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Christian McBride — a jazz musician who has performed bass for the past 30 years — will bring his newest ensemble, Ursa Major, to the Hanover Inn on April 16 at 7:30 p.m. The sold-out performance is part of the Hopkins Center for the Arts’ 2024-25 season.
On March 28, the Hood Museum of Art debuted its new exhibit on Claude Monet, entitled “Monet: Reimaging the French Landscape.” Hood Museum curator of European Art Elizabeth Rice Mattison curated the exhibit, which explores Monet’s influence on impressionism. The exhibition inspires viewers to consider Monet’s impact on the art world through developing the style of impressionism.
From April 10-12, the HanUnder Art Festival will turn Hanover into a celebration of student creativity.
During the summer of his sophomore year, Kabir Mehra ’26 decided to reach out to some of his friends to “jam out” some of the songs he had been workshopping on his guitar. By week three of summer term, the group had fleshed out a repertoire of songs and formed a band: Day Drooler. This band is more “just a group of friends,” Mehra said. Christian Smith ’27 and Nathan McAllister ’25, who play lead guitar and saxophone respectively, had done gigs with Mehra the spring before Day Drooler’s formation. Grant Foley ’25, who plays the drums, and Ian Glick ’26, who plays bass, both became friends with Mehra through the Dartmouth music scene.
Although Dan Erickson’s “Severance” is rife with cynicism and corporate humor, it differs drastically from a workplace satire. “Severance” is ultimately a work of science fiction. The show grants insight into the depths of human psychology and emotion.
“L’Absinthe” by Edgar Degas. “Tired” by Ramón Casas. “The Wedding Dress” by Frederick Elwell. These are the portrayals of women experiencing extreme despair that inspired Michelle Zauner in the production of Japanese Breakfast’s new album, “For Melancholy Brunettes (& sad women),” which was released on March 21.
“This is bliss / This is Hell / Forever is a feeling / And I know it well,” sings singer-songwriter Lucy Dacus in the titular track of her fourth solo album, “Forever is a Feeling.” These lines depict the central juxtaposition of the record which grapples with the ephemerality of love. Dacus knows “forever” is impossible, but she wants it all the same.
At Dartmouth — where Greek life and student-run events dominate the campus social scene — one name has risen to prominence behind the DJ booth. Known for her ability to read a crowd and deliver high-energy sets, DJ TFam has built a reputation as a female DJ.
On March 4, journalist and filmmaker Mona El-Naggar discussed her career in documentary filmmaking — from covering conflicts in the Middle East to the role she sees for herself as a storyteller in the media landscape. The event was co-sponsored by the Middle East Initiative — a collaboration between the Dickey Center for International Understanding, the Middle Eastern studies program and Jewish studies program — along with Dartmouth Dialogues, while Middle Eastern studies professor Jonathon Smolin served as moderator.
This spring, Ephemera, a new art history journal, is set to release its first issue on campus. The journal will feature theoretical and historical essays, artist spotlights, exhibition overviews, student work and more, according to founder Chandini Peddanna ’25.
On Wednesday, Feb. 12, there were more people than chairs in the Wheelock House, the Christian Living Learning Community and former home of Eleazar Wheelock. Spencer Reece, a visiting poet and Episcopalian priest, stood at the front of the room like it was a Sunday service. He led the group in “Shalom,” a call-and-response prayer begetting peace. As I repeated the Hebrew benediction, moving from whispers to shouts, I felt aware of how rarely an opportunity arises to join a group of strangers and sing without shame.
On Feb. 19, the Hood Museum of Art hosted 26 community members for a special guided tour of two of its current exhibitions: “Attitude of Coexistence: Non-Humans in East Asian Art” and “Beyond the Bouquet: Arranging Flowers in American Art.”
In the spirit of the saying “if it ain’t broke, don’t fix it,” the “White Lotus” season premiere — “Same Spirits, New Forms” — delivers exactly what its title promises. For those unfamiliar, the “spirit” of the White Lotus television series centers around a luxury resort enterprise functioning as a cultural refuge for the hyper-rich. Far from broke, the Emmy award-winning first and second seasons of “White Lotus” cemented themselves in the zeitgeist as a satirical exploration of America’s ever-expanding wealth gap. Each season thus far has transformed the serene utopia of a Four Seasons property into a crime scene where everything that can go wrong, does, and where somebody innocent is sure to end up dead.
Across campus, you might notice students trekking through the snow with heavy camera equipment or hunkering down to edit footage in the Black Family Visual Arts Center. To conclude their majors, seniors studying film and media studies must complete “a project related to their experience” in the department, according to the department website. Students can pursue a variety of options for their “culminating experience,” including animations, critiques, research, screenplays and short films.
In the last week of January, 11 Dartmouth students and one recent graduate traveled to Park City, Utah, to volunteer at the Sundance film festival, the largest independent film festival in the United States.
If controversy begets conversation, then on Sunday, the Caesars Superdome in New Orleans, La. hosted a performance primed for discussion. The Super Bowl halftime show is meant to appeal to the masses, which is why, for many viewers, Kendrick Lamar’s performance fell short — its dense, politically-charged messaging went against the mainstream audience’s expectations. However, I think the 13-minute set undoubtedly stood as a testament to a storyteller’s showmanship.
Few films engage with architecture like “The Brutalist” does. In the film, director Brady Corbet does not relegate architecture to the background but instead explores it through the experience of a Holocaust refugee.
On Jan. 31, the Hood Museum of Art welcomed two world-renowned modern art curators, Sam Bardaouil and Till Fellrath, to Hanover to deliver the 2025 Walter Picard Lecture. The annual talk is part of the Harris German/Dartmouth Distinguished Visiting Professorship Program, an initiative created in 1987 to bring German academics to the College.
On Feb. 6, University of California, Los Angeles, professor Kency Cornejo delivered the Manton Foundation Annual Orozco Lecture in the Hood Museum of Art. Cornejo discussed her July 2024 book, “Visual Disobedience: Art and Decoloniality in Central America” — a text which explores artistic strategies for “Indigenous, feminist and anti-carceral resistance in the wake of torture, disappearance, killings and U.S.-funded civil wars in Central America,” according to its blurb.
This article is featured in the 2025 Winter Carnival Special Issue.