Continental Spring 2016

continental the

spring 2016

Hamilton’s New Era of Leadership JOAN HINDE STEWART & DAVID WIPPMAN

SPRING AWAKENING Taking on the 2016 Campaign

WISE

contributors spring 2016

the continental campus magazine

editors in chief Mara Wilson ’16 Abigail Pynchon ’16

creative director

instagram: @contmag

Sarah Moore ’16

twitter: @contmag

photography director Ben Balick ’16

section editors

talk of the town Courtney Somerville ’16 features Alex Scheuer ’18 on the hill Jacob Slovin ’18 style Caroline Langan ’18 travel Abby Homer ’16 entertainment Bridget Lavin ’18 editors at large Olivia Paradice ’18 Emily Fisher ’16

facebook.com/contmag issuu.com/hamiltoncontinental letters to the editor, advertisers and sponsors: email contmag@hamilton.edu a product of the Hamilton College Media Board

writers Juliet Auwaerter ’16 Carrie Solomon ’16 Jessye McGarry ’16 Meredith Labelle ’19 Jacob Slovin ’18 Alex Scheuer ’18 Joan Hinde Stewart David Wippman

Livvy Plimpton ’17 Sean Henry-Smith ’15 Charlotte Simons ’16 Jenna Wilson ’17 Sophie Menashi ’18 Ali Gay ’17 Ashlyn Lovejoy ’09 Josie Jones ’12

Kristen Ronan ’06 Dillon Kelly ’18 Abby Pynchon ’16 Mara Wilson ’16 Collin Spinney ’16 Olivia Paradice ’18 Deasia Hawkins ’18 Nina Byers ’16

photographers

layout designers

Mike Verostek ’16 Jack Hay ’19 Tina Mangelova ’16 Adam Markhoff ’18 Zach Batson ’16 Paula Ortiz ’18 Anna Arnn ’17 Olivia Box ’17

Sarah Wallack ’16 Rachel Newman ’16 Caitlin Becker ’18 Julia Gorlovetskaya ’19 Halimah Schmidt ‘16 Bridget Lavin ’17 Helena LaPorte-Burns ’18 Alyssa Carlson ’19

illustrators

Front Cover Illustration by Halimah Schmidt Inside Cover Illustration by Caitlin Becker

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letter from the editors It’s May, which means the excitement and anxiety of the end of the year is starting to kick in; though “warm” weather and the sun bring an overwhelming sense of tranquility to campus, the anticipation of the end of classes and leaving Hamilton for the next three months-- or for some of us, permanently-- comes with a bit of unrest. And, as with any transition, there comes reflection.

As we look back on years past, we remember the May-time rituals, which amidst all their glory are contoured by an underlying nostalgia as campus says goodbye to seniors.

And while each class has a unique presence on campus that is lost once they’ve flown the nest, most things at Hamilton largely stay the same. This year, however, is different.

When we look back, we’ll reflect on how the 2015-2016 school year marked the end of an era, and the beginning of something new.

In the world outside Hamilton, there is change on the horizon with this year’s Presidential Election. Juliet Auwaerter delved into the election, speaking with students who worked on various campaign trails as a part of Professor Klinkner’s Government class Presidential Nominating Politics (p. 6). The changing landscape of the country is occurring simultaneously with Hamilton’s own change. With the class of 2016, President Joan Hinde Stewart is leaving the college after 13 years of service. Hamilton will welcome a new President, David Wippman, in the fall. Both current and future presidents shared with us their candid thoughts on the transition (p. 13); in Stewart’s case, the state she feels she is leaving Hamilton, and in Wippman’s case, what he would like to do for our community.

In celebration of the future of Hamilton, we chose to turn the lens on younger members of our community for this issue’s Spotted (p. 25). With confidence and unique senses of style, Balderston and Dunne are examples of the ways in which fashion is influencing younger students.

In the Theatre Department, change is also in the air. For the first time in recent memory, the department is putting on a musical. Significantly different than performing a play, this semester’s effort has pushed both the cast and director to go above and beyond, making it sure to be a performance to remember.

Personally, we are feeling particularly nostalgic about our time at Hamilton, including our time with The Continental. This year has been a great learning experience and we hope that in subsequent years students will look at our magazine as an artifact of our time. Our staff members, from our section editors to our layout designers, have made our experience at the helm of the magazine both enjoyable and fulfilling; so to them, we would like to say a huge thank you.

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Mother Teresas & Slices of Pizza Hamilton Mythbusters

BY Carrie Solomon and Jessye McGarry

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1. YOU CAN WISH WINTER AWAY BUSTED--We’re not sure that our frostbitten toes serve as proof, because our doctors said that most of our extremities no longer have any function. But, if they do, they prove that mindset does not trump reality.

Poppin’ margs on a snow bank and chillin’ barefoot in Hawaiian shirts wasn’t enough to defeat a Hamilton winter.

2. YOU CAN RIDE THE JITNEY FOR FREE IF YOU CAN RIDE ON TOP OF IT PLAUSIBLE--We didn’t let a screaming driver hold us back, baby! We climbed right on up, refusing to get down until they waived the dollar charge. We may be seniors, but we do not know how to add money to our hill card accounts. Save a horse ride a cowboy. No. Save a dollar surf the Jitney.

3. STANDING ON THE HAMILTON COLLEGE MAP PREVENTS YOU FROM GRADUATING BUSTED--Check us out! Two feet on the map, on the ground. And for you skeptics, we got this map from Admissions, so it’s probably more legit than the one everyone keeps telling us about. Cummencement here we cum!

4. SECRET TUNNELS LEAD FROM THE SCIENCE CENTER TO OPUS CONFIRMED--Duh, you idiots! Secret tunnel? It’s called a staircase!

You science “brainos” want to be so much cooler than us KJ “water featurettes” but who’s the loser now, huh!? You’re gonna sleep with the fishes tonight, you Colgate rejects!

5. YOU CAN MILK AL HAM CONFIRMED--Hell yeah, baby! And it’s soy! Lactose-free students, climb on up! Maybe they have Almond Breeze in commons, but on a rainy day when water drops on Al Ham just right, it tastes exactly like soy milk. We’re filling up our cups and selling it directly to Tom’s downtown.

6. COMMONS PUTS LAXATIVES IN THEIR FOOD PLAUSIBLE--The verdict is in on whether or not we had diarrhea. But the jury’s still out on its cause. There were some confounding variables that may have played into our unstable bowels. We had breakfast at

Charlie’s, lunch at Zebb’s, merely an apple from commons (we split it), and then dinner, once again, at Zebb’s. So, we’ll get back to you on this but for now, you can find us in the basement of the library. Returning stacks of our overdue books (if you know what we mean).

7. YOU GET AN A+ ON ANY PAPER WRITTEN IN THE BROKEN DOWN CAR IN THE GLEN BUSTED--Before calling EMT’s to dig us out of the rubble, we thought we’d found our lucky spot! Then the roof caved in, and we still do! That said, this myth soon disintegrated, along with our GPAs. It turns out we refused to write about anything but the broken down car, much to the dismay of our Biomedical Ethics professor.

8. IF YOU LOOK STRAIGHT INTO THE SUN AT SUNSET AND SUNRISE ON 4/20 ON SKYLINE, AND YOU SAY “BRUCE SPRINGSTEEN” 3 TIMES, HE WILL BE OUR C&C HEADLINER PLAUSIBLE--We did this! Sure, we now have permanent eye damage and won’t be able to see Bruce if he performs, but it’s certainly possible that he will come to the turf field for C&C. Hey, we don’t care if we can’t see him, it’s his music that gets us! We’ll just be dancing in the dark.

9. YOU CAN DRINK IN THE ANNEX UNDERAGE BUSTED--So, it all started when we forgot to bring our IDs to DKE’s infamous Mother Theresas and Slices of Pizzas party. They would not let us in. And we were straight up covered in real pizza. Jessye was bleeding from the mouth to create the illusion of pizza sauce, and Carrie’s period had been clotting to create the illusion of pepperoni. We were all jazzed up! Yet, completely banned from the premises, only due to our lack of identification. So, to the youngsters out there: stay away!

10. IF YOU PRESENT NANCY THOMPSON WITH X NUMBER OF LONG-STEM ROSES IT RAISES YOUR GPA PLAUSIBLE--Well, we gave her the roses, with quite the presentation involved, and we begged. She was in the middle of a meeting. She kindly excused herself from the conference table and told us we’d probably be hearing from her soon. She emailed us saying she cannot improve our GPAs, but we have more roses to give. So now we’re sending along exactly two more roses. They are dead, as we had kept them for ourselves at the time, but we no longer want them. So, help us out Nance, we could use the boost from a 1.7 to a 4.0!

Photos by Ben Balick

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Professor Klinkner’s course: taking on the 2016 campaign

By Juliet Auwaerter

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f you’re surprised at how Donald Trump has unwaveringly prevailed in the 2016 Republican presidential nomination election, you’re not alone - which you are most likely, already well aware by now. Indeed, it seems that nearly everyone is astonished (and even terrified) by Trump’s primary and caucus winning spree. Not only is his success as a candidate unanticipated, but it actually defies political scholars’ traditional understanding of the mechanisms at work behind the presidential nominating process - just ask the students of Professor Phil Klinkner’s Government 223 course, who spent last semester learning about the “invisible primary,” as well as other aspects of the political process, while simultaneously watching it unfold right before their eyes.

The course highlighted the invisible primary, an easily overlooked, yet, fundamentally critical aspect of the presidential nomination process.

It describes the period of time before presidential primaries in which party leaders and insiders decide which candidate will best serve the party’s interests, policy demands and who will ultimately win the presidential election. Professor Klinkner’s half-credit course explored this topic in-depth, utilizing both scholarly literature as well as news articles and media content covering the Democratic and Republican 6

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nomination races that were beginning to unravel last fall. The benefit of this course, in Professor Klinkner’s eyes, was that students were able to observe real-world, current events and make sense of them using the relevant literature and studies, and vice versa. The course culminated in a research paper profiling a presidential candidate’s success or decline in the invisible primary, which required students to stay abreast (up to date?) with election politics and to apply political theory to contemporary events.

Students who took this class also had the option of enrolling into the Campaign Fieldwork portion as well, which required them to volunteer on a presidential campaign during two weeks of winter break for another half-credit. Initially, Professor Klinkner hoped that a handful of politically active students would enroll in the two courses and even feared that he would have to cancel both courses on account of low-enrollment. Thus, when nearly fifty students enrolled for the Presidential Nomination Politics course (thirty of whom also enrolled in the Campaign Fieldwork portion) he was completely “shocked.”

One of the reasons Professor Klinkner developed this course was because over the years, he had heard students express interest in

Pictured below from left to right: José Olivares, Victoria Madsen, Peter Kane

Photos by Jack Hay volunteering for political campaigns and had even seen some pursue them as careers after graduation. He wanted to give students an opportunity to either experiment with a new field of study or explore an already established interest for academic credit. To Professor Klinkner, campaigning is a valuable experience for college students because it allows students to take on “real responsibility” while also simply being “fun.” As a compliment to the classroom portion, the Campaign Fieldwork course also gave students an opportunity to gain an authentic, inside look into the campaigns they had analyzed and studied throughout the previous semester.

The thirty or so students who took two weeks or more out of their winter breaks to jump on the campaign trail, ranged in their motivations for doing so: from relatively inexperienced students like Peter Kane ’16, who opted into the Fieldwork portion “mostly out of curiosity” and Victoria Madsen ‘16 who seized the opportunity to get exposure to political campaigning before graduating and starting a career in an unrelated field, to students like, Caroline Reppert ‘17, who had volunteered on political campaigns before, but never during such a high-stakes election cycle in a first-in-the-nation primary. Abby Southard ‘17 candidly revealed she campaigned simply because she needed the extra half-credit. José Olivares ‘16, who self-identifies as a “moderate Democrat” saw it as an chance to “explore conservatism” and thus, volunteered for Republican candidate, Marco Rubio, in New Hampshire. CS When students arrived in New Hampshire and Iowa, two of the most critical states in the nomination process, it was readily noticeable to them that their work would be essential. Professor Klinkner had cautioned students before their departure about the unglamorous and unpredictable nature of life on the campaign trail, to which students

had to learn to quickly adapt. José Olivares, who was unexpectedly promoted to “intern status” during his four-week tenure on the Rubio campaign, learned to willingly accept any task that the team needed.

Over the course of his time on the campaign trail, Olivares wore many different hats including, “table sprinkler, rally security, poster maker, actor, office decorator, door greeter.” Peter Kane, who volunteered for Jeb Bush’s campaign in New Hampshire was tasked primarily with contacting voters by traveling all over the state canvassing houses.

He described his experience as being incredibly labor-intensive: “Our groups typically knocked on several hundred doors a day until sundown, and then returned back to the headquarters to make calls.”

Engaging with voters while canvassing and at phone banks, often resulted in angry voters slamming doors and telephone hang-ups, which Peter and Victoria both gradually learned not to take personally.

Despite the challenges of being thrown into unfamiliar territory as a campaign volunteer, students felt their work was highly respected by other members of the campaign staff. Abby Southard ‘17 was one of just three members of the John Kasich campaign in Cedar Rapids, Iowa and thus, felt like a respected and trusted member of the team.

She reflects, “I enjoyed feeling as though I was a part of the political process and realizing that the work of just a few people was enough to mount a national presidential campaign.” Southard also volunteered on the Sanders campaign in Cedar Rapids, where she felt she was given an unprecedented amount of responsibility, with very little supervision from staffers. In addition, José Olivares reported feeling that his work “really made a difference” to the campaign and despite being a Democrat, was thrilled when Rubio performed well at local rallies and town hall meetings, an indication of the captivating nature of political campaigning. Thus, while volunteering was challenging and demanding, students felt their work were able to find their work the continental | spring 2016

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rewarding and were motivated to continue to work hard.

In addition to providing service and support to the the campaign staff, students also found their work to have a meaningful impact beyond the parameters of their candidate’s campaign. Victoria Madsen, who spent most of her time canvassing houses throughout New Hampshire attempting to gain votes for Hillary noted: “Even if voters did not choose to support Hillary, I still felt I made a difference by encouraging them to get out to the polls and vote-- regardless of their candidate of choice.” In addition, Peter Kane appreciated the opportunity to hear voters’ opinions for himself, as opposed to accepting the media’s portrayal of them. While voter outreach was often a frustrating (and sometimes even futile) task, students were still able to find purpose in engaging with the voters.

While students primarily interacted with voters and campaign staffers, some also got real exposure to political candidates, which, no matter your political leanings, is undeniably cool. José Olivares even ate lunch in a diner with Marco Rubio and his family. Also, his Instagram picture of he and Rubio together remains one of the top “liked” photos under the #marcorubio2016 (could be caption for photo). While the day-to-day work was often unglamorous and labor-intensive, multiple students got their fifteen minutes of fame while volunteering, another unexpected benefit of their overall experience. Peter Kane, who was instructed to sit behind Bush during a speech, was subsequently featured on Fox news segment covering the event the next day, which was, to Peter, “surreal.” José Olivares also made national news along with a fellow Hamilton student volunteer for the “Rubio Robot” scuffle that occurred on election day; an event for which, Professor Klinkner jokes, he should get a teaching award!

Having seen the election from a unique, inside perspective, some students left the campaign trail skeptical about the presidential nominating process itself. Victoria Madsen describes her apprehension about New Hampshire’s first-in-the-nation status despite the state’s predominantly white population, “When the first primary has such an important influence on the course of the nominating process, shouldn’t the first state to hold a primary be one that is reflective of our nation’s

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her experience “solidified the idea that the entire process is a game of luck... it’s all about saying the right things in the right place at the right time.” While Caroline Reppert remains “cynical” about the nominating system, she found the New Hampshire-ites she encountered “refreshing” for taking their first-in-the-nation status seriously and for thoughtfully considering candidates and weighing political issues.

Interestingly, Abby Southard found the Iowa voters to be “tired of being asked to caucus” and generally bothered by the amount of mail, phone calls, television ads they are constantly bombarded with. Thus, having studied this process in the classroom and immersing themselves in it as volunteers, students were able to develop informed opinions about electoral politics.

Overall, however, students reported leaving their volunteer posts with a positive perspective on campaigning. Peter Kane, for example, was able to leave with a newfound appreciation and respect for “the sheer amount of effort that goes into each campaign.” José Olivares, although not converted to the conservative ideology, is grateful to the Rubio campaign for giving him the opportunity to explore his own political identity and learn, first-hand, about the campaign process.

The success of these two classes raises questions about developing similar courses in the future. What made the Political Nominating Politics class so unique was its narrow focus and timeliness. While presidential elections only happen every four years, perhaps there is potential for a contemporary politics class where the course material is decided reflexively, based on the current political events of the time, which Professor Klinkner suggested might be an interesting proposition. While it is difficult to effectively create an out-of-theclassroom learning experience that seamlessly equates Hamilton’s course offerings, the school should consider offering more half-credit courses to students. The unexpected over-enrollment of the course not only reflects students’ curiosity in the contemporary course material but also reflects the sheer demand for half-credit classes. As Professor Klinkner describes, because the class only met once a week and was naturally less labor intensive than a full credit government course, students could explore their interest in the subject without committing to the workload associated with full credit courses.

on the hill

WISE UP

By Meredith LaBelle

Have you ever wondered what’s going on at the Wellin Museum? It’s one of the most architecturally intriguing buildings on campus, yet most students underestimate the museum as a resource. The Ruth and Elmer Wellin Museum of Art has so much more to offer than just the art it displays.

Built in 2012, the museum features artists from all over the world who work with a wide variety of mediums.

This on-campus space for exhibiting art greatly benefits Hamilton and the surrounding community. The intimidation that is often associated with art prevents students from using this resource effectively. That’s where WISE comes in.

WISE—the Wellin Initiative for Student Engagement—was established in 2013 by a group of art-loving students who recognizedd the Wellin Museum as a space for providing new opportunities for the campus community. Their mission is to make the museum a more accessible resource for Hamilton students. WISE began by hosting conversations with the artists who’s work was on view in the Dietrich Exhibition Gallery. In these meetings students could talk face-to-face with the artists and learn more about their work, which allowed them to connect on a more personal level.

The organization has since held other events, such as the WISE Art Auction, where art majors auctioned off their

work and donated a portion of their proceeds to the Olympics of the Visual Arts Mentorship Program, which helps fund art supplies for K-12 student participants. Recently, the Senior Soirée provided a memorable event for seniors while also exposing students to the museum. Hundreds of Hamilton students gathered in the museum and enjoyed food, drink, a performance by Tumbling After, and most importantly, art.

Megan C. Austin, the Associate Director at the Wellin museum, works closely with the members of WISE, in overseeing their programming and events. She voiced that “a conversation is the foundation of almost every WISE the continental | spring 2016

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Photos by Paula Ortiz

single event. It doesn’t always have to be someone dictating information to visitors, but rather using the art as a common point of conversation.” Providing students with the opportunity to share their opinions and engage in artistic discourse is a crucial part of engaging the larger Hamilton community with the arts.

Austin also notes that WISE is the catalyst for student accessibility to the Wellin Museum. Connor O’Brien `16 attests to this statement, first recognizing that students are often reluctant to speak about art

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because artistic dialogue is stereotyped as “rarified or exclusionary.” O’Brien further states that WISE attempts to create “a way to make art and the museum more accessible, by not doing the sort of super high-minded art events while still creating an avenue for people.”

Madeleine Mogul `16, a long-time member of WISE, expresses the need for increased awareness of the arts, stating, “The junior class has about 200 Econ majors, and one Art History major, and that is something that worries us.” As students,

we all understand the pressure to major in a growing field that will secure us postgraduation employment. Yet this desire for a “practical” education limits a student’s intellectual development, especially when attending a liberal arts college that emphasizes a diverse curriculum. WISE seeks to provoke more interest in the arts with Hamilton students.

So WISE up and check out this organization and their upcoming events. For more information, e-mail wise@hamilton.edu.

BURKE’S SPECI L COLLECTIONS

Photos by Mike Verostek

By Jake Slovin

With windows overlooking the steps up to the third floor of the library, the exterior of the Special Collections is not obscure to those of us who frequent the library. However, lacking student awareness of the collection and limited student engagement with this resource fail to reflect the successful development that Hamilton’s Special Collection has undergone over the years.

Thanks to the generous Richard W. Couper ’46 endowment fund and Christian Goodwillie, the Director and Curator of Special Collections, Hamilton has been able to maintain and add to this amazing resource for both professors and students inside and outside of the Hamilton community.

There are three major collections: The Communal Societies, The Ezra Pound, and The Beinecke Lesser Antilles collections. While these might seem very specific, each is of impressive size and scope. The most notable of these is the Lesser Antilles Collection, which is one of the largest collections in this field.

Goodwillie says, “this heavy focus on a fewer number of subjects has allowed us to have internationally significant collections in those subjects.” Although Walter Beinecke Jr. donated the majority of this collection, it has continued to grow thanks to Hamilton’s “excellent support for acquisition” says Goodwillie.

Randy Ericson, the Couper Librarian who retired in 2011, was also a great the continental | spring 2016

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on the hill

supporter of Special Collections. Goodwillie praises him “for bringing the department forward, for making things more accessible, and for his work with Communal Societies and Pound collections.”

Although few classes so far require student engagement with the Special Collections, Yoshi Hill ‘16 works in the Special Collections as part of his on-campus employment. “I started the fall of my Sophomore year,” he tells me, “and now it is my senior year, so for nearly two years I have been working there.” Yoshi works about ten hours a week assisting in the archiving of collections so that they will be more easily available to those looking for specific sources.

“I don’t know if this job is posted on Hamnet,” he says, “but the only reason I knew about it was because my father is an antiquarian bookseller and encouraged me to be involved in the Special Collections.” The excitement with which he describes his job begins to make me jealous of his part-time job, as archiving has changed the relationship that he has with archival books and documents.

These books contain more than just dry information, but rather hold the personality of the author. “Right now I am working on a collection of letters from Joseph Dana Allen, Chief Engineer on the Erie Canal,” Yoshi explains to me, “and I can really commiserate with him when I read his complaints in correspondence about the snow during the winter.” Yoshi’s job has allowed him to forge a connection with the past and obtain an even greater appreciation for archival work.

At a small liberal arts college, we have a lot to be grateful for in terms of the resources available to us as undergraduates.

All students should strive to interact with the Special Collections at least once during their time at Hamilton.

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features

Photos by Nancy L. Ford

Hamilton’s New Era of Leadership As the Spring Semester winds down and the weather gets warmer, the Hamilton community will begin to say its goodbyes to President Joan Hinde Stewart, who has served as Hamilton’s President for 13 years. On July 1, 2016, a new era of leadership will begin on the hill. David Wippman, former Professor of Law and Dean of the University of Minnesota Law School, will become Hamilton College’s 20th president.

President Stewart has overseen numerous impressive initiatives at Hamilton. She has spearheaded an effort to establish new and renovated spaces for the sciences, arts, and recreation, worked to improve class diversity, and raised impressive amounts of money for facilities and student scholarship aid. Her success and positive influence on Hamilton’s campus will not go unnoticed as the Presidential transition begins to manifest on campus.

David Wippman, who was elected unanimously by the Board of Trustees and introduced to the Hamilton community on December 11, 2015, has big shoes to fill. His academic qualifications and passion for liberal arts education, however, will make the transition smooth and natural.

The Continental asked both President Stewart and David Wippman to participate in a written open forum, giving them both a direct outlet to the Hamilton Community to say whatever they want about the transition and their experiences. We received enthusiastic responses from both.

Introduction by Alex Scheuer the continental | spring spirng 2016

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Her Last Word M

uch of what a college president does—not to mention the work of trustees—is doubtless a mystery to most students, and that is as it should be. They have an education to see to, with its attendant social and material spheres. But a college needs to be managed, day in and day out, and it needs to be shepherded, which in this case means that plans and provisions must be put in place for its future enhancement. So part of its functions are, in a broad sense, custodial, and others anticipatory; both require the collaboration of many persons at all levels. There are countless decisions, large and small, that must be made in function of those duties. Problems that are serious, at least for somebody, surface all the time, and are not easily predictable. Nor is the future path always clear.

I have had the great good fortune of working at one of America’s finest colleges, surrounded by visionary, challenging and dedicated people whose collaboration and support have been utterly essential. I am grateful for the trust people have placed in me, for the generosity that has sustained Hamilton, and for the competence and sheer hard work of everyone from trustees, alumni and parents to faculty, students, senior staff, support staff and maintenance personnel. They have been behind every stride we can claim.

But I speak here, above all, of our students, for whom the whole

institution exists. The privilege is not given to everyone to spend more than a dozen years working with and for exceptionally bright and creative students, sharing in the passions of their intellectual discoveries and watching them begin to shape their careers. As I visit with young alumni across the country and even around the globe, they often express their gratitude to the College for what it has given them, and happily, in time they often seek to give back in ways that will benefit current and future students.

We all have much for which to thank this college. Recent research (canvassed by Karen Leach, our wonderful vice president for administration and finance) suggests that people who express gratitude and thankfulness experience a wide array of benefits, including better health—physical, emotional, mental—more satisfying relationships, better sleep, greater overall happiness and even longer life. Those are benefits we all can share.

I am of course much aware not only of all that I owe to Hamilton, but also that I have little time left on the Hill. I will not have the pleasure of awarding degrees to the Classes of 2017, 2018 and 2019 with whom I had the joy of sharing matriculation in Kirkland Cottage. But what prevails in an institution like Hamilton is less change than continuity. I am happy to leave the College in the care of a man of great humanity and wisdom. For that too we are grateful.

-JOAN HINDE STEWART

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His First Word I

soon will be starting down a path traveled so ably by 19 others fortunate to have served as president of Hamilton College, a path that President Stewart has followed with extraordinary grace, humility and success. One might think that a two-hundred-year-old path traversed by 19 talented predecessors would be clear and easy to follow. In some respects, I suppose it is.

Hamilton’s stature as one of the country’s finest liberal arts colleges and its commitment to the life-changing value of a highly personalized, residential liberal arts education are not in doubt. The president’s job at Hamilton, it could be argued, is to continue following that well-traveled path by working with all members of the community to ensure that the College continues to flourish and grow, so that when the time comes to hand the keys to the next president, the College will have achieved even greater distinction.

But how exactly are we to reach that new level? President Stewart observes in her own contribution to this issue that the College requires constant management; countless decisions must be made, on issues large and small, and unexpected problems must be solved.

So the best path forward would be uncertain, even if the world of higher

education were courteous enough to remain orderly and predictable.

But as I noted when I was introduced to the Hamilton community in December, higher education is in flux. We must address issues of access, affordability, technological change and the compelling need to build on recent progress around diversity and inclusion. Hamilton has long played a leadership role in addressing such issues, and I am confident that by working together we will continue to lead in the years ahead.

When I join the Hamilton community on July 1, I plan to do a lot of listening and learning. That, after all, is what a liberal arts education is all about: learning how to learn. I am eager to meet with all constituencies of the College—faculty, students, staff, alumni and friends. I have no doubt that collectively we can build a future for Hamilton worthy of its past.

As I prepare for my new role, I see and hear constant reminders of Hamilton, whether it’s the sound track to the musical (sent by an old friend when he learned of my appointment) or the sight of someone wearing a Hamilton jersey. In fairness, here in Minneapolis, I am often the person wearing that jersey, but either way, the jersey typically sparks a conversation with someone who went to Hamilton or has a friend or relative who did. And the more I learn about Hamilton, the more excited I am to get started.

-DAVID WIPPMAN

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travel

Utica

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Rome

Syracuse

Munson-Williams-Proctor Art Institute

By Charlotte Simons

The Munson-Williams-Proctor Art Institute is named for the three

generations of the Utica family that founded it, with the museum’s collection originally starting from the family’s hobbyist art collecting in the 1930s. In addition to more typical oil paintings, the collection includes playing cards and various antiques. The family’s original Italian-style villa still exists within the museum, although you have to walk through a tunnel to get to it.

The current main collection consists of mostly post-WWII art, including a lot of abstract expressionism and cubism. For the collection’s small size, it really packs a punch when it comes to name-brand art. There are no Central New York celebs here; instead, the Munson-Williams-Proctor hosts paintings by luminaries such as Salvador Dalí, Jackson Pollack, Marcel Duchomp, Andy Warhol, Frank Stella, Sol Lewitt, Franz Kline, Mark Rothko, and more.

The current temporary exhibition on display, Elemental, does pay homage to local talent, however. The show displays the work of several Central New York artists whose work deals with the four elements: earth, air, water, and fire. The exhibition is well curated, although it can feel crowded when compared to the spaciousness of the rest of the museum, as there are many objects in the exhibition’s small space.

There is an old rumor that many pieces in the modern collection at the Institute were originally donated to Hamilton College, and the rumor is true: Hamilton had to reject the donation because the College did not have a museum at the time… Unfortunately, the Wellin Museum came about sixty years too late to host these iconic pieces of art.

Photos by Sarah Moore

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travel

Griffis International Sculpture Garden

By Jenna Wilson

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reasonable twenty-minute drive on NY 233-N can transport you from Hamilton’s campus to a unique sculpture garden in Rome, NY; perfect for a moment to think, regroup, or perhaps gather some inspiration. Founded in 2009, the Griffiss International Sculpture Garden has continued to grow since its inception currently housing sculptures from upwards of twenty artists.

Once in the park, one can see Polish artist Tomasz Domanski’s stunning aluminum piece “Chimney,” fabricated and integrated for an ‘art after dark’ theme. Taking a turn to the left, one can see California native Mark Abildgaard’s two glass columns that serve as markers for the Garden’s new nature trails, installed in tandem with the ‘art after dark’ idea.

With another shift in direction, one sees British-born artist Jenny Polak’s interactive sculpture, “Lookout Landing.” Lit by solar-powered LED lights, Polak’s piece is one of Garden’s several sculptures that are categorized as “green” art. Nearby is fellow Brit Jonathan Kirk’s interactive sculpture entitled “Pagoda Pavilion.” With both of these sculptures offering seating to garden visitors, the Griffiss International Sculpture Garden requires just a short drive to surround yourself with sculptural beauty.

As it continues to expand, the Griffiss Garden is constantly developing both its permanent and temporary art installations, as well as walking paths, sitting areas, and signage. To watch its growth for yourself, just pay the Griffiss a visit on a nice Central NY spring day.

Photos by Ben Balick

Light Work

By Sean Henry-Smith

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ounded as an artist-run, non-profit organization in 1973, Light Work is a multi-faceted organization committed to accessibility, diversity, and opportunity, providing direct support to emerging and underrepresented artists working in the media of photography and digital imaging. Light Work’s internationally recognized Artist-in-Residence Program invites between twelve and fifteen artists to come to Syracuse to devote one month to creative projects, while the organization also supports three local artists each year through the Light Work Grant.

Annually, Light Work collaborates with four artists on a solo exhibition of their work, then publishes in Contact Sheet, one of the longestrunning photography publications in the nation. The communityaccess digital lab facility provides artists and students an affordable space to develop their work in an advanced professional setting that is accessible to artists of any skill level. Urban Video Project (UVP), Light Work’s multi-media public arts initiative, projects a curated selection of video and electronic arts on the façade of the Everson Museum of Art. Above all, Light Work places emphasis on being available to and for the community. Light Work’s galleries are on Waverly Avenue in Syracuse, and are all free and open to the public, Sunday through Friday.

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Photos provided by Light Work

FINDING MY PLACE as a woman

IN THE MIDDLE EAST

Photo by Zach Batson

By Olivia Plimpton

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t goes without saying that the Hashemite Kingdom of Jordan is not the typical study abroad destination. Further, as a woman, the decision to spend several months in the Arab world may seem even more puzzling. My motivations to study abroad in the deserts of the Middle East, however, came from a desire to experience a world entirely unlike my own.

Amman, Jordan is almost indistinguishable from the average American city, with Starbucks and McDonald’s lining the streets, and throngs of people yelling and cursing on their morning commute, much like my fellow New Yorkers. So, although similar on the surface, the differences between Jordan’s capital and The Big Apple can be found in the details: the chain falafel and shawarma joints, the Arab music emanating from taxicabs, and the harsh Levantine tone.

Jordan is a moderate Arab state undergoing momentous change, much of which arose in the wake of the Arab Spring. With several democratic states springing up across the Middle East in the past five years, the Jordanian nation is among those countries confronted by issues of modernization, social change, and a growing political responsibility, particularly in light of the Syrian refugee crisis.

As a woman living in Jordan, I abided by the cultural and religious norms: I dressed conservatively, I covered my head in religious spaces, and I never crossed my legs in

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public or exposed the soles of my feet in a casual setting. I sat opposite cab drivers and avoided eye contact in the rearview mirror, because sitting directly behind male cabbies is perceived as an “invitation.” I was constantly aware of my actions and behaviors, but after a few weeks, it all became second nature. Many of my friends in the U.S. expressed distaste with the “unfair treatment” of women in Jordan and other Arab countries. As the one living there, however, I was forced to grapple with their denunciation of perceived “unfairness” as my functional reality.

During my Bedouin homestay in rural Al Rajif, my host mother, Um Jude, taught me how to tie a hijab around my head. She meticulously did my eye makeup as her toddlers screamed in the background, and after what seemed like hours, she stepped back and beamed, “Now you are beautiful.” Despite feeling totally out of place in Al Rajif, I felt a distinct sense of my new self there in Um Jude’s home. With her husband commuting to the city of Amman every week, only to return home on the weekends, Um Jude is virtually a single mother. Yet, every day a procession of women file in and out of Um Jude’s doors— daughters, sisters, aunts, and cousins—there to help with the babies, the cooking, and the cleaning. Together, they dance and sing endlessly. Um Jude’s support system is iron clad. I quickly understood the unrivaled sense of community among the Al Rajif women.

Ultimately, I am not a Jordanian woman, and I am in no place to comment on their choices. But when I think about the hijab and the debate that surrounds the wearing of head scarves, I think about Um Jude, and the sense of happiness, comfort, and identity she felt from wearing hers. Despite differences in culture, my time in Jordan has left me with a deeper understanding of the Arab world, Middle Eastern customs, and the overwhelming importance they place on community.

“DESPITE FEELING TOTALLY OUT OF PLACE IN AL RAJIF, I FELT A DISTINCT SENSE OF MY NEW SELF THERE IN UM JUDE’S HOME.”

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By Sophie Menashi

Illustration by Sarah Wallack

Photos provided by Hannah Woolley

Traveling to dream destinations—from the remote Adirondacks to the volcanoes of Tanzania—may seem like something reserved for family vacations or studying abroad. However, many Hamilton students have been able to travel all over the world for classes, immersing themselves in experiential learning beyond the opportunities a typical course can provide.

“I can’t imagine being a geoscience major without doing fieldwork,” explains Alex Doig, class of 2016, who has travelled all over New York, Western Massachusetts, New Hampshire, and Vermont for several of his geology classes. According to Doig, who has travelled with more than four courses, “most [geoscience] field trips are structured like, here is an outcrop and let’s go study it.” Doig then gets the chance to analyze his own collected samples, taking “hands-on learning” to the next level.

“We use Google Earth all semester to map [geological features],” he continues, “but actually seeing them in person really brings them [and the field] to life.” And, to top it all off, all the travel Doig does comes at no extra cost.

In addition to domestic field trips, the Geosciences Department frequently offers international field study classes, which are open not only to geoscience majors, but to all students, like government major Hannah Woolley (’16). Last July, Woolley, along with fifteen other geology students, travelled to Iceland after taking the Iceland Seminar and Iceland Field Study courses offered by the Geosciences Department. Woolley and her peers were also accompanied by students enrolled in the Philosophy of Science course offered by Hamilton’s Philosophy Department, and an additional group of geology students from Mount Royal University in Canada. the continental | spring 2016

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“The trip was very structured; we would go to different geological sites everyday,” Woolley says, although noting that, “we got time to explore Iceland on our own.” The trip also gave students the opportunity to stay at local hostels and camp along Iceland’s coast.

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Woolley cites the trip as one of the highlights of her time at Hamilton, emphasizing the “great liberal arts experience” she, as a government major, was able to have during the two geology-focused weeks she spent in Iceland.

As for her favorite part of the trip? “We visited a cinder cone [from a volcano] that had erupted in the 1970s,” Woolley says. “We stuck our hands inside, and it was still warm!”

Although several of the courses at Hamilton that boast travel as a component are offered through the Geoscience Department, other departments, such as English, with its Adventure Writing course (taught

by History professor Maurice Isserman), weave travel into their classes as well.

Isserman’s class, which has run every fall semester since 2007, involves both academic and experiential writing. “The students take several trips to the Adirondacks a semester, usually including a canoeing trip and a hiking trip,” Isserman says, emphasizing the “good bonding experience” that the travel provides.

“We do a lot of peer review in the writing process,” Isserman continues, explaining that “the trips build trust and friendship which is important, [since] if the students only encounter one another in the classroom, it’s harder to reach that point of comfort and familiarity.”

For Adventure Writing, all of the travel is coordinated in conjunction with the Glen House through Andrews Jillings, Director of Outdoor Leadership, whom Isserman describes as “a master at giving students the kind of experiences that are challenging, but aren’t going to kill them.”

Ultimately, the benefits of travel as a component to Hamilton courses shine through with Hannah Woolley’s reflection, remembering one particular moment from her time in Iceland: “I looked down and realized that this thing, this geological structure I’m standing on, we looked at it on Google Earth four weeks ago! It was so fun to apply what we had learned in the classroom. It felt so rewarding.”

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style

SPOTTED:

Photos by Tina Mangelova

Nick Balderston ’19 and Kaitlin Dunne ’18

By Dillon Kelly

Nick Balderston ‘19 and Kaitlin Dunne ‘18 have been spotted for their immaculate style around campus. They both share a passion for clean-cut and simplistic style; however, they differ in their approaches to fashion.

Read on to get more insight on what makes their personal style unique.

Nick Balderston Nick is a freshman Jan from Wilton, Connecticut. On campus, Nick is involved in CAB and is also a member of the Running Club. Nick is undecided about his major.

How would you define your sense of style?

I would say my sense of style is pretty eclectic, but also clean. I like my outfits to be put together but also kind funky.

What’s your favorite article of clothing you own?

Probably my Oliver Peoples sunglasses. They’re tortoise shell with square lenses. I love sunglasses in general and really think they are an important part of any outfit.

What or who is your fashion inspiration?

Well I’m a Jan, so living in London was definitely inspirational.

I was really inspired by all the people and their fashion choices.

Everyone dressed so well. There were also amazing stores.

Where do you get most of your clothes?

I get most of my clothes from Gilt. It’s a website that has flash sales so I get emails from them when there are sales. I also buy a lot of my clothes from Rag and Bone.

If you had to give someone fashion advice, what would it be?

Don’t wear cargo pants. Also, keep it simple.

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Kaitlin Dunne Kaitlin, a sophomore, is majoring in French and Economics. She is the Creative Director for Signature Style as well as the Publicity Director of Student Assembly.

How would you define your sense of style?

I would probably define it as minimalistic, although I try not to put a label on it because I find that kind of limiting. I just pick clothes that I like regardless of their style. However, my outfits always end up being simple.

What’s your favorite article of clothing?

Sticking with the simple theme, a basic white t-shirt is my favorite.

What or who is your fashion inspiration?

I love Leandra Medine of Man Repeller. Although her style is probably the complete opposite of mine, I find both her and her view of fashion amazing and liberating.

Where do you get most of your clothes?

Probably Asos or Zara.

If you had to give someone fashion advice, what would it be?

Wear something because it represents who you are and makes you feel comfortable, not because everyone else is wearing it.

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Nick Balderston

Hydro Flask ou only find peace on a mountain top at sunrise with a deer sideeyeing you from the tangled bushes.

The smell of pine and grit seems to erupt from your pores, leaving showers unnecessary. A water bottle thicker than a ram’s skull and more versatile than a 4X4 piece of tarp is what you need.

Don’t let that Adirondack Adventure Leader sticker ruin the sweat powder coat finish.

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Off-Brand Nalgene Look-Alike modest consumer, you know a phony trend when you spot one. “Sure it’s BPA free, but you haven’t washed it in three years,” you retort as your suitemate parades their one-of-a-kind water chalice with its cerulean blue wide-mouth cover. Your bottle is straight from the Walmart shelf—unremarkable and proud. But hey, it gets the job done. And aren’t reusable water bottles more about conservation than fashion anyway?

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What Your Reusable Water Bottle Says About You

By Collin Spinney Nalgene ike a life-giving Pinterest board, your Nalgene not only sustains you but shows the world the real you.

From that sticker you got the one time you went to the Saranac brewery to the inevitable Hamilton H branded somewhere on its broadside, your Nalgene is utterly unique. It might be your fourth replacement, but this is definitely your forever Nalgene that helps you save the planet. So slap another cat sticker on and hydrate!

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Used Gatorade Bottle ou’re in need of constant hydration from your twelve daily workouts but you don’t have time to run out and get a fancy permanent water bottle. Hard and rigid like your rippling or soon-tobe-rippling abs, this bottle makes sure you fit in while perusing gym machines or choosing between the 40 and 45 lb. free weights. And yes, ripping the label off will totally distinguish yours from all the others; I promise.

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Commons Coffee Cup from Breakfast ou’ve had a rough morning—you put on mismatched socks and got toothpaste on your shirt. Sure, there’s gum in four parts of your hair and a pen is stabbing your leg through the pocket of your sweats, but things will be alright. At least that paper was only six hours late. And, don’t worry, no one will notice the smell from not showering after sleeping on that Tony’s pizza you ordered at 11:35 last night; just make sure to sit next to the kid with the Hydro Flask who is wearing three oddly-brown bandanas.

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Photos by Anna Arnn

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WINE Bar PROFILE

By Abby Pynchon and Mara Wilson

In The Continental’s winter issue, Jake Slovin indulged in a Beer Tasting at the Little Pub through which he provided an in depth description of each beer option.

For those of us that like beer this was a very useful article, but what about nonbeer lovers? Inspired by Jake’s urge to explore, we (Abby and Mara) decided to embark on our own indulgent tasting: wine.

The Annex, commonly referred to as “The Wine Bar,” is a small restaurant located in the heart of Clinton, where students, faculty, and administrators can go to unwind after a long day over a vast selection of highly curated wines. With its ambient atmosphere, The Annex promotes community style drinking clad with large wooden tables and bench seating; however, also fosters a very intimate setting with dimmed lights and soft music.

While wine is definitely the star of The Annex, the menu has other options as well. In addition to offering a number of cocktails from Nola’s next door (the two are affiliated), The Annex offers a great selection of beers and small plates, everything from tacos to a cheese board. To go with our wine, we shared turkey pesto meatballs and a jar of nuts.

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If The Annex interests you, below are a list of wines we tried and highly recommend:

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*white* Frost Cuvee (from Finger Lakes, NY) Professional’s take: This wine is not that heavy and medium on the palette. It has a pear aftertaste, so it’s still a bit citrusy, which prevents it from being overly dry. A blend of a few different whites, the wine is sweet with notes of citrus.

Our take: This wine tastes much more complex than a white we’re used to drinking, and it leaves a very distinct (not bad, though) aftertaste in which the pear flavor becomes very prominent.

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*red* Bodega Le Fleur (from France) Professional’s take: This wine has hints of apple and raspberry flavor! Don’t be deceived by the rich bright purple; this wine is actually very light and supple on the palette.

Our take: The white-wineonly’s among us loved this red, which we learned was because of the small amount of Tannin used. Tannin is an additive in red wine that tastes ashy; dark reds normally contain a lot of tannin, however this one has less. So, if you always reach for white wine right now, this wine is perfect to begin the transition to becoming a red wine lover.

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*white* Kato (from New Zealand)

*red* Pinot Noir (from France)

Professional’s take: This wine is very citrusy and is extremely strong on the palette. It has a grapefruit aftertaste, and is significantly more acidic than other Sauvignon Blancs.

Professional’s take: This wine has flavors of blackberry and cherry, but remains light on the palette. The cherries give it a bit of tartness, which keeps it on the less heavy side, as reds go. This wine isn’t quite as dry as a typical red.

Our take: For those who prefer red wine, you’ll be surprised how similar this is as a white - it’s the acidity!

Our take: This wine is a teaser; at first sip, you think it’s going to be super full, but then it’s not. It leaves you wanting something more...

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Living In Style: Alums in the Fashion Industry

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Illustration by Caitlin Becker

hen most of us think about a career in fashion, we typically think of the words “fashion designer,” and then perhaps begin to think of some of the notorious designers in the industry: Ralph Lauren, Chanel, J. Crew, Calvin Klein…the list goes on. We neglect to think about careers in fashion beyond anything but drawing sketches of pretty shoes and billowing gowns. Be honest with yourself, have you ever thought of all the other work that goes into the brand name you’re wearing right now?

Work in the fashion industry is actually just as multifaceted as work at any other type of company, and the careers of three Hamilton alumni, Ashlyn Lovejoy ’09, Josie Jones ’12, and Kristen Ronan ’06, demonstrate just that. From positions in merchandising and inventory planning to public relations and business management, the work of these alumni spans the wide range of careers possible in the fashion industry – far beyond art and design.

We asked each of them to talk a little bit about their experience and role within this stylish realm of employment. Here’s what the ladies had to say:

Kristen (Pinna) Ronan ’06 Major: Creative Writing

Kristen Ronan has become an esteemed Public Relations professional based in New York City since graduating from Hamilton in 2006.

First launching her successful career at RF| Binder Partners and WPP Group, with a focus on strategy development and corporate brand communication, she acquired skills that would lead her to later work as a Senior Account Executive at fashion powerhouse Paul Wilmot Communications (PWC) in dealings with big names such as Donna Karan, DeBeers, Joe’s Jeans, L.A.M.B. and even supermodel Iman. Later, after her time at PWC, she joined the Diane von Furstenberg press team, where she rose to become a major force in the company as Senior Manager of Global Communications, working directly with DVF herself and handling all of the brand’s launches, partnerships, collaborations, collection debuts and DVF’s personal press. During Kristen’s time at the designer label, the fashion house’s notoriety rose significantly because of both the company’s television show on E!, “House of DVF,” and Diane’s memoir, “The Woman I Wanted To Be.” Kristen spearheaded press for both major initiatives and successfully garnered worldwide recognition

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for these significant brand milestones.

Though it’s hard to imagine that Kristen could be more wellaccomplished after her many prolific years at these companies, she continued to push her career envelope by moving from DVF to Farfetch.

As the North American Director of Public Relations for the luxury e-commerce company, Kristen led press efforts and carried the team through its billion-dollar valuation and first ever brick-and-mortar acquisition. All of this experience eventually pushed Kristen to found her very own PR consultancy, Kristen Ronan Public Relations, which she is in the midst of launching at the present time. She looks forward to lending her expertise and experience to ready-to-wear and accessories brands in need of communications counsel.

Compiled from information provided by Kristen, written by Ali Gay.

Ashlyn Lovejoy ’09 Major: Classical Studies

As the sales and inventory planner for the fragrance and beauty retail points of sale (Chanel.com and company owned/operated boutiques), I spend a lot of time buried in Excel spreadsheets writing IF/THEN statements (with a nod to the Python class I took senior year, which I almost failed!). While I didn’t take any economics or business-minded classes at Hamilton, I fortunately never felt unprepared for life after college. Uncertain? Who am I? What should I do with my life? Et cetera?. These questions persist, but I decided to take a passion that I have for design and fashion and pursue a career at companies in realm that I admire.

And anything I didn’t know? Google! (Especially for those Excel formulas…) Without promoting Ham-Tech too much, the education that you all are pursuing truly helps to form you into self-starting and independent adults who can both figure things out on their own as well as know when to ask for help. (Pro tip: managers across all industries want employees like this!). It’s thrilling to get a formula to produce the intended result, but my favorite part of the job is the collaboration with other teams. From working with marketing/

merchandising on the product assortments to working with the creative teams on gorgeous, interactive site features, the people are the aspect I love most about CHANEL. And, well, the products aren’t half bad either!

CHANEL is a very attractive name—it’s the “ultimate house of luxury,” after all—and it draws some of the smartest and coolest people that I’ve had the pleasure to meet and work with in my adult life. The company also runs very lean, which allows its employees to wear many hats and do things outside of their written job descriptions. This is such a great aspect as we get to learn things we might not have otherwise, and meet people from different departments and areas. It’s not too dissimilar from having a major— your main job description—and then being able to take classes outside that area and join clubs (a.k.a.: interesting projects or “task forces”) to round out your schedule and education.

Written by Ashlyn Lovejoy.

Josie Jones ’12 Major: Psychology

The business side of fashion is an integral and fascinating aspect of the fashion industry. As Business Manager of the Condé Nast Media Group (CNMG), the corporate division of Condé Nast, I’ve learned this firsthand. In my experiences, when people hear I work at Condé Nast, they often assume I spend my days traveling (I wish!) or that I work in the fashion closet of a publication like Vogue.

Rather, my team makes sure the CNMG business runs smoothly. We work on the operational and financial aspects of campaigns for our fashion clients along with the travel, spirits, entertainment, home, and business/finance categories. I manage the internal budgets of our Branded Content group, 23 Stories (named for the 23 floors we occupy in One World Trade Center), along with the campaign budgets executed for our clients. Although not as glamorous as Condé Nast’s fashion world, the business side of the company is equally exciting—we witness the ideation, production, execution, and results of multiple projects. We see the successful partnerships

between our corporate group and the magazines within our portfolio (Vogue, Vanity Fair, The New Yorker, Condé Nast Traveler, just to name a few) that keeps the business thriving.

There is something about seeing the proofs tacked onto the walls, flipping through the pages of our magazines, and finding the creative in all its glossy glory that keeps me engaged in our industry. The evolution and production of the publications, the custom videos, and the client events—budgeting, meetings, conference calls, early mornings, late nights, last minute trouble-shooting—adds to the excitement and fast-paced nature of the industry. And business aside, the Condé cafeteria is a great place to people watch; some of the best-dressed people you’ll ever see!

Written by Josie Jones.

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Photos by Paula Ortiz

Musical Theatre Returns to Hamilton College with

Spring Awakening

By Olivia Paradice

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ased on the 1891 Frank Wedekind play, Spring Awakening opened on Broadway in 2006 and was met with critical acclaim by winning eight Tony Awards, including Best Musical. Just last year, it celebrated an extraordinarily successful revival that was praised for making Broadway accessible to people with disabilities; the show featured deaf actors, American Sign Language, the first Broadway performer to use a wheelchair, and was the first Broadway production to provide interpretation for deaf theatregoers.

The musical is set in 19th century Germany and tells the story of a group of teenagers struggling through the turmoil accompanying their burgeoning sexuality. The original play is known for its continued relevance more than 100 years later, tackling issues like teenage pregnancy, power struggles between teenagers and adults, and the suppression of sexuality. The musical takes this subject matter and 19th century timeframe, and sets it to a soundtrack that mixes folk and alternative rock with surprisingly effective results. It’s going to be the Hamilton College Theatre Department’s first musical production in a very long time.

Given that the Hamilton Theatre Department has been focused on straight plays for so long, some may wonder: why do a musical now? Director Craig Latrell simply replied, “I decided to direct a musical because I believed it was time to do so, and that it could be fun. Our new building is really Hamilton’s front porch, and I think we need to present plays that appeal to many different communities in the Mohawk Valley, and that show off the facility’s capabilities.” Putting on a musical can be a challenge because it requires its performers to be “triple threats,” excelling at acting, singing, and dancing. However, Latrell is confident his performers can tackle this feat

with success. When asked about the difficulties of directing a musical as opposed to a play, he responded, “It’s hard to assemble the right people. At the same time, there are also many unanticipated joys, and the great pleasure of working with talented students.”

If all this is true, what makes Spring Awakening, with its coming of age and unconventional music, the perfect choice over something more traditional? For Latrell, it sounds as if these are the exact reasons he chose Spring Awakening: “I’ve known the Wedekind play for many years, and love its sort of moist anxiety. Much of that is carried over into the musical, and it’s also infused with a great energy.” Indeed, between its highly anachronistic soundtrack and the rebellious nature of both its characters and musical numbers, Spring Awakening is a show that lends itself to high-energy performances.

Dramaturg Bridget Lavin, who “researches the play and music, finding important elements of the story and relating them into forms that the actors can use in their craft,” believes that the expressionistic nature of Spring Awakening makes it an excellent candidate for Hamilton’s return to musical theatre: “The original play is an expressionistic piece with very elaborate, poetic language. What’s cool about the musical is that although the characters speak to one another in a more realistic manner, that poetic language is really fused into the lyrics of the songs, so the piece still has that expressionistic feel while being more focused on the songs, as a musical should.”

Ambitious, vibrant, and challenging, putting on Spring Awakening is a bold way to reintroduce musical theatre to the Hamilton College stage. With its relevant subject matter and musical numbers that range from melancholic to exhilarating, it’s bound to be a can’t-miss performance, and one that is sure to get the campus talking.

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Spotlight on: F.I.L.M.

How One Organization is Providing Alternative Arenas for Discussion

By Deasia Hawkins Photo by Zach Batson Regularly throughout the academic year, the Forum for Image and Language in Motion (F.I.L.M.) series brings s film, filmmakers and other speakers to the Hamilton College campus. Run by Scott MacDonald, [I understand that my legal designation is “Visiting Professor” but that’s misleading—I’ve been “visiting” since 1981] Professor of Art History, F.I.L.M. is much more than an organization that merely showcases intellectually stimulating material. As an organization and a series, F.I.L.M. allows people to question both the form and purpose of each individual film. It is meant to entice inquisitiveness and challenges the audience to view films as an extension of human perception and ingenuity.

According to MacDonald, F.I.L.M. is his “academic commitment as a film studies professor/scholar,” which has grown into campuswide screenings that aim to broaden the audience’s knowledge of film history and geography. That Hamilton honors his commitment to bring unique films and filmmakers to campus is one of the main reasons MacDonald is proud to work here. Paula Ortiz ’18 is an active participant in the F.I.L.M. series.

She took Introduction to the History and Theory of Film with Professor MacDonald her freshmen year, which helped her understand “how infinitely creative, conceptual, controversial, [and] evocative filmmaking can be.”

F.I.L.M. is especially unique because each season is startlingly diverse. Professor MacDonald tries to create an “implicit (and sometimes explicit) dialogue among particular films/filmmakers” in order to showcase the diversity that has shaped the history of film and how “filmmaking functions within modern culture.”

Ortiz enjoys the diversity of filmmakers who have come to showcase their work, such as animators and experimentalists, and the diverse range of films and accompanying features, from benshi performers to live music. Ortiz states, “these events, aside from showing us the vastness of cinema, are informative, feed the viewer’s artistic vision and, are above all, inspiring.”

Each season mixes ethnographic, historical, and personal documentaries with canonical narrative classics from around 34

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the world, as well as “experimental” or “avant-garde” filmmaking.

These varying films, their subject matter, and the mode in which they are presented inspire, transcend, and show life through various viewpoints. The current season aims to, and excels at, recognizing and exploring the intersectionality of race, class, gender, and sexuality. More importantly, the films shown are often undiscovered gems that pull audiences in with the snap of a finger.

One focus this season was African Americans in Film: Rarely Screened Landmarks. Recently, MacDonald facilitated the screening of Losing Ground, directed by Kathleen Collins and Tongues Untied directed by Marlon Riggs. Losing Ground touches upon black social mobility, racial tension, infidelity, and the relationship between artistic and intellectual passions.

Collins juxtaposes ecstasy and pain through the lens of academia and art.

Tongues Untied focuses on the social construction of black masculinity, homophobia, the AIDS epidemic, and the revolutionary act of “black men loving black men.” By repeating verses, superimposing images, and weaving poetry into the script, Riggs puts self-identification and subjugation in conversation with one another.

MacDonald believes “the function of college is to provide students with opportunities to engage with the widest possible panorama of learning experiences,” and F.I.L.M. aims to provide these experiences through cinema. Since film often encompasses perceptions about and from a wide array of subjects and fields, cinema is able to provide a learning environment that fosters both individual growth and a space for controversy. This season will end with MacDonald bringing a filmmaker to campus “whose wildly inventive new feature should be of interest for those studying poetry, chemistry, environmental studies, the fine arts and art history.” Cinema—and film history in particular— allows us to explore, engage with, and shift perspectives.

Look out for an email from MacDonald highlighting the next F.I.L.M. event! They are held every Sunday at 2 p.m. in the Bradford Auditorium. As MacDonald says, you’d be crazy to miss it!

Coffee tables, Coffee fables How much support are they, really?

By Nina Byers

Spaces allowing for freedom of self-expression abound on Hamilton College’s campus, but few garner the sense of intimacy and community fostered in a coffeehouse setting. For those unaware, the “coffeehouse,” in this context, refers to a performance space where audiences have the (encouraged) option to sit and appreciate a hot beverage whilst enjoying live entertainment. The opportunity to imbibe warm drinks comfortably is crucial: without the refreshment, there would be no tables. And what do tables provide? A flat surface for your chai, sure, but oftentimes a candle sits on the surface, casting a quaint glow and providing each table with its own cozy ambiance. Moreover, the table provides an area for those in attendance to congregate around and embody the flame’s warmth.

Former CAB Coffeehouse Coordinator, Clare Rock, loved seeing the diverse crowds that attended Coffeehouses. “People bring work or people are talking, and some are totally entranced by the music and great acoustics,” she said. And of course, there’s usually a handful of students dancing on the sidelines, regardless of musical cadence. Rock genuinely enjoyed the work, which involved reaching out to bands and baking cookies, but loved that the goal of her output was seamlessness. “I like knowing that I had control to put together an event that looked like it just happened. But so much goes into it.” Indeed, a free CAB Coffeehouse, on the outside, lacks the formality of a large show. Yet Rock and other past coordinators effectively plan the space to make it feel unplanned. It is this organic form that encourages a spectrum of engagement, which allows for the “diverse” crowd. Coffeehouses simultaneously incite “dance-offs” with the band and a space to complete homework. Lest we forget, you can’t do homework without the table.

On the topic of tables, creator of the successful Student Performing Arts Club (SPAC) Coffeehouse, Matt Dickstein, begs to differ. To him, “it boils down to the difference between couches and chairs.”

Unlike Rock, Dickstein maintains that to encapsulate a coffeehouse perfectly, couches are necessary.

The chairs provided at Acoustic Coffeehouse are quite rigid and one cannot entirely “unfold” on them, while couches encourage intimacy. Sharing your seat is a surefire way to remind the audience of the significance of community. Sure, Matt, but where does the coffee go when it’s time to applaud Carter Sanders’ melodious piano playing?

Dickstein understands, however, that the coffeehouse intimacy is most conducive to Hamilton’s thorough celebration of individuality.

Matt thanks his experience with his a capella group, The Hamiltones, for the creation of the SPAC Coffeehouse: “through a capella, I realized how many talented people are at Hamilton who otherwise didn’t have an opportunity to perform.

I know there were open mics in the past, but I wanted to create a program that allowed an avenue for people to do whatever they want… Unless you had a solo in a capella, you don’t have an opportunity to sing… It’s a space for those with other time commitments… It’s for people who play instruments or do spoken word.” In other words, it’s for anyone who yearns to express themselves, not limited to “pouring cocoa puffs all over themselves.”

Believe it or not, the sense of community engendered at CAB and SPAC Coffeehouses exists not far outside of our bubble! The Tram Café in Utica hosts weekly coffeehouses on Sunday nights from 7 to 10:30 p.m. The show runs like an open mic night, where anyone, regardless of background and skill level, is welcome to perform. The cafe has a roster of talented regulars, complete newbies, and the occasional Hamilton student. Sophie Aron, senior and consistent Tram-goer described the event, stating, “If you want to stand up and scream because you love what’s going on, you can do so…

You can voice if you’re offended… Everyone is treated like they got a personal invitation, but no one needs an invitation to arrive.” The Tram is dedicated to an all-inclusive spirit; at the end of every week’s performance, the MC encourages everyone to come up and jam together on a variety of instruments, from tambourine to saxophone. Of course, their event takes place in a cozy café, complete with the perks of good coffee and delicious sandwiches. And tables.

Throughout my Hamilton career, I’ve gotten the chance to listen, perform, and compete for a free Clinton Pottery mug. Considering appropriate spaces for a coffeehouse to thrive reveals the understated essentials. The interplay between furniture arrangements and the prevailing attitudes of a coffeehouse, for both performer and viewer, balances vulnerability and courage.

For my comrade, Rock, her love for coffeehouses started alongside mine, saying “the very first all-

Photos by Anna Arnn and Olivia Box campus event I attended was the Poor Old Shine (now Parsonsfield) show in winter 2013, where I ended up winning the Clinton Pottery mug.” That night sealed the deal for Rock and she went on to become CAB Coffeehouse coordinator her sophomore year. While I’ve deemed “the essential” an inanimate table, it is, of course, because people like Rock, Dickstein, and Aron made their own concerted efforts in a space to obtain human connection with many people, all at once: a community.

However, the question we’re really all wondering: is the raffle rigged? Rock says, “No,” but my committed coffeehouse attendance and empty kitchen cabinet say otherwise.

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entertainment

Spring Awakening Crossword

Created by Jacob Slovin 36

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Across

Down

1. No need for these (usually)

2. Popular men's spring sport

5. Rainbow on the Dunham Quad

3. Marathon reading

7. Summer research grant

4. Retiring Classicist

9. Where do all the sophomores go?

6. Culminating event before graduation

11. After Joan comes ____

8. Annual sprint triathlon

12. German footwear

10. Better than a good name

14. Green hats

13. Late-Nite dining option

15. All that a senior wants

16. See the title

20. This place will help keep you awake

17. New and popular dining space

22. Invisible all winter

18. In front of Dunham all summer

24. Some professors invite you to this

19. Graduation gift

26. Who's playing _____?

21. Accepted students day staple

28. Identifying feature of a light-sider

23. "What's your number?"

29. Helps with summer internships

25. G-road apartment has these

31. The only day you want to wake up early

27. Held up between two trees

34. A walk in the ____

30. Period of time after spring break

35. This place will help you keep cool

32. Worst place to park

36. Hikers where these

33. Stress, Stress, Stress 37. Undesirable job on C&C day

Photo by Anna Arnn

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Highlighting Hamilton Professors: Art Rebecca Murtaugh

Associate Professor of Art, Ceramics and Sculpture

Medium: Mixed media sculpture: wood, clay, polystyrene, and paint to name a few.

Which classes do you teach?

Introduction to Sculpture, Introduction to Ceramics, Advanced 3D and Material Studies.

What are you currently working on in your studio practice?

I’m currently working on three sculptures made of clay, wood, and paint that will be exhibited at the Thomas Hunter Project Space in Manhattan in April.

What are the challenges of being a professor while also developing work of your own?

Finding focused time in the studio during the semester.

Aequalis: Frolic and Calypso paint, wood, and mixed media 2015

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Are there any upcoming exhibitions of your work?

Cascade, solo exhibition at the Thomas Hunter Project Space, Hunter College, 68th and Lexington Ave., New York, N.Y. April 5 through April 21, 2016.

2 Person Exhibition at Demo Projects, 732 N 4th Street, Springfield, Ill. June 2016. Reception is June 10, 2016.

Where were you on your most recent sabbatical?

I was recently on sabbatical in Brooklyn in fall 2015. I have a small studio in Brooklyn and had a number of exhibitions and studio visits during my time away from the hill.

Which class is your favorite to teach?

I like all three of the courses I teach but if I had to choose a favorite it would be Advanced 3D and Material Studies. The students are incredibly committed to the class, there is a great sense of community, and everyone is very excited to get to work independently for a final project where they develop their voice making sculpture in a variety of materials.

Image of Sculptures from Occo Socko!

Exhibition at Stout Projects October 2016, Brooklyn, New York.

Aperture: Orange Peel and Ultraviolet paint, wood, and mixed media 2015

Jane Fine

Visiting Professor in Drawing and Painting, 2015-16 Medium: Painting (and drawing).

Which classes do you teach?: Figure Drawing, Advanced Painting, Senior studio.

What are you currently working on in your studio practice?

It’s been an unusual year juggling several projects. I am making a lot of work on paper — I’m trying to complete about ten large new pieces as well as reworking another six or eight that were started over a decade ago. I’ve been working a lot in sketchbooks too. I helped plan a new catalog of my work and I’m in the middle of a commission to design a set of fine china.

What are the challenges of being a professor while also developing work of your own?

The big challenge has been trying to figure out how to divide my time between Hamilton and Brooklyn. I have a beautiful large studio on campus and a very comfortable but too-small studio at home in Brooklyn. It’s always tricky to determine which studio I want to spend more time in and whether or not to bring work up and back and up and back again.

Are there any upcoming exhibitions of your work?

I have nine small drawings in the inaugural exhibition of my New York gallery at its brand new location. The show is called Rage for Art (Once Again) and it runs through March 27 at Pierogi, 155 Suffolk St. in New York City. I have a one-person show at the Englewood Art Center, part of Ringling College of Art and Design, on exhibit from Feb. 27 through March 30.

Closer to home, I’ll be in a group show at The Kirkland Art Center opening in early April.

How has your time at Hamilton influenced your work?

I love being reminded of how quickly students make their work and how rapidly they develop. After 25 or 30 years as a professional artist, my work typically resolves itself much more slowly, but I’ve definitely been inspired by my students’ energy.

On a separate note, I received money from the college to fund a new catalog of my work, which has been a thrill, and over spring break I’m headed to The Hermitage Artist Retreat on Manasota Key, Florida on a faculty travel grant.

Which class is your favorite to teach?

Senior Studio! It’s been a great joy to work with the advanced students and I can’t wait to celebrate their achievements at The Wellin.

Featured work: “Selfie,” 2014, 32” x 50”, acrylic on canvas

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Ben Peterson

Visiting Professor in Sculpture and Ceramics, Fall 2015

Medium: Ceramics, performance & video Which classes do you teach?

Ceramics and Sculpture What are you currently working on in your studio practice?

I am currently creating a series of polychrome half-scale human and zoomorphic ceramic sculptures based on the Roman novel “Satyricon.” The novel is attributed to Gaius Petronius, the arbiter of taste and elegance during the reign of Nero.

This series is a part of my ongoing research into the origins of binaries in Western European values and aesthetics.

Current Exhibition: UNEARTHED Co-curated by Geo Gonzalez and Dan Halm Duration: March 25 – May 21, 2016 ROCKELMANN & Schönleinstraße 5 10967 Berlin

Featured Work “Baby Blue Trophy,” 2015, Ceramic and Glaze

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Photo by Tina Mangelova

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Arrive as a guest, leave as a friend. a 3919 Griffin Road | Clinton, NY 13323 | 315-859-1790 | innkeepers@arborinnofclinton.com | www.arborinnofclinton.com

Photo by Adam Markhoff

Photo by Adam Markhoff Thank you to the Continental Staff 2015-2016.