A look at the world of dance through the lens of contemporary female choreographers working in very different styles: Pam Tanowitz, Ashley Bouder, and Camille A. Brown. Followed by a visit to the exhibition “Made in New York City: The Business of Folk Art,” which is on view at the American Folk Art Museum through July 28, 2019.

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> COMING UP ON 'NYC ARTS' A LOOK AT THE WORLD OF DENSE THROUGH THE LENS OF FEMALE CHOREOGRAPHERS WHO ARE TAKING THE LEAD.

WHEN WE ARE GENERATING MOVEMENT, A LINE WITH WHAT SOCIAL DANCE IS IN TERMS OF A STRUCTURE AND THE INDIVIDUAL CREATIVITY.

IT'S NOT JUST ENOUGH FOR ME TO HAVE A PHRASE AND TEACH IT TO THEM.

THE PHRASE HAS TO COME ALIVE BASED ON THE CHOICES OF THE INDIVIDUAL.

AND A VISIT TO THE AMERICAN FOLK ART MUSEUM AND THE EXHIBITION MADE IN NEW YORK CITY, THE BUSINESS OF FOLK ART.

FOLK ART WAS NOT JUST MADE BY GRANDMA SEWING IN THE KITCHEN.

THIS WAS MADE RIGHT HERE IN NEW YORK CITY AS WELL AS OTHER CITIES IN THE COUNTRY.

BUT NEW YORK WAS THE CENTER OF IT ALL.

MANY OF THOSE WEATHERVANES THAT YOU WOULD SEE WERE MADE RIGHT HERE IN NEW YORK CITY.

FUNDING FOR 'NYC ARTS' IS MADE POSSIBLE BY ROSALIND P.

WALTER, THEA PETSCHEK IERVOLINO FOUNDATION, THE LEWIS áSONNYá TURNER FUND FOR DANCE, JODY AND JOHN ARNHOLD, KATE W. CASSIDY FOUNDATION, ELISE JAFFE AND JEFFREY BROWN, CHARLES AND VALERIE DIKER, JEAN DUBINSKY APPLETON ESTATE, ELROY AND TERRY KRUMHOLZ FOUNDATION, THE MILTON AND SALLY AVERY ARTS FOUNDATION, AND ELLEN AND JAMES S. MARCUS.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF THIRTEEN.

'NYC ARTS' IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

FIRST REPUBLIC BANK PRESENTS FIRST THINGS FIRST.

AT FIRST REPUBLICAN BANK FIRST REFERS TO OUR FIRST PRIORITY, THE CLIENTS WHO WALK THROUGH OUR DOORS.

THE FIRST STEP, RECOGNIZE THAT EVERY CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

FIRST DECREE.

BE A BANK WHOSE CURRENCY IS SERVICE IN THE FORM OF PERSONAL BANKING.

THIS WAS FIRST REPUBLIC'S MISSION FROM THE FIRST DAY.

IT'S STILL THE FIRST THING ON OUR MINDS.

GOOD EVENING AND WELCOME TO 'NYC ARTS.'

I'M PAULA ZAHN AT THE TISCH WNET STUDIOS AT LINCOLN CENTER.

FROM ITS BEGINNINGS OVER 100 YEARS AGO, AMERICAN MODERN DANCE WAS GREATLY INFLUENCED BY SUCH NOTABLE WOMEN AS ISADORA DUNCAN, RUTH ST. DENIS AND MARTHA GRAHAM, PIONEERS WHOSE WORKS ARE STILL BEING PERFORMED TODAY.

THEIR ART WAS LARGELY A REJECTION OF THE FORMAL STRUCTURE OF BALLET AND ITS SUBJECT MATTER, WHICH WAS, AND STILL IS DOMINATED BY MEN.

TONIGHT WE LOOK AT THE WORLD OF DANCE THROUGH THE LENS OF THREE CONTEMPORARY FEMALE CHOREOGRAPHERS WHO ARE NOW TAKING THE LEAD -- EACH ONE WORKING IN A VERY DIFFERENT STYLE OF MOVEMENT.

ASHLEY BOUDER, A PRINCIPAL DANCER WITH NEW YORK CITY BALLET, RECENTLY FORMED HER OWN COMPANY - THE ASHLEY BOUDER PROJECT -- TO GIVE WOMEN AND MINORITIES A CHANCE TO CREATE NEW WORKS.

PAM TANOWITZ IS A POST-MODERN CHOREOGRAPHER WHOSE JOURNEY FROM AN EMERGING DANCE MAKER TO INTERNATIONALLY ACCLAIMED ARTIST WAS NEITHER FAST NOR EASY.

THE CHOREOGRAPHY OF CAMILLE A.

BROWN IS BASED ON SOCIAL DANCE AND HAS BEEN SEEN ON BROADWAY AND ON TELEVISION.

BUT HER CONCERT DANCE IS INFUSED WITH ACTIVISM AND STORY-TELLING.

I STARTED CHOREOGRAPHING MY JUNIOR YEAR AT OHIO STATE UNIVERSITY AND IT WAS SOMETHING THAT I SORT OF FELL INTO IN A CLASS AND I REALIZED THAT I LIKED MAKING THINGS MORE THAN BEING IN THINGS.

I LOVED PERFORMING BUT THERE WAS SOMETHING ABOUT SOLVING PROBLEMS THAT WAS INTERESTING TO ME.

I WORKED IN NEW YORK FOR OVER 20 YEARS BEFORE I GOT ANY SORT OF RECOGNITION.

I'M ACTUALLY THANKFUL FOR THE FACT THAT I DIDN'T GET THAT MUCH ATTENTION IN THE EARLY CHUNK OF MY CAREER BECAUSE I WAS ABLE TO CONCENTRATE ON THE ACTUAL MAKING OF DANCE INSTEAD OF WORRYING ABOUT OTHER THINGS.

I ALWAYS HAD A DAY JOB, TO HAVE MONEY, FOR THAT PURPOSE AS WELL, SO I ALWAYS WORKED FULL TIME AND CHOREOGRAPHED, UP UNTIL JUST TWO YEARS AGO.

I'VE BEEN LUCKY TO HAVE GOTTEN A BUNCH OF DIFFERENT GRANTS IN THE PAST COUPLE OF YEARS.

I GOT THE BARYSHNIKOV ARTS CENTER CAGE CUNNINGHAM AWARD SO THAT OBVIOUSLY WAS A HUGE HELP.

IT'S HARD.

YOU HAVE TO BE SCRAPPY, YOU HAVE TO BE IMAGINATIVE, YOU HAVE TO BE CREATIVE.

IT'S VERY HARD.

YOU WANT TO FOCUS ON YOUR DANCE, BUT YOU ALSO CAN'T IGNORE THAT YOU HAVE TO PUT SOME TIME INTO THE BUSINESS ASPECT OF IT.

DANCERS PLAY A VERY DIGNIFIED ROLE IN MY WORK.

SO WHEN I WORK WITH A DANCER, I HAVE TO FALL IN LOVE WITH THEM BASICALLY.

IT'S NOT ONLY ABOUT TECHNIQUE.

I ALSO HAVE TO LIKE THEM AND LOVE THEM AS PEOPLE, BECAUSE YOU SPEND WAY MORE TIME IN THE STUDIO THAN YOU DO PERFORMING.

AND I DON'T REALLY HAVE AUDITIONS.

I'VE HAD ONE OR TWO IN MY LIFE, BUT I USUALLY SEE A DANCER AT A SHOW AND I'LL FALL IN LOVE WITH THEM.

YOU KNOW, SEEING THEM IN ANOTHER PERSON'S WORK, OR JUST MEETING THEM.

I ACTUALLY HIRED SOMEBODY WHO I JUST LIKED TALKING TO.

I LOVE COLLABORATING WITH THEM.

I PLAN OUT A BUNCH OF THINGS, BUT THE MORE PLANNED YOU ARE, THE MORE YOU CAN GO OFF YOUR PLAN.

I LOVE ACCIDENTS AND I ACTUALLY INCORPORATE A LOT OF THINGS THAT ARE MISTAKES THAT ARE WAY MORE INTERESTING I THINK THAN WHAT I ORIGINALLY THOUGHT OF.

SO I LOVE TO MAKE SPACE FOR ALL THAT.

WHAT I'LL CALL IT.

AND A LOT OF MY WORK IS MY STEPS AND MY VISION.

BUT THERE'S A LOT OF FREEDOM IN THAT, AND THEY INFUSE IT WITH THEMSELVES.

SO A LOT OF TIMES WHEN YOU LOOK AT MY DANCES THE DANCERS LOOK DIFFERENT.

THE APPROACH TO THE MOVEMENT IS THE SAME, BUT THE ACTUAL EXECUTION OF IT IS DIFFERENT.

AND THAT'S INTERESTING TO ME.

MODERN DANCE WAS FOUNDED BY WOMEN.

YOU KNOW IT'S ISADORA, IT'S MARTHA, IT'S DORIS HUMPHRY.

IN BALLET, IT'S ALWAYS BEEN MEN IN CHARGE, LIKE BALANCHINE.

YOU DON'T JUST GET A CHOREOGRAPHER.

LIKE YOU DON'T JUST GET A JUSTIN PECK OR A CHRISTOPHER WHEELDON.

THEY WERE CULTIVATED, THEY HAD CHANCES TO EXPERIMENT YOU KNOW.

AND SO WHAT HAPPENS SOMETIMES I THINK IS THAT WHEN PEOPLE SAY, áWHERE ARE THE WOMEN BALLET CHOREOGRAPHERS?á AND THEN THEY HIRE A BUNCH AND THEN THE WORK IS NOT AS DEEP OR AS -- OR FOR YOU KNOW BUT IT WAS THERE THAT CHOREOGRAPHER'S LIKE SECOND DANCE.

HOW IS IT GONNA BE?

THE GOLDBERG VARIATIONS HAD TO BE ALL ABOUT THE MUSIC.

SO THE PIANO HAD TO BE IN THE MIDDLE OF STAGE BECAUSE THAT'S WHAT THE WHOLE PIECE WAS GOING TO BE ABOUT.

I KNEW THE PIANO COULD NOT BE LIKE EVERY OTHER PIANO BALLET, DOWN STAGE RIGHT OR DOWN STAGE LEFT.

JERRY ROBBINS DID THAT.

I DON'T NEED TO DO THAT.

WHAT AM I GOING TO SAY THAT'S DIFFERENT?

IN THE GOLDBERG VARIATIONS, THE DANCERS NOT ONLY RELATE TO EACH OTHER, BUT THEY RELATE TO SIMONE.

SHE'S THERE AND IN REHEARSAL I THOUGHT IT WAS WEIRD IF THEY DIDN'T LOOK AT HER.

THEY HAD TO ACKNOWLEDGE HER, SO I TRIED TO FIGURE OUT SORT OF NUANCED SUBTLE WAYS FOR THEM TO ACKNOWLEDGE HER IN THE BEGINNING.

AND THEN THERE IS ONE POINT WHERE A DANCER SITS NEXT TO HER.

IT'S REALLY ALL ABOUT MAKING THE WORK.

IF YOU REALLY WANT TO MAKE A GOOD DANCE, THAT'S WHAT YOU HAVE TO DO IS FOCUS ON THE WORK AND WHAT YOU WANT TO SAY.

AND IT'S HARD TO MAKE SOMETHING FROM NOTHING.

SO YOU HAVE TO BE REALLY HELL-BENT ON DOING IT, BECAUSE IT'S -- IT'S HARD.

IN 2015 NEW YORK CITY BALLET HAD A FALL GALA AND OUR FALL GALA ALWAYS HAS SEVERAL NEW CHOREOGRAPHERS ON THE PROGRAM AND THEY PUT A POSTER OUT ON THE FRONT OF OUR THEATER; A BLACK AND WHITE POSTER OF THE HEADSHOTS OF ALL THE CHOREOGRAPHERS AND THEY LOOKED IDENTICAL.

THEY WERE ALL WHITE MEN, AND UP UNTIL THAT POINT I HADN'T REALLY THOUGHT ABOUT THAT.

BUT THERE IT WAS LITERALLY STARING YOU IN THE FACE.

ALL THESE WHITE MEN MAKING NEW BALLETS.

NOT ONE OF THEM DIDN'T DESERVE TO BE THERE.

BUT AT THE SAME TIME I THOUGHT, WHERE ARE THE WOMEN?

THIS IS A WORLD ISSUE.

BUT AS I THOUGHT ABOUT IT AND THOUGHT ABOUT THE WORLD OF BALLET AND THE WORLD IN GENERAL I THOUGHT THERE WAS A STATEMENT THAT I COULD MAKE WITH MY PROJECT, SOMETHING THAT MEANT SOMETHING TO ME AND COULD BE MORE MEANINGFUL IN THE BALLET WORLD.

AND THAT IS PROMOTING WOMEN AND INCLUSION IN MY CHOICES.

SO I STARTED HIRING A BUNCH OF FEMALE CHOREOGRAPHERS, ONLY FEMALE COMPOSERS, AND WENT FROM THERE.

FOR SYMPHONY SPACE I WANTED TO FIRST CREATE MY OWN BALLET.

I WANTED TO CHOREOGRAPH.

YOU CAN DO EACH ONE ON A SLIGHT DIAGONAL IF YOU START BACK, LIKE ON THAT LINE.

I USED ALL NEW YORK CITY BALLET DANCERS FOR áIN PURSUIT OFá AND I TAKE COMPANY CLASS EVERY DAY.

SO BASICALLY I LOOKED AROUND CLASS.

AND YOU KNOW EVERYBODY HAS THEIR FAVORITE DANCERS AND THE PEOPLE THEY THINK ARE TALENTED.

AND I APPROACHED THE PEOPLE THAT I WANTED TO WORK WITH.

THE BALLET WAS IN FOUR MOVEMENTS AND EACH ONE WAS BASED ON A DIFFERENT KIND OF NATIONALITY AND NATIONAL DANCE.

SO THE FIRST MOVEMENT WAS CALLED áWARRIORá AND IT WAS BASED ON MAASAI JUMPING DANCES.

THE SECOND MOVEMENT WAS BASED ON THE POLISH MAZURKA.

SO WE INCORPORATED A SKIRT THAT WHEN THEY TURNED IT DIDN'T FLARE OUT AT THE ENDS IT WAS KIND OF LIKE A TEACUP.

AND THE THIRD MOVEMENT WAS SUFI DANCING WHICH IS WHIRLING DERVISHES.

WE TRIED TO NEVER HAVE THEM STOP TURNING IN THE PAS DE DEUX WHICH WAS KIND OF FUN TO DO FOR EIGHT MINUTES.

AND THEN THE FOURTH MOVEMENT WAS -- IT'S CALLED áFREEDOMá AND IT'S BASED ON, YOU KNOW, AMERICAN CONTEMPORARY DANCE.

I WANTED TO BE CHOREOGRAPHED ON ALSO, AND WANTED TO STEP OUT OF MY COMFORT ZONE.

SO I CHOSE TO APPROACH THE MODERN CHOREOGRAPHER, LIZ GERRING, WHO HAS HER OWN COMPANY, AND ASK HER IF SHE WOULD DO A DUET FOR ME WITH A FRIEND, SARA MEARNS.

SARA AND I HAVE BEEN DRESSING ROOMMATES FOR MANY YEARS NOW AT NEW YORK CITY BALLET AND WE RARELY EVER SHARE THE STAGE.

AT FIRST SARA AND I REALLY -- WE JUST WERE LAUGHING IN REHEARSAL BECAUSE WE COULDN'T GET GROUNDED LIKE A MODERN DANCER, WE COULDN'T STOP POINTING OUR TOES, OR TAKE OUR FOCUS DOWN.

AND WE HAD A LOT OF -- A LOT OF LAUGHS WITH LIZ BECAUSE SHE, SHE KEPT TELLING US áYOU'RE PERFORMING TO THE BALCONYá, SHE SAID áIN MODERN DANCE WE DON'T DANCE FOR HOUSES THAT BIG.á AND WE DID HAVE SORE QUAD MUSCLES FOR THE FIRST FEW WEEKS WORKING ON THAT, BUT THE CHALLENGE OF DOING THAT, I FOUND AWESOME.

TO STEP OUTSIDE OF MY POINTE SHOES AND TUTUS AND REALLY GET DOWN IN THE GROUND AND FEEL A DIFFERENT FORM OF DANCE BECAUSE YOU KNOW AS A BALLET DANCER YOU KIND OF GET THIS SNOBBY ATTITUDE OF áWELL THIS IS THE MOST DIFFICULT TYPE OF DANCE, YOU KNOW, NOT EVERYONE CAN DO BALLET.á AND WELL YEAH THAT'S TRUE THAT NOT EVERYONE CAN DO BALLET, BUT I FOUND IT EXTREMELY DIFFICULT TO DO MODERN.

AND I DON'T THINK EVERYONE CAN DO THAT EITHER.

FOR ANY CHOREOGRAPHER IT'S IMPORTANT TO BE CULTIVATED BY MANY SOURCES, TO HAVE A MENTOR, TO HAVE THE OPPORTUNITY TO SUCCEED AND TO FAIL.

WELL I BELIEVE SOCIAL DANCE IS AN ART FORM.

SO THE DEFINITION OR MY DEFINITION IS BASICALLY SOMETHING THAT HAPPENS IN A COMMUNITY WHERE PEOPLE ARE SOCIAL.

SO WHEN I'M TEACHING I USUALLY BREAK UP THE PHRASE SOCIAL DANCE AND I ASK PEOPLE áWELL WHAT DOES IT MEAN TO BE SOCIAL?á OH IT MEANS TO INTERACT WITH EACH OTHER AND THEN YOU PUT DANCE.

SO YOU'RE WORKING, SO THE INDIVIDUALS COME TOGETHER AND THEY CREATE A COMMUNITY.

BUT IF YOU LOOK EVERYONE HAS THEIR OWN INDIVIDUAL TAKE ON THAT AND THAT'S WHAT SOCIAL DANCE IS, IT PLACES US IN A MOMENT.

IT HELPS US EXPRESS OURSELVES, RESIST IN A LOT OF CASES, AND TO COMMUNICATE WHEN WORDS CAN'T BE SAID OR WORDS AREN'T ENOUGH.

SO WHEN I'M WORKING IN MY COMPANY AND WE'RE GENERATING MOVEMENT IT IS VERY MUCH -- I ALIGN MYSELF VERY MUCH WITH WHAT SOCIAL DANCE IS IN TERMS OF A STRUCTURE AND THEN THE INDIVIDUAL CREATIVITY.

SO IT'S NOT JUST ENOUGH FOR ME TO HAVE A PHRASE AND TEACH IT TO THEM.

THE PHRASE HAS TO COME ALIVE BASED ON THE CHOICES OF THE INDIVIDUAL.

AND IT'S ORGANIC.

AND A LOT OF TIMES WHEN I'M COMING IN THE STUDIO I HAVE AN IDEA, BUT I'M ALSO LETTING MYSELF BE OKAY WITH NOT ALWAYS KNOWING, AND DISCOVERING.

AND I THINK THAT'S -- FOR ME, EVEN THOUGH IT'S CHALLENGING AND IT'S SCARY IN MY PROCESS, THE UNKNOWN THERE'S A DANGER, BUT THAT'S HOW YOU FIND YOUR MATERIAL.

MY WORK IS FOR EVERYONE BUT IT'S FOR THE BLACK COMMUNITY AND THERE ARE THINGS THAT HAPPEN WITHIN THE BLACK COMMUNITY THAT PEOPLE OUTSIDE OF THE COMMUNITY DON'T NECESSARILY UNDERSTAND.

AND I'M OK WITH THAT.

áBLACK GIRLá I HAD A DUALITY KIND OF GOING ON I WANTED IT TO BE CULTURALLY SPECIFIC BUT I ALSO WANTED TO TALK ABOUT UNIVERSAL THEMES.

SO ANYONE WHO IS NOT BLACK, OR NOT A GIRL COULD LOOK AND GO áOH, I SEE MY CHILDHOOD,á OR áOKAY I HAD A SISTER, I HAVE A MOTHER, I CAN CONNECT.á I WAS WATCHING ONE OF THE LIVE MUSICALS AND GOING WOW IT WOULD REALLY BE GREAT TO CHOREOGRAPH FOR THAT.

THAT'S NOT GOING TO HAPPEN ANY TIME SOON, I DON'T HAVE THAT EXPERIENCE.

AND I FREAKED OUT IN THE BEGINNING WHEN I GOT THE CALL.

THEY WERE BASICALLY OFFERING ME THE JOB.

DAVID LEVEAUX, WHO IS THE DIRECTOR FOR áJESUS CHRIST SUPERSTARá, HE HAD A VERY POWERFUL, REAL, RAW VISION.

HE WANTED A DECONSTRUCTED KIND OF VERSION OF TAKING A TABLE APART AND ONE OF THE THINGS I THOUGHT WAS áWELL WHAT IF THE TABLES AND THE CHAIRS JUST STARTED MOVING AND SPINNING AND GOING DIFFERENT WAYS?á WE WERE SAYING THAT IT'S VOLTS OF ENERGY THAT HAVE TO PIERCE THROUGH THE SCREEN BECAUSE THIS IS DIFFERENT.

WHEREAS WE'RE IN LIVE THEATER YOU'RE FEELING IT, YOU'RE FEELING THE EMOTIONS SOMETIMES YOU'RE GETTING THE SWEAT IN YOUR EYE, YOU KNOW I MEAN IT'S RIGHT THERE WITH YOU, BUT BECAUSE IT'S TELEVISION WE HAVE TO BE AWARE THAT OUR PRESENCE NEEDS TO BE MORE EXPANSIVE THAN EVER.

WHAT'S NEXT IS, I AM TRYING TO FIGURE OUT HOW TO BALANCE A CAREER IN CONCERT DANCE AND ALSO MUSICAL THEATRE.

I'M ALSO INTERESTED IN DIRECTING AND CHOREOGRAPHING IN MUSICAL THEATRE SO WE'RE GOING TO LIFT THAT UP INTO THE SPACE AND HOPEFULLY THAT COMES DOWN WITH SOME OPPORTUNITIES FOR THAT.

FOR ME IT'S ABOUT THE OPPORTUNITIES, DEFINITELY, BUT IT'S ALSO ABOUT THE GROWTH.

AND IF I'M GROWING I CAN'T ASK FOR ANYTHING ELSE.

> NEXT WE'LL VISIT THE AMERICAN FOLK ART MUSEUM, OUR NEIGHBOR JUST ACROSS THE STREET IN LINCOLN SQUARE.

NOW IN ITS 30TH ANNIVERSARY AT THIS LOCATION, THE MUSEUM IS CELEBRATING THE OCCASION WITH THE EXHIBITION MADE IN NEW YORK CITY: THE BUSINESS OF FOLK ART.

ALTHOUGH FREQUENTLY ASSUMED TO HAVE BEEN CREATED IN RURAL AREAS, MUCH OF WHAT WE CONCEIVE OF AS AMERICAN FOLK ART -- THE CIGAR STORE FIGURE, COPPER WEATHERVANES OR CAROUSEL ANIMALS -- WERE ACTUALLY MADE IN NEW YORK CITY.

IN THE EARLY 1800'S, NEW YORK WAS THE LARGEST CITY IN THE COUNTRY AND BY THE END OF THE CENTURY, ITS POPULATION GREW TO A MILLION AND A HALF RESIDENTS.

THE LARGE INFLUX OF IMMIGRANTS OVER MANY DECADES BROUGHT WITH IT CREATIVE SKILLS MATCHED WITH THE ENTREPRENEURIAL SPIRIT.

AS A RESULT, NEW YORK BECAME THE CREATIVE, FINANCIAL AND INDUSTRIAL CAPITAL OF THE COUNTRY.

THE NEARLY 100 ITEMS CURRENTLY ON VIEW REMIND US OF SIMPLER TIMES, WHEN EVERYTHING WAS MADE BY HAND AND áA NEW YORK MINUTEá WAS, WELL, JUST A MINUTE.

OUR GUIDE IS THE SHOW'S CURATOR, LIZ WARREN.

MY NAME IS LIZ WARREN.

I'M THE EXHIBITION CURATOR FOR MADE IN NEW YORK CITY: THE BUSINESS OF FOLK ART AT THE AMERICAN FOLK ART MUSEUM IN NEW YORK.

FOLK ART WAS NOT JUST MADE BY GRANDMA SEWING IN THE KITCHEN OR GRANDPA WHITTLING IN THE BARN.

THIS WAS MADE RIGHT HERE IN NEW YORK CITY AS WELL AS OTHER CITIES IN THE COUNTRY.

BUT NEW YORK WAS THE CENTER OF IT ALL.

MANY OF THOSE WEATHERVANES, THE CAROUSEL ANIMALS, THE CIGAR STORE FIGURES THAT YOU'D SEE IN THE COUNTRY WERE MADE RIGHT HERE IN NEW YORK CITY AND IT WAS MADE AS PART OF A BUSINESS, WHICH IS HOW THE BUSINESS COMES INTO IT.

THE EXHIBITION IS DIVIDED IN TWO PARTS.

THE FIRST HALF IS THE ART OF BUSINESS, WHICH IS FOLK REPRESENTATIONS OF BUSINESSES THAT ACTUALLY EXISTED HERE IN NEW YORK CITY IN THE 19TH CENTURY.

SO YOU WILL HAVE A FLINT GLASS MANUFACTURING COMPANY, A STREET CAR COMPANY.

MANY DIFFERENT SORTS OF TRANSPORTATION, HOSPITALITY, A SEAFARING SHIPBUILDING WORK BEING DONE HERE.

SO FOLK ARTISTS WERE PORTRAYING NEW YORK CITY AS IT WAS IN THE PAST.

THE OTHER HALF OF THE SHOW IS THE BUSINESS OF FOLK ART AND THAT SHOWS THE PRODUCTS THAT WERE MADE BY FOLK ARTISTS FOR SALE.

THIS IS HOW THE PORTRAIT PAINTERS EARNED THEIR LIVING.

THIS IS HOW THE POTTERS EARNED THEIR LIVING, THE CHAIR MAKERS, EVEN THE LANDSCAPE PAINTERS WOULD FREQUENTLY PAINT SCENES, BRING THEM BACK TO THEIR STUDIO AND THEN HAVE THEM ON HAND FOR SALE TO ANYBODY WHO WAS WALKING BY.

FOLK ART IS GENERALLY PRODUCED FOR THE MIDDLE CLASS, THE WORKING CLASS.

IT'S THE PEOPLE WHO CAN'T AFFORD TO GO TO THE FINE ARTISTS TO HAVE THEIR PORTRAIT PAINTED, BUT THEY COULD AFFORD A FOLK ARTIST WHO WOULD ADVERTISE THAT THAT SILHOUETTE DONE IN A FEW MINUTES TIME FOR A DOLLAR OR MINIATURES DONE QUICKLY.

THE EARLIEST PORTRAIT WE HAVE IN THE EXHIBITION IS JAMES SPEAKMAN JR SHOWN IN A POSE WITH HIS PET SQUIRREL.

DURAN CAME FROM SOMEWHERE IN EUROPE, WE'RE NOT SURE WHERE.

HE ARRIVES IN NEW YORK AROUND 1760.

SO HE GOT THE COMMISSION TO PAINT MR SPEAKMAN'S FAMILY, ALL SIX CHILDREN. THE PAINTING STILL EXIST AT THE NEW YORK HISTORICAL SOCIETY.

CONEY ISLAND WAS THE CENTER OF CAROUSEL MANUFACTURING IN THE COUNTRY AND THERE WAS A STYLE THAT WAS KNOWN AS THE CONEY ISLAND STYLE.

THIS HORSE IS A GREAT EXAMPLE OF IT.

STEIN AND GOLDSTEIN WAS THE COMPANY THAT MADE THIS HORSE, BUT MANY OF THE OTHER CAROUSEL MANUFACTURERS IN CONEY ISLAND WERE ALSO JEWISH IMMIGRANTS FROM EASTERN EUROPE WHO LEARNED CARVING IN THEIR HOME COUNTRIES, CAME HERE TO NEW YORK AND PUT THEIR SKILLS TO WORK.

I HAVE MANY FAVORITE PIECES IN THE EXHIBITION, BUT I THINK THE PIECE THAT STARTED ME ON THIS JOURNEY MANY YEARS AGO IS THE SMALL WATERCOLOR AT THE BEGINNING OF THE SHOW OF HERMAN RAO, DWAYNE GOLD, MANHATTAN BANK OF NEW YORK, AND I STARTED RESEARCHING WHO WAS HERMAN RAO AND I DISCOVERED THAT HE WAS WHAT'S KNOWN AS A COUNTER AT THE MANHATTAN BANK OF NEW YORK, WHICH WAS THE FORERUNNER OF WHAT IS TODAY JP MORGAN CHASE.

TO ME WHAT IS REALLY POIGNANT AND REALLY SHOWS THE COMPLICATED ECONOMIC, SOCIAL HISTORY OF NEW YORK CITY IS THAT HERMAN RAU WRITES A POEM, PUTS IT ON HIS PORTRAIT AND SAYS THAT AT HIS BANK, MASTER, CHILD, OR SLAVE IS EQUAL HERE.

BUT THEN WE FIND OUT THAT WHEN HE HAS THIS BIG HOUSE UPTOWN IN THE CENSUS RECORDS, HE'S SHOWN AS HAVING ONE MALE SLAVE.

IT'S NOT UNTIL 1827 THAT THERE'S FULL EMANCIPATION IN NEW YORK STATE.

THE AMERICAN FOLK ART MUSEUM IS ONE OF THOSE RARE PLACES IN NEW YORK CITY THAT'S FREE.

I INVITE YOU TO COME AND SEE THE ALMOST 100 OBJECTS OF HISTORICAL AMERICAN FOLK ART THAT WE HAVE ON VIEW RIGHT HERE ON COLUMBUS AVENUE.

> FOR MORE INFORMATION ON CULTURAL EVENTS IN OUR AREA, SIGN UP FOR OUR FREE WEEKLY EMAIL AT NYC-ARTS.ORG/EMAIL.

TOP FIVE PICKS WILL KEEP YOU UP TO DATE ALL YEAR ROUND.

AND BE SURE TO CONNECT WITH 'NYC ARTS' ONLINE BY áLIKINGá US ON FACEBOOK AND FOLLOWING US ON INSTAGRAM AND TWITTER.

> LINCOLN CENTER'S MIDSUMMER NIGHT SWING RUNS THROUGH JULY 13TH.

THIS ANNUAL EVENT CELEBRATES THE RICH DIVERSITY OF NEW YORK CITY WITH A WIDE RANGE OF SOUNDS AND DANCE STYLES.

ITS OUTDOOR DANCE LESSONS AND PERFORMANCES COVER SWING, RHYTHM & BLUES, BALLROOM, TANGO, SALSA AND MORE.

EACH NIGHT BEGINS WITH A DJ SET AND DANCE LESSON, FOLLOWED BY LIVE MUSIC AND AN OPEN DANCE FLOOR TO PUT YOUR MOVES TO THE TEST.

FOR COMPLETE DETAILS PLEASE VISIT MIDSUMMERNIGHTSWING.ORG.

PORE MORE INFORMATION, VISIT THEIR WEBSITE AT LINCOLNCENTER.ORG.

> I HOPE YOU'VE ENJOYED OUR PROGRAM THIS EVENING.

I'M PAULA ZAHN AT THE TISCH WNET STUDIOS AT LINCOLN CENTER.

THANKS FOR JOINING US.

GOODNIGHT.

> NEXT WEEK ON 'NYC ARTS' WE WILL MEET RENOUNCED PHOTOGRAPHER JOEL MEYERIWITZ, STILL A VIBRANT PRESENCE IN THE ART WORLD.

I REMEMBER WALKING THROUGH PARIS AND SUDDENLY SMELL BAKING CRESCENT.

BUTTER AND SUGAR.

YOU ARE IMMEDIATELY -- YOU WANT A COOKIE OR SOMETHING.

YOU TAKE TO STEPS AND IT'S GONE.

TO ME, THAT'S WHAT PHOTOGRAPHY IS.

YOU WALK ALONG THE STREET AND SOMETHING HAPPENS.

YOU GET IT.

IT'S A VISUAL THAT IS AS PRECISE AS THAT FRAGRANCE THAT IS ONLY IN THE AIR OF THE DOORWAY.

A LOOK AT THE EXHIBITION HUDSON RISING ON VIEW AT THE NEW YORK HISTORICAL SOCIETY.

THE GREAT ADIRONDACK PHOTOGRAPHER CAPTURED BOTH THE BEAUTY OF THE ADIRONDACKS BUT HE CAPTURED WHAT THE LUMBERMEN WERE DOING AS THEY CHOPPED DOWN THE FOREST.

HE TURNED THESE PHOTOGRAPHS INTO A 200 SLIDE SHOW THAT HE COULD TAKE AROUND THE STATE AND USE IT TO ADVOCATE FOR THE PRESERVATION OF THE ADIRONDACKS.

FUNDING FOR 'NYC ARTS' IS MADE POSSIBLE BY ROSALIND P.

FOUNDATION, THE LEWIS áSONNYá TURNER FUND FOR DANCE, JODY AND JOHN ARNHOLD, KATE W. CASSIDY FOUNDATION, ELISE JAFFE AND JEFFREY BROWN, CHARLES AND VALERIE DIKER, JEAN DUBINSKY APPLETON ESTATE, ELROY AND TERRY KRUMHOLZ FOUNDATION, THE MILTON AND SALLY AVERY ARTS FOUNDATION, AND ELLEN AND JAMES S. MARCUS.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF THIRTEEN.

'NYC ARTS' IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

FIRST REPUBLIC BANK PRESENTS FIRST THINGS FIRST.

AT FIRST REPUBLIC BANK FIRST REFERS TO OUR FIRST PRIORITY, THE CLIENTS WHO WALK THROUGH OUR DOORS.

THE FIRST STEP, RECOGNIZE THAT EVERY CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

FIRST DECREE.

BE A BANK WHOSE CURRENCY IS SERVICE IN THE FORM OF PERSONAL BANKING.

THIS WAS FIRST REPUBLIC'S MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ON