Tag Archive for Hari Krishnan

5 Faculty Conferred Tenure, 4 Promoted

monogramWesleyan’s Board of Trustees recently announced the promotions of nine faculty members, effective July 1, 2020.

Five faculty were conferred tenure with promotion. They join six other faculty members who were awarded tenure earlier this spring.

  • Joslyn Barnhart Trager, associate professor of government
  • Anthony Keats, associate professor of economics
  • Andrew Quintman, associate professor of religion
  • Michael Slowik ’03, associate professor of film studies
  • Takeshi Watanabe, associate professor of East Asian studies

In addition, four faculty members are being promoted. They join one other faculty member who was promoted earlier this spring.

  • Erika Franklin Fowler, professor of government
  • Barbara Juhasz, professor of psychology
  • Hari Krishnan, professor of dance
  • Phillip Resor, professor of earth and environmental sciences

Brief descriptions of their areas of research and teaching appear below:

Joslyn Barnhart Trager is a political scientist whose research focuses on international security and the effects of psychology and biology on international conflict. Her work examines the ways collective emotions shape national identity, how gender and suffrage interact to affect war and peace, and how rhetorical justifications for territory relate to the use of force. In her recent book, The Consequences of Humiliation: Anger and Status in World Politics (Cornell University Press, 2020), she argues that when international events trigger a sense of humiliation among people who identify with a country, those people become more likely to behave aggressively to restore the country’s image. She offers courses on Psychology and International Relations, Introduction to International Politics, and The Nuclear Age in World Politics, and she received Wesleyan’s Carol Baker Memorial Prize for excellence in teaching and research in 2019.

Erika Franklin Fowler’s research focuses on American politics, with a specialty in political communication—examining the ways political information is disseminated and the effects of such dissemination on political attitudes, knowledge, and behavior. Her Wesleyan Media Project, which provides information on spending and the content of political advertising, has received over $2.7 million in external grant funding. She has co-authored a book, Political Advertising in the United States (Westview Press, 2016), along with numerous peer-reviewed articles and invited publications. She received the APSA Political Organization and Parties Section’s Jack Walker Award for the best article in 2017, and Wesleyan’s Binswanger Prize for Excellence in Teaching in 2019. She teaches courses on American Government and Politics, Media and Politics, and Empirical Methods.

Barbara Juhasz is a cognitive psychologist who studies reading and word recognition in adults. Through her Wesleyan Eye Movement and Reading Laboratory she investigates how words and their meanings are represented in memory and processed during reading as revealed by eye movements. Her work seeks to answer questions such as what variables can predict how, and how quickly, a word is processed. She has published extensively in many peer-reviewed journals, including Journal of Experimental Psychology: Learning, Memory and Cognition; Memory and Cognition; and Behavior Research Methods, and her publications have received over 3,000 citations to date. She offers courses on Sensation and Perception, Psychology of Reading, Experimental Investigations into Reading, and Statistics: An Activity-Based Approach.

Anthony Keats’s research in development economics uses a variety of approaches, including randomized control trials conducted in the field and quasi-experimental methods using household survey data, to answer causal questions related to education, early child health, financial access and savings, and occupational choices in developing countries. His highly-cited work has been published in the Journal of Development Economics and the Economic Journal. He has received over $3.3 million in grants from the Bill and Melinda Gates Foundation, the World Bank Strategic Impact Evaluation Fund, Omidyar Network, and other funding organizations. He teaches courses on Quantitative Methods in Economics, Econometrics, and Development Economics.

Hari Krishnan is a dance artist and scholar, specializing in bharatanatyam, queer/contemporary dance, and the interface between dance history and film studies. Bridging theory and practice, he interrogates the boundaries between modern and traditional dance forms, engaging critically with questions of gender, sexuality, and race. His choreographies have been featured at esteemed venues including Jacob’s Pillow, La MaMa’s, Asia Society, Canada Dance Festival, HarbourFront Centre (Canada), Maison des Cultures du Monde (France), The Other Festival, and the Music Academy Dance Festival (India). He is a Bessie award nominee in the Outstanding Performance category, and his recent monograph, Celluloid Classicism: Early Tamil Cinema and the Making of Modern Bharatanatyam, was published by Wesleyan University Press. His courses include Bharatanatyam; Contemporary Dance from Global Perspectives; Mobilizing Dance and Cinema; and Queering the Dancing Body.

Andrew Quintman is a scholar of premodern Buddhist traditions in Tibet and the Himalayas. He has special expertise in biographical and autobiographical literature, in particular the analysis of Buddhist hagiography and historiography, religious poetry, and representations of sainthood. His monograph, The Yogin and the Madman: Reading the Biographical Corpus of Tibet’s Great Saint Milarepa (Columbia University Press, 2014), presents a systematic analysis of the entire Himalayan literary tradition about Milarepa, including all 128 biographies written about the 11th-century Tibetan saint. His book received numerous awards, including the American Academy of Religion’s Award for Excellence in the Study of Religion and Yale University’s Samuel and Ronnie Heyman Prize for Outstanding Scholarship. He offers courses on Buddhist Traditions of Mind and Meditation, Tibetan Buddhism, and Who is the Dalai Lama?

Phillip Resor is a structural geologist who studies rock deformation with an emphasis on fault zones. His research, which combines field work and modeling, has important applications in planetary science, energy resources, and present-day hazard assessment related to earthquakes. He has received grants from the National Science Foundation Tectonics Program, NASA’s Planetary Geology and Geophysics Program, and the Southern California Earthquake Center. He has published widely, and in 2019 he received Top Author recognition from NAGT Teach the Earth. In 2016 he received the Joe Webb Peoples Award in recognition of his contributions to promoting the understanding of Connecticut geology. He offers courses on Dynamic Earth, Structural Geology, Field Geology, Modeling the Earth and Environment, and Geologic Field Mapping.

Michael Slowik’s research focuses on the history of film and film aesthetics, with a special emphasis on the uses and evolution of sound and music in cinema. His book, After the Silents: Hollywood Film Music in the Early Sound Era, 1926-1934 (Columbia University Press, 2014), which provides a detailed analysis of the evolution of film music from the start of synchronized sound through 1934, was a top 10 finalist for the 2015 Kraszna-Krausz Foundation Moving Image Book Award. His latest manuscript, Defining Cinema: The Films of Rouben Mamoulian, is under contract with Oxford University Press. He teaches courses on Film Genres: The Western; History of Film Sound; Sex and Violence: American Filmmaking Under Censorship; and Cinema Stylists: Sternberg, Ophuls, Sirk, Fellini. Slowick is a 2003 alumnus of Wesleyan.

Takeshi Watanabe is a scholar of premodern Japanese literature. In his recent book, Flowering Tales: Women Exorcising History in Heian Japan (Harvard Asia Center, 2020), he examines the historical tale A Tale of Flowering Fortunes (c. 1000), and demonstrates how the rise of writing in the vernacular allowed a new type of historical writing that captured court gossip and channeled its divisive energy into stories that brought healing. He has published broadly in both English and Japanese, and his scholarship covers art history, material culture, and the history of food. He teaches courses on Japanese literature and culture and East Asian culture, including From Tea to Connecticut Rolls: Japanese Culture through Food; Samurai: Imagining, Performing Japanese Identity; and In Search of a Good Life in Premodern Japan.

Krishnan Speaks on South Indian Cultural Forms at Wesleyan RJ Julia Bookstore

On Dec. 3, Hari Krishnan, associate professor of dance, presented a talk about his new book, Celluloid Classicism: Early Tamil Cinema and the Making of Modern Bharatanatyam, at the Wesleyan RJ Julia Bookstore. 

On Dec. 3, Hari Krishnan, associate professor of dance, presented a talk about his new book, Celluloid Classicism: Early Tamil Cinema and the Making of Modern Bharatanatyam, at the Wesleyan RJ Julia Bookstore.

Celluloid Classicism, published by Wesleyan University Press in August 2019, provides a detailed history of two important modern South Indian cultural forms: Tamil Cinema and Bharatanatyam dance. Krishnan addresses representations of dance in the cinema from an interdisciplinary, critical-historical perspective.

Celluloid Classicism, published by Wesleyan University Press in August 2019, provides a detailed history of two important modern South Indian cultural forms: Tamil cinema and Bharatanatyam dance. Speaking at the event, he observed that Wesleyan is “a primary site of the reinvention of the dance in the 20th century” with noted Bharatanatyam dancer T. Balasaraswati serving as the first artist in residence at Wesleyan University in the 1960s. Additionally, her brothers, T. Viswanathan and T. Ranganathan, taught in the Music Department for several decades. “So this art form is very much embedded into pedagogy into the DNA at Wesleyan,” he said, noting the responsibility he felt in continuing this tradition at Wesleyan, adding “I’m not interested in relegating Bharatanatyam as some kind of museum historical dance style. I’m interested in giving the form a kind of postmodern currency and how the form can live and breathe, mutate, transform in a variety of ways.”

Krishnan is an expert on queer subjectivities in South Asian and global dance performance, colonialism, post-colonialism and Indian dance, and the history of devadasi (courtesan) dance traditions in South India. He's also the artistic director of Toronto-based dance company inDANCE.

Reading from the introduction, he explained, “Much of this project is concerned with intersections—historical, aesthetic, political and social—between new cultural forms as they were circulated the early 20th century in South India.” Krishnan is an expert on queer subjectivities in South Asian and global dance performance, colonialism, post-colonialism and Indian dance, and the history of devadasi (courtesan) dance traditions in South India. He’s also the artistic director of Toronto-based dance company inDANCE. (Photos by Simon Duan ’23)

Krishnan Authors New Book on Tamil Cinema, Bharatanatyam Dance

Krishnan book Hari Krishnan, associate professor of dance, is the author of a new book, Celluloid Classicism: Early Tamil Cinema and the Making of Modern Bharatanatyam, published by Wesleyan University Press in August 2019.

According to the publisher:

Celluloid Classicism provides a rich and detailed history of two important modern South Indian cultural forms: Tamil Cinema and Bharatanatyam dance. It addresses representations of dance in the cinema from an interdisciplinary, critical-historical perspective. The intertwined and symbiotic histories of these forms have never received serious scholarly attention. For the most part, historians of South Indian cinema have noted the presence of song and dance sequences in films, but have not historicized them with reference to the simultaneous revival of dance culture among the middle-class in this region. In a parallel manner, historians of dance have excluded deliberations on the influence of cinema in the making of the “classical” forms of modern India. Although the book primarily focuses on the period between the late 1920s and 1950s, it also addresses the persistence of these mid-twentieth century cultural developments into the present. The book rethinks the history of Bharatanatyam in the 20th century from an interdisciplinary, transmedia standpoint and features 130 archival images.

Krishnan’s Company inDANCE Presents New England Premiere SKIN at Wesleyan

Hari Krishnan, associate professor of dance, celebrated the success of his New England premiere of SKIN during a Spring Faculty Dance Concert on April 26 at the Center for the Arts Theater.

Hari Krishnan, associate professor of dance, brought his Toronto-based company inDANCE to the Center for the Arts Theater for a Spring Faculty Dance Concert on April 26–27, with the New England premiere of SKIN. InDANCE is a progressive Canadian dance company whose work transcends boundaries of the familiar and culturally traditional. Offering, instead, surprising juxtapositions in styles, manner, and dress, inDANCE “subverts clichéd representations of ‘classical’ Indian dance, and speaks with an ‘obscenely loud,’ inimitable, and unorthodox global voice,” as noted in the program Krishnan prepared for the event.

SKIN, composed of five pieces, brought together on stage several members of Krishnan’s Toronto company and a select group of Krishnan’s current students: Mickey Kieu ’19, Amira Leila ’20, Gita Ganti ’21, Aditi Mahesh ’21, Luna Mac-Williams ’22, and Spenser Stroud ’22. Noteworthy also: first-year member of the inDANCE company, Eury German ’16, a dance and biology double major while at Wesleyan, was back on the CFA stage, as a dancer in “Holy Cow[s]!” the fifth piece of the evening. Professor Emeritus of Theater John Carr created the lighting design. A preshow performance, “Fantastic Beasts Meet on a Whimsical Beach…” included audience participation through phone texts.

Krishnan Debuts Choreography at UC Davis, Jacob’s Pillow

“16 Shades of Red,” a full-length choreography created by Hari Krishnan, associate professor of dance, premiered at the Mondavi Center at the University of California, Davis, on May 12 and 13. Krishnan is a member of inDANCE, one of Canada’s most progressive dance companies. “16 Shades of Red,” presented in two chapters, integrates original courtesan dance from South India, complex choreography, and live music.

Watch a video of his performance below:

YouTube Preview Image

At Wesleyan, Krishnan teaches Bharata Natyam, or South Indian classical dance.

“BN1 and BN3 students had performed material this semester at Wesleyan so incredibly well, and it was a crucial layer to building this new work,” Krishnan said. “I truly appreciate my job at Wesleyan where pedagogy and choreography are inextricably intertwined.”

In addition, Krishnan served as a Pillow Scholar-in-Residence June 20–24 at Jacob’s Pillow in Becket, Mass. On June 22, he debuted his solo choreography “Black Box 3,” which showcases virtuosic Bharatanatyam technique. The work features complex footwork, intricate gestures, architectural design, and a pulsating sound design of Indian, global percussion, and vocalized drum syllables.

 

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.”

Krishnan Named One of “10 Toronto Stage Artists to Watch”

(Photo by Michael Slobodian)

Hari Krishnan (Photo by Michael Slobodian)

Associate Professor of Dance Hari Krishnan has been named one of “10 Toronto Stage Artists to Watch This Winter” by NOW Toronto magazine, which highlights his upcoming spring production, “Holy Cow(s)!” exploring cultural appropriation. It will run March 23-25 at Harbourfront Centre Theatre.

The profile of Krishnan states: “A few years ago, Krishnan heated up the local dance scene with a sizzling, eyebrow-raising piece about queerness called SKIN. Now, just in time to melt winter’s last snow comes a white-hot mixed program sending up ideas about gender, sexuality and cultural taboos. The night of solos and ensemble pieces includes works by David Brick, Seán Curran and Jay Hirabayashi. But look for Krishnan’s signature style – which mixes contemporary with Indian Bharatanatyam – to get you to say that title out loud.”

7 Faculty Promoted, 1 Awarded Tenure

In its most recent meeting, the Board of Trustees conferred tenure on Hari Krishnan, associate professor of dance. He joins seven other faculty members who were awarded tenure earlier this spring.

In addition, seven faculty members were promoted to Full Professor: Mary Alice Haddad, professor of government; Scott Higgins, professor of film studies; Tsampikos Kottos, professor of physics; Edward Moran, professor of astronomy; Dana Royer, professor of earth and environmental sciences; Mary-Jane Rubenstein, professor of religion; and Gina Athena Ulysse, professor of anthropology.

Brief descriptions of their research and teaching appear below.

Associate Professor Krishnan teaches studio- and lecture-based dance courses on Mobilizing Dance: Cinema, the Body, and Culture in South Asia; Modern Dance 3; and Bharata Natyam.  His academic and choreographic interests include queering the dancing body, critical readings of Indian dance and the history of courtesan dance traditions in South India. He is a scholar and master of historical Bharatanatyam and also an internationally acclaimed choreographer of contemporary dance from global perspectives.

Professor Haddad teaches courses about comparative, East Asian, and environmental politics. She has authored two books, Building Democracy in Japan and Politics and Volunteering in Japan: A Global Perspective, and co-edited a third, NIMBY is Beautiful: Local Activism and Environmental Innovation in Germany and Beyond. She is currently working on a book about effective advocacy and East Asian environmental politics.

Professor Higgins teaches courses in film history, theory, and genre, and is a 2011 recipient of Wesleyan’s Binswanger Prize for Excellence in Teaching.  His research interests include moving-image aesthetics, feature and serial storytelling, and cinema’s technological history. He is author of Harnessing the Rainbow: Technicolor Aesthetics in the 1930s and Matinee Melodrama: Playing with Formula in the Sound Serial (forthcoming), and editor of Arnheim for Film and Media Studies.

Professor Kottos offers courses on Quantum Mechanics; Condensed Matter Physics; and Advanced Topics in Theoretical Physics. He has published more than 100 papers on the understanding of wave propagation in complex media, which have received more than 3,000 citations. His current research focuses on the development of non-Hermitian Optics. This year, the Air Force Office of Scientific Research has recognized his theoretical proposal on optical limiters as a high priority strategic goal of the agency.

Professor Moran teaches introductory courses such as Descriptive Astronomy and The Dark Side of the Universe, in addition to courses on observational and extragalactic astronomy.  His research focuses on extragalactic X-ray sources and the X-ray background, and his expertise in spectroscopic instrumentation combined with an insightful conceptual appreciation of galaxy formation have positioned him as a leader in observational black hole research.

Professor Royer offers courses on Environmental Studies; Geobiology; and Soils.  His research explores how plants can be used to reconstruct ancient environments, and the (paleo-) physiological underpinnings behind these plant-environment relationships.  His recent work on the relationship between atmospheric carbon dioxide levels and climate over geologic time has had significant impact on the field of paleoclimatology.

Professor Rubenstein teaches courses in philosophy of religion; pre- and postmodern theologies; and the intersections of religion, sex, gender, and science.  Her research interests include continental philosophy, theology, gender and sexuality studies, and the history and philosophy of cosmology.  She is the author of Strange Wonder: The Closure of Metaphysics and the Opening of Awe, and Worlds without End: The Many Lives of the Multiverse.

Professor Ulysse offers courses on Crafting Ethnography; Haiti: Between Anthropology and Journalism; Key Issues in Black Feminism; and Theory 2: Beyond Me, Me, Me: Reflexive Anthropology. Her research examines black diasporic conditions. Her recent work combines scholarship, performance, and exposition to ponder the fate of Haiti in the modern world and how it is narrated in different outlets and genres.  She is the author of Downtown Ladies: Informal Commercial Importers, A Haitian Anthropologist and Self-Making in Jamaica, and Why Haiti Needs New Narratives.

Krishnan Receives Choreomundus Scholars in Residence Award

Professor Hari Krishnan recently received a prestigious award and residency at  the University of Roehampton.

Professor Hari Krishnan recently received a prestigious award and residency at the University of Roehampton.
(photo c/o Stephen De Las Heras)

Hari Krishnan, assistant professor of dance, recently received the Choreomundus Scholars in Residence Award, which will support a three-week residence at the University of Roehampton in London, beginning May 18. During his residency, Krishnan will teach and mentor Choreomundus students who are working on their final project.

(photo c/o Michael Slobodian)

(photo c/o Michael Slobodian)

Krishnan expressed excitement over his award: “I am delighted and honored to be one of two recipients of the prestigious Erasmus Mundus grant for visiting scholars to the “Choreomundus International Masters in Dance Knowledge, Practice and Heritage” at the University of Roehampton’s Department of Dance in London.”

Dance Department Opens New Headquarters, Hosts Gala

Cheryl Cutler MA '71, founder of the Dance Department, served as department chair for 32 years. She spoke about the department's history and changes as part of the Dance Department's grand opening gala Feb. 28. (Photo by Olivia Drake)

Cheryl Cutler MA ’71, founder of the Dance Department, served as department chair for 32 years. She spoke about the department’s history and changes as part of the Dance Department’s grand opening gala Feb. 28. (Photo by Olivia Drake)

The Dance Department now has a studio/office space of its own, having opened new digs in a converted church at 160 Cross Street Feb. 28 with a grand opening gala. Artist-in-residence, African dancer/drummer Iddi Saaka gave the inaugural performance at an intimate reception attended by dance majors and some early alumni from the program (which first took shape in the late ’60s and early ’70s as an extension of the Theater Department).

The newly renovated Dance Department building — constructed in 1978, was once home to the AME Zion Church.

The newly renovated Dance Department building, constructed in 1978, was once home to the AME Zion Church.

“We finally have our own space, our own building, our own entity,” said Hari Krishnan, assistant professor of dance. “Statistically, more than 40 percent of students at Wesleyan have taken a dance class during their time at Wesleyan. This has been the case for over 10 years and the figure is consistent across all three divisions. Now we can build on that. We can make it an integral part of life at Wesleyan. This building reaffirms that for us.”

The newly renovated building — constructed in 1978, once home to the AME Zion Church, and most recently, an archeology laboratory — will yield many benefits for the Wes dance community. Until now, faculty and students have been sharing offices and spaces in tight quarters, based inside the Center for the Arts. The Theater Department has taken over the former space. Now each faculty and resident has an office to him or herself and there’s adequate space to increase enrollment and continue expanding and evolving the program. Scheduling independence will allow for more performances and less hassle in the planning stages, Krishnan said.

Krishnan Nominated for Dance Performance Award

Hari Krishnan

Hari Krishnan

Assistant Professor of Dance Hari Krishnan has been nominated for the Bessie Award for Outstanding Performer for his solo performance of “The Frog Princess,” which he performed as part of the La Mama Moves! Dance Festival in New York City in June and July.

Forty nominees for the 2012-13 Bessies, formally known as The New York Dance and Performance Awards, were announced at a press conference at the Gina Gibney Dance Center in New York on July 17. The 29th Annual Bessie Awards will be held on Oct. 7 at the Apollo Theater in New York.
Krishnan was one of 12 artists nominated for Outstanding Performer. See the full list here. Read a New York Times review of Krishnan’s performance, which he choreographed, here.

Krishnan Featured in 2 Dance Journals

Hari Krishnan (Photo by Miles Brokenshire)

Hari Krishnan (Photo by Miles Brokenshire)

Hari Krishnan, assistant professor of dance, was featured in two recent journals, The Dance Currant and Religion Compass.

The Dance Currant article, “The Singular Path of Hari Krishnan,” discusses Krishnan’s solo at “The Men Dancers: From the Horse’s Mouth,” a concert of original choreography for the 80th anniversary season of the Jacob’s Pillow Dance Festival.

Krishnan also appears as the subject of The Religion Compass article, “Innovations in Contemporary Indian Dance: From Religious and Mythological Roots in Classical Bharatanatyam.” The three-part essay traces a history of the revival of bharatanatyam, citing Krishnan as a pioneer of Contemporary Indian Dance.

Krishnan currently teaches “Bharata Natyam I: Introduction of South Indian Classical Dance” at Wesleyan.