Latest news with #SavannahCollegeofArtandDesign
Yomiuri Shimbun
3 days ago
- Politics
- Yomiuri Shimbun
International Students Scared to Leave U.S., Return to School after Travel Ban
Ricky Carioti/The Washington Post Students walk on the campus of Pennsylvania State University in State College, Pennsylvania, on Oct. 7. As President Donald Trump signaled plans for a new travel ban after taking office, the family of a 19-year-old Venezuelan student at the Savannah College of Art and Design decided she shouldn't go home for the summer. She wasn't sure she'd be let back in the United States if she left. The possibility hung in the air for months, but nothing happened. Her parents, in Caracas, started planning to fly her back. Then the White House announced Wednesday that it would restrict entry to the U.S. by nationals of 12 countries, with partial restrictions on seven others – including Venezuela. The art school student immediately scrapped her plans to go home – or to any other country. She canceled a getaway to Costa Rica booked for the next day and instead plans to stay in Miami with her sister, who is also on a student visa. Her bags are still packed. 'I came here looking for better opportunities than the ones I could find back home,' said the student, who, like some other international students interviewed by The Washington Post, spoke on the condition of anonymity or withheld their full identities because they fear losing their visas. 'I came here to learn from the best and contribute as much as I can. I haven't done anything wrong, but they're treating us like we're some sort of terrorists.' While the White House says Trump's order would not affect current visa holders, it has plunged foreign students into uncertainty. Many colleges, bracing for a possible ban, have been warning international students for months to avoid nonessential foreign travel due to fears they could suddenly be unable to reenter the country. Now that a ban has arrived – during summer break for many schools – some students are scrambling to get back from abroad before the restrictions take effect Monday. Others in the U.S. worry they won't be able to return if they leave. Data from the 2023-2024 academic year show there were about 24,000 international students in the United States from the countries listed in the ban, which include many African and Muslim-majority nations. In his executive order, Trump said the travel ban was based on 'foreign policy, national security, and counterterrorism goals' and applies to people who are currently abroad and do not have a valid visa. White House spokeswoman Abigail Jackson said that visas issued before Monday, when the order takes effect, will not be revoked and holders can enter the country 'as long as there are no other reasons that would prevent entry.' Students and experts are wary of the ban's scope – and about how it will be implemented at airports and borders, and whether efforts to obtain or renew visas will be disrupted. In late May, the State Department suspended foreign students' visa appointments as it prepared to expand screening of applicants' social media accounts, The Post reported. 'Prospective students will be forced to abandon their educational dreams, faculty members will no longer be able to effectively collaborate internationally, and families will be kept apart,' Barbara Snyder, president of the Association of American Universities, said in a statement. 'These bans send a message to all foreign nationals, even those not immediately affected by them: You are not welcome here.' By the numbers In 2017, during his first term in office, Trump enacted a travel ban targeting predominantly Muslim countries – sparking protests and legal challenges. The White House's latest travel ban comes as part of its broader effort to reduce immigration and align higher education with Trump's political agenda. Wednesday's order bars the entry of individuals from Afghanistan, Chad, Republic of Congo, Equatorial Guinea, Eritrea, Haiti, Iran, Libya, Myanmar, Somalia, Sudan and Yemen. It also partially restricts the entry of travelers from Burundi, Cuba, Laos, Sierra Leone, Togo, Turkmenistan and Venezuela. Iranians are by far the largest group of students affected by the restrictions, according to data from the Open Doors 2024 report from the Institute of International Education and the State Department. More than 12,000 Iranians studied in the U.S. in the 2023-2024 academic year – roughly three times the number of the next largest group, Venezuelans, of which there were 3,904 that year. African countries targeted by Trump's travel restrictions send far fewer people to study at American institutions. Just 66 students came from Chad in 2023-2024, for instance. The Open Doors data show stark differences in the type of education pursued by students from each of the affected countries. The vast majority of Iranians studying in the U.S. – 81.5 percent – are graduate students, while most students from Venezuela and Myanmar are enrolled in undergraduate programs. For most countries in the ban, much smaller percentages of the students they send to the U.S. are enrolled in programs that don't lead to a degree or are working in the U.S. under 'Optional Practical Training' status. The latter allows eligible students to pursue employment related to their studies for a year after graduation; those in science, technology, engineering or mathematics fields can apply to extend that to three years. Families spend months apart Arshia Esmaeilian, an Iranian student at the University of South Florida, had hoped to visit his family in Dubai next winter break. His mother had also been applying for a visa to visit him and his brother, who is also on a student visa, in the United States. But the travel ban means neither of those trips are likely to happen, Esmaeilian said. 'I was very disappointed,' said Esmaeilian, 21. 'My parents don't even know if they'll be able to come to the U.S. as visitors to attend my graduation next spring.' Another Venezuelan student, a 22-year-old at Pennsylvania State University, hasn't been home since December. He has an internship in the U.S. this summer and doesn't feel like he can travel to Venezuela after it ends. 'I'm just not willing to expose myself to that risk since I only have one year left in my studies,' the student said, adding, 'I really just hope that my parents are able to see me graduate.' Universities issue warnings More than a dozen prominent universities sent out guidance for international students ahead of a potential travel ban – some before Trump's inauguration in January. The ban stems from a Jan. 20 executive order instructing the Departments of State and Homeland Security and the director of national intelligence to compile a report on whether allowing people to enter from specific countries was a national security risk. 'If you must travel, please check in with us first,' Stanford University's Bechtel International Center wrote in March. 'We are able to connect you to immigration resources.' The same month, the Massachusetts Institute of Technology told its students to 'bear in mind' that changes and restrictions could 'be implemented quickly and without ample warning for travelers.' Jeff Joseph, incoming president of the American Immigration Lawyers Association, described the ban as the latest salvo in a 'full attack on students and institutions,' including visa revocations and tougher social media screening. He noted that the ban comes at a time of year when international students typically schedule consulate appointments in preparation for the next school year. 'I have big concerns that these students won't even get their visas in time to be back here for the fall,' Joseph said. He added that it is unclear how much difficulty visa holders will face when they try to reenter the country, and that he is watching whether the administration issues guidance before Monday to airline carriers and ports of entry. For Alejandro, a rising senior at the University of Florida, the ban on Venezuelans felt like 'a slap in the face.' 'Even more than that, actually – it feels like a full-on betrayal,' Alejandro said. He had celebrated Trump's victory in November, believing it would help restore democracy in Venezuela. 'I really thought he was on our side – not that he'd be the one locking the doors to innocent people,' Alejandro said.
Hans India
6 days ago
- Hans India
TG lensman's works featured in expo at Coca-Cola hqrs in US
Hyderabad: Anirudh Dhannayak, a documentary and fine art photographer from Karimnagar, Telangana, has garnered international recognition this year as his work was featured in a prestigious group exhibition at the global headquarters of Coca-Cola in Atlanta recently, as part of the Asian American and Pacific Islander (AAPI) Heritage Month celebrations. Themed 'Roots to Resonance,' the exhibition spotlighted artists who explore the nuances of identity, heritage, and cultural continuity within the diaspora. Anirudh's journey into photography is as evocative as his art. What began as a childhood curiosity—capturing travel memories with a simple camera—transformed over the years into a passionate pursuit of truth, culture, and human emotion. Although initially steered toward engineering, a serendipitous moment during a family wedding, where his photographs won admiration from overseas guests, marked a turning point. That event not only affirmed his talent but also gifted him the tool that would shape his future: a camera. He later formalised his training with a Bachelor's degree in Communication Design, specialising in Photography, and is currently pursuing his Master's at the Savannah College of Art and Design, US. His ongoing project, 'Natya Shastra: The Science of Dance,' explores the evolution and spiritual significance of the classical Indian dance form, Kuchipudi, within the Indian-American diaspora. Blending traditional motifs with experimental formats like stop-motion and moving portraits, the project exemplifies Anirudh's commitment to storytelling that bridges generations and geographies.
Yahoo
02-06-2025
- Entertainment
- Yahoo
Award-winning musician and composer Jon Batiste delivers commencement address and performed at SCAD
ATLANTA and SAVANNAH, Ga., June 2, 2025 /PRNewswire/ -- The Savannah College of Art and Design (SCAD) was delighted to welcome award-winning artist, musician, and composer Jon Batiste at the university's commencement ceremonies in Savannah and Atlanta for the largest graduating class in SCAD history. The ceremonies were held at the Savannah Convention Center on Friday, May 30 in Savannah, and Saturday, May 31, at the Gateway Center Arena in Atlanta. Batiste spoke to more than 4,200 graduates, their families, and honored guests during the two-day celebration. "This moment right here is not only the beginning of you defining and shaping who you are in the world and what you will become and what you will leave as your legacy, but it's also a moment where you have this opportunity to really take it in and be at peace with the unexpected that will come in the dark times as well as the things that you will do to exceed expectations and become the first and only. I'm so excited to be here to share this moment with you. So thank you for being who you are and remember that that's all you ever need to be," he said. SCAD President and Founder Paula Wallace conferred an honorary Doctor of Humane Letters degree on Batiste, who is considered a force of nature and a powerhouse of creativity and connection. An Academy Award and seven-time Grammy Award winning artist, he blends music, storytelling, and activism to inspire and unite. "It's a gift to connect with and inspire the next generation of creative artists from this globally renowned university," said Batiste. The 2025 graduates represent more than 40 top-ranked programs, including interactive design and game development, interior design, film and television, fashion, graphic design, and design management. Since its founding in 1978, the university's mission has been to prepare talented students for creative professions. Today, SCAD's success rate is unmatched. According to a 2024 study, 99% of recent SCAD graduates reported being employed, pursuing further education, or both within 12 months of graduation. SCAD alumni have found fulfilling careers at Adobe, BMW, Delta Air Lines, Disney, Google, Hasbro, Microsoft, NASA, Ralph Lauren, and more. "Our happy hive hums with joy this spring as more than 4,200 SCAD Bees — a record — have danced across the commencement stage and will fly off to rewarding careers around the world," President Wallace said. "What I so deeply cherish about SCAD's commencement is the love you feel, see, and hear, everywhere. From grandparents and parents, to students and siblings, cheers, tears, whoops, hugs, and high-fives celebrate phenomenal creativity, courage, and camaraderie. The world is yours, Bees!" President Wallace also presented an honorary Doctor of Humane Letters in Savannah to Meta Vice President of Design Joshua To and an honorary Doctor of Humane Letters in Atlanta to Atlanta Mayor Andre Dickens. To learn more about SCAD, visit View original content to download multimedia: SOURCE Savannah College of Art and Design
Yahoo
26-05-2025
- Entertainment
- Yahoo
How These Young Black Designers Are Bridging Blackness and Fashion
Every year, the Savannah College of Art and Design sends off an eager batch of fashion students into the design world, ready to innovate the industry by infusing it with their vibrancy and eclectic palettes. This year in particular, the 2025 graduating senior class saw multiple collections from Black female designers who derived inspiration from their cultural backgrounds, spanning all the way from Barbados to Congo. Three of these designers include Jailynn Tabanico, Savannah Luke, and Gabriella Sumbu. Gabriella Sumbu's collection, A Country Boy from Congo, drew inspiration from her father's immigration from Congo to Texas at age 29. 'This collection is a representation of how as an immigrant, you don't have to assimilate— you can create your own identity in a new place.' Savannah Luke's From the Islands, With Love serves as a tribute to her Bajan roots, honoring 'the Caribbean culture that raised me and the little girl who dreamed it all into being. The vibrant culture, the breathtaking scenery, the warmth of the people, and the love that flows through it all. This collection is my way of sharing that beauty with the world.' Jailynn Tabanico's collection, UTILITARIAN FEMININE, derives from her father's time serving in the army, dismantling the one-dimensional idea of women's wear. It's harsh and feminine, Venusian and masculine, honoring her own inner rebellion. 21Ninety spoke with these young designers to explore their perspectives on navigating a white-dominated industry, as well as how it felt to have their designs selected for SCAD's annual Fashion Show in Atlanta. 21NINETY: First off, what inspired your collections? GABRIELLA SUMBU: Besides my dad, I was inspired by the movie 'The Harder They Fall.' It's produced by Jay-Z and was loosely based on the Rufus Buck Gang. They were an outlaw black gang back in the Wild West. It's basically an all black cast and I liked how it shed light on black cowboys as opposed to focusing on white cowboys. The costume design in that movie is amazing. The second one is the LV Fall Winter '23 or '24 show. If I'm not mistaken, that was Pharrell's second show as a creative director with LV. It highlighted black cowboys, had indigenous models on the runway. The crazy chaps, the suede, the leather, the turquoise accents, I loved it. And then the last thing of course is Cowboy Carter. Even after I finished my collection, it's still such a big inspiration for me. Listening to Beyonce's experience being a woman in the South and how she grew up listening to blues and country music. Those were my inspirations. SAVANNAH LUKE: My inspiration came from home, from Barbados. It came from the people and the culture. The people in the fish markets, the fruit vendors, the coconut people. Our Prime Minister, she's a woman. She's so inspiring. The people who work on the beach, just everywhere in Barbados and the Caribbean in general. JAILYNN TABANICO: My inspiration came from my dad. The whole collection is military inspired, and he's ex-military, army and air force. I knew I wanted it to be streetwear because my style is both feminine and cute, but I also like to dress in baggy clothes. So I wanted to incorporate and mix the two together. I took inspiration from military silhouettes, uniforms, different gear. Also parachutes and stuff like that, I used a lot of military materials like tents and straps. I also used new materials like leather luxury materials to elevate the collection more. 21N: Why was it important for you guys to integrate not only your cultural upbringing, but your own personal stories into what you made? GS: I feel like for me, especially with everything that's happening in Congo, I knew I wanted to do something highlighting Congolese culture. I feel like you see East African or West African culture in the media, but people don't really talk about Central African culture. That was important to me. SL: I just think it's important for us to tell our stories and share where we come from. It's super important for people to know about different cultures and how they can translate into fashion. I feel like the fashion we see is very sleek and minimal, pure European standards. So leaning into color, texture, and my roots was really important to share. JT: It's just a part of who I am because he talks about it so much all the time. He refers back to a lot of his early memories. So I definitely felt like I wanted to share that and also represent being feminine but also being very strong and nontraditional. For me, it was important to have models of color who I felt represented me best because you don't really see that a lot. I wanted it to be about people who look like me, people who have the same hair as me. SL: I completely agree. Barbados is 90% Black people, so it was really important to me that I had Black people who represented the Barbadian look because it's all a part of the story and the collection. 21N: Was it difficult for you guys to source Black models? GS: It wasn't hard for the photo shoot. But for our school critiques, yes. We all specifically said in our forms that this is a cultural collection, I would love to have all Black models, and that is not what they gave me. For my women models, there were not a lot of Black girls given to me, I don't know why they did that. SL: I think that's something they need to work on. I had all white models. Luckily, my teacher was able to speak up for me because she's the head of the fashion department and she's very feisty, so I got two Black models for the critique. But they need to work on that. They literally said, 'We didn't get a big Black turnout.' But when I saw the Instagram page of all the models that tried out, there were so many Black people, and they all looked really good. 21N: I think you guys advocating for your collections is how that change will be enacted. As young designers of color, what do you wish to bring to the industry that you don't see enough of? GS: I think just more representation. It's definitely in the works, especially with this year's Met Gala theme. There's a lack of education on Black culture in general, which we already know, but especially Black fashion. Black people are always trying to learn about other cultures. It's not fair that we are always educated on other things, but people aren't educated on Black culture or Black fashion. Bringing my story and translating in a way that's visual can hopefully help people understand better. SL: I completely agree with Gaby, more representation of Black designers. And not just Black American designers, but Caribbean, African. I feel like there are so many talented designers from Nigeria, Congo, Jamaica, Trinidad. We don't see much of them. I feel like a spotlight needs to be shone on them. Even in America, they don't shine a lot of light on Black designers, especially high fashion. There are not a lot of Black designers who are on the runway, which was crazy. JT: I would definitely agree. There definitely needs to be more representation with Black women designers. Black people are all connected. We share the same lived experiences, we have so much in common. We have a very deep-rooted culture, especially in the South. I feel like a lot of Black designers are very unique at what they put out because usually they have a story to tell, whether it be good or bad. That should be highlighted more. I've gotten so much inspiration and fuel just looking at the Met Gala and some of the new designers who are emerging on the fashion scene. I'm super excited to see who else comes up and what they have to offer to Black culture. SL: So many white designers take so much from Black culture. Streetwear designers especially, that's all Black culture. There needs to be more light shed on the young emerging Black designers. GS: I think the reason why light does not shine as much on Black designers is because of the people who are in charge of big brands and houses; they're literally old white men. I think like 70% or 80% of creative directors now are white males. Not even white women. White males. There are some women of color at Capri Holdings, which is like Michael Kors and Jimmy Choo. But there are so many white old men in power. They're not going to want to put people they aren't comfortable with on their brands. 21N: Who are some artists you see yourselves in that are managing to take up space? GS: I really love Hanifa, she's a Congolese woman and was actually at the Met for the first time this year, which is so exciting. She dressed Savannah James. When I found out about her, it got me really excited because I don't think I've ever seen a Congolese American designer in the media. Another black designer duo is WHO DECIDES WAR. I love them, they're doing some really cool shit. Fashion is paying attention to them. JT: Virgil Abloh, as well as Pharrell since he's taken his place. But I feel like Virgil just set the way for so many up-and-coming Black stylists, Black designers, just Black people in fashion. He paved the way for a lot of people and made a movement amongst Black youth and sneaker culture. Virgil set a wave for a whole new generation. What he did with his own brand Off White, that got so much attention. And what he did with Louis Vuitton for their men's wear, merging streetwear and Black culture and tailoring it into high fashion, an industry that's white male-dominated. He turned it all upside down in a good way. SL: I take a lot of inspiration from designers who use color and pretty prints. I really love Hanifa as well, she's a great designer. I like Kai Collective. 21N: Between SCAD Atlanta and SCAD Savannah, there are about 142 fashion seniors and only 53 are picked for the annual fashion show. How does it feel to have made it? Are you proud? Relieved? Nervous? GS: I'm definitely proud of myself. I struggle with impostor syndrome a lot. I'm so proud of myself for overcoming that. When I was making the collection, I don't think I was considering trying to make it into the show. I was just trying to prove to myself that I could do something. It feels good because it's something that represents my culture and knowing that it's going to be on the forefront and people are going to wonder like, 'What is that type of fabric?' Hopefully, that'll lead them to research and education. Finishing this collection, I never thought that I could push my body or myself as far as I did. But seeing my mom, my dad, my brother so proud of me. That's what made me the happiest. It's worth it for them for sure. JT: That was at the back of my mind, the fashion show and everything, but I definitely agree that I was really trying to prove something to myself that I can get here, be a designer, actually make stuff. Before we got to senior year, a lot of us hadn't really sewn a full garment or a full look. So I think it was definitely a lot of proving to ourselves what we can do, how far we can push ourselves, our work ethic. It showed us how much we wanted it. We all pushed ourselves beyond what we what we thought, and it definitely paid off. SL: It's just a full circle moment for all of us. When I first saw the list and I saw all three of our names, us black women on that list. It was like, 'Wow. This is amazing.' I feel extremely proud of myself and all of us. We worked really hard. I just feel like we deserve this. I feel very grateful that I got to represent my country on such a big runway that will be on the Internet. It feels good that I can represent Barbados in the fashion industry because not many people back home are allowed an opportunity like this. This article has been edited and condensed for length and post How These Young Black Designers Are Bridging Blackness and Fashion appeared first on 21Ninety.
Forbes
19-05-2025
- General
- Forbes
A Church Built By Slaves Inspires An Artwork On View In Savannah
Nari Ward, "Breathing Bars Diagonal Left," 2020, oak wood, copper sheet, copper nails, darkening ... More patina,152 x 152 x 5cm. The First African Baptist Church in Savannah — which was founded by enslaved people and is the oldest continually open black church in North America — has many unique features. Among them, original gas lighting fixtures from when the sanctuary was completed in 1859, pews carved with ancient Semitic languages including Cursive Hebrew and Ethiopian Amharic Ge'ez, and floorboards drilled with holes that form a triangular pattern. These floorboards were of particular interest to the artist Nari Ward, who first saw them while visiting Savannah to prepare for a solo exhibition at the Savannah College of Art and Design in 2015. There are theories for why the holes exist in the otherwise smooth floor. Many surmise that they represent the Kongo Cosmogram, a religious symbol that portrays the relationship between human and spiritual worlds and has been used for many centuries by the Bakongo people, who live in what is now known as the Democratic Republic of Congo. Others say that the holes were drilled into the floor to allow escaped slaves to breathe. The church may very well have served as a hiding place in the Underground Railroad, given that March Haynes, a deacon of the church, was a known member of the network. In "Breathing Bars Diagonal Left' (2020), Ward took the shape of these holes, and made them radiant. On a crepuscular blue background covered with faintly gilded symbols of hand cuffs and prison bars, the Cosmogram explodes with beams of light, which in the artwork are represented by thin gold lines. Each hole, which embodies a place where someone might have drawn a breath, is surrounded by golden nails, which cluster like worker bees. Or the spirits of ancestors. One gets the physical sensation, looking at the artwork, that you are witnessing life itself. Oxygen inhaled; carbon dioxide exhaled. Exuberance, miracles. Hope stubbornly clinging on in a dark hiding place, and despite it all, exploding outward with exuberance. In times like these, I looked at the artwork, and started crying. An installation view of "In Reflection: Contemporary Art and Ourselves," an ongoing exhibition at ... More the Jepson Center in Savannah. The artwork is installed as part of 'In Reflection: Contemporary Art and Ourselves,' an ongoing exhibition at the Jepson Center in Savannah that showcase the museum's modest but mighty contemporary art collection, which includes works by Kara Walker, Elaine de Kooning, Chul Hyun Ahn and Rocío Rodríguez. 'One of the best parts about working in a museum is continually looking at these cutting edge artists, and what they are saying about the current moment and the times we are living in,' says Erin Dunn, the curator of modern and contemporary art at the museum, who also organized the exhibition. The Ward piece, however, is on loan from Alice Walton's Art Bridges Foundation, which aims to provide financial and strategic support to museums across the United States, in part by lending out pieces from its permanent collection upon request. Such as the Nari Ward piece lent to the Jepson Center for a year. 'Our goal is getting art out of storage and into museums,' says Ashley Holland, the curator and director of curatorial initiatives at Art Bridges Foundation. As the curator at a small museum in a city of just under 150,000 people, Dunn works with a modest budget which does not always support the acquisition of works by notable contemporary artists. She was grateful, therefore, to see one of Ward's works on Art Bridges Foundation's website. She applied for a loan, and it was granted by Holland and her team. Dunn notes that the loan came with very few stipulations, and that the foundation even paid for shipping. Art Bridges Foundation also loaned 'Black Girl on a Skateboard Going Where She's Got to Go to Do What She's Got to Do and It Might Not Have Anything to Do With You, Ever' (2022), a ceramic sculpture by Vanessa German, to the Jepson Center for the exhibition. 'We really expect all of our partner organizations to also be doing learning and engagement,' says Holland, noting that she was thrilled to lend the artworks by Ward and German to the Jepson Center. 'There were so many local connections,' says Holland. 'Both pieces were a great fit for them.' An installation shot from "In Reflections." The presence of philanthropy from billionaires was visible throughout the show, which was marked by artwork that refused to cower, including 'Black Cotton Flag Made in Georgia' (2018), a 27-foot tall draped American flag rendered entirely in black, and collapsed against a flagpole, by Paul Stephen Benjamin. There were the two pieces from Art Bridges Collection, which is funded by Walton, the richest woman in the world. And then, there was signage leading visitors to Bloomberg Connects, a digital guide to the exhibition funded by Bloomberg Philanthropies. At a time when arts organizations are facing budget cuts — President Trump started eliminating grants funded by the National Endowment for the Arts in early May — these programs from wealthy philanthropists are lifelines for small museums like the Jepson Center. Dunn, for one, is honored to have the piece by Ward, even if it's not in the museum forever. Already, a few weeks after opening, school children have visited. They've seen the breathing holes, and they've felt the life emanating from them. 'I think it's so cool for them to realize that artists come here to Savannah and when they leave, take ideas with them,' Dunn says. 'It helps them understand that our small community actually has a really outsized influence on our world.'
