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...festival invited various interpretations of what it means to look back and move forward. This year, BAF began with a panel discussion about Black Art featuring renowned poet and writer Amiri Baraka, one of the central figures in the Black Arts movement in Harlem during the 1960s. The panel also featured two perspectives from a younger generation—spoken word artist Joshua Bennett and scholar Cameron Leader-Picone, a fellow at Harvard’s W.E.B. Du Bois Institute. In defining Black Art, Baraka spoke of his experiences growing up in a segregated society and took an explicitly political...
...Feminism is becoming a lot more visible on campus—look at these people from all different walks of life who have come out as feminists for this exhibit,” said Boianjiu, who added that she hopes the various notions of feminism expressed will increase discussion and awareness of feminist issues. “The exhibit gave RUS a chance to reach out to the amazing diversity of people at Harvard and learn how those people perceive the things we’re passionate about...
...Peabody and the tribes can forge strong relationships when tribes exercise their rights as outlined in the act. For example, the federally-recognized Cape Fox Corporation—which legally represents various Alaskan Native American tribes—deemed one totem pole in the Peabody collection an object of cultural patrimony. The totem pole, which told a story of the Alaskan bear clan, was repatriated...
Despite its various interpretive downsides, “Alice in Wonderland” does in fact provide much wonder in its stunning animation and design. Yet, it is a shame to see Burton try so hard to please the masses with a standard fantasy epic plot and sprinklings of cheesy dialogue. Compared to his off-beat earlier works, this film definitely lacks the artistic risk-taking that makes for a quality film. Much like the “Avatar” sensation that took the nation by storm but whose plot rang a little too close to that of Pocahontas...
...result of the projections, and several odd moments during which characters speak into handheld microphones, the production comes off as cold, sterile, and preachy. The cavernous quality of the Loeb Mainstage only adds to this empty feeling. While the various scenic elements—designed by Andrew Lieberman—are visually striking throughout the three set changes, their scattered placement on the vast stage also underscores the emotional barrenness of the production...