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In a vote that could affect how future economic development deals are negotiated in New York and across the country, the New York City Council’s Land Use Committee voted to reject the proposed redevelopment of the Kingsbridge Armory in the Bronx. With this vote the Council establishes a new benchmark for city-sponsored development projects: projects that receive public tax subsidies must create living wage jobs for New York City residents.

Last week, the Drum Major Institute released a report that shows why the Kingsbridge Armory project — without a guarantee that future retail tenants would be paid a living wage — would have been a financial drain on the city. In addition to the cost of providing tens of millions of dollars in tax breaks, the city and state would have also been forced to subsidize the project again by providing food stamps, Medicaid, and other assistance to retail workers at the Armory who would not otherwise be able to make ends meet on poverty-level wages.

Moving forward, two City Council members, G. Oliver Koppell (D) and Annabel Palma (D), have introduced legislation that would require all future economic development projects create living wage jobs. This groundbreaking legislation would build off of the successful efforts of Minneapolis and Los Angeles to create living wage jobs in economic development projects.

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Congratulations to the Northwest Bronx Community and Clergy Coalition for making a major change the United States!

This week, the New York City Council will vote on whether to proceed with one of the most exciting development projects in the city – the Kingsbridge Armory, the giant castle in the northwest Bronx that has been vacant for years. The city has approved over $60 million in public subsidies for the developer, the Related Companies, and the community is eager to welcome a bustling shopping center to a neighborhood starved for commerce and good jobs.

Having agreed to build a similar taxpayer-subsidized project in downtown Los Angeles – with promises of living wages for all employees – Related has the subsidies and experience to create another successful revitalization project in a community that desperately wants one. But Mayor Michael Bloomberg and the developer are trying to play a different hand in the Bronx, arguing that providing living wage jobs – $10 per hour plus benefits in New York – would sink the project. The community, with good reason, doesn’t want a massively-subsidized development that yields only poverty-wage jobs. And now, this promising opportunity is at a standstill.

We are attorneys who have worked on living wage policies and agreements across the country. We have firsthand knowledge of the Los Angeles projects that have become part of the Kingsbridge debate, and of the broader movement to ensure that taxpayers do not subsidize jobs that keep workers in poverty. We write to share our experiences – and to explain why the claim that what has worked in LA and elsewhere won’t work in New York just doesn’t add up.

Over the past fifteen years, scores of cities, counties and public agencies across the country have begun requiring businesses seeking taxpayer-funded contracts, grants or subsidies to guarantee that the jobs created with public funds will pay a living wage. Their goal has been to ensure that public spending does not create jobs that pay so little that workers must rely on taxpayer-funded safety net programs for support. A good local example is New York’s “421-a” tax incentive program through which the city subsidizes new apartment construction. The city requires developers receiving 421-a subsidies to guarantee that janitors and other building service workers employed in the buildings will be paid at least prevailing wages – which translates to more than $19.00 per hour plus benefits.

In other cases, community groups and developers have proceeded on a project-by-project basis – often by negotiating payment of living wages through community benefits agreements, or CBAs. CBAs are voluntary, private contracts in which a developer agrees to provide specified community benefits as a means of building community support for a controversial project.

In New York, community groups, developers and the city have only just begun to use this approach on major development projects. Probably the most successful example to-date of an individual project agreement in New York has been the Greenpoint-Williamsburg redevelopment, where developers and the city again agreed to require prevailing wages for the building service workers that will be employed there once the project is completed.

In Los Angeles, by contrast, this approach to development has become the norm. On several major projects there over the past several years developers have agreed to require that most or all of the jobs created by tenants must pay a living wage. Through these CBAs, developers have shown their willingness to work directly with local groups, and step up to the table with legally enforceable commitments on wages. These steps have built community support for previously-controversial projects, smoothing the approval process and improving the projects that have resulted.

In fact, in 2007 Related itself agreed to require its tenants to pay living wages to all of their employees at the Grand Avenue redevelopment project planned for downtown LA – a major project that will include substantial retail space. Related has argued that Grand Avenue is different from Kingsbridge because the living wage requirement there was imposed by the city (as a condition of building the project on city-leased land), rather than negotiated by the community. Related says that this difference made the requirement workable in LA, claiming that somehow it protected tenants in the Grand Avenue project from having to compete with other businesses that are not subject to the living wage.

This claim simply makes no sense. The Grand Avenue project is located in downtown LA in close proximity to other commercial blocks that are not part of the project area and where employers therefore will not be subject to the living wage. Clearly Related believed that the living wage requirement would not prevent it from finding tenants for the project and operating profitably – despite the fact that nearby retail space located outside of the project area was free of living wage requirements.

Related’s willingness to guarantee living wages on the Grand Avenue project raises a basic question: how burdensome would such a requirement actually be for retail tenants at Kingsbridge? New York’s living wage rate is currently just $10.00 per hour, plus benefits. This is a very moderate level and is within the range of what better retailers already pay their frontline workers. Requiring retailers in projects receiving public subsidies to pay a living wage simply forces them to emulate the better employers in the field, and not race to the bottom.

In fact, if slight upward pressure on the wages for the very lowest-paid employees would jeopardize the Kingsbridge project’s profitability, the city should be asking whether the project as a whole is financially viable. The financial vicissitudes of Brooklyn’s Atlantic Yards project stand as a recent cautionary tale in this regard. If a living wage requirement would sink the Kingsbridge Armory project despite a large public subsidy, elected leaders should question whether the project is sufficiently sound to merit public resources in the first place.

The Kingsbridge project has been promoted – by both the city and the developer – as promising economic opportunity for the northwest Bronx. This may be true, but only if the jobs it creates do not keep families mired in poverty and in need of government assistance to meet their basic needs.

The principle that should guide public policy here is simple: when a developer seeks substantial taxpayer subsidies, it should be expected to create good jobs in return. Los Angeles has made this approach a centerpiece of its economic development strategy, and it has not slowed growth or prevented developers from finding tenants. It is hard to believe that New York cannot do the same.

* * *

Paul Sonn is legal co-director of the National Employment law Project. He has worked with cities across the country on living wage policies.

Julian Gross is the director of the Community Benefits Law Center of the Partnership for Working Families. He has worked with cities, community groups and developers on community benefits agreements across California and the nation.

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Anna Sokolow

Repairing the World Through Modern Dance

By Christopher Atamian

Published December 01, 2009, issue of December 11, 2009.

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Alvin Ailey danced for her as a young man. She worked with Elia Kazan and Tennessee Williams on Broadway, and taught Patti LuPone and Robin Williams at the Juilliard School. Anna Sokolow passed away in 2000 at the age of 90; she would have been 100 years old in 2010. This inventive, elegant yet gritty New Yorker studied dance at the Henry Street Settlement, took classes with Martha Graham and then danced for her beginning in 1929 before eventually choreographing her own work for the better part of 60 years. A worldwide series of retrospective events honoring Sokolow began in September with the company Catherine Gallant Dance’s performance of “Andante Amoroso,” a solo piece inspired by Isadora Duncan, at Joyce SoHo, and performances of her 1965 classic “Rooms” by Introdans, the leading Dutch contemporary dance company, from November 6 to November 8 at the Holland Dance Festival in The Hague.

Born into a poor émigré Russian-Jewish family that placed a high value on culture, Sokolow followed in the daunting footsteps of Duncan, Doris Humphrey and Graham. From the late 19th century until the middle of the 20th, these four women — along with José Limón and Merce Cunningham — helped to found a new art form known as modern dance, which has since spread across the globe. Modern dance introduced a completely new way for dancers to move and express themselves onstage. Less formal and restrictive than ballet, and willing to take on topics shunned by the latter, modern dance deconstructed the ritualized, formal and anti-naturalistic artifice that ballet had thrust on dancers since it was developed at the French court in the late 16th and 17th centuries and then refined in the 19th and 20th centuries by a series of Russian choreographers such as Petipa, Fokine, Massine and Balanchine.

Today, when young dancers and choreographers opt to work in a modern rather than a balletic idiom, it is thanks to these early pioneers. But when Sokolow was a child, modern dance was a completely unknown quantity. In fact, Agnes de Mille relates that when Sokolow declared she was going to become a modern dancer, her mother locked her in the bathroom, fearing that she would become a prostitute. Sokolow escaped out the window, or so the story goes.

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Sokolow is best known to Jewish audiences as the creator of “Kaddish” and “Dreams.” In “Kaddish,” (1945), dramatically set to music by Maurice Ravel, Sokolow stood onstage, immersed in prayer with a leather strap wrapped around her arm to symbolize tefillin: In one fell swoop of choreographic chutzpah, she challenged existing religious, ethnic and gender norms. Equally daring is “Dreams,” which, created in 1961, depicts survivors trying to piece together their lives after the Holocaust. Set to music by Johann Sebastian Bach, Teo Macero and Anton Webern, “Dreams” predated the 1978 television miniseries “Holocaust” by almost 20 years, and the film “Schindler’s List” by more than 30. A 1953 visit to Israel that was sponsored by the America-Israel Cultural Foundation, where Sokolow worked with the talented Israeli-Yemenite ensemble Inbal Dance Theatre, affected her greatly and cemented her dedication to Jewish culture. Over the decades, she portrayed many historical Jewish female figures, including Ruth, Hannah Szenes and Golda Meir.

Sokolow also championed underdogs and people whom she felt society had abandoned. Modern urban alienation and the fate of the individual in an increasingly depersonalized world were also of great concern to her, as evidenced in “Rooms” (music by Kenyon Hopkins), with its spare set made up uniquely of chairs, each one symbolizing a room in an apartment complex and its residents’ attendant anxieties. The work is powerful in its bare, raw depiction of human emotion, the dancers repeatedly stretching in agony and screaming in silence. For perhaps the first time onstage, two men reached toward each other suggestively, and whites and blacks commingled. Legend has it that people almost came to fisticuffs in the street after one production of the piece, claiming that what they had just witnessed couldn’t be considered dance at all!

Too racy for its time, “Rooms” was even banned in Australia in the 1960s. Another Sokolow piece, “Steps of Silence” (1968), made a strong anti-war statement, as bodies and trash ended up onstage indistinguishable, a not-so-subtle comment, perhaps, on the “trash of war.” “Art,” Sokolow averred, “should be a reflection and a comment on contemporary life… [the artist]… can change [society], presenting it with fresh feelings and ideas.” Some critics found Sokolow’s work overly somber, but Sokolow felt that she was simply representing society as it actually was: “I don’t have a dim view of humanity. I’m not neurotic. But I don’t have that happy philosophy, because what the hell is there to be happy about?’’

Sokolow’s contribution to dance went far beyond ethnic and religious boundaries. She was a groundbreaker who always reacted to what was going on around her, concerned with issues of humanity and human suffering. In 1939, at the invitation of artist Carlos Mérida, Sokolow traveled to Mexico, where she was instrumental in creating a government-sponsored modern dance company. She was also a maverick in terms of dance itself, perhaps the first choreographer to so narrowly marry theater and dance. This was especially true in her 1965 “Odes,” which, set to music by Edgar Varèse, influenced an entire generation of choreographers, including the late Pina Bausch, the doyenne of that hybrid form known as Tanztheater, or dance theater.

Jim May, a former Anna Sokolow Dance Company dancer who took over as artistic director of the Sokolow Theatre Dance Ensemble in 2004, remembers an entirely original and fiery creative force who, during his 1966 audition at the company studio at 1 Christopher Street, announced, “Prima donnas and company jumpers need not apply.” May taught an undergraduate class this past term at The New School, devoted entirely to Sokolow. Just a few blocks from where she once taught her eager charges, aspiring dancers, choreographers and dance critics, all of a younger generation, are learning about her legacy for the first time. In a recent class, May screened David Parker’s 2004 Sokolow-inspired “La Nef des Fous” (“Ship of Fools”), created especially for the Sokolow Theatre Dance Ensemble, and fielded tough questions about the posthumous reception of Sokolow as a choreographer. May noted that at the end of Sokolow’s 1965 “Opus 65,” the first modern dance piece ever performed by the Joffrey Ballet, the performers stopped dancing, looked out at the audience members and gave them the finger, and then jumped into the pit.

Sokolow suffered a nervous breakdown in the 1970s, but he quickly returned to dance and extended her work on such artists and writers as Franz Kafka, Frida Kahlo and Edgar Allen Poe, finding inspiration in their artistic excellence. Throughout Sokolow’s long and storied career, she was concerned with repairing the world. Each dance she choreographed was a new opportunity to set something right, to change something she thought had gone terribly wrong.

Christopher Atamian is a writer and translator. He is the former dance critic for New York Press, He writes for Dance Magazine and eCognoscente.com.

Comments

Leah Wed. Dec 2, 2009

Anna Sokolow is without a doubt a pioneer of the Arts. She is featured in the Jewish Women’s Archive Women of Valor exhibit (http://jwa.org/exhibits/wov/sokolow). In it you can find Sokolow’s biography and a treasure trove of artifacts including documents, photographs, and videos!

She is also featured in the JWA poster series (http://jwa.org/shop/posters/asposter.html) on a gorgeous poster that inspires me every day.

92nd Street Y Harkness Dance Center Wed. Dec 2, 2009

Anna Sokolow taught and performed at the 92nd Street Y, and she’s part of our season-long celebration of 75 years of the Harkness Dance Center here. Our Dec 11-13 celebration of Jewish Women in Dance kicks off with a performance dedicated to Sokolow – Fri, Dec 11, 8 pm, $12. And on Sunday, Feb 14, at 3 pm, we present a birthday tribute to Sokolow, with performances of her work from the Sokolow Theatre Dance Ensemble; tickets are $10. For more info, go to http://92Y.org/dance75 or call 212.415.5500.

The Forward welcomes reader comments in order to promote thoughtful discussion on issues of importance to the Jewish community. In the interest of maintaining a civil forum, the Forward requires that all commenters be appropriately respectful toward our writers, other commenters and the subjects of the articles. Vigorous debate and reasoned critique are welcome; name-calling and personal invective are not. While we generally do not seek to edit or actively moderate comments, the Forward reserves the right to remove comments for any reason.

Anat Hoffman is the Executive Director of the Israel Religious
Action Center in Jerusalem. This post originally appeared as a message
in IRAC’s November 30, 2009 newsletter, The Pluralist. To sign up for
updates from IRAC, visit www.irac.org.

Nofrat Frenkel’s arrest for wearing tallit at the Wall was the last straw. Last week, more of you read and forwarded our newsletter than ever before. You were thoroughly outraged – and rightly so. And just two nights ago, on this past Motzei Shabbat, Jerusalem’s progressive community also decided things had finally gone too far. It was time to react.

Months – if not years – of rising tension between the Haredi community and the rest of Jerusalem, from last summer’s Karta parking lot riots, to three Shabbat protests at Intel in just as many weeks, (to say nothing of last week’s arrest at the Kotel) culminated in a 2,000 person peaceful protest against religious coercion of any kind.

2,000 people – it might not sound like a lot, but in a country smaller than New Jersey, in our little Jerusalem, 2,000 people is huge. The protestors stretched from Kikar Paris, where the protest began, then marched up King George Street, filled the pedestrian walkway of Ben Yehuda, and overflowed Kikar Zion. There were signs, songs, and speeches – including one from Nofrat Frenkel.

Continue reading “Jerusalem Residents Reach the Tipping Point” »

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Returning to Reform

Opinion

By Jacob Neusner

Published November 25, 2009, issue of December 04, 2009.

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Once upon a time, there was a young man, a third-generation American who was raised in a classical Reform temple, who in the Reform manner celebrated becoming a bar mitzvah and who was confirmed in the Reform rite. He was inspired by his temple’s rabbi to himself become a Reform rabbi. He held national office in the National Federation of Temple Youth, and he was admitted to the Reform movement’s Hebrew Union College.

Then, on the very day this young man was supposed to begin studies at Hebrew Union College, he instead entered the Jewish Theological Seminary of America, the intellectual citadel of Conservative Judaism. He agreed to give up the lobster dinners, the veal parmigiana and the BLT sandwiches that he had loved, and even to quit smoking on the Sabbath, as admission to JTS demanded.

[Excerpt – see full article at The Forward – link in “Returning to Reform heading above”]

Rabbi Jacob Neusner is the Distinguished Service Professor of the History and Theology of Judaism and a senior fellow of the Institute of Advanced Theology at Bard College. This essay is adapted from an address that he will be delivering December 1 at Hebrew Union College-Jewish Institute of Religion in New York for the 2009 Dr. Fritz Bamberger Memorial Lecture.