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It’s the most wonderful time of the year. Not weather-wise, of course. I’m talking about awards season. Although the Golden Globe Awards and Screen Actors Guild Awards are already behind us, an abundance of other awards shows in February and March — the Grammy Awards, British Academy Film Awards, Golden Raspberry Awards and, of course, the Academy Awards — are reason enough to huddle inside with hot chocolate, popcorn and a mock-up ballot sheet.
His dilated black pupils glare at viewers, seemingly daring them to continue staring while asking “Did I give you permission to look?” Composed from heavy strokes of black, brown, gray and red, Carlos Sanchez’s eyes remain just as haunting in his “Self-Portrait” as when the artist first painted the work in 1923 as a Dartmouth student.
While Jake Gaba ’16 participated in theater and choir in high school, he’s found himself in his biggest role yet: global social media star. This fall, on his Chinese Language Study Abroad Plus trip to Beijing, Gaba filmed himself wearing rainbow-patterned swim trunks and dancing in public places — 91 distinct places, to be exact.
At the height of World War II, Countess Freya von Moltke’s husband came to her with a request: could she turn against friends and colleagues to form a resistance group of upper-class German citizens like themselves?
Moltke considered the proposition and emphatically agreed. The Kreisau Circle began as a meeting of two dozen of Moltke’s friends and quickly strengthened. By the war’s end, however, Hitler had arrested and executed half of the group’s original members, including Moltke’s husband.
Baraat is the Hindi word for a groom’s wedding procession, which travels to the bride-to-be’s house on the day of their nuptials. Though it may sound like a formal affair, a baraat is a party on the move. The groom, family and friends dress in elaborate, colorful clothing and dance their way to retrieve the bride.
Now add to this the equally wild and fun energy of a New Orleans jazz band, and you have Red Baraat, who will perform in the Hopkins Center’s Spaulding Auditorium on Thursday evening.
In Museum Collecting 101, Dartmouth students speak with artists and collectors behind-the-scenes and even curate a show of their own.
The course, a Hood Museum program started in 2002, is offered once a year, typically during the winter or spring. The classes are capped at about a dozen students and meet on Mondays several times a term.
Just over 100 years ago, the Armory Show of 1913 brought European avant-garde art to the forefront of American attention. Two thirds of the show’s art was by American artists, but the other third, by Europeans like Vincent Van Gogh, Paul Cezanne, Henri Matisse and Marcel Duchamp, caused a scandal. \nMichael Maglaras’s “The Great Confusion: The 1913 Armory Show” (2013) was screened at the Hood Museum’s Loew Auditorium on Jan. 10 and brought the drama of the original show back to life. In his film, Maglaras, kept from attending the screening by inclement weather, masterfully captures a unique moment in art history and successfully positions it among greater trends in American society at the time.
Some of the most beautiful buildings in the world are home to the most beautiful works of art. The Getty in Los Angeles, the Guggenheim in New York and the Louvre in Paris all come to mind. Perhaps this is why critics and architects jumped to their feet when the Museum of Modern Art recently announced last Wednesday that it would raze the American Folk Art Museum in New York City.
Kate Mulley ’05 is a playwright and co-founder of Vox Theater, a group of Dartmouth alumni involved in theater. Mulley’s original play “The Reluctant Lesbian” will be staged Saturday afternoon as part of the Northern Stage’s “New Works Now” professional play reading festival in White River Junction.
One of my favorite fun facts is that Spike Jonze, director of movies that your friend tells you will “totally blow your mind, man,” is co-creator of the television show “Jackass.” (Yes, that “Jackass.”) Yet beneath the ball-smashing, sadistic humor, there is a veneer of genius to “Jackass.” It is the post modern answer to vaudevillian slapstick humor, as only the 21st century could do it — as loud and outrageous as possible.
Jonze has already demonstrated his genius by subtly subverting and reworking classic television and film tropes, but he achieves legendary status with “Her” (2013), his latest effort. To put it bluntly, “Her” is the best movie I have seen in a long, long time.
Despite its location on one of Dartmouth’s busiest corners, Rollins Chapel maintains a quiet presence: beautiful and stately, yet closed-off, like an animal curled up to hibernate for the winter. This Sunday, Rollins will come alive as the Sospiri Trio brings a vibrant program of chamber music classics, old and new, to the chapel.
One day many, many years ago, an evil monster captured the sun goddess, taking her hostage as she emerged on the horizon. Numerous “Kamuys,” or gods, tried to rescue her to no avail. Aynu Rakkur must slay the shadow monster, who threatens the future of humankind.
“Poro Oyna,” the creation myth of the Aynu people, will be brought to life at 8 p.m. this Friday and Saturday. Audiences in the Hopkins Center’s Moore theater will be treated to a production that features supersized puppets, shadow and light effects and an original soundtrack.
A secret hides in Baker Library’s basement, and you have probably never noticed it.
No, it is not a three-headed dog you will need to lull to sleep or a madwoman locked away, but Dartmouth’s full-service Book Arts Workshop, which allows students and community members to handcraft invitations, birthday and holiday cards, flyers and even entire books. The workshop offerings include printing presses dating from the 19th century to the mid-20th century, a letterpress and bookbinding studio.
Freshman fall, Julia McElhinney ’14 found her passion for art in the depths of eraser shavings, working with charcoal-covered hands in a class that would direct her toward a studio arts minor. By the end of Drawing I with studio art professor Enrico Riley, she had confidence in her abilities as an artist. She had not turned into Michelangelo overnight, but she was proud of what she could do if she set her mind to it.
Former theater professor Carol Dunne doesn’t mind a full plate. In her first season as artistic director at White River Junction’s Northern Stage theater, she directed “White Christmas,” helped organize a play reading festival and announced a capital campaign to build a new theater.
A dancer stands motionless on stage. He is the clock. First, one dancer appears and performs a gesture. And another, then a third. Others emerge, an accumulation of “people, ideas, clothes” on stage, Janet Wong said, associate artistic director at Bill T. Jones/Arnie Zane Dance Company.
I counted 15 people walking out mid-screening from “The Wolf of Wall Street” (2013). Included in that group were some older people, a couple on a date and an enterprising gentleman who took his children to see the film in lieu of “Frozen” (2013) or “A Madea Christmas” (2013). While I applaud him for introducing his children to the works of director Martin Scorsese, “The Wolf of Wall Street” is a balls-to-the-wall exercise in extravagance and debauchery that would make Caligula blush.
Preston Copley ’07 assumed the role of director of creative development for theater at Jean Doumanian Productions in December. In his role, Copley will scout in London and other international theaters for new projects that Doumanian will produce on and off-Broadway. An athlete and involved in theater at the College, he will build on established relationships between Doumanian and artists and coordinate with the company’s vice president, Patrick Daly.
Many students spent the month of winter break at home studying for next term or, on a more realistic note, checking out new music on Spotify. Yet many members of College a cappella groups packed December with travel and performances, taking their voices out of the wilderness, and for some, out of the country.
A diary held in a Hello Kitty lunch box washes onto an island shore. A Japanese-American novelist stumbles across it and becomes enthralled with the life of its 16-year-old Japanese author, presumably the victim of a recent natural disaster. As their two lives collide across time and the Pacific, readers of Ruth Ozeki’s most recent novel, “A Tale for the Time Being,” will find themselves engrossed in the author’s tour de force exploration of home and displacement.