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Bard College Assistant Professor of Dance Souleymane Badolo and MFA alum in Music/Sound and American and Indigenous Studies Program faculty member Kite (aka Suzanne Kite MFA ’18) have won 2023 Creative Capital “Wild Futures: Art, Culture, Impact” Awards, which will fund the creation of experimental, risk-taking projects that push boundaries formally and thematically, venturing into wild, out-there, never-before-seen concepts, and future universes real or imagined. 
 
Creative Capital awarded 50 groundbreaking projects—comprising 66 individual artists—focused on Technology, Performing Arts, and Literature, as well as Multidisciplinary and Socially Engaged forms. Souleymane Badolo (with Jacob Bamogo) won an award in Dance. Kite won an award in Technology. Awardees will receive varying amounts up to $50,000 in direct funding to help finance their projects and build thriving artistic careers. The award provides a range of grant services from industry connections and financial planning to peer mentorship and community-building opportunities. Grant funding is unrestricted and may be used for any purpose to advance the project, including, but not limited to, studio space, housing, groceries, staffing, childcare, equipment, computers, and travel. The combined value of the 2023 Creative Capital Awards totals more than $2.5 million in artist support. 
 
“The 2023 Creative Capital cohort reaffirms the unpredictable and radical range of ideas alive in the arts today—from artists working in Burkina Faso to Cambodia and across the United States. We continue to see our democratic, open-call grantmaking process catalyze visionary projects that will influence our communities, our culture, and our environment,” said Christine Kuan, Creative Capital President Executive Director. 
 
The Creative Capital grant is administered through a national open call, a democratic process involving external review of thousands of applications by international industry experts, arts administrators, curators, scholars, and artists. The 2023 grantee cohort comprises 75% BIPOC artists, representing Asian, Black or African American, Latinx, Native American or Alaskan Native, Native Hawaiian or Pacific Islander, and Middle Eastern-identified artists; 10% of artists identify as having a disability; and 59% of artists identify as women, gender nonconforming, or nonbinary. The cohort includes emerging, mid-career, and established artists between the ages of 25 and 69. The artists are affiliated with all regions of the United States and its territories, as well as artists based in Cambodia, Burkina Faso, Germany, and Japan. 
 
Kite also won a 2023 United States Artists Fellowship in Media. The award honors her creative accomplishments and supports her ongoing artistic and professional development. Kite is one of 45 USA Fellows across 10 creative disciplines who will receive unrestricted $50,000 cash awards. USA Fellowships are awarded to artists at all stages of their careers and from all areas of the country through a rigorous nomination and panel selection process. Fellowships are awarded in the following disciplines: Architecture & Design, Craft, Dance, Film, Media, Music, Theater & Performance, Traditional Arts, Visual Art, and Writing. Learn more about USA Fellowships here.
 
Souleymane ‘Solo’ Badolo is a Brooklyn-based dancer, choreographer, and founder of the Burkina Faso–based troupe Kongo Ba Téria, which fuses traditional African dance with Western contemporary dance. A native of Ouagadougou, Burkina Faso, Badolo began his professional career with the African dance company DAMA. He has also performed with Salia nï Seydou and the National Ballet of Burkina Faso, and worked with French choreographers Elsa Wolliaston and Mathilde Monnier. Badolo and Kongo Ba Téria are featured in the documentary Movement (R)evolution Africa. He appeared in the 2015 BAM Next Wave Festival; has created solo projects for Danspace, New York Live Arts, Dance New Amsterdam, Harlem Stage, the 92nd Street Y, and New York’s River to River Festival; and was commissioned to create a dance for Philadanco as part of James Brown: Get on the Good Foot, which was produced by the Apollo Theater and toured nationally and internationally. He was nominated for a Bessie Award in 2011 as outstanding emerging choreographer, received the Juried Bessie Award in 2012, and a 2016 Bessie for Outstanding Production for his piece Yimbégré, which “gloriously communicated the clash and reconciliation of the different traditions held within one’s life, one’s body.” The Suitcase Fund of New York Live Arts has supported Badolo’s ongoing research in Africa. He graduated with an MFA from Bennington in June 2013. He has been on the Bard College faculty since 2017 and previously taught at the New School, Denison University, and Bennington College. 
 
Kite aka Suzanne Kite is an Oglála Lakȟóta performance artist, visual artist, and composer raised in Southern California, with a BFA from CalArts in music composition, an MFA from Bard College’s Milton Avery Graduate School, and is a PhD candidate at Concordia University for the forthcoming dissertation, sound and video work, and interactive installation Hél čhaŋkú kiŋ ȟpáye (There lies the road). Kite’s scholarship and practice explores contemporary Lakota ontology through research-creation, computational media, and performance. Kite often works in collaboration, especially with family and community members. Her art practice includes developing Machine Learning and compositional systems for body interface movement performances, interactive and static sculpture, immersive video and sound installations, poetry and experimental lectures, experimental video, as well as co-running the experimental electronic imprint, Unheard Records. Her work has been featured in various publications, including the American Indian Culture and Research Journal, the Journal of Design and Science (MIT Press), with the award-winning article, “Making Kin with Machines”, and the sculpture Ínyan Iyé (Telling Rock) (2019) was featured on the cover of Canadian Art.

The American Economic Association’s Committee on the Status of LGBTQ+ Individuals in the Economics Profession (CSQIEP) has awarded Associate Professor of Economics Michael Martell their annual Award for Outstanding Research Paper in LGBTQ+ Economics. “Gender typicality and sexual minority labour market differentials,” Martell’s winning paper, coauthored with Ian Burn of the University of Liverpool, was published in December 2022 in BJIR.

Bard College alumnus Liam Gomez ’22 is among the first Peace Corps volunteers to return to overseas service since the agency’s unprecedented global evacuation in March 2020. The Peace Corps suspended global operations and evacuated nearly 7,000 volunteers from more than 60 countries at the onset of the COVID-19 pandemic.

Gomez, from Red Hook, New York, graduated in 2022 with a bachelor’s degree in psychology. He will serve as an education volunteer in the nation of Georgia. He first became interested in the Peace Corps while he was studying abroad in Russia on a Bard language intensive program. He enjoys both speaking and writing in the Russian language, a language he acquired at Bard.

“The Peace Corps was always an option thrown around to employ my language skills post-graduation. I also always love a change of scenery and the challenges that will come from this experience, although daunting, excite me more than anything else,” said Gomez. “I see the Peace Corps as a perfect opportunity for both personal growth and helping others.”

In a recently published article about Gomez, the Red Hook Daily Catch writes "he formally applied to the corps in July 2021 at the height of the pandemic, specifically asking to be sent to Ukraine or Georgia, with the hope of improving his Russian language skills. Georgia attracted him for other reasons, too, notably the food and family culture. Known for khachapuri, a flat cake with cheese, meat, or steamed fish, Georgian cuisine is also famous for various sweet pastries. ‘Their country sounded very alluring,’ Gomez said. ‘The food, how closely and tightly knit the families are, Georgian cheese, it all sounded great.’"

The Peace Corps volunteer cohorts are made up of both first-time volunteers and volunteers who were evacuated in early 2020. Upon finishing a three-month training, volunteers will collaborate with their host communities on locally prioritized projects in one of Peace Corps’ six sectors—agriculture, community economic development, education, environment, health or youth in development—and all will engage in COVID-19 response and recovery work.

Currently, the agency is recruiting volunteers to serve in 56 countries around the world at the request of host country governments, to connect through the Peace Corps grassroots approach across communities and cultures. Volunteers have already returned to a total of 47 countries around the world. The Peace Corps continues to monitor COVID-19 trends in all of its host countries and will send volunteers to serve as conditions permit. Americans interested in transformative service and lifelong connections should apply to Peace Corps service at www.peacecorps.gov/apply. Apply before April 1 to make a global connection by fall 2023.
 

Associate Professor of Anthropology and Music Maria Sonevytsky, in an essay for the Los Angeles Review of Books, reflects on how a Ukrainian phrase has transformed into a viral wartime slogan. “Good evening, we are from Ukraine,” a seemingly casual statement, has accumulated multiple meanings and layers throughout its evolution into an inclusive rallying cry for those who call the country home. “This phrase, which began as a musician’s offhand stage banter sampled into an EDM anthem, became a slogan invoked by Ukrainian politicians, soldiers, intellectuals, keyboard warriors, and their supporters around the globe,” she writes. For Sonevytsky, the brilliance of the statement is how its innocuous phrasing, at first glance a simple greeting, masks its inherent radicalism and defiance of the Russian’s state’s attempts to deny Ukraine’s existence. “The slogan works precisely because it does not traffic in the essentializing rhetoric of being Ukrainian,” she continues. “It is not for an individual declaring an identity: ‘I am Ukrainian.’ It is instead a collective, matter-of-fact statement: ‘We are from Ukraine.’ This also implies—and I still resent that this must be said, but here we are—that Ukraine exists, is a legitimate place, and contains people who claim it as home.”

Reflecting on his perilous days as a US military attache in Beirut, Ambassador Frederic C. Hof argues there is more to successful diplomacy than conferences. Much of the essential work of diplomacy, he writes, is collecting and reporting information, rather than in formal or high-profile negotiations, and a great deal of this work is carried out not by professional civilian diplomats but by military attaches serving under the direction of the ambassador. Frederic C. Hof is diplomat in residence at Bard and the author of Reaching for the Heights: The Inside Story of a Secret Attempt to Reach a Syrian-Israeli Peace.

Bard Associate Professor of Anthropology and Music Maria Sonevytsky has received a fellowship award from the National Endowment for the Humanities (NEH) in support of her book project, Singing for Lenin in Soviet Ukraine: Children, Music, and the Communist Future. NEH Fellowships support advanced research in the humanities by college and university teachers and independent scholars. Sonevytsky’s award supports her research and writing leading to a book about Soviet education and children’s musical practices in Soviet Ukraine, from 1934 to 1991.

Spectacles of musical childhood were widespread in Soviet life. Children’s groups performed at political events, factories, and international festivals. They were showcased on Soviet radio and television, and institutionalized in “Palaces of Pioneers.” Inculcating children into Soviet norms of citizenship, gender, and musicality was a vital project to ensure the longevity of the USSR, yet both children and music present unruly vectors through which to achieve the goals of norming. 

Singing for Lenin in Soviet Ukraine: Children, Music, and the Communist Future, follows the “imperial turn” in Soviet historiography to Soviet Ukraine, interpreting the dynamic arena of children’s musical practices through newly discovered archival materials and original interviews. The research reveals how Soviet Ukrainian children and their educators creatively recast the prerogatives of Soviet education, with its promise of a stateless Communist future. Paying attention to performance, embodiment, and sound, Sonevytsky aims to restore a fuller sensorium to the emerging understanding of how Soviet children and childhood appeared and were managed within the Soviet state, while observing how children and their teachers reacted to—and sometimes against—the ideological dimensions of Soviet musical education. 

“The Biden administration faces a real dilemma,” writes Professor Walter Russell Mead in the Wall Street Journal. “Feeling overstretched against Russian aggression in Ukraine and Chinese ambition in the Indo-Pacific, the White House wants to minimize its exposure to the Middle East. Yet the region is too important to ignore—and the more the U.S. withdraws, the more influence it sheds. As America becomes less relevant, regional actors feel free to make more decisions that Washington dislikes, effectively undermining U.S. influence around the globe.” Walter Russell Mead is the James Clarke Chace Professor of Foreign Affairs and the Humanities at Bard College.

Yuval Elmelech, an associate professor of sociology at Bard College and author of the book Wealth, spoke with Marketplace about the difficulty millennials face in buying a house, especially in cities such as San Francisco and New York where they are being priced out and even forced to relocate. For many who live there, parental wealth has made a big difference. “If parents can help their children buy a home, this means that these children will need to rely less on loans and mortgages,” he said. “Whereas other young couples, individuals who cannot rely on parental resources—and this is the majority of the population—will have to take out higher loans.”

ARTnews highlighted individuals and institutions that had a significant impact on public engagement with Indigenous art in 2022, including Bard College on the short list. In September, the College announced a transformational $25 million endowment gift from the Gochman Family Foundation to support a renamed American and Indigenous Studies Program. A matching commitment by the Open Society Foundations will create a $50 million endowment for Native American and Indigenous Studies in undergraduate and graduate academics and the arts in Annandale, to include a center for Indigenous Studies and the appointment of an Indigenous Curatorial Fellow at the Center for Curatorial Studies (CCS Bard).