student stipend. Moreover, a legally recognized graduate student union will mean a significant reform in the governance structure of the university such that an necessary and powerful branch of its community will have representation and a voice on key strategic decisions. This brings us back to the crisis of the elite private university and the closing of the American mind.

At Yale, eight departmental units have voted for Local 33 to be their union and start bargaining new contracts. The university has refused to recognize this union and has refused to start bargaining. This is a “breach of their legal duties under federal law”. At Columbia, the students have voted 1602-623 in favour of unionisation, the university administration has decided to contest the election. Graduate workers at Columbia described this as “just another baseless effort by the University to ignore the democratic process”. What will the University of Chicago do to keep up with this closing of the ranks of elite private universities against the democratisation of their governance structure and the re-intellectualisation of their primary research and teaching workforce? Why can’t administrators see that a union might be a practical and feasible innovation in corporate strategy to ensure that a university can most effectively maintain its brand of being a university? What’s preventing them from entertaining such difficult, uncomfortable, and challenging thoughts about vital institutional reform in the face of grave institutional, economic and political crisis?

It is likely that the University of Chicago, along with Yale and Columbia, will employ considerable resources to delay union recognition, wait for Trump to replace Obama’s appointees in the National Labour Review Board, and so wait for graduate students to be de-recognised as workers with a right to collectively bargain. 49% of white college graduates voted for Trump, it is becoming clear that many elite private university trustees agree with him.

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On Safe Spaces

“So if someone tells us it is just to give to each what he is owed, and understands by this that a just man should harm his enemies and benefit his friends, the one who says it is not wise. I mean, what he says is not true. For it has become clear to us that it is never just to harm anyone.” Plato, Rep. I. 335e1-5

Amidst the Facebook maelstrom that accompanied the rather thoughtful and sharply precise letter sent by Dean Ellison of the University of Chicago, it was little-remarked that Plato’s Republic – the cornerstone of the Western political-philosophical tradition, a formative text for many undergraduates and professors here – begins with the violent establishment of an intellectual safe space. Indeed, Plato’s larger dialogical-philosophical project can be read as a thorough, culture-defining attempt to think through, to dramatise and vividly stage for his theatre-obsessed polis the simple question: what makes for a good conversation about the truth? What makes a conversation real? Where is it that conversations come to an end? Why do they do so? In what kind of spaces do we feel free to think? With what kinds of interlocutors can we feel out the good? What jokes, stories, poems, songs, and images do we tell each other as we try to describe to one another the indescribable truth? What compels us to talk to one another about the things that matter most? What compels us to keep silent?

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Interview with a King

ZauI reviewed George Osodi’s photo series Royals and Regalia, on display at the Newark Museum through August 9, 2015. The exhibit explores the role and function of Nigeria’s ceremonial rulers in the colorful yet fractious nation:

Photojournalists in the American tradition, from Jakob Riis to Dorothea Lange, often depict their subjects with a gritty realism. Osodi turns this accepted formula on its head…Nigeria’s radiant monarchs are shown in their most colorful finery through the eyes of their subjects as they would like to be seen. And what we gain from it is a sense of Nigeria’s place in the world, a window into centuries of history that engages us in the present, and an eagerness to transform borrowed items from the past to make peace in the present day.

I even interview a king, the Nigerian Dein of Agbor Benjamin Ikenchuku Keaboreku I! Read the whole thing at The American Interest.

 

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Tod und Verklärung: The Aeolus Quartet Plays New York

Alice Tully Hall; Monday, May 4, 2015

BOYCE Alcyone (World Premiere)

SCHOENBERG Verklärte Nacht (Transfigured Night) for String Sextet

SCHUBERT String Quartet No. 14, “Death and the Maiden”

We purchase and consume our music in the smallest of units, the “song.” What does it mean, then, to develop four of these “songs” together, or even to develop an entire concert built around the same theme?

The Aeolus Quartet presented three programmatic works this month under the theme of “Death and Transfiguration.” While the title itself (an homage to Richard Strauss) was perhaps a bit of a cliché, the three works together formed a well-balanced program; each of the three works had a strict (or loose) association with transformation.

The first piece retold the Greek myth of Alcyone, a commission by Douglas BoyceAlcyone‘s timbral effects captured the scratching and the swooping of the birds and the waves, a piece that was in constant motion from beginning to end.

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Chiaroscuro

“Bach and Before, Ives and After”–Life Magazine (1949) defines highbrow taste

The Amor Artis Chorus and Orchestra

Chiaroscuro: Songs of Savonarola

April 17, 2015 at 8:00 PM

Ryan James Brandau, conductor

Holly Druckman, assistant conductor

St. Michael’s Church, New York City

There’s always been a deep and abiding connection between the motets of the sixteenth century and the newer serial music of the twentieth. Perhaps both periods rested at the cusp of great change, when composers faced new problems amid the respective rise and fall of tonality. But on a more emotional level, both musics are unafraid to channel the infernal–an apocalyptic musical language that had once existed in the sixteenth century, then rested inert for centuries until it was rediscovered at the twilight of the romantic era.

Amor Artis, led by conductor Ryan James Brandau, linked the past and the present through a series of carefully chosen motets. The songs either recited from or echoed the ecclesiastical texts of Giromalo Savonarola, a fearsome heretic whose apocalyptic sermons called for a restoration of Christian morality in a city driven mad by hedonistic fascination with pagan Rome. Savonarola briefly wrested Florence from the Medicis before the art-burning friar himself was hanged and burned in the Piazza della Signoria. (The program simplifies Savonarola as just another wronged martyr of the corrupt Papacy, though Savonarola’s supposed ‘martyrdom’ is hardly the most meaningful event through which one can understand the friar’s contentious history.) Continue reading

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Masterwork: Aeolus Quartet Plays Bartók 6

Hungarian militiamen parade alongside a German tank in Budapest, 1944. Source: Wikimedia

Hungarian militiamen parade alongside a German tank in Budapest, 1944. Source: Wikimedia

MASTERWORK: The Aeolus Quartet Performs Bartók’s 6th String Quartet Thursday, April 16, 2015 Bruno Walter Auditorium, New York Public Library for the Performing Arts, Lincoln Center

Quartets by Haydn or Mozart are straightforward affairs.These works can be difficult to play and interpret, but at least we know both the composers and the musical tradition that they represent. Move even a bit east of Vienna, though, and the familiar rhythms of the West become choppy and asymmetrical, strange Magyar harmonies matched with even stranger accents and beats. The Aeolus Quartet (currently in residence at Juilliard) discussed their own struggles with the Hungarian tradition in Bartók’s melancholy Quartet No. 6 this past Thursday at Lincoln Center’s Public Library for the Performing Arts. Inspired by a performance in Cleveland that matched Bartók chamber works with songs by a Hungarian folk ensemble, the Aeolus Quartet emphasized the dissonant elements–quarter-tones, Bartók pizzicatti, and quasi chitarra plucking–that distinguish Bartók from his blue-blooded Viennese contemporaries.  Continue reading

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Digital Humanities at the New York Philharmonic

Abraham Lincoln's memorial concert program. Source:  NY Times via the New York Philharmonic Archives

Abraham Lincoln’s memorial concert program. Source: NY Times via the New York Philharmonic Archives

The NYPhil’s big concert release is here! Every concert program from 1842 to the present is now available and searchable online. There’s even a  writeup in the New York Times with the following comment from Harvard scholar Carol Oja:

Conducting research about musical, institutional, and cultural history is vastly enhanced by the Philharmonic’s ambitious and important digitization of its archives. Not only does it create open access to users around the globe, but digital searches can yield unexpected surprises, jostling longstanding historical narratives.

The Archives’ new Subscribers Project digitized the Gilded Age subscriber notebooks and address books from the Philharmonic. You can now check out who subscribed to the Phil a century ago and where they lived in the city. Lots of cool tools for anybody interested in the history of music or material culture in New York from the last 150 years.

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