Fall 2024
arts-powered research in action
Installing the panels on the exterior of the new Performance Lab.
Photo by Chris Johnson
More Than a Black-Box Theater
By Asmaa Abdallah, Hop Communications Manager
When the Hop’s new Performance Lab opens, Nick Anderson, Snøhetta’s Director and Senior Architect, would like its first work to be a cybernetic opera. “You’d have people singing from every plane in the space, interacting with projection and audio and dance.” This is precisely the kind of work the lab is designed for, given its intricate web of structural, mechanical, electrical, audio and projection networks—not to mention the endless possibilities of seating configurations and performer/audience interactions.
The design of the space not only responds to existing needs but ensures that it is future-proofed for evolving theater technologies. As Edward Arenius, Associate Principal at design consultancy ARUP, says, “We’re building the possibility for things that we don’t know about yet.” This ambitious foresight requires a robust infrastructure that can support innovations yet to be imagined.
At the heart of this flexibility is a sophisticated weighted tension wire grid—an advanced rigging system—along with the possibility to project on all four sides of the room. The space includes numerous conduits that support audio, lighting and electric cables, a series of sliding curtains to conceal or reveal space, and a mezzanine-level technical balcony that serves behind-the-scenes functions. “This means that you can set up the room in any possible direction,” says Arenius. “You could create almost any experience that you wanted in the space.”
The lab’s design was also shaped by the diverse needs of the Hop’s community. In the early stages of planning, Anderson explains, Snøhetta took into consideration the perspectives of the various academic departments, artists, audiences, faculty and particularly students. Actor and Hop Board of Advisory member Sharon Washington ’81 envisions the space as a “sandbox” where students can
The Performance Lab will be the site of multidisciplinary performance innovation at the reimagined Hop, boasting the latest in sound, lighting, projection and broadcast technologies. Rendering courtesy of Snøhetta & Tegmark.
The exterior of the Lab features striking sculptural curved cladding that draws the eye to its unique design.
Photo by Matt Driscoll
unleash their imagination. Hermia M. Huang ’26, who works with sonic practices, acoustic music, geography and computer science, thinks of the Lab as “liberating and empowering” for students seeking a place to be immersed in multi-media work without being bound by the traditional hall or academic thesis. Hop leadership also prioritized making the venue welcoming and accessible to all, ensuring features such as elevator access and seamless seating for wheelchair users and their companions.
Despite its cutting-edge technical features, the Performance Lab avoids the sterile feel of a traditional black-box theater. In true Dartmouth style, it is a deep green. Anderson explains, “We wanted the space to have its own identity. So we played with scale and detail to give it character.” The walls and curtains are in rich green hues, with seating upholstered in shades reminiscent of the local vegetation. The green walls are further enhanced by patterned wood battens, which help with the acoustics, and curved skin that resonates with the curved vaults of the original Hop building.
The Performance Lab is more than just a space for technical experimentation—it’s a creative playground where the boundaries of art and performance will continually be redefined. Whether it’s a cybernetic opera, an interactive installation, immersive theater or a yet-tobe-imagined art form, this space is poised to inspire a new era of interdisciplinary performances that push the envelope and invite audiences into experiences they’ve never encountered before.
The versatile design will allow for multiple audience and performer configurations tailored to each production’s unique needs. Whether it’s an intimate setting or a larger, immersive experience, the adaptable layout will enhance engagement and creativity.
The Hop’s Tradition and Evolution
By Alyssa Noseworthy ’24, 2023/24 Hop Fellow
From its beginnings in 1962, the Hop has been at the forefront of not just performing, but also creating art through its commissioning and producing programs. In a little over 60 years, the Hop has helped premiere over 140 new works from a broad range of styles and disciplines. In that time, the Hop also expanded its commissioning to actively producing its own work. As Executive Director Mary Lou Aleskie says, “The DNA of making new work and supporting artists was embedded in the founding of the Hop. It’s a very distinctive legacy.” In this journey, we invite you to look at the Hop’s evolution—from commissioning to creating—through a story about this program’s beginnings and its impact today.
1960s: Contradizione
60s
In the summer of 1963, the very first Congregation of the Arts took Dartmouth by storm. Far from just an arts festival, it was, as composer-in-residence Hans Werner Henze called it, “a landscape entirely devoted to art.” Music director Mario di Bonaventura cultivated new commissions with an eclectic mix of orchestral world premieres, composers-inresidence and workshops.
Di Bonaventura gathered an experimental group with a strong international focus. Strange new ideas abounded. Composers debuted melodies based on the Fibonacci sequence—the use of the mathematical pattern where each number is the sum of the two preceding numbers in the composition and structure of musical works—or layered electric guitar over The Canterbury Tales. Polish composer Grazyna Bacewicz perhaps summed it up best when she described her commissioned piece Contradizione as an attempt to see whether her music “would not only ‘withstand’ contradictory elements…but [would] produce a fresh artistic experience as a result.” These vivid contrasts formed the backbone of the Hop commissions in its early years.
The Dartmouth String Quartet, featuring Stuart Canin and David Cerone on violin; Ralph Hersh on viola; and Paul Olefsky on cello, performed the opening concert of the 1965 Congregation of the Arts. Photo courtesy of Dartmouth College Archives
1970s & 80s: Ivy Echoes
The Congregation of the Arts came to an end in the summer of 1969, but that was only the beginning for the Hop commissions.
In the early 1970s, the Concord String Quartet became a resident quartet for Dartmouth and performed no less than 13 new commissions. Where before their commissions had been intensely global, the Hop entered a new era of commitment for American composers. These longer residencies allowed performers to build upon their relationships with the student body.
Commissions also began to reflect the story of Dartmouth itself. The Dartmouth Symphonic Wind Ensemble (DSWE) performed the commission Dartmouth Fantasy in an album titled Ivy Echoes at Dartmouth. Later, professor Paul Moravec composed Hampshire Harmony in their honor. Later Harmonia, by American composer Elizabeth Brown, celebrated 25 years of co-education at Dartmouth.
80s 90s 70s
1990s: A Dance with New Disciplines
The 1990s were a pivot for the Hop. Before, commissions had mostly belonged to the domain of classical music. But suddenly, there was an explosion of creative outpouring in modern dance—all starting with Pilobolus.
Whether it was diving into underwater worlds in Aquatica, bringing the circus to Hanover with B’zyrk, or exploring alien planets as astronauts in Aeros, the many Pilobolus commissions brought a buzzing dance scene to the Dartmouth community. The Hop also commissioned Martha Clarke, the first woman to join Pilobolus in 1973, for her searing dance choreography of Vers la flamme. Other works with dancers Susan Marshall, Mark Morris Dance Group and Dance Heginbotham kept toes tapping at the turn of the millennium.
Pilobus performing at the Hop, 2007. Photo by Joseph Mehling
Concord String Quartet, 1979.
Photo by Stuart Bratesman
2000s: A Collaborative Canvas
The Hop Today
00s
By the early 2000s, Hop commissions had become an interdisciplinary feat. There were operas about comic books and songs made entirely from text-to-speech robots. The appetite for new horizons inspired STEM Arts, an ongoing project that blends science with music in a shared love for making things. For the 150th anniversary of the Thayer School of Engineering, composer Molly Herron even had her students pioneer new musical instruments to play in her song Assembly
As the scope of the art widened, so did the creative vision. “The idea of a single curator needed to expand to a broader range of expertise,” Aleskie explains. “Our commissions should not only contribute to the artistic field, but also reflect the diversity of our communities.”
The Hop today is, as always, a stage for new ideas to play out and find their first audiences. This is the essence of the Mexican Repertoire Initiative, which incubates new compositions from Mexican composers. It is also why the Hop is helping reimagine past projects in light of their future impact, such as the 1994 Still/Here, a performance based on a series of survival workshops with terminally ill individuals during the height of the AIDS epidemic. Now in 2024, it is being re-created with the resilient message that they are Still/Here
Ultimately, “legacy” is not just what the Hop has done, but what it still seeks to do. Today, the Hop produces new work. These Hop Originals include The Ritual of Breath Is the Rite to Resist by Dartmouth faculty Enrico Riley ’95, Professor of Studio Arts, and Vievee Francis, Professor of English and Creative Writing, as well as NOISE by César Alvarez, Professor of Music. The Hop carries forward that same enthusiasm and love for the arts that first brought us together in 1962. But the Hop’s true legacy is in its constant evolution, its passion to chart new paths for art and sustain them for decades to come.
Molly Herron makes musical instruments with Thayer students in the Woodshop. Photo by Robert C. Strong
NOISE, by writer César Alvarez and director Sarah Benson, 2023.
Photo by Kata Sasvari
By Laura Ogden, Dartmouth Professor of Anthropology and Co-Chair of the Climate Collaborative Advisory Council
For the past eight months, I have talked to hundreds of faculty, staff and students to identify how Dartmouth can best contribute to climate change teaching and scholarship. These conversations have been a part of the Provost Office’s Climate Futures Initiative (CFI), a year-long process to identify and improve our current strengths in climate and sustainability scholarship as part of President Beilock’s vision for Dartmouth’s Climate Collaborative—a bold vision that integrates campus sustainability goals, particularly for reaching minimal carbon emissions, with our academic mission.
Perhaps “cultivating climate citizens” will become Dartmouth’s main goal for the Climate Collaborative. Cultivating climate citizens requires understanding the uneven, unjust and significant ways climate change is transforming our world. Yet, “citizenship” also suggests a shared obligation to a common future. Therefore, cultivating climate citizens means providing our students with skills to become resilient, creative and adaptable in the face of uncertainty.
How do we do this? One way is to integrate climate change scholarship throughout our liberal arts curriculum so that every student leaves Dartmouth with an awareness of climate change’s causes and impacts, and a sense of obligation to respond. Climate change and sustainability already exist as an “invisible curriculum” on campus today. Whether in Arts & Sciences, Tuck, Thayer, or Geisel, nearly every department has faculty teaching and engaging with climate change and sustainability.
Dartmouth’s environmental humanities initiative is part of this invisible curriculum, with faculty
Laura Ogden is a cultural anthropologist interested in the politics of environmental change and conservation. Her work contributes to theoretical discussions in political ecology and environmental anthropology as well as post-humanist philosophy. She has conducted ethnographic research in the Florida Everglades and with urban communities in the United States, and currently is working on a long-term project in Tierra del Fuego, Chile.
and students engaged in the multiple points of intersection between the environment and culture, society, history, technology, politics and the arts. While climate change is producing worlds that seem “unthinkable,” as Amitav Ghosh so elegantly put it, the solutions to climate change require a commitment to the imagination, interdisciplinary curiosity and the creative arts. Environmental humanities scholars ask us to “feel the world” as much as “think about it.” Fittingly, this inaugural year of the Dartmouth Climate Collaborative coincides with the Hop’s 2024/25 season in which our relationship to the natural world takes center stage. From a site-specific dance to stories performed on stage, may the arts help us imagine a different future than the one destined by our current climate trajectory.
Earlier this fall, Dance Heginbotham delighted audiences with You Look Like a Fun Guy, a site-specific, mycelial dance coupled with an environmental score inspired by the pioneering composer John Cage. The multi-sensorial work was part of a series of climate-related experiences, including discussions, a film and mushroom-centered events responding to the interconnectedness of nature.
Laura Ogden with artist Camilla Marambio and aquatic ecologist Tamara Contador in Chile. Photo courtesy of the artists
Photo by Ben DeFlorio
Arts Integration Initiative
By Alyssa Noseworthy ’24, 2023/24 Hop Fellow
In 2022, Elon Musk paid $44,000,000,000 to buy Twitter. Rebranded as X, the social media platform has become synonymous with trolling and “doomscrolling,” spending hours staring at the phone through an endless reel of content.
But what if the next notification bell was a prompt to get on your feet and make a poem with whatever you had on hand? This is the concept of 44 Billion Moments of Joy, a revolutionary new generative AI arts project created by Professor John Bell, Xinyi Dong GR and Research Data Science Specialist Simon Stone, that strives to “bring back the optimism of the early Internet era through moments of joy.” Participants don a pair of glasses which brings them into an augmented reality space, where they will be asked to co-create art with the objects they find around them. Bell takes inspiration from the tradition of Fluxus, a 1960s art movement that pushed spontaneity and creativity to the forefront. As he says, “anything that you do can be an artistic moment.”
By playing with the same mechanisms of X, 44 Billion envisions an alternative to our current social media landscape. Instead of passively watching content in isolation, participants are pushed into the active role of co-creation and collaboration. “It goes back to the early promise of the Internet: if we democratize access to information, there will be more understanding and cross-cultural exchange,” Bell explains.
44 Billion is one of many initiatives funded by the Hop’s Arts Integration Grants, supported by the Provost, which help support interdisciplinary projects with an artistic root. This grant allowed for hiring students and collaborators, who provided input on the current social media landscape and helped re-capture what an “X”-inspired program would look and feel like.
As a digital artist and professor of media studies, Bell has long emphasized the importance of combining disciplines in exploring new frontiers. In 44 Billion, the user is central to the art-making process: in that way, AI is co-creation, not erasure. Instead, AI helps provide those bursts of randomness and surprise that lead to inspiration.
In this way, 44 Billion is an imagining of how AI and art might interweave, and in so doing, play at the edges of new technologies to make joy our new currency.
Building on the success of the three-year pilot program, the Office of the Provost has extended support and funding for the Arts Integration Initiative for two more years, pioneered by the Hop in collaboration with the Vice Provost for Research.
Stay tuned for more art-centered interdisciplinary projects.
Of all the disciplines that intersect with the arts, AI perhaps sparks the most excitement and controversy. With immense potential to transform creative processes, it also raises complex questions about the role of human creativity. Two of the 2023/24 Arts Integration Initiative Projects—a Hop initiative made possible through the support of the Provost—interrogated this complex relationship by AI-informed experiences. From sparking joy to fostering human connection, these projects tap into the promise that AI brings to the future of artistic practice. Photos courtesy of the artists
Deep in the woods, you can step into a portal. Speak three words, and it tells you a poem. A collage emerges before your eyes as the door becomes a living canvas.
This is Portal Poesy, an augmented reality installation created by Digital Arts lecturer James Mahoney and collaborators Jackline Gathoni ’24 and Jemely Robles ’24. Once prompted, the portal composes a poem as well as a visual art experience based on it. Built to explore the possibilities of AI and art, Portal Poesy situates itself at a threshold of contrasts; the synthetic environment bursting with colors and textures, layered with the rustle of green trees or the pitter-patter of rain. And with language models trained on the poetry of Byron and English Romantics, Portal Poesy fuses modern technology with a love for nature.
“Thanks to the grant, we’ve been able to make so much progress on it,” Mahoney says. In addition to helping him build collaborations with student researchers, the grant enabled him to subscribe to cutting-edge AI technology.
Mahoney has long championed the crossover of digital art and computer science. In the 90s, he created an installation that generated endless new art pieces through programming, winning LA Weekly Art Pick of the Week. His fascination with these moments of surprise afforded by technology was the impetus for Portal Poesy, which builds on this premise by giving agency to its audience: you, the viewer, get to determine what words the poem will be composed around.
Most intriguing about AI poetry is that it allows us to re-examine the relationships between words and interpretation. What kind of poem might blossom from the words “quarrel,” “awe” and “elation”? “If we were writing something that required perfect accuracy, it would fail,” Mahoney says, “But with art, you have that latitude.” Rather than “perfect” acts of communication, we instead see how our construction of meaning can be vague, intriguing and rigorously debated.
And in those unanticipated connections, Portal Poesy also becomes a powerful inspirational tool. “As an artist, I spend a lot of time trying to tap into my subconscious,” Mahoney explains. “By choosing three words at random, it’s an opportunity to do that. It might even give you insight into yourself.”
When you step through that neon door frame, it’s an invitation to explore the uncharted territories of AI and artistic collaborations. It’s a strange new world, but one in which art and science increasingly intertwine— and in it, the promise of coexistence.
By Peter Ciardelli, Hop Film Program Manager
The curtain parts in the Loew Auditorium. The house goes dark, light flickers onto the screen. The film begins and behind the audience, in the booth, a reel of film 2000 feet long is advancing its way through a variety of rollers and toothed gears, a metal claw grasping the film’s sprocket holes and placing each frame, 24 of them per second, in front of the brilliant xenon lamp. Projectionist Christopher Ivanyi is intently checking framing and focus as David Lynch’s Mulholland Drive unspools onto the screen. This mechanical process is not unlike the one used by the Lumiere brothers when they presented the world’s first motion picture in front of a public audience in Paris in 1895. But it is 2024, and this cinematic experience is now a rarity indeed.
For over 100 years every film seen in a movie theater was presented this way. But in 2010 a massive change occurred—films would now be digital. Instead of the six or more reels shipped in metal cases weighing more than 60 pounds, a feature film now arrived in a box not much larger than a Whitman’s Sampler. There was no need for the projectionist to inspect the film by hand for scratches and splices, repairing any of the critical sprocket holes damaged in a previous screening. Going forward, ‘film’ would be downloaded into a computer system.
Christopher Ivanyi projecting 35mm film print in the Loew Auditorium
The “Orca” from the movie Jaws sails through the projector
Most movie houses discarded their hulking analog projectors to make room for the new digital cinema projectors required by the studios. Fortunately, Dartmouth and the Hop made the decision to maintain both means of projection, managing to cram classic and digital systems into the booths of four screening rooms.
While presenting digital versions of films can be considered ideal (Every copy perfect and identical!), there is perhaps an element that is lost. “There’s a live, performance aspect to watching a 35 millimeter film” says Film & Media Studies Professor Paul Young.
“What makes viewing a film on film so different are the scratches, the dirt and the missing frames when a film is broken and a projectionist had to trim off the ragged edges and re-cement them. The film print would always bear that scar. So every time you see a film that’s projected you are seeing a slightly different version, and that film bears the history of its own projection,” Professor Young continues.
Reflecting on how seeing a film print might further elevate the experience, Professor Young describes a screening of Black Narcissus. “It was a gorgeous fully saturated technicolor print, that was vintage. These are archival prints from 1947 or 48. And there’s a beautifully lit scene of a room... so bright, I’d never had that experience watching any film before where the glint, the reflection of light was almost too bright to look at on the screen. It was almost as if I’m looking at sunlight.”
It is somewhat of a modern miracle that we have tremendous access to film today, able to summon even a copy of Black Narcissus to our mobile phones. The opportunity to experience film in the same way as in any of those first hundred years of cinema is beyond special. It is why this medium continues to endure. This winter, the Hop will screen 35mm prints of the 1939 film Winter Carnival, written by Maurice Rapf ’35 and Bud Schulberg ’36 and set at Dartmouth’s very own Winter Carnival, as well as the newly revised and restored Caligula, starring Malcolm McDowell, who recently received the Dartmouth Film Award.
See you at the movies.
Christopher Ivanyi inspects a print prior to screening. All photos by Peter Ciardelli
A 35mm feature-length film in six reels, above, and it’s modern digital counterpart, below
Singular and versatile, the human voice is one of the most powerful instruments in the arts. From operatic sopranos to folk singers to choristers, each artist has a unique approach to harnessing the full potential of their voice. We asked a few of the diverse vocalists in this Hop season to share how they prepare for their breathtaking moments on stage.
There are two things that I do before every performance, no matter what: warm up my voice and pray.
Somi
We prepare by diving into the emotional depth of the songs—it’s like gearing up for an emotional rollercoaster. We focus on the energy we’re about to bring, grounding ourselves before hitting the stage. But once we’re up there, it’s all about letting loose, connecting with the crowd, and singing our hearts out, giving it everything we’ve got.
The Lone Bellow
I normally warm up by conditioning my breath. I call it taking my breath to the gym, a series of breaths in levels of strength. In through my nose and out through my mouth. Which helps me build my breath capacity and I breathe similar to a yoga tradition’s “Breath of Fire,” which helps me understand my input/ output levels in relation to singing. I then do a series of vocalises on different scales to make sure that my voice is warm and agile for the musical task at hand.
Ahmaya Knoelle Higginson, Dartmouth Gospel Choir Director
Photos courtesy of the artists
Performance prep is exactly like non-stop practicing all the proper vocal technique so you can finally relax your system and let vibrato just happen. Music’s uniquely soul-stirring moments are spontaneous and elusive, but, oxymoronically, only the most diligent of preparation conquers the restrictive details, thereby liberating the musicality.
Cole Seagroves ’25, tenor
I often have a physical warmup that makes me feel connected and grounded Maybe I lie on the ground and move my pelvis around. And breathe into each move. Maybe a bit of pilates, maybe some yoga, and maybe some wiggling and dancing around to remember I have a whole body. Or maybe I just sit and meditate with breath as the focus.
Neema Bickersteth, soprano, The Ritual of Breath Is The Rite to Resist
I generally try to immerse myself in the music that we’ll be working on and do some vocalizing to get my instrument in shape. Sardinian overtone singing is unlike anything else I do, and it takes a little time for me to get back in shape if I haven’t been doing it. I like to be as ready as I can be when I meet up with my singing partners.
Carl Linich, Tenores de Aterúe
Born in response to the killing of Eric Garner, the Hop-produced contemporary opera was created by Enrico Riley ’95, Dartmouth Professor of Studio Arts; Jonathan Berger, Stanford Professor of Music; Vievee Francis, Dartmouth Professor of English and Creative Writing; and Niegel Smith ’02, director.
The journey began at Dartmouth in fall of 2022 with its world premiere. From there, it traveled to Stanford Live, and most recently to New York City this past summer. At each location, communities experienced the performance and healing rituals in a collective exploration of resilience, joy and celebration of Black life.
Ritual of Breath builds on the Hop’s tradition of engaging academic and artistic communities. As a faculty-led project, the work exemplifies how artistic works can spark important conversations and foster meaningful connections as part of Dartmouth’s Dialogue Project.
Yet, the journey is only just beginning. Ritual of Breath continues to evolve and expand its reach and impact, carrying its message of healing and justice to even more communities.
An 80-voice community chorus featuring members of NYC’s Mama Foundation’s Wednesday Sings Community Choir and Sing Harlem choir as well as members of the Dartmouth Gospel Choir invites the audience to keep breathing any way they can. The chorus represents community wherever the opera is performed.
Photo
by
Marcus Middleton
Soprana Neema Bickersteth and Isaiah Robinson in Movement II of the opera. Photo by Marcus Middleton
The Ritual of Breath team and participants gathering to reflect during the seventh ritual at the Cadman Plaza in Brooklyn.
Photo by Sol and Yue Productions
The artistic team, Enrico Riley ’95, Niegel Smith ’02, Jonathan Berger and Vievee Francis participate in a pre-show talk at Dartmouth in September 2022. Photo by Katie Lenhart
The Ritual of Memory, Presence and Future
By Bryan Joseph Lee ’07, Founder, CNTR ARTS Producer of Civic Alliances and Community Activations, The
Ritual of Breath has always been more than an opera. Our framework for community-centered healing was first shaped by Social Impact Co-Chairs Dr. Shamell Bell, and Ms. Gwen Carr, the mother of Eric Garner. We carried this momentum to New York City. As community-centered producers, we are at our best when we lead by listening. Showing up for community means asking what is needed by those at the center of the conversation.
We heard loud and clear that great art was being created of, by and for the people—they just wanted to be witnessed and amplified. We sought to break down barriers to access for local artists and organizers across New York City, particularly in Eric Garner’s home of Staten Island. Communitydriven art activations were not just ancillary events connected to the opera. They were the Ritual of Breath itself.
So over five weeks, we gathered in theaters and lobby spaces, rehearsal rooms and class rooms, art galleries and community spaces, churches and public parks. We featured gospel, soul and jazz. R&B, hip-hop and spoken word. Film, fine art, and food. Somatic healing, gentle yoga and African dance. Half of our activations were based in Staten Island, or featured Staten Island artists and artisans. Each moment of community gathering was like a breath itself, a continued sharing of life and joy. All told, we reached over 1100 audience and community members, working with 20 civic partners across 20 events, all while building momentum to our presentation of the opera at Lincoln Center.
Ritual of Breath Is the Rite to Resist
Our work was rooted in a commitment to honor the Mothers of the Movement. In addition to Ms. Gwen Carr, we were able to celebrate and honor Ms. Pamela Brooks, mother of Amir Brooks; Ms. Marion Gray-Hopkins, mother of Gary Hopkins, Jr.; and Rev. Wanda Johnson, mother of Oscar Grant.
And what did it feel like firsthand? The only way I can describe it is “time travel.” Being a part of Ritual of Breath was like flowing through the past, present and future all at the same time. Our work served as a portal to memory, and a way to honor the legacy of Eric and Erica Garner, as well as the hard work of their mother. It required us to be present, to sing and move and cry and share collective joy. This was proof that maybe we could chart a new future where every Black life could be lifted in recognition, held in safety and honored.
In a world moving quickly towards the unknown, great art can help us remember the past, witness the present, and imagine a bold new future. Great art can help us reshape time.
Bryan Joseph Lee with Associate Community Producer Jahtiek Long, Debbie Quinones and Kelly Villar of Staten Island Urban Center, and Michael Williams and Ranti Ogunleye of the NYC Office of Neighborhood Safety. Photo by Derek Johnson
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Dartmouth College Hanover, NH 03755
Editor
Asmaa Abdallah
Communications Manager
Designer Ashlee Robinson
Marketing and Communications Designer
Contributors
Peter Ciardelli
Hop Film Program Manager
Bryan Joseph Lee ’07
Founder, CNTR ARTS
Producer of Civic Alliances and Community Activations, The Ritual of Breath is the Rite to Resist
Alyssa Noseworthy ’24 2023/24 Hop Fellow
Laura Ogden
Dartmouth Professor of Anthropology and Co-Chair of the Climate Collaborative Advisory Council
Editorial Board
Mary Lou Aleskie
Howard Gilman ‘44
Executive Director
Michael Bodel
Director of External Affairs
Terry Duane
Senior Marketing Manager
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During a spring residency, dance artist and choreographer Trebien Pollard will be evolving his work Vegan Chitlins and the Artist Formerly Known as the N-word , a multi-dimensional embodiment of the Black experience.
courtesy of the artist
Photo