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While other courses at the College build students up, English 53.04 breaks them down — and in that way it acts as a catalyst for real change. The course “Telling Stories for Social Change,” taught by English professor Ivy Schweitzer and women’s, gender and sexuality studies professor Pati Hernández, pushes students out of a traditional method of learning by memorizing theory into understanding through experience.
In last week’s review of “The Snowman,” I encouraged readers to skip that dreadfully dull film and instead watch “Battle of the Sexes.” As it happens, I saw the two films over a week ago, and the contrast could not have been greater. When I walked out of “The Snowman,” my head was reeling with confusion. When I walked out of “Battle of the Sexes,” I felt buoyed, eager to return home and research the real-life story that had inspired the film. This is one of the year’s best films and the more I think about it, the fonder I grow — which is significant considering I was already fond of it when I walked out of the Nugget Theater.
The Dartmouth Symphony Orchestra, accompanied by acclaimed flutist Luciano Tristaino, will perform its annual fall concert at the Spaulding Auditorium in the Hopkins Center for the Arts on Saturday. With this performance, the ensemble intends to celebrate its upcoming collaboration with the Conservatory of Siena.
Since she was a toddler, Rachel Beck ’19 loved to dance.
In one of my favorite memoirs, “Negroland,” acclaimed critic and professor Margo Jefferson offers an account of her life as a Southern upper middle-class Black woman in the 50s and 60s, reflecting on the confounding nature of racial categorization as a process which has saturated the lives of Black Americans. Jefferson asks a weighty question to the masses: “What manner of man and woman are we?” It is a query that has remained in my head since I finished reading her memoir. With this question, Jefferson addressed the ways in which the otherness imposed on Black Americans necessitated conflict by defining our existence as inherently divergent from the norm of humanity. In Toni Morrison’s newest novel, “The Origin of Others,” this question is asked and expanded to challenge the habit of “othering” altogether — taking history, psychology and literature to task in a way that uncovers the vast offerings of Morrison’s mind.
This week, Che “Rhymefest” Smith will be conducting a student workshop on campus. Smith is a Grammy-winning hip-hop artist from Chicago. He has collaborated with and written for several artists, most notably Kanye West on his song “Jesus Walks.” He is also a philanthropist, activist and politician dedicated to opening up conversations about race and youth in America.
Tonight the Hopkins Center for the Arts will show “Dawson City: Frozen Time,” a documentary about a Canadian town in the Yukon region that became a hotspot during the Klondike Gold Rush. Additionally, Dawson City rose to fame within the film industry in 1978 when old prints and reels were discovered. Directed by Bill Morrison, “Dawson City: Frozen Time” delves into the rich history of this forgotten town.
To deem Jaclyn Pageau ’18 an involved Dartmouth artist would be to understate the depth and breadth of her pursuits in theater and music. Pageau is a soprano in the Sing Dynasty a cappella group, a dedicated tour guide for prospective students and works as a head usher at events in the Hopkins Center for the Arts. As a student, she spent an exchange term at the National Theater Institute, worked in the Upper Valley and New York City’s professional theater scenes as part of the theater department’s “experiential term,” and traveled to London as one of 10 students in the theater department’s Foreign Study Program in order to take classes in general and Shakespearean acting techniques at the London Academy of Music and Dramatic Art.
Dartmouth’s Christian a cappella group X.ado celebrated its 25th anniversary during Homecoming, welcoming alumni of the group in a performance at Rollins Chapel on Saturday night. Following the performance, the group and audience members enjoyed an evening of unstructured worship, an event demonstrative of X.ado’s group personality and mission. Founded in 1992, X.ado differentiates itself from other campus performance groups both in its philosophy and its approach to rehearsing and performing. While a love of music unites the group members, music isn’t the only thing that draws them together; the members’ faith and strong sense of purpose unites X.ado under a common identity.
I watched “Detroit” over a week ago, and I’m still not quite sure what to say. It is, without a doubt, the hardest film I’ve ever had to review. In retrospect, this is not a shock — director Kathryn Bigelow has shown a steadfast willingness to tackle controversial topics in her previous two films, “The Hurt Locker” and “Zero Dark Thirty.” Similarly, “Detroit” is based on the Algiers Motel Incident, although the film acknowledges that Mark Boal’s tense screenplay takes certain factual liberties due to conflicting or incomplete testimonies about what actually occurred in the 1967 incident of police brutality against three black teenagers. Thus, the plot details described in this review will be based purely on the events as the film describes them; if you want to know more about the real-life incident, I highly recommend looking it up.
Comprised of 11 performers from Portland, Oregon, jazz group Pink Martini, which was founded in 1994, artfully merges music from around the world, infusing it with its own unparalleled style. This worldly appeal is partially a result of Pink Martini’s commitment to embody what bandleader and pianist Thomas Lauderdale described as the house band the United Nations would have had in 1962.
Talking about food is challenging because it is never just about food. Food is inextricably tied to one’s being. To all, food is indicative of identity, a myriad of intersections. So much so that there is even an academic term for it: “foodways,” defined by the Oxford English Dictionary as “the traditional customs or habits of a group of people concerning food and eating.”
The first exhibition of its kind for the Hood Museum of Art, “Resonant Spaces: Sound Art at Dartmouth” introduces sound art from around the world to Hanover and the College.. Running from September to December, the exhibition is comprised of presentations and showcases that invite listening and learning. The exhibition centers on the commissions of artists Bill Fontana, Christine Sun Kim, Jacob Kirkegaard, Alvin Lucier, Laura Maes, Jess Rowland and Julianne Swartz. The hope of the exhibit is to invite people to redefine what art can be and how sound makes up our lives.
In Sarner Underground every Monday evening, a diverse group — ranging from nervous ’21s to members of the local community — gather together to learn and practice the beautiful art of Argentine tango.
On Wednesday, Sept. 20, Northern Stage premiered its production of “A Doll’s House.” Written by Henrik Ibsen in 1879, the play follows the unraveling of a seemingly perfect marriage and is considered by many a staple piece of feminist literature despite its author’s stated ambivalance to the cause. Robert Kropf wrote this version of the play, with Eric Bunge directing.
In my review of “Arrival,” I wished director Denis Villeneuve luck for his next endeavor, a sequel to my favorite film of all time: Ridley Scott’s “Blade Runner.” To be clear from the outset, the original “Blade Runner” is far from perfect. It is a flawed masterpiece, as influential as it is imperfect. And that’s probably why I love it. It is a slow, poetic and evocative film that never asked for or needed a sequel. But here we are 35 years later and “Blade Runner 2049” actually exists. Is it as good as the first film? Of course not, but I didn’t really expect it to be. Is it, at least, a worthy successor? By and large, I think so.
This article was featured in the 2017 Homecoming Issue.
Dartmouth’s isolated location and idyllic campus can often feel like a haven from pressing social issues, lulling students and faculty into complacency. Painter, photographer and poet Cecilia Torres ’18 confronts issues of racism and representation in an effort to reach beyond this veil of comfort, using her brush, pencil, camera and words as weapons in the battle to make minorities’ voices heard on campus.
The Emerson String Quartet returned to the Hopkins Center for the Arts Sept. 30, bringing to Dartmouth adaptations of music from 18th century Beethoven to emergent 21st century composers. Renowned for their insight and innovative sound, the Emersons hoped to transport audiences to musical realms unlike even past performances at this venue.
In many ways, “Dunkirk” is the film Christopher Nolan was meant to make. This is not to say that it’s his best film, though it is certainly among the best. While watching the film, one senses that it is the payoff for all his efforts to simultaneously become commercially successful and critically beloved over the last 20 years. After watching “Inception,” which is undoubtedly the most Nolan-esque of all the Nolan films, I feared that the director had reached his pinnacle. His unique and thrilling combination of labyrinthine narratives, philosophical themes and nuanced characters seemed to have been pushed to its limit. After reaching the top of Mt. Everest, there simply was no other peak to summit. His next two features reflected this fact; “The Dark Knight Rises” and “Interstellar” are both decent films that fall short of greatness because they are so overstuffed. Nolan’s ambition, previously his greatest asset, was slowly becoming his primary weakness. Until “Dunkirk.”