Highlights

  • Valerie June

Upcoming Events

Amazing Grace and BSAW Symposium

Inaugural Black Sound & the Archive Symposium February 7-8 | Yale University Download the preliminary program Thursday, February 7, 7:30pm, Yale University Art Gallery Auditorium Opening Keynote Event: Amazing Grace (1972) Screening of historic film documenting Aretha Franklin’s live concert recording of her legendary gospel album. Followed by a roundtable discussion with Robert Johnson (producer), Professor Farah Jasmine Griffin (Columbia University), Wesley Morris (New York Times), Aaron Cohen, (author of the celebrated 33 1/3 volume on the Amazing

BSAW Workshop with
Mendi + Keith Obadike

Friday, December 7 10am-noon 469 College Street Stoeckel Hall Rm 106 Food and drink provided. Mendi + Keith Obadike are two of the most pathbreaking artists of their generation. They make art, music, and literature, and they have exhibited and performed at a range of venues including The New Museum, The Studio Museum in Harlem, The Metropolitan Museum of Art, and The Museum of Modern Art. Bold, innovative, daring, and awe inspiring, their work explores,

An evening with RHIANNON GIDDENS
Tuesday, November 13 at Yale University

Join us for an evening of critical listening with Grammy Award winning Roots Americana musician and MacArthur Fellow RHIANNON GIDDENS in conversation with BSAW co-directors Professor Daphne A. Brooks (African American Studies, Theater Studies, American Studies, Women’s, Gender, & Sexuality Studies) and Professor Brian Kane (Department of Music) Tuesday, November 13 Sudler Recital Hall Second Floor | W.L. Harkness Hall Yale University 100 Wall Street New Haven, CT 7pm Free and open to the public!

An evening with Kevin Beasley
Thursday, October 4, 7:30pm
Yale School of Music Hendrie Hall, Room 201165 Elm Street, New Haven

Kevin Beasley (b. 1985 Lynchburg) is a New York-based artist whose work and performances have been shown internationally. His practice engages history and cultural nuance through diverse media, including sculpture, sound and performance. Since 2012, these works have been developed as process-lead explorations in which materials, audio and residue are altered, cast, distorted and rebuilt. Specifically, his approach to sound ruptures the auditory, implicating the body. As Thomas Lax writes in Artforum, “Beasley’s absenting presence—presence