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Every year, as spring term speeds towards an end, seniors in the Dartmouth College Wind Ensemble graduate and hand off their roles to the remaining members. This spring, five seniors — Aadam Barclay ’16, Steven Povich ’16, Anne Reed-Weston ’16, Jacob Weiss ’16 and Simone Wien ’16 — will be giving their last performance, “The Great Spirit,” as student musicians under Wind Ensemble director Matthew Marsit.
The rhythmic sounds of maracas and Colombian drums echoes throughout the studio. A petite woman with curly hair stands at the front of the room, effortlessly moving to the mix. The music transitions into an upbeat hip hop instrumental, and she starts shaking her hips, lost in the song’s deep bass. There’s no doubt. This woman can dance. “Wobble, wobble, wobble,” she yells. Zumba instructor Evelyn Thibodeau continues pumping her arms and moving with the beat as she tells her students to shake their bodies. Even if they make a mistake, Thibodeau encourages them to continue dancing and having fun.
The convergence of music and architecture is quite uncommon. Yet, the New Music Festival, a three-day event at the College, explored this peculiar intersection of fields from May 1 to 3. The music department and the Hopkins Center presented the festival, titled “Music, Soundspace & Architecture.”
On Tuesday, Collis Common Ground brought a slice of fashion to Dartmouth. Lights flashed, models strutted and music thumped at PRIDE 2016’s TRANSFORM fashion extravaganza.
Fresh off the set of their recently concluded Comedy Central show “Key and Peele,” the shape-shifting Keegan-Michael Key and Jordan Peele make their big screen debut in “Keanu” (2016). Like many television comedians have discovered, particularly Saturday Night Live cast members, cinematic audiences are unwelcoming of stars traversing media. Fortunately, the dynamic duo’s antics translate into a feature narrative film, while maintaining the same sketch comedy style which made them household names.
The sounds of rousing horns and tight, soulful vocals filled Sarner Underground on Friday night as Johnny Blazes and the Pretty Boys performed at Friday Night Rock for this year’s Dartmouth Pride Week.
Take three minutes and absorb some culture. Farewell, National Poetry Month!
As one of the few women of color in the College’s theater department, Carene Mekertichyan ’16 has continuously employed her talents to spur discussions on gender, race and identity using the stage. Her honors thesis production of Ntozake Shange’s piece “for colored girls who have considered suicide / when the rainbow is enuf” (1976) could provoke new conversations at Dartmouth.
Exploring the peculiar and innovative world of experimental art, the digital music and film and music department collaborated this spring to produce EYEWASH: Experimental Images and Sounds, a series that brings experimental film, video and sound artists to campus for screenings and performances.
Scholarship surrounding the secular music of Medieval monks is rare. Studying, learning and performing music from a period without written music is an intricate process that requires much historical scholarship and musical insight. For those not inclined to undertake a rigourous study of Medieval music, a firm appreciation of music and history from the Medieval Era — one of the first eras in Western classical music — is available tonight at Rollins Chapel. Sequentia, an ensemble of international singers and instrumentalists, will take the stage for the world premiere of “Monks Singing Pagans: Medieval songs of heroes, gods and strong women.”
One in five women will experience sexual assault during their lifetime. Despite this fact, many people still feel distanced from the idea of sexual assault. Jadyn Petterson-Rae’15 wanted to change this and help more people understand sexual assault and its prevalence in society, so she created an exhibition featuring pictures of Dartmouth women who have experienced sexual assault. The exhibit is currently being displayed in the Black Family Visual Arts Center for Sexual Assault Awareness Month.
More than 20 years after the success of “Dazed and Confused” (1993), Richard Linklater graduates from ’70s high school to ’80s college in “Everybody Wants Some!!” (2016). These two films along with “Boyhood” (2014) complete his unofficial adolescence trilogy, which showcases Linklater’s paternalistic nostalgia for decades past. Instead of sentimental photo albums, his films feel more like highlight reels, anthropological studies charting the richest rituals and mating patterns of young sub-cultures.
Two floors up from the elegantly minimalist lobby of the Black Family Visual Arts Center, the studio art department’s painting studios promise a boldly different aesthetic. Paint of every color splatters the tables and chairs, and the students’ workspaces exhibit their unique artistic styles. A wide array of artificial flowers and fruit crowd a table toward the front of the “Painting I” area, waiting to be arranged for upcoming still-life assignments. Tall white panels create a series of alcoves, each one used by a different student from “Painting I,” “Painting II” or “Painting III” as his or her place of creative refuge for the term.
In the sculpture studios on the first floor of the Black Family Visual Arts Center, students’ erratic, twisting sculptures line the room’s perimeter like suspended dreams. Anatomical skeletons patiently wait to inspire and guide the next class. A huge sculpted hand emerges from a table nearby, outspread as if in expectation, and across the room a life-size cardboard figurine is splayed face first on a table in a sadly relatable facsimilie of a student passed out while studying.
Just two years after graduating from Dartmouth with a self-designed major in digital arts and media technology, Michelle Khare ’14 has found success in the world of internet video. She currently works at BuzzFeed and has 150,000 followers across various social media platforms.
Piracy is often viewed as a victimless crime. The months film editors tediously spend editing a movie and the long hours singers spend in recording studios are neglected for the instant gratification experienced when downloading digital works right as they hit the market. Content creators can suffer from illegal downloading or file-sharing because they do not receive proper compensation for their work.
Although she is perhaps most well-known around campus for singing with the Rockapellas or as this year’s Dartmouth Idol winner, Grace Carney ’17 began her musical career as a drummer. Sort of.
After seeing “Son of Saul” (2015) at the Telluride Film Festival, I witnessed director László Nemes correct renowned Holocaust film scholar Annette Insdorf, who likened his film to “Schindler’s List” (1993). To Nemes, “Schindler’s List” focused on some 3,000 survivors amongst 12 million casualties and absurdly romanticized the Holocaust. This absurd portrayal of an already absurd era normalizes and renders cloyingly palatable this horrific past.
Kimberly Marable ’05 graduated from Dartmouth with a major in theater modified with sociology. After graduation and a brief internship at Northern Stage, she moved to New York City and has performed in a number of national tours of Broadway productions, including “Hairspray” and “The Book of Mormon.” She is currently performing in her second Broadway show, “The Lion King.” She co-founded and co-directs an organization called Broadway Serves, which coordinates community service projects involving members of the professional theater community.
Tucked away in a corner on the second floor of the Black Family Visual Arts Center, the animation studio serves as a place for the imaginative and creative to stretch their minds. Film and media studies professor Jodie Mack has created a studio unlike the typical blackboard-lined classroom with rows of desks.