• Search

  • A Gathering of the Tribes

    A Gathering of the Tribes is an arts and cultural organization dedicated to excellence in the arts from a diverse perspective. Located on the Lower East Side of New York City, Tribes has been in existence since 1991.


  • A Gathering of the Tribes, 285 East 3rd St, 2nd Floor (between Avenues C and D)
    Phone: 212-674-3778
    Fax: 212-674-5776
    Email: Info@tribes.org


  • Tribes is a member of Chamber Music of America, Poets & Writers, Poets Society of America, St. Marks Poetry Project. We are Funded by NYC DCA, NYSCA & The Andy Warhol Foundation among others. All contributions are tax deductible.

  • Events Calendar

    SunMonTueWedThuFriSat
     1234
    567891011
    12131415161718
    19202122232425
    2627282930 
  • The 16th Annual Charlie Parker Festival

    Throughout the forties, Charlie Parker revolutionized jazz and immortalized the Lower East Side by capturing its combustive atmosphere and translating it into music. It is no wonder that every year the Lower East Side returns a little bit of the favor by celebrating Charlie Parker, his life and his legacy, as well as his deep rooted relationship with this neighborhood, through A Gathering of the Tribes' Charlie Parker Festival.
    This year, A Gathering of the Tribes is please to present the 16th Annual Charlie Parker Festival, entitled "BIRD LIVES," from August 2 - August 29. More information about this year's festival can be found here

Latest Reviews

Ernest Hemingway (A Review of Tao Lin’s Richard Yates)

Since I have like three venues to publish it in, and I told Tao I needed a galley, I feel obliged to write a review of Tao Lin’s novel, Richard Yates. I don’t think I will ever read anything by Richard Yates. Reading Tao Lin has a way of erasing any literary knowledge […]


Just Kids, a Memoir by Patti Smith: “Because of Robert”

Reviewed by K.A. Sitafalwalla

Partially a proclamation to the 1970’s, the artists and the derelicts, the rich and poor, the talented and talent-less, “Just Kids” stands as an ode to friendship and love; everything in between. Patti Smith’s memoir is poetic and true with an honesty and straightforwardness that is disguised in her poetry and music. […]


I Need That Record Store: Retail as Club Membership

by Kurt Gottschalk

I first heard about it when I was about 12 — a store where Kiss albums could be procured for about a dollar less than at the mall; a store that, strangely, wasn’t in the mall. It wasn’t far, but it did mean asking my mother to make another trip.

Things seemed different at […]


Whitney Biennial 2010

By Vedan Anthony-North

With a name like “2010” you don’t really know what to expect when heading to the 2010 Whitney biennial. Unfortunately, you don’t really know what to think about the exhibit after leaving either. Though the theme of “2010” is justified by the curators Francesco Bonami and Gary Carrion-Murayari in the exhibit’s […]


THE LATEST FROM OILSPILLVILLE

By : Brian Boyles, New Orleans
It was getting a little too possible, you know? That we might make it, that whatever the forces leveled at our survival, they were internal, fixable, matters of fairness or racial understanding or budgeting. We could do that, couldn’t we? The Saints won, didn’t they? […]



Latest Poetry

In Church with Branded Knees

by Ayshia Stephenson
I don’t want him to tear my clothing off anymore. I don’t want him to crush my serenity
into this tiny spit of a paper ball, pit stuck in my throat, like it sits in a child who can not
say: please get it out. Branded knees need a buffer from a pebbled surface. Can […]


The Reunion: A Forecast by Suejin Suh

 
The Reunion: A Forecast                                                                           by Suejin Suh
 
 
Has it been more than three years?  Three or four years-ish since you cleverly sang,  
At the airport, we’ll cross paths walking, walking towards opposite ends/ like almostly- forgotten lovers who had seeming common sense.” (They lusted. Lusted incensed.)
 
Or was this an impromptu melody I made just […]



Latest Essays

UNPOP curatorial statement

by Janet Bruesselbach
“A free society is one in which it is safe to be unpopular.” –Adlai Stevenson
Unpop has a variety of playful reactions to both art as commodity and the political legacy of pop art. Art is a commodity so oversupplied that it may be the testing grounds for a post-scarcity economy. Its economy of […]


Off-Off-Broadway in Mumbai

by Howard Pflanzer
How can you produce a brand new controversial American play in Mumbai?  I thought India would be an excellent place to produce and direct my new play, The Terrorist, a timely commentary on the US government policy of detention of South Asians and Muslims and the initiation of […]



Latest Fiction

Ernest Hemingway (A Review of Tao Lin’s Richard Yates)

Since I have like three venues to publish it in, and I told Tao I needed a galley, I feel obliged to write a review of Tao Lin’s novel, Richard Yates. I don’t think I will ever read anything by Richard Yates. Reading Tao Lin has a way of erasing any literary knowledge […]


Gone Fishing, Again

by Christopher Heffernan

The cult classic Trout Fishing in America, written by Richard Brautigan and first published in 1967, has been released in a new edition by Mariner Books, a subsidiary of Houghton Mifflin Harcourt Publishing Company.  The book has not been published on its own since the early ‘80’s when […]



Latest Videos

A Starter Kit for Collectors: Exposition et vente au profit de TRIBES

A Starter Kit for Collectors: Exposition et vente au profit de A Gathering of the Tribes
Samedi 1er mai – Dimanche 16 mai 2010
Vernissage: Samedi 1er mai 14-18H
Réception pour les artistes : Samedi 1er mai, 19h-22H
Tribes Gallery
285 East 3rd Street, 2ème étage, NYC 10009
A Gathering of the Tribes est une association artistique et culturelle qui […]


A Starter Kit for Collectors: Art Exhibition and Sale A Benefit for A Gathering of the Tribes

A Gathering of the Tribes is an arts and cultural organization dedicated to excellence in the arts from a diverse perspective. Located on the Lower East Side of New York City, Tribes has been in existence since 1991.   tribes-poster-color.jpg
Saturday May 1st, 2:00 - 6:00 pm : Public preview
Saturday May 1st, 7:00 – 10:00 pm […]


Invincible Men - by Nicholas Powers

Every summer, Hollywood lights up the screen with the clash of heroes and villains. But this year, it seems there is a strange urgency. It was more than simple excitement at well-made movies — it felt like Hollywood was battling not our boredom, but our anxiety. For the past few years we’ve heard people suggesting that America’s time as the only superpower is coming to a close. Is that what’s behind these blockbusters? Do we want to be the sole global superhero again?
Our national mythology, in the words of former U.S. Secretary of State Madeleine Albright, is that we are “the indispensable nation.” But as our reasons for invading Iraq stand as naked lies, as India and China rise and Iran taunts us, we look more and more dispensable.
Against this troubling backdrop of U.S. decline, superhero movies, in the words of Freud, “split the ego.” In the theater, we take the hero’s journey and separate our troubled American identity into a good and bad one. The hero stands in for our ideal self, purified of excesses like greed or militarism, which we isolate in the villain. Hero and villain battle in the streets, tearing up streetlights, flipping over tractors. Of course, the hero wins and we leave the theater cleansed through an act of cinematic catharsis.
We see Iron Man build an armor of righteousness, the Hulk chased to the edge of his rage-triggered strength and Batman pursue a gothic justice. Watching the heroes smash flashy cars and fly between skyscrapers, one feels the movies satisfy a subliminal need. They justified U.S. violence with morality and re-affirmed our innocence.
They do this because, long before he is a hero on the screen, he is us. Each of the summer’s champions begins as a muddled American. Tony Stark is a champagne- gulping, amoral playboy, Bruce Banner a mousy government technocrat and Bruce Wayne a clueless child. Each hero’s journey opens with a trauma that destroys him. Stark is captured and mortally wounded by Islamic warlords. Banner is soaked by gamma waves from his laboratory. Wayne sees his parents shot while they leave the opera. Each hero’s wound makes it impossible for him to be who he was before.
Over that wound, the hero pulls down the mask like a bandage of anonymity. His goodness is guaranteed by his suffering, which exposes him to the suffering of others. In their name, he wears an armored suit or impenetrable gamma-rage. So Stark becomes Iron Man and blasts Islamic warlords in order to free helpless Arab women and children. Banner, whose strength is triggered by victimization can, even as the Hulk, shield his ex-fiancé from the fiery explosions. And Batman guards the terrified people of Gotham against a multinational criminal underground anchored by a corrupt Chinese businessman.
In these movies it’s easy to see our anxiety about the Iraq War, Asian economic competition and gender roles being exorcised. More important, our myths teach us that our violence is justified by our pain. Is it any wonder that in the 2004 State of Union address, President Bush declared, “America will never seek a permission slip to defend the security of our country?” Our foreign policy reflects the vigilante justice we see in our movies.
Yet a subversive insight threads through these films. The dramatic friction at their core is not external threats, but the monster in the mirror. The final leg of the hero’s journey is when he turns to face the enemy within. Iron Man’s climatic battle is not with Islamic warlords; instead he tumbles through the street with his business partner Stane. The Hulk’s ultimate enemy is not the U.S. military, but rather a mercenary soldier who overdoses on gamma rays in a quest for glory. Batman’s nemesis is not the multinational criminal class, but the Joker, an American anarchist clown.
Hidden inside each movie is a perverse warning against our own excess. We see in the moral pyrotechnics an unintended lesson: We are our own enemy. I wonder, as the American audience learns to “re-split the ego” and our villainous side is killed or captured, in what form will it return?