I was delighted to come across this Amazon reader review of my book Vygotsky at Work and Play. The author is David R. Cross, Ph.D.

Thanks, David!

 A Transformative Book Reflecting on a Transformative Life, July 2, 2011

Every now and then you get lucky, and find the book that is just the book you need at that point in your career to take the next step forward. (I used “book” in this opening sentence, but the same could be said for “article” or “presentation,” but here we are concerned with books.) Lois Holzman’s Vygotsky at Work and Play is just that sort of book. Up until reading it, I had been unaware of Lois Holzman’s work, and this book is a great introduction. It is a kind of intellectual autobiography, a conceptual reflection on her several decades of good work. The book is short, well-written, and a great lead-in to the work Holzman has done, mostly in partnership with Fred Newman. Their work is both multifaceted and highly innovative, and it challenges some traditional conceptions about how science is done. Their work is multifaceted because they have made significant contributions to therapy (social therapy), schooling, out-of-school (youth) programs, and the workplace (organizations). The same conceptual principles underly all of this work, which derive mainly from Vygotsky and Wittgenstein. Their work is innovative for a number of reasons, not the least of which is their methodology. Part of their innovation is their (re)conceptualization of Vygotsky’s “Zone of Proximal Development,” and another part is their emphasis on performance, both as a product and a process of development in context. This is a book worth reading.

I’ve written before about the All Stars Project’s unique and fabulous UX, a free, open-to-all, university-style development center, but it’s worth mentioning over and over. This new project creates its curriculum from suggestions for courses from those who want to learn and ideas from those who want to teach something. Dean Lenora Fulani and Associate Dean Dan Friedman lead and coordinate this new initiative—a truly postmodern Zone of Proximal Development.

Here’s this week’s e-newsletter.

Hundreds of messages are filling my inbox—outpourings of condolences, love and respect on the passing of Fred Newman. From all corners of the world those who studied with Fred, read one of our books, heard him speak in person or on video, or “met” him through others are writing to share their appreciation for all he has built. And share their stories—what they remember from an encounter, a life-changing therapeutic or performance experience, a radically re-orienting world view provocation. Reading these messages from so many friends and colleagues, and responding to them, is very moving. It’s as if societal time has momentarily stopped and I/we are world historical.

Fred’s life and accomplishments are noted in an official New York Times obituary that appeared this past weekend. It focuses on his influence on independent politics in the US and New York City politics overall. As you’ll see, the first line comments that Fred’s influence defies easy description. Fred would be gratified to read this, as he was very sceptical of the value of description, easy and otherwise, in the human social activity of creating a new world.

July 9, 2011

Fred Newman, Writer and Political Figure, Dies at 76

By DOUGLAS MARTIN

Fred Newman’s influential role in New York life and politics defied easy description.

He founded a Marxist-Leninist party, fostered a sexually charged brand of psychotherapy, wrote controversial plays about race and managed the presidential campaign of Lenora Fulani, who was both the first woman and the first black candidate to get on the ballot in all 50 states.

He helped the Rev. Al Sharpton get on his feet as a public figure and gave Michael R. Bloomberg the support of his Independence Party in three mayoral elections, arguably providing Mr. Bloomberg’s margin of victory in 2001 and 2009.

Mr. Newman, who died at 76 in his Manhattan home on July 3, eschewed conventionality. He insisted, for instance, that there was nothing wrong with psychotherapists having sex with patients. He created an empire of nonprofit and for-profit enterprises, including arts groups and a public relations firm. He wrote books on psychology and philosophy as well as plays. One play, about the 1991 riots between blacks and Jews in the Crown Heights section of Brooklyn, was condemned as anti-Semitic by the Anti-Defamation League.

His greatest impact came through mobilizing his followers, sometimes called “Newmanites,” to build alliances with third parties, including that of the Texas independent H. Ross Perot.

“If it weren’t for the Independence Party, Mike Bloomberg might not have become mayor,” said Douglas Muzzio, a professor of public affairs at Baruch College.

In turn, Mr. Bloomberg supported the Independence Party’s goal of nonpartisan municipal elections and gave the party more than $650,000 of his own money. His administration arranged millions of dollars in bond financing in 2002 and 2006 for a building for Mr. Newman’s nonprofit All Stars Project, which uses the performing arts to help low-income children.

Mr. Newman began his climb to influence in New York in the 1960s, when, from his apartment on the Upper West Side of Manhattan, he formed a Marxist collective called “If … Then.” Its members, many of them self-professed anarchists, collected money on the streets for the group. Most participated in Mr. Newman’s newly articulated “social therapy,” which encouraged patients to change themselves by seeking to change society. He encouraged collective members to sleep with one another, an activity he called “friendosexuality.” The collective published newspapers and started a dental clinic.

“It’s probably fair to say I was the dominant leader,” Mr. Newman said in an interview with The New York Observer in 1999. “I hope I wasn’t an authoritarian oppressor, but I think that’s probably accurate to say that.”

His detractors, however, said his “collective” amounted to a cult. Chip Berlet, a senior analyst with Political Research Associates, which studies unorthodox political groups, called Mr. Newman “a master at creating a myth of importance.” “He was a brilliant charlatan,” Mr. Berlet said.

Frederick Delano Newman was born in the Bronx on June 17, 1935, and grew up there. His mother chose the same middle name as that of President Franklin D. Roosevelt, a hero of hers. After his father died when young Fred was 9, his mother raised her five children alone, supported by welfare checks, the rent from rooms in her house, near Yankee Stadium, and the fees she earned running poker games.

Mr. Newman hated school but tested well enough to be admitted to Stuyvesant High School in Manhattan. He worked as a toolmaker to help support his family. At 19, he joined the Army and served in Korea. He graduated from the City College of New York and earned a Ph.D. in philosophy from Stanford in 1962.

He was twice married and divorced. He is survived by his son, Donald; his daughter, Elizabeth Newman; and by Gabrielle L. Kurlander and Jacqueline Salit, his life partners in what Ms. Salit described as an “unconventional family of choice.” He died of renal failure, his spokeswoman, Christina DiChiara, said.

Mr. Newman taught at City College but was fired after giving male students A’s to help them avoid being drafted and sent to Vietnam. Other colleges hired him but fired him for the same reason. A job as a drug counselor led to his therapy career.

After forming his Upper West Side collective, Mr. Newman, in 1974, allied his group with Lyndon H. LaRouche Jr., originally a leftist leader who veered to right-wing conspiracy theories and ran for president eight times from the political fringe. Tensions between the two prompted Mr. Newman to break the alliance after less than a year, however. He then formed the International Workers Party from what he called his core collective, with a mission to advance minority rights and a leftist agenda.

The party was dissolved at the end of the 1970s. Mr. Newman then founded the New Alliance Party as a vehicle for moving beyond a narrow leftist spectrum. Around the same time, he met Ms. Fulani, a graduate student who attended one of his clinics and joined the collective. Mr. Newman helped mold her into a political professional who for many years was the face of his political ventures.

“She is one of my life’s proudest accomplishments,” he told New York Newsday in 1992.

In 1988, as her campaign manager, he helped Ms. Fulani get on the presidential ballot in all 50 states, something no black candidate or woman had done. She received more than 200,000 votes. In 1992, Ms. Fulani ran again, and raised more than $2 million from private donors.

In 1991, the New Alliance Party gave strong support to Mr. Sharpton, then a community advocate, at a time when he was struggling for broader political recognition. It provided Mr. Sharpton with income, public relations help and up to half the participants in his demonstrations, often protesting attacks against blacks.

In the early 1990s, Mr. Newman began a campaign to encourage more independent voices in politics, almost regardless of ideology. These included Mr. Perot, Ralph Nader and even the conservative stalwart Patrick J. Buchanan. Mr. Newman supported a succession of reform parties, ultimately capturing control of the New York City branch of the Independence Party.

As late as 2005, Mr. Newman wrote that he remained a Marxist, albeit what he called a postmodern one. His final cause was to end the two-party system, which he believed stifled real choice. He wanted primary elections to be open to all parties, and to have all candidates run against one another. The top two would vie in a general election.

That proposal prompted a question from Mr. Bloomberg one day in 2001 when the future mayor was seeking Mr. Newman’s support, Ms. Salit recalled. Mr. Bloomberg asked him if he would be putting himself out of business if he were to give up the ballot line he had used so effectively.

“We’re an anti-party party,” Mr. Newman answered. “We want to be put out of business.”

 

 

 

 

 

 

I share this news with deep sadness.  My dear friend, mentor and colleague Fred Newman passed away a few minutes before July 3 turned to July 4, Independence Day in the USA. Fred was nothing if not fiercely and passionately independent culturally and politically. But not psychologically or socially. He lived his life joyously collectively and helped thousands of others do the same.

Fred had a long and serious illness, but he worked and gave and led and taught until his last days. I and hundreds of others will miss him terribly. His passion and commitment live on in the global community Fred gave his life to building.

Below is Fred’s obituary placed in the New York Times by the All Stars Project , which Fred co-founded with Lenora Fulani. In addition to his work with the All Stars, Fred co-founded the East Side Institute with me as a place to develop and share social therapeutics and postmodern Marxist performance practice/theory and, in turn, be developed by those with whom it is shared, no matter their culture, class or continent. This work, and all that Fred set in motion, continues unabated.

FREDERICK D. NEWMAN

NEWMAN–Frederick Delano. The All Stars Project Board of Directors and staff are deeply saddened by the passing of the All Stars’ extraordinary and much loved co-founder, Fred Newman, Ph.D. He was 76. Dr. Newman was born in the South Bronx, grew up in the shadow of the old Yankee Stadium (becoming a lifelong Yankees fan), and served in the U.S. Army in Korea. Upon his return he completed his undergraduate studies at City College and went on to earn his Ph.D. in analytic philosophy and foundations of mathematics from Stanford University in 1962, where he was mentored by the renowned analytic philosopher Donald Davidson. All who knew him will remember him as a fierce champion for giving the best, most sophisticated, most far- reaching tools of postmodern philosophy to ordinary people. He taught at several colleges and universities in the 1960s before dedicating himself to community organizing and the creation of numerous independent education, health, mental health, cultural and political projects in New York and nationally. Dr. Newman was a practicing therapist for more than 30 years and was the founder of a new humanistic psychology known as Social Therapy. The author of numerous books and articles on postmodern, Vygotskian, and performatory psychology, he and his colleagues worked to develop and popularize their breakthrough discoveries about human development. He co-founded the All Stars Project with Lenora Fulani, Ph.D. in 1981 to bring this new science of development to the lives of inner-city young people. He was the chief designer of the All Stars Project’s performance- based development approach, which has transformed the lives of hundreds of thousands of poor, Black and Latino youth across the country and is providing a new theoretical and practical framework for eliminating poverty and underdevelopment. Dr. Newman was artistic director and playwright-in-residence of the All Stars’ Castillo Theatre from 1989 until 2005. Often a lightning rod for controversy, Fred Newman was a relentless champion for a new style of progressivism. He was also a pioneer in the development of independent politics in the United States, starting in the 1970s, and had a major hand in the creation of the Independence Party of New York, playing a key role in the party’s endorsement of Mayor Michael Bloomberg in 2001, 2005, and 2009. Despite serious illness, Dr. Newman was unflagging in his work. He will be deeply missed by the Board of Directors, staff, volunteers and countless young people and their families in our poor communities whose lives he and his work have touched. We extend our deepest condolences to Dr. Newman’s life partners Gabrielle L. Kurlander, who so ably serves as the All Stars President and CEO, and Jacqueline S. Salit, and to his children Elizabeth and Donald and granddaughter, Jane. As we mourn the passing of our founder and friend Fred Newman, his legacy of radical humanism, his commitment to community, to development and to creating ensemble performances live on through the work of the All Stars Project.

Published in The New York Times on July 5, 2011

 

 

“Here is an idea for solving the education crisis in America. What if all the kids currently failing in school pretended to be good learners? What if all the adults – teachers, principals, administrators, parents – played along and pretended that the kids were school achievers, heading for college? What if this national “ensemble” pretended this was the case day after day, classroom after classroom, school district after school district?”

So begins “Let’s Pretend,” a special report on “Solving the Education Crisis is America” written by Lenora Fulani and Fred Newman, co-founders of the All Stars Project (which released the report) and long-time friends, colleagues and mentors of mine. The three of us have written thousands of words (and spoken millions more) on play, performance, pretence, creative imitation and their critical role in learning and development for people of all ages, but especially for those whom schools have failed/who failed school. All of our words grow out of the complicated interplay of carrying out on-the-ground performance-based development work and dialoguing with scholars, practitioners and policy makers. In “Let’s Pretend,” Fulani and Newman  say it as they see it in a mere six pages. In the time it takes to make a cup of coffee you can read it and see if you see it their way or if they’ve helped you see in a new way.

As a practitioner of and theoretician on how play and performance are essential for development across the life span, I see people developing and transforming through their ensemble activities all the time—in the spaces and places where they’re invited and encouraged to actively create their performances of themselves. As much as I am able, I speak with people, young people in particular, to learn how they experience performance in their lives. I recently interviewed George Pedraza (stage name Lyric), a high school senior whom I met in 2009 at an All Stars Project youth performance he was in. Since then I’ve seen George many other times on stage and off. We’ve gotten to know each other some (which is delightful to me), as he’s become more involved in the All Stars’ youth programs overall. I share here an interview I did with him recently.

When did you begin performing on stage?

I began performing on stage when I was 14, although I’ve been singing since I was born. I’ve been performing shows for my mirror since I was like…three.

with Lyric at All Stars' UX Opening Day, Winter-Spring Semester 2011

What was it like for you?

My first performance on stage that I can remember was extremely nerve-racking. I sang the song “Hello” by Lionel Richie and I actually turned out to be a hit with the crowd. The audience was really supportive and I got through it! After that I wanted to do it over and over and over again.

Do you remember when you first made the connection between performing and learning? Performing and growing?

I don’t remember actually realizing that if I pretended like I knew what I was doing in a situation that I actually knew nothing about, nobody really knew that I didn’t know what I was doing besides me. That was always a fact in my mind. I’ve been pretending my whole life, and somehow it’s worked out. It was only when I joined the development community through the All Stars Project that I realized that this was actually a way of life for many people and that it actually has a name—“performance.” The All Stars taught me what I hadn’t realized I had been doing my entire life: learning through performing beyond myself.

It wasn’t very long ago that I realized that the reason many people stop growing is because they stop learning through playing, and that many people forget how to learn because they don’t know how to play. Dr. Fulani was once giving a talk where she explained that the reason so many young people like myself are stuck and are not growing is because they’ve never had the opportunity to perform in a different setting apart from their neighborhood, meaning nobody’s called them and told them that they need them somewhere else. In Manhattan, or wherever! If that were to occur, young people in the ghettos would have an opportunity to perform beyond themselves by being in settings and situations that are foreign to them. That’s growthful!

How did you get involved with the All Stars? Tell us about what you’ve done.

I got involved in the All Stars by auditioning for the All Stars Talent Show Network in late January of 2009. I went on to win first place at the show and was selected to perform in the 2009 benefit gala. After that, I participated in the first ever All Stars Choir, the All Stars Hip Hop Cabaret, the Development School for Youth, and Operation Conversation: Cops & Kids. I am now on the production team for the Talent Show Network and I do a lot of other volunteering. I’ve also traveled with Pam Lewis to Washington D.C. to meet Supreme Court Justice Sonia Sotomayor and in 2010 I recieved the All Stars Young Leader for Change Award.

You attend a performance high school. What’s that like? How does it support your development? How does it not?

I attend Frank Sinatra School of the Arts (FSSA). It’s quite different from any other high school in this city for a number of reasons. Picture the movie “Fame.” That’s actually what it’s like at my school! The artistic development that FSSA teaches you is really top-notch, incomparable to any other public school in the city, and maybe even the country. But as far as human development, FSSA is still stuck like any other public school in New York. Play is rarely ever used, except maybe in the Musical Theater department, and you’re expected to learn what’s on the test, and graduate high school on time regardless of whether you’ve grown as a person or not.

What do you see as your current developmental challenges?

I would say that through training our development coaches for the Opening Day of UX [the All Stars’ “unique development institution, free of cost, forward thinking and open to people of all ages and backgrounds who want to grow and develop”], I’ve learned that my biggest developmental challenge is to learn how to have people develop through having them learn about themselves, rather than me telling people their flaws and teaching them to be better. Facilitating growth is very hard when you have no control over the situation!

Anything else you want to share about how you’ve come to embrace performance as a way of life?

Well, recently I had a volunteer experience that taught me something else about performing off the stage in live theater. I was at an event the All Stars Project has for every play they produce called “Pizza and a Play.” Participants in the All Stars’ youth programs get pizza and an opportunity to see a show at the Castillo Theatre. It was at this event that I made a realization. At most of these “Pizza and a Play” events, it is the first time some of the young people ever get the chance to see live theater. When watching the play, they realize that it is a completely different experience than watching a television show from their couches. It’s a completely different performance. In a theater, you can’t shout at a character and tell him not to go into the room and see what’s inside, or laugh at him and call him an idiot for doing so. It was interesting to see my fellow young audience members gasp and laugh at the show while realizing this.

I think performing as an audience member is harder than people think. The onstage performers rely on your performance, and other audience members also depend on your performance in order for them to enjoy the onstage performance. In many ways it’s similar to performing on stage. It requires concentration, enthusiasm, and energy.

I’ve learned to perform offstage everyday, but in particular, I’ve learned to perform offstage as a producer of the stage. I am a producer of the All Stars Talent Show Network. I perform in weekly production meetings about our upcoming events as we discuss how to have a successful show. I try to give my take on everything we discuss, from changing performer rules to creating the schedule of the day. I’m the youngest producer at the meetings, and I perform in a way that I’m taken seriously and that my opinion is as valuable and considered as everyone else’s. I take pride in my experience as a performer and although there are other onstage performers that are producers at the meetings, I am usually the one to kind of make sure that whatever rules and decisions are made about the talent show, they give the performers enough freedom and fun to have a good time. It’s a not a hard thing to do as the other producers are always aware and do an incredible job at producing the show!

That’s the question that over 500 people from 38 countries played and performed with, and created conversations, dances, music and  skits about—and simultaneously shared the inspiring and creative work they are doing in their communities, schools, hospitals, universities, NGOs and neighborhood streets. The event was Performing the World 2010, held in NYC and sponsored by the East Side Institute and the All Stars Prohject, September 30-October 3.

Performing the World  was born in a conversation between Fred Newman and me a decade ago. The role of performance in human development and learning was already a vital part of the therapeutic, educational and community organizing work we and our colleagues were doing.The East Side Institute and the All Stars Project have worked for decades to create a performance-oriented culture and community, in conscious and direct relationship to progressive social change. Our activities involve all neighborhoods and social strata in New York City, and have created an international network of connections.

My international travels had taught me that there were many variations on development through performance being played with in countries rich and poor, in areas rural and urban, in cultures traditional and modern. We decided to reach out to those doing this work/play—from community organizers to business people, from artists to social workers, from therapists to teachers—who were using performance to help people and communities grow and create positive social change. The first Performing the World conference was held in 2001, just a few weeks after 9/11. Hundreds showed up from all over the world, as if this kind of gathering was what they and their communities needed at such a moment. It has been, tragically, a very extended moment.

The world certainly needs new performances! There is too much that is old—war, poverty, HIV/AIDS, national and ethnic conflict, sexual abuse and oppression, greed and its violent destruction of people and nature, and countless other ways of stifling human potential and destroying environments. And just as old are the dominant ways of trying to solve these problems. Performing the World is an environment-and-activity that engages these problems by involving people in creating new performances of being human. We posed the question, “Can Performance Change the World?” in support of this ongoing “search for method,” in which the way forward cannot be known—but must be performed into existence.

Here are a few Performing the World 2010 scenes (more to come)

The Group from Brazil...Vygotskian Educational Activists

What is Health? panelists Jim Mangia, Elouise Joseph, Jessie Fields, Susan Massad, and Patch Adams

Some of what participants wrote down...to be performed

A Performance of some of the phrases on the stickies

All Stars founder Lenora Fulani and Director of Youth Programs Pam Lewis

Clowning

Coming soon! Videos of conference sessions

What would you call a center for development open to people of all ages? With an array of programs, workshops and classes spanning culture, performance, leadership, volunteerism? Offering sessions with development coaches as often as you wish? Having the opportunity to grow from all NYC has to offer? And a Global Outreach Department for fulfilling worldly dreams?  All this free of cost? The All Stars Project is calling it  UX—the U for a university that isn’t a univiersity, the X for the unknown.

I was at the opening of UX on Saturday along with 500+ other people, from 5 to 85. It was staggeringly beautiful.

From the welcomes by All Stars President and CEO Gabrielle Kurlander and UX Dean Lenora Fulani, to the hundreds of children and adults who had one-on-one sessions with Develoment Coaches (who had been trained by young people), to the dance, improv and play reading sessions… I left convinced that NYC was actually healthier by virtue of all the growing that went on on 42 St.

At an early point in the day about 100 or so participants were gathered in one of the theatres for a welcome and orientation to UX. We were asked from the stage what we thought the X stood for. “Malcolm X.” “X-rated.” “X-files.” “A variable.”  ”The unknown.”  It’s all that.

I asked two young people what it was like to train the adults to be Development Coaches. They really enjoyed it, they said. They did a lot of work on teaching them how to ask good questions and to “really listen” to what people were saying. The hardest part, they told me, was how opinionated the adults were.

On April 15, my good friend and colleague Lenora Fulani delivered a brilliant statement about educational policy at the National Action Network’s Annual National Convention in New York City. Dr. Fulani, a developmental psycholoigst and political activist, co-founded the All Stars Project, Inc. and its Operation Conversation: Cops and Kids program. She made her remarks on an education panel that included NYC Schools Chancellor Joel Klein (and was followed by a talk by US Education Secretary Arne Duncan).

Dr. Fulani opened by callling for an end to the discussion about the achievement gap:

“We’ve been asked to speak today about closing the achievement gap. I want to talk to you today about closing the discussion of the achievement gap. I’ll be very blunt. There is nothing to discuss. Poor kids – including poor kids who are black or otherwise of color – do less well in school than white kids who are middle or upper class. There’s no mystery there. It’s been studied to death.”

She then spoke of some of the intellectuals whose discoveries in philosophy, psychology and education are used to develop effective and meangful approaches to the underdevelopment of poor and black children—and whose ideas are being debated worldwide. She closed with these words:

“We must demand that our leaders get themselves educated in the most innovative breakthroughs across the globe. That’s the achievement gap we need to close. And we need to close it now.”

You can listen to Dr. Fulani at YouTube — it’s worth it!

I’m excited about a new course offering of the East Side Institute, where I am privileged to be director. It’s entitled, “Conversations with a Black Minority: Postmodern Marxists in Dialogue about a New and Innovative Approach to “Black” Psychology,” and it will be led by four powerful African American women colleagues of mine from whom I have learned immeasurably: Lenora Fulani, Alvaader Frazier, Pam Lewis and Gloria Strickland (bios below).

During the five weekly sessions, they will “unpack” the title of their course—sharing how they understand themselves as a “Black Minority;” in what ways they are postmodern Marxists; what that looks like in their work as psychologists, educators and community activists; why they think such an approach is good for the development of black communities and of all people; and what the challenges are in light of “black psychology” — both the psychology of the black community and that of academics who identify and work with a black psychology. 

“Conversations …” meets Wednesday evenings, 6:30-8:00 PM February 25-March 25 at the East Side Institute. For more information or to register http://www.acteva.com/booking.cfm?bevaid=175846

I plan to write about the course here each week. 

Lenora Fulani is a leading youth development specialist who co-founded the All Stars Project in 1981. One of her current projects is Operation Conversation: Cops and Kids, a series of workshops that uses performance to facilitate dialogues between New York City police and Black youth. Dr. Fulani earned her Ph.D. in developmental psychology from the City University of New York. As America’s leading Black independent, she has twice run for President of the United States.

Alvaader Frazier, Esq. is a long time community organizer. She received her law degree from Western State University College of Law in Fullerton, California and has worked as a human rights attorney. Ms. Frazier is also a prolific poet, writer and patron of the arts.

Pamela Lewis is the Director of Youth Programs for the All Stars Project. At the All Stars she also serves as national producer of the All Stars Talent Show Network and co- director of the Joseph A. Forgione Development School for Youth.

Gloria Strickland is the Director of the All Stars Project of New Jersey. Prior to heading up the All Stars, Ms. Strickland was the executive director of the Somerset Community Action (SCAP) and the Somerset County Head Start programs. She has a Masters degree in education from New York University.