by Olivia Drake •
Joseph Weiss, assistant professor of anthropology, is the author of Shaping the Future on Haida Gwaii: Life beyond Settler Colonialism, published by the University of British Columbia Press in September 2018.
Shaping the Future on Haida Gwaii shows how an indigenous nation in British Columbia not only continues to have a future but is at work building many different futures—for themselves and for their non-indigenous neighbors. The project emerges from an almost decade-long relationship between Weiss and the citizens of the Haida Nation of Haida Gwaii, a series of islands off the west coast of Canada.
Weiss explores these possible futures in detail, demonstrating how Haida ways of thinking about time, mobility, and political leadership are at the heart of contemporary strategies for addressing the dilemmas that come with life under settler colonialism.
Too often, Weiss explains, indigenous peoples have been portrayed as being without a future, destined either to disappear or assimilate into settler society. This book asserts the opposite: Indigenous peoples are not in any sense “out of time” in our contemporary world.
“This work was in large part about trying to respond to dominant assumptions—both in the academy and in North American society—about the ways that indigenous peoples experience settler colonialism,” Weiss said. “I sought to shift the narrative from one that emphasizes domination and constraint towards telling stories about how Haida citizens and communities are building all sorts of different futures, claiming their right to decide for themselves what should come next and what should not.”
From the threat of ecological crisis to the assertion of sovereign rights and authority, Weiss shows that the Haida people consistently turn towards their possible futures, desirable and undesirable, in order to work out how to live in and transform the present. His book breaks new ground in the exploration of the relationship between time and colonialism as experienced in the day-to-day lives of an indigenous community.
Weiss first started visiting Haida Gwaii in 2010 through ties of friendship and a deep admiration for and interest in the work of the Haida Nation in fighting for Haida rights to their sovereign territories and to self-determination. In 2013, he moved to the Haida community of Old Massett to begin a two-and-a-half-year period of full-time fieldwork, focusing on exploring communities’ experiences and understandings around political and social change. While there, he worked as a classroom assistant and occasional school play director for the community’s primary school, the Chief Matthews School.
Weiss’s work was and remains an attempt to engage in respectful anthropological research grounded in dialogue with and accountability to the community of Old Massett and the Haida Nation. This extended both to the kinds of questions that were asked and to the ways interviews were conducted and then approved by Weiss’s Haida friends and colleagues.
“Shaping the Future is as much the result of building relationships and this commitment to respect as it is an academic text,” Weiss said.
This book will appeal to scholars and students of indigenous studies, particularly in anthropology, political science, sociology, and history. Researchers planning to work with communities will learn from the author’s reflections on conducting ethnographic fieldwork with First Nations.
by Olivia Drake •
Wesleyan faculty Stephen Angle and Megan Glick are participating in a Global Human Rights Teach-Out Oct. 17–20, hosted on Coursera.
The Teach-Out will address the various dimensions of human rights. Participants will join citizens from all over the world to contribute to an online discussion on various human rights with scholarly input in the form of podcasts from over 20 academic instructors, including some contributions from advocacy groups addressing the urgency of issues.
The event will end with a live-streamed discussion, hosted in The Hague by Leiden University, where participants can ask questions of some of the speakers as well as participants from all over the world.
by Alexa Jablonski '22 •
Wesleyan faculty frequently publish articles based on their scholarship in The Conversation US, a nonprofit news organization with the tagline, “Academic rigor, journalistic flair. In a new article,Suzanne O’Connell, professor of earth and environmental sciences, writes about the important findings that have resulted from 50 years of scientific drilling on the ocean floor—and how much is still unknown.
Scientists have been drilling into the ocean floor for 50 years – here’s what they’ve found so far
It’s stunning but true that we know more about the surface of the moon than about the Earth’s ocean floor. Much of what we do know has come from scientific ocean drilling – the systematic collection of core samples from the deep seabed. This revolutionary process began 50 years ago, when the drilling vessel Glomar Challenger sailed into the Gulf of Mexico on August 11, 1968 on the first expedition of the federally funded Deep Sea Drilling Project.
I went on my first scientific ocean drilling expedition in 1980, and since then have participated in six more expeditions to locations including the far North Atlantic and Antaractica’s Weddell Sea. In my lab, my students and I work with core samples from these expeditions. Each of these cores, which are cylinders 31 feet long and 3 inches wide, is like a book whose information is waiting to be translated into words. Holding a newly opened core, filled with rocks and sediment from the Earth’s ocean floor, is like opening a rare treasure chest that records the passage of time in Earth’s history.
by Olivia Drake •
Artwork by Artist-in-Residence Keiji Shinohara is on display at the Deerfield Academy’s von Auersperg Gallery in Deerfield, Mass., through Oct. 29. The exhibit, titled Whispers of the Infinite, features multiple woodcuts and monotypes that Shinohara created while participating in residencies in Denmark over the past two summers.
Shinohara was born and raised in Osaka, Japan. After 10 years as an apprentice to the renowned Keiichiro Uesugi in Kyoto, he became a Master Printmaker and moved to the U.S. Shinohara’s natural abstractions are printed on rice paper with water-based inks from woodblocks in the Ukiyo-e style–the traditional Japanese printmaking method dating to 600 CE. Shinohara has been a visiting artist at more than 100 venues. He has received grants from the Japan Foundation and the National Endowment for the Arts and his work is in many public collections, including the Fine Arts Museums of San Francisco, the Cleveland Museum of Art, the Milwaukee Art Museum, the Fogg Art Museum at Harvard University, and the Library of Congress.
This semester, Shinohara is teaching Introduction to Sumi-e Painting and Alternative Printmaking: Beginning Japanese Woodblock Technique.
by Olivia Drake •
Like planet Earth, the geology of Venus is diverse; consisting of areas of flat plains and deformed, mountain-like terrains called tesserae. And like Earth, Mars, and the Moon, Venus is checkered with hundreds of craters.
“What’s odd about Venus’s craters, is that craters we do see are relatively young, indicating the surface of Venus has been covered by planet-wide volcanic flows,” says Martha “Marty” Gilmore, George I. Seney Professor of Geology, professor of earth and environmental sciences. “The tesserae are the only terrains older than these volcanic flows and thus our only hope at accessing rocks from the first billion years of Venus’s history, when the planet may have had an ocean and may have been habitable.”
As the recipient of a three-year $430,801 grant from NASA’s Solar System Workings Program, Gilmore and James Greenwood, assistant professor of earth and environmental sciences, will use Magellan radar data to create the first map of crater ejecta on Venus classified by origin on plains or tessera terrain. Their project is titled “Radar Emissivity and Dielectric Permittivity of the Venus Surface Beneath Crater Parabolas.” Crater parabolas refer to the shape of the ejecta deposits as they are carried westward by the high-altitude Venus winds.
by Olivia Drake •
Since his filmmaking debut at the age of 11, Ishan Modi ’22 has directed more than 20 short films. And the prospective film and history major has yet to call his creative talent “a wrap.”
On Sept. 22, Modi’s short film Just Stories (2017) was shown at the LA Film Festival’s 2018 Future Filmmakers Showcase, a special screening of films made by talented high school students from across the globe. The film features a senior couple who—after a lively visit with their grandchildren—experience the isolation and uncertainty of old age.
In addition to screening at the LA Film Festival, Just Stories also was named an official selection at the Nashville Film Festival (2018); Rhode Island International Film Festival (2018); Carmarthen Bay Film Festival (2018); San Luis Obispo International Film Festival (2018); and the world’s largest high school film festival, the All American High School Film Festival (2018).
Modi’s other recent film, SuperNova (2017), screened at the Across Asia Youth Film Festival, the 17th Annual Laurie Nelson Film Festival, and the Newark International Film Festival Youth in 2017. For this film, Modi was named a finalist of the “Young Filmmaker Award” presented at the My Rode Reel Film Competition and a finalist of the 60th Golden Eagle Award for “Student & Youth Media.”
His other recent projects include Nextstep (2018) and the Singapore American School’s Class of 2018 senior video.
Modi, who is currently taking a class on Dante’s Comedy during his first semester in college, is looking forward to learning more about the filmmaker’s craft during the next four years.
“Wesleyan’s Film Studies Department offers a unique equilibrium of theory and craft,” he said. “While I’ve created many films in the past, I haven’t had many opportunities to learn about the history and study behind movies, which is also very important! Wesleyan represents the best of both worlds. I will learn skills to improve my practical filmmaking abilities, and at the same time heavily study film theory, bringing into focus what constitutes a powerful narrative.”
When applying for colleges, Wesleyan’s liberal arts environment was also appealing to Modi, who wants to explore different branches of knowledge.
“At Wesleyan, I have the freedom to take classes from multiple disciplines,” he said. “Filmmaking revolves around powerful storytelling. By immersing myself in history, philosophy, literature etc. I hope to satisfy my curiosity and find inspiration for stories that I can share with the world.”
For more information and to view other films, visit ModiFilms.com. Read comments from Modi in “Get to Know the 2018 Future Filmmakers on the Road to the LA Film Festival,” an article published on filmindependent.org.
by Olivia Drake •
Three Wesleyan music graduate students and two faculty were accepted to present at the Society for Ethnomusicology‘s 2018 Annual Meeting Nov. 15–18 in Albuquerque, N.M.
Bianca Iannitti will present a case study on the queer Indian-American DJ, Bianca Maieli, in order to explore the queer female identity within Desi music and virtual spaces.
Gene Lai, MA ’16, will present a study titled “Disdained at Home Embraced by Motherland: The Revitalized Tamil Folk Drumming Ensemble in Singapore.”
And Douglas Kiman will present a study titled “Mapping Klezmer Music in Contemporary Europe: A Case Study of the Jazz’n Klezmer Festival.” He will also be presenting at the Society for American Music in March on the musical identity of a band, the New Orleans Klezmer All-Stars.
In addition, B. “Balu” Balasubrahmaniyan, adjunct associate professor of music, will speak on “Hybridized Instrumentation in Ilayaraja’s Tamil Film Scores: A Quest for Village Identity.” And Kate Galloway, visiting assistant professor of music, will speak on “Stop to Smell the Pixels: A Digital Field Guide to Nonhuman Musicality in Proteus.”
Founded in 1955, the Society for Ethnomusicology is a global, interdisciplinary network of individuals and institutions engaged in the study of music across all cultural contexts and historical periods. The annual meeting will include several presentations, roundtable discussions, a symposium, concerts, an open jam session, and a world music pedagogy workshop and professional development workshop.
by Himeka Curiel •
More than 2,000 parents, families, friends, and alumni are attending Family Weekend, a three-day celebration of the Wesleyan experience, Sept. 28-30
- WESeminar lectures, panel discussions, workshops, and performances
- Gordon Career Center Open House and Wesleyan Summer Grants Showcase
- Friends of the Wesleyan Library Book Sale
- Campus tours
- Football, soccer, and field hockey vs. Hamilton College
- Lunches and brunches with families and friends
- The 26th Annual Dwight L. Greene Symposium presenting Black Phoenix Rising
- Alumni and Student of Color Celebration
- The 8th Annual Stone A Cappella Concert
For a full schedule of events, visit www.wesleyan.edu/fw2018.
View the photo gallery online here.
by Lauren Rubenstein •
Next summer, Wesleyan will assume leadership of the Center for Creative Youth (CCY), a precollege residential program that offers four weeks of intensive study in the arts.
CCY, a program created by the Capitol Region Education Council (CREC), has been hosted on the Wesleyan campus since its inception in 1976. Wesleyan will oversee the noncredit program for camps beginning in summer 2019.
by Olivia Drake •
Adrian Peter Standaart, private lessons teacher of flute, passed away Sept. 16 at the age of 70.
Standaart was born in Richmond, Va., and grew up in Asheville, N.C. He was of Dutch descent and came from a musical family; his father was an organ builder and his mother an organist. He was educated at Duke University, the North Carolina School for the Arts, and Yale University. Standaart came to Wesleyan in 1975 and continued to teach flute until shortly before his death.
“His knowledge of the flute literature was encyclopedic, and his influence as a pedagogue and a champion of music for the flute was enormous,” said Paula Matthusen, associate professor and chair of the Music Department.
Standaart performed many times with the Wesleyan Orchestra; the Nielsen Concerto and the Griffes Poem (conducted by Roger Solie); the Mozart Concert for Flute and Harp, with Sally Perreten (conducted by Melvin Strauss); and most recently the Honegger Concerto da Camera for Flute, English Horn and String Orchestra, with Libby Van Cleve (conducted by Nadya Potemkina).
He premiered many new works for flute, including compositions of his Wesleyan colleagues. He also performed contemporary works of extraordinary difficulty by Pierre Boulez and Henry Brant. Brant said that Peter Standaart was the finest flutist he had ever heard.
In 1981 he was one of four finalists for the piccolo position of the San Francisco Symphony.