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On Nov. 12, the Hood Museum of Art hosted a conversation between artist Julie Mehretu, Museum of Modern Art curator Ugochukwu-Smooth Nzewi and physics professor Marcelo Gleiser as part of the Dr. Allen W. Root Contemporary Art Distinguished Lectureship. Led by Nzewi, the conversation spanned a variety of topics, from their shared experience as immigrants who lived under military dictatorships to the relationship between art and science and the tension between the known and unknown, both in physics and in art.
The Coast Jazz Orchestra will hold their third concert of the term today at 9 p.m. at Collis Common Ground. Jazz musician Bill Lowe and his ensemble, the Signifyin’ Natives, will join the student band. Lowe has played with avant-garde musicians such as Henry Threadgill and Muhal Richard Abrams, but has also collaborated with straight-ahead jazz musicians like Frank Foster and Thad Jones.
With his fourth full-length album in five years, “LP!,” JPEGMAFIA furthers his reputation as one of the most experimental hip-hop artists working today.
On Nov. 7, the voices of Dartmouth’s Glee Club reverberated around the halls of The Church of Christ on 40 College Street. Each pew was filled with audience members of all ages — including supporting students, visiting alumni and older community members.
Diversity in theater has long been a topic of controversy, confusion and complications — and the Dartmouth theater department is no exception. As a college, Dartmouth has come a long way in terms of diversity, but — as the recent staged reading of the play “Poor Clare” demonstrates — what diversity looks like and how to achieve it is no simple task.
This past weekend, I crossed the Connecticut River and visited the town of Norwich. A friend told me about a great restaurant there called Carpenter and Main. The fact that Bruce MacLeod, chef and owner of the restaurant, graduated from Dartmouth in 1984 piqued my interest, so I eagerly called the restaurant to make my reservation.
Debuting during the summer of 2021, the six member band Microsoft Paint Shark aims to share their own take on music through the use of a diverse set of instruments in a variety of genres.
This evening at the Hopkins Center for the Arts, the Dartmouth College Wind Ensemble will have its first in-person performance since the start of the pandemic. The 45-member ensemble, conducted by director Brian Messier, will perform a diverse program with repertoire spanning from Hanover to Japan to the border town of Roma, Texas.
The Korean TV mini-series “Squid Game” seemed to appear out of nowhere, quickly receiving worldwide attention and inciting vast media discourse. Featured on Netflix, “Squid Game” tells the story of a cruel competition for immense wealth — won by playing children’s games with a deadly twist. The show is told through the perspective of player 456, Seong Gi-hun (Lee Jung-jae). Created by South Korean director Hwang Dong-hyuk, “Squid Game” tactfully explores class issues and its viewers’ role in them through superb acting and character development that evokes strong emotional responses.
This upcoming weekend, the theater department’s Fall Staged Reading Series — the department’s MainStage production this term — will bring three staged readings to the Hopkins Center for the Arts’ Warner Bentley Theater. The series, which will feature Dartmouth student performers, diverges from typical theater productions in relying on minimal set and actor movement.
Since the release of her sophomore album, “Melodrama,” four years ago, Lorde has been off the grid, retreating to the New Zealand countryside and even as far as Antarctica. This time in solace is reflected clearly, both lyrically and sonically, in her third studio album, “Solar Power.” Lorde has created a poetic and astonishing album with a beautiful –– though occasionally repetitive –– folk-pop sound.
I needed an experience to lift my mood after the stress of midterms, so my partner and I headed to White River Junction again this weekend. Since we had such a pleasant time at Tuckerbox, we thought we’d see what else the town has to offer. After walking around the narrow, one-way streets, packed with parallel-parked cars on either side, we decided to check out a curious cafe on the corner of North Main Street: Juel Modern Apothecary.
On Oct. 20, the Hood Museum of Art hosted recent graduate and former Conroy Intern, Maeve McBride ’20 for the latest installation of the museum’s “Virtual Space for Dialogue” series. During the talk, McBride discussed her curated collection, “Images of Disability,” which examines how artists with and without disabilities have approached the subject. Featuring pieces from as far back as 1790, the aim of McBride’s collection is to promote conversations about agency, labeling and representation, according to the event’s promotional materials.
The third annual Indigenous Peoples’ Month Fashion Show will return to the Russo Atrium of the Hood on Oct. 21 at 8 p.m. The show aims to celebrate Indigenous fashion by highlighting its characteristic artistry, design and innovation.
On October 15 and 16, first-year students participated in the First-Year Project, a two-part performance at the Bentley Theater put on by members of the Class of 2025. The production, directed by theater professor Peter Hackett, aimed to offer first-year students an opportunity to introduce themselves to the Dartmouth theater department and to the larger community.
“Shang-Chi and the Legend of the Ten Rings” introduces Shang-Chi (Simu Liu), the titular character, as the newest superhero in the Marvel Cinematic Universe. Released in theaters on Sept. 3, Shang-Chi is the first Marvel movie to feature a predominantly Asian cast, have characters with Chinese names and incorporate Mandarin dialogue. The movie weaves classic Marvel action scenes with themes of love and family to create a film that is simultaneously fun and exciting but has the depth of a well-written story.
On Oct. 13, clay and textile artist Anita Fields participated in a live conversation hosted by the Hood Museum of Art curator of Indigenous art Jami Powell. The conversation focused on Fields’ practice as well as her work, “So Many Ways to Be Human,” which is part of the exhibit “Form and Relation: Contemporary Native Ceramics” that runs from January 2021 to July 2022. Six Indigenous artists are included in this exhibit, which focuses on themes such as community, land, gender and responsibility. Dartmouth ceramics studio director and instructor Jennifer Swanson facilitated the talk.
Since the release of her critically acclaimed second studio album, “Punisher,” in June 2020, Phoebe Bridgers has had a busy year. From her four Grammy nominations to her controversial Saturday Night Live performance, Bridgers has generated more commercial success than your average quiet, melancholic indie folk singer-songwriter. To top it all off, Bridgers is ending 2021 by going on her first tour since the beginning of the pandemic. On Sept. 27, I had the privilege of attending the second night of her performance at Boston’s Leader Bank Pavilion. While her low-key musical style may not seem particularly well-suited for a venue that seats a few thousand, she gave a generally fantastic performance that captivated the audience.
The Black Underground Theatre Association returns to campus for the first time following the pandemic with the “Poetic Healing Showcase,” a student-run production that according to the organization’s website will highlight Black poetry, prose and creativity. Featuring student and alumni artists, audience members will witness a collection of singers, poets and dancers with no admission fee required.
As of this past Sunday, Lindsey Buckingham is seventy-two years old; however, audience members at any of his recent concerts would agree that he seems to be doing better than ever. On Sept. 3, Buckingham took a moment to address the audience, including me, gathered in Prior Lake, Minnesota for the second concert of his 2021 tour. Buckingham had not provided commentary between songs for most of the concert, allowing his chosen tunes to speak for themselves. Yet, he paused to preface one of the last songs of the set, “Time,” a cover of Michael Merchant’s mournful ballad, by recalling that the song was the first he recorded for his new album, “Lindsey Buckingham,” nearly three years ago. Buckingham stated that the song has “taken on a more visceral meaning” after the “twists and turns” that delayed the album’s release.