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The Yale Alumni Magazine is owned and operated by Yale Alumni Publications, Inc., a nonprofit corporation independent of Yale University. The content of the magazine and its website is the responsibility of the editors and does not necessarily reflect the views of Yale or its officers. |
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Yale Center for British Art In the 19th century, Europeans traveling in India photographed the architectural sites of the subcontinent for science, for history, and for tourism. More than 200 of their photographs are included in Traces of India—an exhibit, says Scott Wilcox, curator of prints and drawings at the BAC, that does something “no show of 19th century photos has done before: look at the context of the great monuments of India.” From Felice Beato’s 1858 image of the Taj Mahal to present-day calendar art, films such as Bend it Like Beckham, and travel posters, Traces of India examines the significance of India’s monuments in the development of the country’s national identity. The Victorian-era photographs, many of them taken by untrained photographers employed by the British government, reflect how the colonial government depicted India to its citizens in Great Britain. “The photographs are themselves artifacts,” says Maria Antonella Pelizzari, associate curator at the Canadian Center for Architecture in Montreal and curator of the exhibit, which originated at the CCA. The exhibition is organized into six themes and examines such topics as the role of photographs as souvenirs for Britons, and the “cultural ownership” implicit in British protection of ancient monuments. “Re-imagining India after Independence” draws on contemporary popular culture to show how 19th-century colonial images are incorporated into modern usage for new, national purposes.
Yale School of Architecture Robert Damora '53BArch was trained and worked as an architect, but turned his passion for architecture towards photography. His eye for composition and his ability to express the “total value” of each subject—its function, strength, and intrinsic beauty—have enabled him to work with the world’s best-known modernist architects, such as Walter Gropius, Mies Van der Rohe, and Eero Saarinen. An exhibit at the A&A Gallery features his design, research, and photographic work from the 1930s to the present.
Yale Repertory Theatre Culture Clash has been described as the “new Vaudeville.” Using mime, rap, the spoken word, dance, comedy, and even Aristophanes—and projecting the whole from a Chicano/Latino point of view—the Culture Clash troupe creates a form of social commentary it calls “site-specific theater.” Its members, Richard Montoya, Ric Salinas, and Herbert Siguenza, interview residents of the city in which they are to perform and work those personal narratives into their performance.
l Yale School of Music The inaugural season of the “new” Sprague Hall (see Light & Verity) includes performances by faculty, students, and special guests, many free of charge. This month, a concert of works by Brahms and Martinu, part of the free Faculty Artist Series, takes place on November 18 at 8:00 p.m. and features Ole Akahoshi, cello; Elizabeth Parisot, piano; and Kyung Yu, violin. Later, the Chamber Music Society at Yale presents Syoko Aki, violin, and Joan Panetti, piano, in an all-Mozart program at 8:00 p.m. on December 9 (tickets $12, $6 student). Future concerts include appearances by the Franz Liszt Chamber Orchestra, the Brentano String Quartet, and the Takacs String Quartet, with the Hungarian folk/gypsy ensemble Muzsikas.
. Beinecke Rare Book and Manuscript Library On a visit to Rome in 1707, the young George Frideric Handel became acquainted with several Italian composers, including Antonio Caldara, Arcangelo Corelli, and Alessandro Scarlatti. Their music influenced Handel’s compositions, which soon took on an Italian style, and led him to the creation of his Roman vesper, “Laudate Pueri Dominum” (Three Vesper Psalms, No. 2.) The Yale Collegium Musicum, founded in the 1940s by Paul Hindemith and dedicated to the historically informed performance of music, appears with the Yale Collegium Players in a concert of vocal and instrumental music by the composers who influenced Handel on his 1707 trip. The free concert, one of a four-part series featuring music from books and manuscripts in the Beinecke’s collections, will be preceded by a lecture at 4:15 p.m. by historian Ellen Rosand, professor of music. A manuscript of Handel’s “Laudate Pueri Dominum” (written in a copyist’s hand) resides in the library’s Frederick R. Koch Collection.
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