Arts & Culture

White ‘93, Greenidge ‘04 Win Whiting Awards for Writing

Kaitlyn Greenidge ’04 (Photo by Syreeta McFadden)

Kaitlyn Greenidge ’04 (Photo by Syreeta McFadden)

This month, two Wesleyan alumnae writers, Kaitlyn Greenidge ’04 and Simone White ’93 received the prestigious Whiting Award. Given annually to only 10 emerging writers in fiction, nonfiction, drama and poetry, the award provides recipients with a $50,000 grant and is the largest of its kind. Previous winners have gone on to receive the Pulitzer Prize, the National Book Award, and MacArthur and Guggenheim Fellowships. Some Whiting Award winners include Jeffery Eugenides, Colson Whitehead, Tracy Smith and David Foster Wallace.

Greenidge’s 2016 novel We Love You, Charlie Freeman is her most recent work and was published by Algonquin Books. The unconventional story chronicles a family of color fluent in sign language that travel to western Massachusetts to participate in a research experiment. There, they live with a Chimpanzee named Charlie and attempt to teach it sign language.

The Whiting Award committee wrote that Greenridge “is at work on a broader underlying story: our inability to find a common language for a discussion of race in America. The sense you get is that she’s nowhere near her full powers yet, and the prospect is thrilling.”

Simone White ‘93 (Photo by Pat Cassidy Mollach)

Simone White ‘93 (Photo by Pat Cassidy Mollach)

White, program director at The Poetry Project and visiting assistant professor of literary studies at The New School, Eugene Lang College, has published several collections of poetry. Her most recent collection, Of Being Dispersed, was printed in 2016 by Futurepoem Books.

The Whiting Award selection committee praises White for “[deconstructing] our ideas of Americanness and the failure of language to be the transparent scrim we sometimes mistake it to be.” Dear Angel of Death, a book of criticism and poems also by White is forthcoming with Ugly Duckling Press.

Playwright Emily Mann in Conversation with Quiara Alegría Hudes

Emily Mann

Director and playwright Emily Mann will give a talk at Wesleyan on March 28.

Director and playwright Emily Mann will give a talk at Wesleyan on March 28 as part of the Performing Arts Series of the Center for the Arts. Mann will be in conversation with Wesleyan’s Shapiro Distinguished Professor of Writing and Theater Quiara Alegría Hudes.

“Emily Mann is a revered theatrical auteur,” said Hudes, a Pulitzer Prize-winning playwright who teaches playwriting to beginning and advanced writers at Wesleyan. “An accomplished playwright, director, and artistic director of a leading regional theater, Mann is known for her probing inquiry into our nation’s most urgent issues. Her art has time and again advanced the national conversation.”

Hudes believes those in attendance will benefit from hearing Mann’s views on the arts. Hudes explained, “The audience can expect to hear from a pioneer and trailblazer about what it means to have a vision, how to build and sustain an artistic vision over decades, and how word meets flesh at the intersection of the script and stage.”

“I am honored to be joining Quiara Alegría Hudes at Wesleyan for what will no doubt be an exciting day, both in our class workshop and our public conversation in the evening,” said Mann. “I am very much looking forward to an engaging talk with Quiara, discussing a wide range of topics including the state of the American theater, the American playwright, and opening doors to a whole new generation of voices.”

Known for her politically edgy and documentary style, Mann is currently in her 27th season as artistic director and resident playwright of the Tony Award-winning McCarter Theatre Center in Princeton, N.J. In 2015, she received both the  Helen Merrill Distinguished Playwrights’ Award, and the Margo Jones Award, given to a “citizen of the theater who has demonstrated a lifetime commitment to the encouragement of the living theater everywhere.”

A Conversation with Emily Mann will take place in Memorial Chapel at 7 p.m., Tuesday, March 28 and is free and open to the public.

Wesleyan Joins the Northeast Small College Art Museum Association in Statement in Support of Major Arts Agencies

With the proposed elimination of the National Endowment for the Humanities (NEH), the National Endowment for the Arts (NEA), and the Institute of Museum and Library Services (IMLS), one representative of the arts community at Wesleyan has petitioned against these cuts alongside the Northeast Small College Art Museum Association (NESCAMA).

Clare Rogan, curator of the Davison Art Center at Wesleyan University, joined the initiative on behalf of Wesleyan.

In 2014, the Davison Art Center was the recipient of a three-year IMLS grant in the amount of $111,000 to further the digital imaging of works on paper in the art center’s permanent collection.

Rogan explained, “The Institute of Museum and Library Services has been transformative in the ways people can study the Davison Art Center’s internationally renowned collection. The ability for anyone on campus, or even on the other side of the world, to download high quality images and study these rare works of art is something that can’t be accomplished without this kind of funding.”

The statement, signed by 18 institutions affiliated with NESCAMA, explains how college art museums rely on funding from these sources.

With small operational budgets, college and university art museums are particularly reliant on funding from the NEH, NEA, and IMLS. This funding preserves artistic, ethnographic, scientific, and historic collections, and creates access to cultural heritage unique to our respective diverse communities. This funding not only supports essential infrastructure, it enables us to pursue transformative programs that provide employment for emerging and young professionals. This funding ensures that our collections are interpreted, understood, and valued.

The statement encourages members of Congress “to recognize that the resilience of the NEH, NEA, and IMLS, despite opposition over the years, is a testament to their enduring value.”

CFA Performing Arts Series Concert to Feature Italian Baroque Chamber Music

Photo by Andy Kahl

Tempesta di Mare will perform on March 31, concluding the 2016-2017 season of the Center for the Arts’ Performing Arts Series. (Photo by Andy Kahl)

Members of the Philadelphia-based ensemble Tempesta di Mare will perform baroque chamber music from Venice and Naples on period instruments for the Connecticut premiere of A Tale of Two Italian Cities in Crowell Concert Hall at 8 p.m., Friday, March 31.

This performance by Tempesta di Mare is part of the Performing Arts Series at the Center for the Arts, and the conclusion of the 2016-2017 season.

“These performances feature a wide array of world-class musicians, cutting-edge choreography, and groundbreaking theater,” explained Sarah Curran, director of the Center for the Arts. “We’re excited to include a baroque chamber orchestra this year and we think the audience will love experiencing the sounds and culture of Italy.”

The audience can expect to hear music that reflects the two cities’ different cultures, explained Richard Stone, co-director of Tempesta di Mare. “Venice was Italy’s party town, while Naples was where you’d go to university or, if you were a musician, to conservatory,” said Stone. “Neapolitan music grabs its listeners with a heady intensity, while the Venetian music catches you with technical brilliance. That’s the generalization though. Naples’ music could get pretty wild, and Venetian music can get pretty cerebral. They’re both great musical worlds to dive into.”

Celebrating their 15th anniversary season, the members of the ensemble performing at Wesleyan will play recorder, violin, cello, lute and harpsichord on trios, quartets and concerti written by Antonio Vivaldi, Alessandro Scarlatti, Dario Castello, Andrea Falconieri, Francesco Mancini and Giovanni Legrenzi.

Tickets can be purchased through the Wesleyan University Box Office. Tickets are $28 for the general public; $26 for senior citizens, Wesleyan faculty/staff/alumni, and non-Wesleyan students; and $6 for Wesleyan students and youth under 18.

Dance Department’s Krishnan ‘Slaughters’ Stereotypes

(photo c/o Michael Slobodian)

Hari Krishna (Photo by Michael Slobodian)

In the March 21 issue, the Toronto Star profiles Associate Professor of Dance Hari Krishnan in connection with his latest full-length work, “Holy Cow(s)!”

Krishnan discusses the ways in which he often endures “ridiculous if non-malevolent cultural prejudices,” such as assumptions that he practices yoga or doesn’t eat beef due to his Indian heritage.

Krishnan would prefer people to look beyond the stereotypes, beyond what he calls such false binaries as East/West, white/coloured, masculine/feminine, tradition/modernity.

Says Krishnan: “I’m brown. I’m a beef-eating Hindu from Singapore and I’m proudly gay. I’m not a tourism poster.”

Krishnan, an award-winning dancer/choreographer, is founder of the performing company inDANCE. The writer describes his style: “Krishnan’s dances, whether full-on Bharatanatyam — he’s won a coveted Bessie award in New York for his own performance of this Indian classical form — or a contemporary hybrid of styles is consistently exuberant, physically dynamic and often more than a little bit naughty.”

Of the latest performance, he writes:

Holy Cow(s)!, with a cast of two women and five men, is unusual in that while most of the choreography is Krishnan’s it also includes three solos, each made for him by an outside choreographer and expressing very different movement esthetics. The original intent was for Krishnan to perform these himself but a knee injury put paid to that. With the concurrence of American choreographers Sean Curry and David Brick and Vancouver’s Jay Hirabayashi, Krishnan has now distributed these among three of the cast’s men.

Watching a studio run-through of Holy Cow(s)!, it is clear Krishnan relishes the opportunity to explode any number of assumptions audiences might make about a choreographer of South Asian descent. The movement vocabulary at times references, even parodies, classical Indian dance but it also embraces a whole range of cultural forms. It pokes fun at the stereotypes of beguiling female and chest-thumping machismo. It is sensual to the point of overt eroticism. Krishnan even manages to work in some thinly veiled political criticism, alerting us to the dangerous bigotry that the current climate has unlocked.

Says Krishnan: “My mission is to slaughter every one of these holy cows.”

Hecht ’04 Finds the Irresistible Music for Commercial Clients

Jonathan Hecht ’04, whose company, Venn Art, finds the perfect music for commercial clients, was photographed at the premiere of a snowboarding documentary he worked on for Red Bull, The Art of Flight.

Jonathan Hecht ’04, whose company, Venn Arts, finds the perfect music for commercial clients, was photographed at the premiere of a snowboarding documentary, The Fourth Phase, which he worked on for Red Bull.

“Wait, turn that up! What is that song?”

If you’ve ever watched a commercial that became more significant the second you heard a song you just had to hear again, chances are Jonathan Hecht ’04—founder of Venn Arts—was behind its discovery.

His interest in pairing music with picture was inspired by the Paul Thomas Anderson film Boogie Nights: “I realized how different some of the musical selections were, but how they all fit together to create a sound and musical character for the film.”

He began to wonder if he could create a career out of this observation—which became Venn Arts, the music supervision company specializing in curating and procuring licensed music for commercial projects. Hecht took the name from a Venn diagram, with its “intersection or coming together of two things to make something unique,” he said. For Hecht, one of those “things” is always music: “There are so many nuanced emotions that can be inflected when you find the right music.”

Now, collaborating with brands such as Under Armour, Free People, Mercedes, and most recently, supervising the music for Subaru’s phenomenally effective “Love” ad campaign, he is gaining attention: Forbes recently wrote about his work as a music supervisor to Subaru’s marketing and rapid sales growth. “I’ve been working with Subaru’s ad agency, Carmichael Lynch, since 2011 and have placed more than 30 songs into national TV ads for the brand,” he says.  The campaign was also highlighted as “Ad of the Day” on Adweek.

Otake, Johnston ‘Fukushima’ Project Culminating Events in NYC on March 11

remembering fukushima e-vite 3.6 copy

Eiko Otake stands on the top of a breakwater in a dark gray kimono. To her right, the ocean crashes into piles of concrete cubes–their shapes, stacked together, seem almost too clean, like abstractions of stone. She clutches a large but frayed scarlet cloth that catches the wind and encircles her, hovering just inches from her skin. Following the breakwater into the distance, a large cubic structure is visible along the water’s edge. It is the Fukushima Daini Nuclear Plant, 12 miles from the Fukushima Daiichi Nuclear Plant. She is standing at the midpoint between the infamous two, in the area where the tsunami wave reached 68 feet and the level of radiation remains very high.

Tableaux like this constitute A Body in Fukushima (2016), a series of photographs by Otake, visiting artist in dance and the College of East Asian Studies, and her collaborator William Johnston, professor of history, East Asian studies, science in society and environmental studies. The series shows her, a lone body in the landscape of Fukushima, Japan, in the aftermath of the 2011 Tōhoku earthquake and tsunami. This collaborative photo exhibition had been on Wesleyan’s campus from February through May 2015.

Currently in New York City as part of The Christa Project: Manifesting Diving Bodies, at the Cathedral Church of St. John the Divine, the exhibit will culminate in Remembering Fukushima: Art and Conversations at the Cathedral on March 11, the sixth anniversary of the earthquake, tsunami and nuclear meltdowns that followed.

Lonergan ’84 Wins Oscar for Manchester by the Sea

oscarnews_homepage2 copyKenneth Lonergan ’84 won the Oscar for Best Original Screenplay for Manchester by the Sea at last night’s Academy of Motion Picture Arts and Sciences awards ceremony, while Casey Affleck took home the Actor in a Leading Role award for his part in the film. Lonergan wrote and directed Manchester by the Sea, which also received nominations in the film, director (Lonergan), actress in a supporting role and actor in a supporting role categories. Jennifer Lame ’04 served as film editor for the production.

Other Wesleyan alumni receiving nominations this year included Lin-Manuel Miranda ’02, Hon. ’15., for Best Original Song for “How Far I’ll Go” from the Disney animated film Moanaand Jenno Topping ’89, who received a nomination as one of the producers of Best Film nominee Hidden Figures, the historical drama about a female team of African-American mathematicians who played a vital role in the early years of the U.S. space program.

In addition, Rick Nicita ’67 is an executive producer of Best Film nominee Hacksaw Ridge, the true story of World War II army medic Desmond T. Doss, who became the first man in American history to receive the Medal of Honor without firing a shot; David Laub, visiting professor in film studies at Wesleyan, is an acquisitions executive at A24, the distributor of Moonlightwhich took home the Oscar for Best Film; and Ines Farag ’11 was the archival researcher on O.J. Made in America which took home the Oscar for Best Documentary Feature.

Black History Month Events Celebrate Life, Culture, Experiences

The month of February marked the campus-wide celebration of Black History Month. Hosted by Ujamaa, Wesleyan’s Black Student Union, students took part in a plethora of events that celebrated black life, experiences and culture.

This year events centered around the theme, “Freedom is a Constant Struggle,” highlighting the many years of oppression people of color faced in the United States. Events included a celebration of Dr. Martin Luther King Jr., a student of color art show, a leadership conference, a Black History Month formal and much more.

Photos of Black History Month activities are below: (Photos by Gabi Hurlock ’20, Olivia Drake and Rebecca Goldfarb Terry ‘ 19)

On Feb. 23, students of color presented their visual work at the Be the Art showcase. The exhibit is housed in Zilkha Gallery

On Feb. 23, students of color presented their visual work at the Be the Art showcase. The exhibit is housed in Zilkha Gallery.

Tucker Comments on Victorian Pseudoscience, Romance

Jennifer Tucker

Jennifer Tucker

The pseudoscientific myths about love and sexuality that abounded in the Victorian era, many of which seem “cruel and oppressive” by today’s standards, could also offer women relief from the era’s “rigid gender politics,” according to Associate Professor of History Jennifer Tucker, who comments on the topic for a Broadly article.

For much of the 19th century, the Western world was fascinated with a variety of pseudosciences, or theories that lack a basis in the scientific method.

“Definitions of science were malleable and hotly contested in the 19th century,” said Tucker, who is also associate professor of science in society, associate professor of feminist, gender and sexuality studies, and associate professor of environmental studies. “Far from being on the sidelines of intellectual life, spiritualism and other unconventional forms of knowledge often provided a means for Victorians from a variety of different social backgrounds to question scientific authority and to ask what counted as a proper science, or as a ‘scientific practice.'”

“One of the great myths about the Victorian age [was] that it was sexually repressive; on the contrary, Victorian society was obsessed with sexual reform, heterosexual and homosexual love, lust, and sex (as well as of the policing of sexual desires),” added Tucker. “Love and sex were both controversial and politicized.”

Pseudoscientific theories included phrenology (which was used to explain the different propensities of men and women toward love and sexual desire); the use of love potions made of dangerous ingredients such as arsenic and belladonna; beauty face masks made of raw beef; cures for low libido such as bull testicles; and vibrators used to treat “hysteria” in sexually frustrated women.

According to the story, “Victorians were also surprisingly progressive on what would eventually evolve into more enlightened views on gender.

“Theosophists [occult philosophers] believed that life in male and female bodies taught different lessons; for some, this meant that it was necessary for the Ego to incarnate many times as both female and male,” Tucker explains. “Many theosophists believed, for example, that in their evolutionary progress men reincarnated as women, and women as men. Therefore at any given time, as one believer in this theory said in 1892: ‘We have… men in women’s bodies, and women in men’s bodies.'”