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Eichmann’s Box // Max Avery Epstein 2014 // I made this film about my trip to Israel in the Summer of 2014. Footage derived from a variety of sources. //

аноним сказал(а):

If I wanted to compete in forensics/debate but I couldn't sustain a group at Bennington, could I join the Williams College debate team?

Well, if you check out the Williams College Debating Union FAQ you will see they say “Everyone!” can join - but according to Ashley, our Williams alum turned Bennington admissions counselor, their club is not one of the biggest and is likely just formed by a small group of Williams students. 

But hey, don’t give up on Bennington yet! We don’t have a formal debate organization on campus yet but new clubs are always forming and often get rolling with surprising momentum. Our fencing and ultimate frisbee clubs are only recently formed groups but have gained enough traction to travel and compete. So, persevere and maybe even face our friendly purple cow neighbors at the podium one day.

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- Sam ‘16

аноним сказал(а):

I'm a senior in high school looking around for colleges to attend for creative writing. I'm curious to know what it takes to get into Bennington.

Well…what does it take to be an engaged and fulfilled writer?

Let’s see…

1. Willingness to be wrong
2. Acceptance of failure
3. Not just theorizing about the craft, but DOING IT as much as possible
4. Learning from your elders and peers (and strangers)
5. Reading all the time/soaking up information/just plain lovin it
6. Practice! Trying out mimetics/mimicking styles
7. Taking care of yourself so you aren’t dead (hard to write if you are dead)
8. Pushing the limits of what has been done before you (this means learning and knowing what has come before you)
9. Engaging in a literary culture (going to events, hearing authors speak, etc.)
10. Also not writing! You are so much more than one thing!

If you are committed to living this list, then you probably have what it takes to get into Bennington. I’d be happy to talk to you more about it, since it’s what I’m striving towards as well….lemme tell you…it aint no walk in the park(e).

— Parke ‘15

It’s not too late… 
The online alumni class, Portraying Conflict, has already begun but you have until Friday to register! Anthropology faculty, Noah Coburn, will be guiding the class through a range of content discussing the history of instability in Afghanistan. In true Bennington fashion, there is a weekly online discussion about the assigned readings and videos as well as a weekly chat with Noah. 

The class runs until October 20th and there is a registration fee of $90. Learn more and register here

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In the spirit of a new term, we will take a trip back to the curriculum of days past. Check out the classes offered in the mid 1970’s by Ron Cohen (still a faculty member), Milford Graves, Pat Adams (came back for a VALS lecture in 2013 and had work in the Abstraction show in Usdan this summer), Isaac Witkin, Brower Hatcher, and Gunnar Schonbeck. What a crew! 

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Check out the pure magic that is Bridgman|Packer Dance (Myrna Packer ’74 & Art Bridgman’s dance company). Myrna and Art explore the relationship between dance and video in their stunning performances. Their work has been so innovative that they have been awarded a Guggenheim Fellowship in Choreography.

To see a performance in person head over the The Public in NY on September 5th at 7:00pm where the company will be performing in the DanceNow Joe’s Pub Festival.

Tickets

аноним сказал(а):

Would this school be helpful for me as a dancer?

Wow, I could talk for hours about this because I have asked myself this exact question.You are asking the right question and I applaud you for that. I would like to know a bit more about you so that I can be most useful in imagining how the dance program here could be helpful to you.

Before Bennington I was dancing 14-18 hours a week at a strictly technique-driven dance school. I was training in ballet, modern, jazz, lyrical, hip hop, break dancing. I came to Bennington and expanded that vocabulary with west african, tribal fusion bellydance, contact improvisation, emergent improvisation, and composition. I have learned to break down a lot of my own misconceptions of what dance “should” be and in doing so have been challenged to find my own vocabulary. I have various vocabularies in my body from previous training and Bennington gave me an outlet to figure out who I was as a dancer. I have more of a basis in composition than my friends that went on to a more conservative dance program which I believe has established longevity in my career as an artist.

I can only speak for my experience, but this school has been extremely helpful for me as a dancer and person. I have gone through my fair share of ups and downs and looking back on them I think they have helped establish me as an artist more so than a dancer. Going into my senior year, mainly focusing on dance, I feel that I will be ready to enter the dance world outside of Bennington. To help in this preparation I am taking classes such as Artists Portfolio, Dance in the 21st Century, and Sourcing the Body. I would love to talk to you a bit more about who you are to see if Bennington would be helpful to you.

Please email me and mention this post so we can chat more. I welcome all dancers to do the same!

Thanks,
Alana ‘15

The Best Assignment Ever


This term, I took Michael Cohen’s “Idea’s and Practice: Conflict Resolution” class.  The final assignment for this class was to write a paper analyzing a civil conflict that we find interesting and come up with possible solutions to it. In my paper I analyzed the Sri Lankan civil war  using Edward Azar’s theory of Protracted Social Conflict. 

This paper is definitely my favorite assignment of all time. :)

The beginning:

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The end:

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The Best Assignment Ever

This term, I took Michael Cohen’s “Idea’s and Practice: Conflict Resolution” class.  The final assignment for this class was to write a paper analyzing a civil conflict that we find interesting and come up with possible solutions to it. In my paper I analyzed the Sri Lankan civil war  using Edward Azar’s theory of Protracted Social Conflict. 

This paper is definitely my favorite assignment of all time. :)

The beginning:

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The end: 

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What's a "great conversation" to me?

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We all have great conversations almost every day. But there are some conversations we have that are powerful enough to describe an entire chapter of our lives.

This is a picture of me receiving the National Literary Award for my novel in 2009 from Mahinda Rajapaksa, the president of Sri Lanka. The award, previously won by other Sri Lankan authors such as Michael Ondaatje has reputation of an average recipient age of 50. I’m the youngest National Lliterary Award winner in the world.  When I walked up to the stage there was applause suddenly paused by a searing silence. Everyone was surprised to see how young  I was.

The conversation I’m having in this picture was no longer than 15 words but looking back, I realize it defines my entire childhood.

The President:  “How old are you?”

Me: “Sixteen, sir”

The President: “How old are you, really?”

Me: “I really am sixteen, sir”

When I published my first novel at the age of fourteen, (after being rejected by several publishing houses that said they “don’t publish books written by kids”) I received all kinds of criticism. Titled Colombo Streets, my book was based on the lives of children (like myself) growing up with the war in Sri Lanka.  While the book sold out 3 editions in a year, became a national bestseller and received many great reviews, there were also many  people in my country who argued that children/ teenagers should not be allowed to publish work about sensitive topics such as ongoing wars and civil conflicts. Some were so infuriated that they created entire hate-blogs on my writing. “A word of advice to parents: Encourage your children to read first, buy them books, rather than let them publish their book. They will thank you for it, when they are ready to write their novel as adults,” one of the bloggers wrote.  I never quite understood why people believed my age should keep me from publishing my work.

I think back to this conversation every now and then. The reason I treasure it so much is because it  reminds me of who I really am. How I  learnt to break conventions at such a young age,   and how I should never let anything; may it be  my age, gender, or the color of my skin;   hold me back from living my dreams.   

I’m eternally grateful to this conversation. Because I truly believe, it is what brought me to Bennington. 

So yeah, that’s a great conversation to me. 

"The plays are a of byproduct of what we do. What we do at Signature is relationships." J. Houghton P’17

 

James Houghton P’17, founding artistic director of Signature Theatre in New York and director of the drama division at the Juilliard School, discuss how artists use their vision and creativity to transform people and communities, and why the the world should embrace artists as the bold entrepreneurs they are.

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