Inventions en Pointe

Rehearsals for this collaborative pointework piece with choreographer and alum Antonia Brown are winding down as we prepare for our showing of the new piece on Tuesday, May 5th at 2 p.m. in Pembroke Studio at Bryn Mawr College!


Inventions en Pointe brings together two Haverford students and one Haverford alumna in a collaborative choreographic process that seeks to explore the physical boundaries of pointe work and create a duet in four short weeks. The centerpiece of the project involves collaborating with local artist Antonia Z Brown, Class of ’13, an Artist in Residence at Mascher Space Cooperative in Philadelphia. Antonia was a 2012 recipient of the San Francisco Conservatory of Dance Choreographic Residency and was a featured artist in the 2014 Philadelphia Fringe Festival. Choreographically she is using this project to delve into the contemporary possibilities of ballet en pointe, pushing boundaries of form and motion in movement. The duet is being choreographed on two Haverford students, Aurora Jensen, Class of 2015, and Emma Cohen, Class of 2017.

Our interest in the project stemmed from our drive to take an analytical eye to the limitations of our classical ballet backgrounds and discover our originality and physical capabilities. Classical ballet, particularly en pointe, is rooted in a long tradition of strict rules that require tremendous control, strength and skill to carry out. These are the very rules we intended to challenge. For instance, ballet emphasizes balance, symmetry and posture. Instead we wondered what would happen to pointework if we introduce falling, twisting, and inversion? Another norm in ballet is to build choreography entirely out of a library of classical steps. We were interested in exploring imagery as a source of movement and inspiration. Images such as the curve of a blade of grass or the force of a gust of wind have been invaluable tools in creating new movement through improvisation and exploration.  We used ballet as a cornerstone to the piece allwoing the movement to be based on the skill and physical memory already housed within the dancers’  bodies.  The piece however uses an imaginative source of inspiration instead of predetermined steps will make it possible to invent new movement and discover a new relationship to the pointe shoe.

Check out Antonia’s instagram to preview what we are working on!

Aurora Jensen ’15

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Student Arts Fund Support: Voice of Witness Oral History Reading and Workshop

Cover image from Voice of Witness's Inside This Place, Not of It: Narratives from Women's Prisons. Image provided by Voice of Witness.

Cover image from Voice of Witness’s Inside This Place, Not of It: Narratives from Women’s Prisons. Image provided by Voice of Witness.

Storytelling is the central theme of my academic work as a Religion major. I consider how the narratives we create give us a sense of identity, shape power dynamics, and imbue our perceived realities with meaning. On the most fundamental level, to me, narrative is a way of engaging with others. Because of my deep passion for storytelling and all of the ethical conundrums and practical challenges it entails, I was very excited to hear that oral history educator and publisher Voice of Witness (VOW) was willing to facilitate a workshop and a reading at Haverford. 

The events took place earlier this spring, (on what seemed like the coldest weekend of the year!), through the generous support of the Student Arts Fund, the CPGC, and Collection Committee. 

Despite the devastatingly frigid temperatures, a wonderful group of Tri-Co community members came to the Friday night reading.

Community members gathering for the Friday reading, with Claire, Ashley, and Luke. Photo taken by Caleb Eckert '16.

Community members gathering for the Friday reading, with Claire, Ashley, and Luke. Photo taken by Caleb Eckert ’16.

VOW Narrator Ashley Jacobs told her story, as recorded in Inside This Place, Not of It: Narratives from Women’s Prisons,a collection of oral histories detailing the human rights abuses women experienced in the U.S. prison system. Ashley spoke about her experience of pregnancy while incarcerated, one that included a forced C-section and shackling during labor, two practices she is working to end. Ashley, along with VOW Managing Editor Luke Gerwe and Education Program Associate Claire Kiefer, shared their thoughts about the criminal justice and prison systems, about oral history, and about hope for change during the Q&A that followed the reading. One of the most impactful moments for me was when Ashley noted that somewhere, sometime, it won’t be raining. You just have to keep going until you locate that place, find that time.

Ashley Jacobs speaking during the Q&A of the reading. Photo taken by Caleb Eckert, '16

Ashley Jacobs speaking during the Q&A of the reading. Photo taken by Caleb Eckert, ’16

The next morning, Claire, Luke, and Ashley led a hands-on workshop, where we considered how to hold space for people to share stories, how to ask open-ended questions, how to respond to others’ stories, and how to be responsible when we share those stories–skills not only for oral history collecting but for compassionate community building. Of the sort vital for a place as community value based as Haverford.

Olivia Jacocks '17, Claire Kiefer, and Angelique Spencer '17, with their story reaction sheets during the Saturday workshop. Photo provided by Claire Kiefer.

Olivia Jacocks ’17, Claire Kiefer, and Angelique Spencer ’17, with their story reaction sheets during the Saturday workshop. Photo provided by Claire Kiefer.

I was so grateful to have the opportunity to meet Ashley, Claire, and Luke, and bring them to campus–many, many thanks to the Student Arts Fund!



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American Rubble: Hushed Light Situations and Rubble Scans

As I am swept along by “the quarter that gives no quarter” (in the words of James Weissinger) I find myself nostalgic for a certain brisk winter evening first semester, where I got to eat popcorn, browse postcards, and immerse myself in Lancaster Avenue fact and lore … I am, of course, referring to the one-night-only exhibit American Rubble, organized by Stephanie Syjuco and Paul Farber. The evening of December 5, 2014 may be long gone, but we can all relive the engaging and exciting series of events that was, and is, American Rubble.

Oh, and in case your curiosity is piqued by the phrase “Rubble Scan,” watch this. For humor and hypnosis, this video beats any Buzzfeed listicle.

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Spotted in the Hurford Center

. . . in which we explore the hidden corners and shelves of the HCAH. (These are the things that happen on snowy spring days in Stokes 103.)


Check out this shelf of books! If this bookshelf got all dressed up, it would definitely be wearing combat boots, fantastic lipstick, and some piece of clothing picked up at Philly’s Punk Rock Flea Market. I was curious as to where this bookshelf was going so decked out, so I did some digging in the HCAH archives and found this student seminar:

Picture 1

Man, it’s times like these I wish I had a time machine. (Okay okay, before you call me super lame for using my time machine to go back to 2006, are there reeaally that many times you’d travel back to as a mixed race woman? Besides, who wouldn’t wanna go back to a time when “Fergalicious” was playing on every ipod nano?)

This student seminar studied the works of African American, Chicana, Native American, East and South Asian American, and Middle Eastern women to learn about identity politics and the contributions of women of color in Second Wave feminism. They read many of the books on our bookshelf-in-question. **Excuse me while I update my Amazon wish list. . .

Stay tuned for the announcement of next year’s student seminars!

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Summer-Sponsored by HCAH, And Now He Has a Job: Jacob Horn ’13 Tells All

Screen Shot 2015-03-17 at 11.15.49 PM

1. How did your job grow out of your internship? Who did you have to talk to?

I was an intern [Sponsored by the Hurford Center] in the Whitney’s Publications department shortly before the Editorial Assistant position opened up. Getting the job had a lot to do with the fact that I simply kept in touch with the people for whom I’d interned. It’s easy to forget that your relationship to an institution and a department doesn’t end when your internship does. Simply checking in every now and then, saying hi, asking how projects are moving along – these things show your continued interest and investment in a place, and it keeps you on the radar for when an opportunity comes along. I was very fortunate to have things work out that way for this position!

2. Are your duties and responsibilities similar or different?

My duties aren’t exactly identical to what I did as an intern, but my internship provided a good preview of much of what I’m doing now. As an intern, I helped to edit texts, undertook a few research projects, and collaborated with the in-house designers to move projects along. That’s a lot of what I’m doing now, too, but on a deeper level since I’m here for more than two months. With that broader sense of scope, I can take on more significant roles coordinating projects and be involved with a book’s progress at all phases from planning to printing.

3. How has the move to the new building [of the Whitney] affected your job?

The move to the Whitney’s new building has had a HUGE impact on my job. For most departments, it’s less that the move has impacted what we do, but rather it is what we do. We’ve been in the new offices since October, and since then, almost everything we’ve been working on is related to the building’s opening, like a new collection handbook; labels for the inaugural exhibition, America Is Hard to See; invitations to opening events; and the visitor’s guide to the new building.

Everyone’s got plenty on their plates, but it’s an exciting moment. We’ve been thinking about this building as an abstract idea for so long. I’ve visited it when it was essentially a hole in the ground and walked through it while it was still far from finished. Now, in little more than a month, the building will be filled with art and visitors. That’s going to be very exciting to see.

4. Did you feel that Haverford prepared you well for working at the Whitney?

I can’t even begin to describe how well Haverford prepared me for the work that I’m doing. Certainly, the fact that I had to do so much writing in college was excellent preparation for doing editorial work, and a couple of Art History classes I took at Bryn Mawr and through Independent College Programs at Haverford were quite useful for working in an art museum.

But more importantly, as a Haverford student, whether you’re in class, at Plenary, discussing an Honor Council abstract, on a Customs team, and so on, you’re always being encouraged to think carefully and critically. You learn how to approach problem solving in a group, how to listen to what others are saying and engage in productive dialogues. In and out of the classroom, you’re empowered to approach challenging tasks. Outside the Haverbubble, what you’re tasked with can be very different, but the skills you developed inside remain highly valuable.

5. What was your favorite Hurford Center event during your time at Haverford?

It’s tough to choose my single favorite Hurford Center event, but I might have to go with a Conversations on Art outing during my sophomore year to a Philadelphia Film Society screening of Fritz Lang’s Metropolis. It took place at the Macy’s in Center City, with live accompaniment on the Wannamaker pipe organ. The film is fascinating and the music was great (and it was surreal to be watching surrounded by jewelry counters and shoe displays), but I was most struck by the conversations that took place among a group of students and faculty with diverse interests, backgrounds, and academic affiliations. It was a perfect example of the way that HCAH events can take intellectual conversations beyond the classroom, neutralize distinctions between students, faculty, and staff, and create productive collisions between disciplines.

Images from The Whitney and “Where They’re Headed: Jacob Horn ’13″

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Mixtape Monday

Welcome back from spring break! To get you back in the groove, let’s listen to some neat tunes specially selected by some of the Hurford Center’s student employees.

Miriam Hwang-Carlos, ’17

I’m sending you “Somos Sur” by Ana Tijoux featuring Shadia Mansour. I’m a recent and told convert to Ana Tijoux. This song is a fierce and danceable chant of global resistance against oppression by two badass women. Plus I’m a total nerd for combining languages.

CJ Morrison ’15

Chelsea Richardson ’18

I love how it addresses so many issues at the same time, and the spoken part at the end is so innocent yet raw and poetic.

Enjoy your beginning-of-the-end dance party! Only seven weeks ’til Haverfest!

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Go see “Sea Change” before it changes

Sea Change,” at the Cantor Fitzgerald Gallery, documents and displays havoc wreaked by natural disasters in a strikingly clear, artistic manner. As Postdoctoral Writing Fellow Paul Farber says in Haverford’s video on “Sea Change,” “You see places that are undone by crisis and calamity, and you also see the way in which people continue to kind of plod through and find their way, and they find their way amidst the chaos.”

The show has received ample coverage off-campus as well, from a profile over at newsworks to this review on the Philly ArtBlog.

"Drying Money," Mississippi Gulf Coast, Mid September, 2005, copyright of Zoe Strauss

“Drying Money,” Mississippi Gulf Coast, Mid September, 2005, copyright of Zoe Strauss

The photos, vinyl prints, and projected images, as well as the central seating space, invite reflection and contemplation of the images that are equally powerful and subtle. Make sure you do your contemplating soon, because the show closes on March 6.

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STRANGE TRUTH is a film series at the Bryn Mawr Film Institute and Haverford College that starts this very Wednesday. The series is organized by Professors Vicky Funari (Artist in Residence), Joshua Moses (Anthropology), and John Muse (Independent College Programs). John Muse, currently teaching “Film On Photography,” took the time to answer a few questions about Wednesday’s program, featuring the work of the late Harun Farocki.

From "An Image"

From “An Image”

1. Are you teaching any of Farocki’s work in your classes?

These very films plus essays on Farocki by Kaja Silverman and D.N. Rodowick.

2. Would you categorize these films as documentaries? Why or why not?

Neither are documentaries per se.  “Images of the World…” is what’s known as an essay film.  Essay films are typically pointed, argumentative, but can also be searching and reflexive.  Or they can be personal, more like journal entries or meditations on a theme than presentations of the facts.  “Images of the World…” is more like the former, Engaging as it does with history, politics, and technologies in a reflexive mode, one that asks viewers to think about seeing and what they’re seeing.  “An Image” is stranger.  Lacking narration, a fly-on-the-wall methodology, or interviews, it’s structured more as a fiction film where the characters just happen to be real people all of whom are engaged in careful but seemingly ridiculous work.  The film reveals what the photographic image will hide: the labor required to produce it.

3. What are the connections between a film about a Playboy shoot and a film about reconnaissance of Auschwitz?

Both films teach us how cameras and the technical systems within which they function not only reveal the world but hide it as well.  All views are partial and constructed, and we see both the partial view and that which lies beyond.  The cameras that captured Auschwitz couldn’t on their own make anyone see what they showed.  The crew that captures the model during the Playboy shoot has to work very hard to create the impression of easy spontaneity.

4. What do you hope to gain from attending the screening?

Hmm.  I’ll rewrite the question: what do I hope to gain from screening these films at the BMFI?  I hope that my students, Tri-Co students, BMFI members, and denizens of the Mainline, can see the work of one of the most important and most influential filmmakers of the 20th and 21st century.  Farocki died in 2014; around the world there are publications, conferences, and exhibitions are honoring his legacy.  The BMFI screening will contribute, if only modestly, to these commemorations.

5. Which screening in the Strange Truth series are you most looking forward to?

Farocki!  Of course.  And the Scott Stark.

Thank you so much Professor Muse!

For more information visit Students can catch a 6:45 Blue Bus from Stokes that goes directly to the BMFI on Wednesday.

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A Trip to the Philly Zine Fest

“I work at a bakery across the street, and I saw more alternative-looking people around the Rotunda than usual, so I decided to check it out” – Haverford alum on her reasons for visiting the zine fest

On November 9, 2014, two Haverford students made their way to the Philadelphia zine fest, thanks to the Student Arts Fund, to distribute a zine they made collaboratively. They were none other than Courtney Lau ’17 and Katy Frank ’17. FULL DISCLOSURE: the author of this blog post is, also, Katy Frank ’17, hence the shift into the first person. (Zines and blogs have certain artistic similarities, no?)

Corey, Courtney, Katy

Corey, Courtney, Katy

As Courtney and I arrived, we set up our half-table in a corner of the Rotunda. The Rotunda, on 40th and Walnut, is a multiuse arts space with some pretty neat murals. We were in between two groups of people: on our right, two best friends from childhood, a man and a woman both named Corey. On our left, a group of all-black-clad vegan punks. We were in good company. We even met a Bryn Mawr graduate who now lives in an artists collective house in West Philly, Yonnic Daze.

We were at the zine fest for a total of about six hours from set-up to put-everything-away. The zine fest was incredible because we got to be surrounded by fellow artists, writers, and zinesters. We saw zines ranging from the irreverent “pics of stics” (beautiful photos of various pieces of driftwood, kindling, etc) to the extremely urgent “danger unheard,” about police brutality towards deaf people. The afternoon was as fun as it was educational – and proved that those experiences can go hand-in-hand.

Our zine, called “Naked Scoot,” and authored by our dynamic conceptual art collaborative persona, “flaunk,” is admittedly a rather cryptic and surreal zine … and it’s all the more fun for it! Zines are super duper fun to make both for yourself and distribution. They can be diary-esque or loud, public manifestos. We were so thankful to be able to experience the beauty and quirky artistry of the Philly Zine Fest! If anyone would like to nab a copy to peruse, check out the book exchange station at Lunt Cafe!

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Zoe Strauss’ ‘Sea Change’ Brings Climate Change Home

On Friday, January 23rd, the Cantor Fitzgerald Gallery was so packed it was hard to maneuver through the crowd – and for good reason. Students came from throughout the Tri-Co, and the local community also showed up in full force to try and absorb Zoe Strauss’ stunning and awe-inspiring photographs. The pictures are awe-inspiring in more ways than one, as they combine a journalistic sense of cataloging with extreme artistry. They document scenes of extreme destruction with a poignant grace, even as the viewer may feel a tad voyeuristic.

"We’ll Be Back," Mississippi Gulf Coast, Mid September, 2005. Copyright of Zoe Strauss.

“We’ll Be Back,” Mississippi Gulf Coast, Mid September, 2005. Copyright of Zoe Strauss.

As Peter Crimmins writes on WHYY, “There are clusters of images showing rooms destroyed by flooding and mold; another cluster  display rainbow oil slicks on water. There is no way of knowing if these were caused by Katrina, Sandy, or the BP spill.

The point is: all these catastrophes reflect how we live now. Strauss is making a broader statement, about living in a time when a drive for oil and the consequences of its consumption create more frequent ecological disasters.”

The WHYY article contains an audio interview with Zoe Strauss which is definitely worth listening to. Zoe also participated in “Hoagies with Zoe,” where she discussed details of the exhibit with Haverford students. The show ends on March 6th – definitely visit soon if you haven’t seen yet because I can guarantee that you’ll want to go again.

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