LabCast | NYU Production Lab

 “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. 

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. 

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.

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

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.

In this episode, we talk with The Florida Man Chronicles podcast creators, Esteban Bailey and Justice, on their work as writing partners in the NYU Production Lab Summer Podcast Incubator.

In this episode, we talk with Win the Wedding podcast creator, Caroline Casey, changing her plans in the NYU Production Lab Summer Podcast Incubator.

In this episode, we talk with The Vacationeers podcast creator, Maya Millett, on her work bringing history to the present in the NYU Production Lab Summer Podcast Incubator.

In this episode, we talk with The City Below podcast creator, Celine Snippe , on her work producing a podcast for the first time in the NYU Production Lab Summer Podcast Incubator.

In this episode, we talk with The Kids Are Not Alright podcast creator, Elizabeth Chatelain, on her work documenting her family's story in the NYU Production Lab Summer Podcast Incubator.

In this episode, we talk with Silicon City author and podcast creator, Cary McClelland, on his work exploring Silicon Valley through voices and stories in the NYU Production Lab Summer Podcast Incubator.

Charles Siebert, author of three critically acclaimed memoirs and Professor of Practice of Literature and Creative Writing, and NYU student Zoe Patterson share their experiences with Letters From Afar: Travel Writing Abroad.

Michael Allen Harris, current MFA Dramatic Writing student at Tisch and winner of Lorraine Hansberry (Best Writing of a Play) Award at the 2018 Black Theatre Alliance Awards, shares a first time read through of his new pilot.

NYU graduate and documentarian, TJ Parsell, shares his experience creating his latest documentary film, Invisible, which sheds light on the discrimination of gay or queer artists in the country music industry.

NYU graduate student, Nou Moua, shares her experience starting as a new podcaster and developing her own podcast, Hmongumentary.

Playwright Joey Merlo shares his experience developing a pilot with the NYU Production Lab that blends his personal experience with his family's connection to Tennessee Williams.

NYU MFA candidate Sonia Feigelson talks creative writing and reads an excerpt from her novel No One Still Here is Not in Love about gender, sexuality, and surveillance through the lens of a reality television show not unlike the Bachelor.

Thinking about starting your own podcast? We hosted a live event where we learned from producer pros Michael Garofalo from Kickstarter and Megan Tan from Millennial about what it takes to produce a story.

Thinking about starting your own podcast? We hosted a live event and learned from producer pros Kerrianne Thomas from Gimlet Creative and Ike Sriskandarajah from The Daily about what it takes to produce a story.

Since half the battle is showing up, this episode is all about commitment.

From internships to work hustle, this episode is all about balance.

Learn about tips and tricks for life in NYC from NYU students old and new.

Learn about NYU Welcome Week including interviews with the cast of The Reality Show, Wasserman Center for Career Development and Welcome Week coordinators.

Learn about John Tintori and Jeongki's call for all creatives and hear a student submission by Denise Zhou.

Head to the NYU Game Center for this episode and also hear featured student segments from Sarita Santiago and Khaya Cohen.

The first episode of The LabCast featuring info about Tisch Gala, Kate's State of the Slate and a student submission by Max Benowitz