Wesleyan students will have the opportunity to learn collaborative filmmaking skills before being transported to a metaphoric desert island with nothing but a camera phone and a song when award-winning independent filmmaker Michael Pope and singer-musician-writer Amanda Palmer ’98 team up for a new course this fall: The Art of Doing: Creative Project Production and Making It Happen. The studio class, which will be limited to 15 students, will focus on non-traditional video production techniques resulting in a class-created video featuring music and performance by Palmer.
Arts & Culture
by Lauren Rubenstein •
How did summer get to be such a make-or-break season for Hollywood? It wasn’t always this way, Corwin-Fuller Professor of Film Studies Jeanine Basinger recently told Marketplace, from American Public Media.
“In the old days, the studio system rolled out movies,” she said. “I mean, let’s take MGM. In 1952 [it] put out a feature film every week, so for 52 weeks they rolled out 52 features.”
In the 1940s, 80 percent of Americans went to the movies once a week. But with television gaining popularity, attendance had plummeted by the 1970s. Until 1975, when Jaws was released around the July 4th weekend. It was a smash hit. A few years later came another hit: Star Wars.
by Lauren Rubenstein •
“Tyshawn Sorey Defeats Preconceptions,” proclaims the The New Yorker headline on a profile of Wesleyan’s newest assistant professor of music, Tyshawn Sorey MA ’11, who will join the Wesleyan faculty this fall. “The prodigious multi-instrumentalist and composer transcends the borders of jazz, classical, and experimental music.”
by Olivia Drake •
Between 1967-1972, ethnomusicologist Mark Slobin was one of only four Western ethnomusicologists who managed to complete research in Afghanistan before the subsequent Soviet invasion, civil war, and anti-music Taliban regime.
During these five years, Slobin, who retired from Wesleyan 2016 as the Winslow-Kaplan Professor of Music, completed a comprehensive documentation of music, culture, language and society in the Afghan North. Given the region’s volatile unrest, no further musical—and by extension cultural—studies have been undertaken since.
Slobin’s rare survey of this time period is now available online through Alexander Street, a producer of online educational resources. “The Mark Slobin Fieldwork Archive, Music in the Afghan North, 1967-1972” draws on materials deposited at Wesleyan’s World Music Archives, directed by Alec McLane. McLane brought Slobin’s work to the attention of Alexander Street. The site packages all of Slobin’s materials: the sound files of folk music recordings, films, hundreds of images and field notes.
by Cynthia Rockwell •
Graduate Liberal Studies visiting professor Marion Belanger P’02, is the author of Rift/Fault, a photographic study of the land-based edges of the North American Continental Plate. A Guggenheim Fellowship in 2002 supported a project in the Everglades, where Belanger turned her lens on both the landscape within the national park as well as the suburban development of the swamplands outside the protected area. Now, Rift/Fault continues her interest in natural land formations and boundaries—this one along the San Andreas Fault in California and the Mid-Atlantic Rift in Iceland—and the influence of human society on the earth
Published by Radius Books, and with an essay by art critic and activist Lucy R. Lippard, Rift/Fault is designed to be interactive: Open the cover and two collections of images face each other, each one bound at the top. The photographs labeled “Fault” are on the left; the right side holds “Rift,” with the reader turning each page upwards to view the image that follows. While Belanger paired the photographs on each side to be complementary, she encourages the readers to make their own pairings. The structure of the book conceptually mimics the ever-shifting tectonic plate edges, and “it gives the viewer some agency to figure out how they want to view the book and, by default, how they want to see the landscape. The work itself is a cultural study,” she says.
by Laurie Kenney •
Just in time for summer, Wesleyan University Press has published the newest edition of the ultimate guide to Connecticut’s extensive public trails system, the Connecticut Walk Book: The Complete Guide to Connecticut’s Blue-Blazed Hiking Trail, by the Connecticut Forest & Park Association (CFPA), the primary not-for-profit organization that maintains these recreational trails in concert with partners, landowners, volunteers and countless supporters.
The comprehensive guide features detailed descriptions and easy-to-follow full-color maps for more than 60 trails (and many additional side trails and connectors) included in the over 825 miles of blue-blazed trails maintained by the CFPA statewide—from quick jaunts to long journeys, from hikes winding through state parks and forests to those meandering across private land.
“We hope folks will be inspired and become stewards of the great green places these trails intersect,” says Clare Cain, trails stewardship director at CFPA. “Whether a walker is looking for a loop hike, a family ramble, a summit destination or a beautiful waterfall, these trails offer access to the goodness of the great outdoors.”
“The blue trails are a special part of Connecticut and part of what makes Connecticut special. We are honored to be part of the new edition of this book,” said Suzanna Tamminen, director and editor-in-chief at Wesleyan University Press. “Now that the good weather is here, people are ready to get outside, and this book is a perfect way to start exploring the natural beauty right in our own backyards.”
The Connecticut Walk Book is available at the Wesleyan RJ Julia Bookstore (413 Main Street in Middletown), which offers a 10 percent discount on all books to Wesleyan faculty and staff (Wesleyan ID required). It is also available online.
Wesleyan Musicians “Come Together” in All-Star Beatles Tribute Band for Third Annual Benefit Concert
by Laurie Kenney •
An 18-piece all-star band, including five members of the Wesleyan community, will perform the Beatles’ Abbey Road album in its entirety during a benefit concert at Middlesex Community College (MCC) on Saturday, June 24, at 6 p.m. The concert is the third annual event held in memory of former Wesleyan Center for the Arts (CFA) intern Stephanie Nelson, of Middletown, who passed away in early 2015 at the age of 25.
The first two benefit concerts, held in 2015 and 2016, raised more than $6,400 to establish and fund the Stephanie Nelson Scholarship at MCC, Nelson’s alma mater. Each May, the scholarship is awarded to an MCC student with a desire to work as an intern at Wesleyan University in the field of broadcast communications or multimedia.
by Olivia Drake •
This month, Wesleyan’s Green Street Teaching and Learning Center received an $8,000 grant from the Petit Family Foundation to support the 2017 Green Street Girls in Science Summer Camp.
The Girls in Science Summer Camp is open to all children going into grades 4, 5 and 6. Children perform experiments and explore chemistry, electronics and physics with Wesleyan faculty. Campers will meet college student mentors, learn about science careers, create scientific posters, and share what they learn with family and friends at a Science Showcase.
The camp will be held from 8:30 a.m. to 4 p.m. from Aug. 7-11 at the Green Street Teaching and Learning Center and on Wesleyan’s campus.
by Andrew Logan ’18 •
Kevin Prufer ‘92 is co-editor a forthcoming collection of essays on literary translation Into English: Poems, Translations, Commentaries (Graywolf 2017). For this collection, Prufer invited 25 translators and poets to select a poem and three corresponding English translations. To follow the selections, each of the 25 contributors composed a brief essay on what these various versions say about the art of literary translation.
Additionally, Prufer co-curates the Unsung Masters Series, published through Pleiades Press, which attempts to bring out-of-print and relatively unknown poets to new readers. To complement the writer’s poems, each edition features critical essays, interviews, and letters.
Prufer sees this initiative as opportunity to add new voices to the world of poetry. “Poets are so frequently unknown,” says Prufer, “and the ones we do know tend to tell a very particular narrative.” The reason they lose favor, he says, “is almost always part of an intriguing story.”
One such poet, Dunstan Thompson, first inspired Prufer to launch the series. Thompson, a gay poet whose books had been out of print since 1948, frequently wrote homoerotic work that depicted the battlefields and combat hospitals of World War II. Once a highly regarded young American poet, Thompson struggled with his sexuality and renewed his religious devotion, eventually settling into obscurity in England.
Today the series often relies on dedicated readers to suggest additional subjects to explore. Many send e-mails, but sometimes, Prufer says, “people even come up to me at parties to suggest writers.”
Prufer is also at work on his own poetry—a collection of poems titled The Art of Fiction, focusing on how an author controls the passage of time within literature. He derived this particular interest in narrative structure, he says, in part from his experience writing fiction, which he pursued at Wesleyan as a College of Letters major.
Yet another book of his poetry, How He Loved Them, is forthcoming with Four Way Books in 2018 and features a political emphasis. When asked how his poems might relate to the current political climate, Prufer responded, “You know, poetry is really bad at telling you who to vote for; I think we have a enough of that…I think what poems do is meditate on the complexity of, in the case of political poetry, political situations, and to my mind, that seems like a more interesting act of politics.”
Prufer is the author of six books of poetry, most recently Churches, which made the New York Times list of Ten Favorite Poetry Books of 2014. Also the editor of several anthologies, he is editor-at-large of Pleiades: A Journal of New Writing. With graduate degrees from Hollins University and Washington University, he is a professor in the Creative Writing Program at the University of Houston and the low-residency MFA at Lesley University. His awards include four Pushcart prizes, and he has received numerous awards from the Poetry Society of America, as well as fellowships from the National Endowment for the Arts and the Lannan Foundation.
by Catherine Abert '18 •
Gabriel Urbina ‘13 had been out of college for eight months when, “one day, for whatever reason, this idea for a show popped into my head.” The show manifested itself as a radio drama called Wolf 359 which, four years later and in the midst of its final season, has found itself maintaining a vibrant cult following among its ever growing fan base and a finalist in the Digital Audio Drama category of the 2017 Webby Awards. Of further note: Wolf 359 is a hugely Wesleyan collaborative effort — of the 12 cast and production members, all are Wesleyan alumni!
Staff writer and producer Sarah Shachat ’12 describes Wolf 359 as “a sort of wonderful way to work with awesome people you didn’t know how to approach in college.”
Wolf 359 is based around the life of the communications officer of the U.S.S. Hephaestus Research Station, Doug Eiffel (voiced by Zach Valenti ’12), who is orbiting around the red dwarf star Wolf 359 on a scientific survey mission of indeterminate length. Eiffel’s only companions are the stern mission chief Minkowski (Emma Sherr-Ziarko ’11), the insane science officer Hilbert (also Valenti ’12), and the station sentient, an often-malfunctioning operating system called HERA, (Michaela Swee ’12).
While rooted in the sci-fi genre, Urbina says “no genre has made a conscious effort to stay out of the show,” with inspiration drawn on from “conversations I have with the cast members about politics, philosophy, religion, and ecology.” Urbina, Valenti, and Shachat all describe their time as film majors at Wesleyan as integral in their ability to, as Valenti says, “pull the magic trick that is film on the audience’s nervous system with deliberate and intentful choice.”
Urbina describes the experience of working on Wolf 359 as “a proof-of-concept for all of us, to feel that we can execute something creative that we can put out regularly.” As a project that began as a side experiment in the midst of the busy lives of the cast and crew, “the fact that Wolf has found an audience that really cares about it is unspeakably cool,” says Shachat.
As Urbina and Co. gear up to record their final season of Wolf 359 this summer, Urbina respond to the inevitable “what’s next” question with, “The short answer is, ‘We don’t know’; the slightly longer answer is, ‘We all would love to continue working together as much as we can.’”me and
by Andrew Logan ’18 •
This month, Sebastian Junger ’84 and Liz W. Garcia ’99 will each feature their films at the annual Tribeca Film Festival in New York City. Founded in 2001 by Jane Rosenthal, Robert DeNiro and Craig Hatkoff, the Tribeca Film Festival attracts nearly half a million attendees.
Junger, a journalist, author and filmmaker, is co-director, with Nick Quested, of the film Hell on Earth: The Fall of Syria and the Rise of ISIS,
It follows an extended family’s attempt to flee their homeland in the face of violence and tragedy. Edited down to 99 minutes from an extensive 1,000 hours of footage, it also captures the combat of Kurdish fighters in Sinjar and Shia Militias in Iraq.
Hell on Earth is the latest product of Junger’s long-held interest in war journalism. He directed the award winning documentary Restrepo (2010), which documents US military personnel stationed in Afghanistan’s Korengal Valley. This film would eventually become part of a trilogy that includes Korengal (2014) and The Last Patrol (2016).
Prior to his war journalism, Junger authored two notable works of nonfiction,The Perfect Storm, which was adapted into a film staring George Clooney, and A Death in Belmont. His writing and journalism has earned him a Magazine Award and a Peabody Award and has appeared in magazines such as Vanity Fair, Harpers and The New York Times Magazine.
One Percent More Humid, which will also play at the festival, is director Liz W. Garcia’s second narrative film. It follows two college-age childhood friends, played by Juno Temple and Julia Garner, who return home from school for a New England summer. Although together they engage in typical summer mischief, the effects of their shared past traumas become increasingly pronounced. Yet as they attempt to process their traumas, a rift eventually arises in their old friendship.
Deborah Rudolph, assistant programmer at the festival, describes One Percent More Humid as “a sun-soaked, atmospheric coming-of-age tale of two young women looking to free themselves from distractions, to repair their friendship, and help each other reach the other side of grief.”
Previously, Garcia directed The Lifeguard, her directorial debut, which premiered in 2013 at the Sundance Film Festival. She was the co-creator of the 2010 TNT series Memphis Beat, and has written for television series like Wonderfalls, Cold Case, and Dawson’s Creek. Currently she is writing the final installment of the Sisterhood of the Traveling Pants. Festival literature calls her “one of the most prolific female voices working today in film and television.”
by Lauren Rubenstein •
Professor of Theater Ron Jenkins was a guest on the BBC program “Sunday” to discuss his new play, “Islands: The Lost History of the Treaty That Changed the World.” The play, commemorating the 350th anniversary of the Treaty of Breda in which the Dutch ceded Manhattan in exchange for the tiny spice island of Rhun, premiered April 21 and 22 at Wesleyan’s Center for the Arts.
Jenkins’ interview begins about four-and-a-half minutes in. Or, on the BBC page, scroll down and select the “Islands” chapter.
“We’re performing the actual text of the 1667 Treaty of Breda. In this treaty, if you look closely at the words, you’ll see that the English and the Dutch were ending their war,” said Jenkins told the BBC.
“As part of the agreement, they were also trying to erase from history all the awful things that they had done during the war. And among those awful things were the massacre of the indigenous Muslim population of the island of Rhun. And we have the Dutch character singing the words of the treaty, and then the indigenous characters question that. […] Those murders did occur and we can’t forget that. There’s a back and forth dialogue between the colonial masters and the indigenous victims of colonialism.”
Jenkins describes visiting Rhun. In the 17th century, Rhun was as valuable as Manhattan because it was the world’s primary source of nutmeg which, at the time, was worth its weight in gold. They met nutmeg farmers and were shown the nutmeg trees, which are still there.
The radio feature includes Wesleyan students singing songs written for the play by John Spencer Camp Professor of Music Neely Bruce and Artist-in-Residence in Music I. Harjito.