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the SLC formula for
teaching that transforms
Transforms how? And what will that mean for me? Sec2:B
Acclaimed authors. Leading scholars in their fields. National Endowment for the Arts grant recipients. Founding artistic directors. Research scientists.
Teaching that Transforms
Sarah Lawrence professors are alive in their disciplines, engaged both in New York City
The Connection................. 2
and around the world in furthering their academic investigations and creative visions.
The Conversation..............6
The Path............................... 4 The Process..........................8 The Opportunities..........10
Their accomplishments and passions are many and varied, yet at Sarah Lawrence they share a commitment to teaching that further distinguishes them—and makes them even more remarkable. As mentors, close advisers, role models, devil’s advocates, and guides, they challenge and support our students with a level of personal involvement and investment unsurpassed in higher education. The result: students whose heightened competence and confidence signifies a deeper preparation for life.
The Capabilities.............. 12
In the pages that follow, we’d like to introduce you to a few of these extraordinary people. We’ll leave it to you to imagine what it might be like to work one-on-one with them—and others like them—as a Sarah Lawrence student.
Kanwal Singh—like all faculty at Sarah Lawrence—is as committed to teaching as she is to her field. Her special interests include not only low-temperature physics but also science education in general, along with scientific and quantitative literacy. And now, she’s also become associate dean of the college.
The Relevance...................14
KANWAL SINGH, PHYSICS (pictured on cover)
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the connection
A Sarah Lawrence education is built on the intensive, personal connections between students and faculty members. The investment of time that professors make in their students pays dividends in project after project—and continues to influence students’ success well into their lives and careers.
“Since we know our students and their work very, very well, it’s easier to help them grow.” “I can see myself in my students. They have the conviction that anything is possible.” —DAMANI BAKER, FILM FACULTY
—LYDE SIZER, HISTORY FACULTY
“When students have a clear idea what they want to do, we work with them individually to make it happen.” —SCOTT CALVIN, PHYSICS FACULTY
“It’s an intimate process. We’re asking students not just to show up with part of themselves, but to really bring their whole selves to whatever they’re doing—and to learn.” —SUZANNE GARDINIER, WRITING FACULTY
INSPIRATION: Because Sarah Lawrence professors teach to their passions, they’re excited about what they teach. Student interests combine with this enthusiasm to produce a strong sense of connection and deep commitment to projects.
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“I am always struck by the fact that students keep in touch with us long after they have graduated, sharing their career and life developments.”
MARIA NEGRONI SPANISH FACULTY BA, UNIVERSIDAD DE BUENOS AIRES; MA, PhD, COLUMBIA UNIVERSITY; AT SLC SINCE 1999 Poet •L a Boca del Infierno, 2010; forthcoming by Action Books in 2013 •C antar la nada, 2011 •A rte y Fuga, 2008 •E l viaje de la noche, 1994/Night Journey (Princeton University Press), winner, Argentine National Book Award • I slandia, 1994/Islandia (Station Hill Press), PEN Award NY 2001 Essayist •P equeno Mundo Ilustrado/Lexicon for a Small World, 2011 (a treatise on aesthetics) •G aleria Fantastica, 2009 (winner, Siglo XXI International Prize for Essay Writing) •E l Testigo Lucido: La Obra de Sombra de Alejandra Pizarnik, 2003 •M useo Negro, 1999 •C iudad Gótica, 1994 (winner, Argentine National Book Award) Novelist •L a Anunciación, 2007 •E l Sueño de Ursula, 1998
›› “Extremely creative, while being intelligent, risk-taking, and unconventional thinkers.” That’s how Spanish professor MARIA NEGRONI characterizes Sarah Lawrence students. As she guides them in reading Latin American literature—particularly poetry— in Spanish, she opens them further to imaginative risk. “I see the poem as an antidote to authoritarianism, to any sort of convention, including the convention of language itself,” says Negroni. A two-time winner of the Argentine National Book Award (for poetry and essays), she describes her poetry as “little marks that I leave behind, perhaps to find the way out of myself, into something bigger than myself.” Teaching at Sarah Lawrence is another way that Negroni bridges the gap between selves. “Our conference system,” she says, “allows us the time and provides the perfect setting to get to know students, to delve into their specific interests and to spend time discussing the subjects we most care about, while getting to know them as the real people they are.” She works to establish an atmosphere of trust in the classroom by being both “one who has more experience and one who is still open to experimentation and questioning.”
Negroni’s extra effort and attention have made a difference for many students. One worked on the translation journal Babel (started by Negroni at Sarah Lawrence) and is now pursuing her PhD in comparative literature and translation studies at Iowa; one teaches World Literature and Composition to high school seniors at the Pan American School of Bahia in Brazil; another did a project on Uruguayan poet Marosa di Giorgio, went on to meet the poet while spending a year in Uruguay, and then translated a collection of her poems, which was published last year by a New York City press. 3
JUDITH RODENBECK ART HISTORY FACULTY BA, YALE UNIVERSITY; BFA, MASSACHUSETTS COLLEGE OF ART; PhD, COLUMBIA UNIVERSITY; AT SLC SINCE 2000 Special Interests •M odern and contemporary art • I ntersections between modernist literature, philosophy, and visual and time-based arts •A rt and technology •N eo-avant-garde artists of the ’50s and ’60s Foundation Support •N oble Foundation •C reative Capital/Warhol Foundation •H enry Luce Foundation Publications •R adical Prototypes: Allan Kaprow and the Invention of Happenings (author) •E xperiments in the Everyday: Allan Kaprow and Robert Watts—Events, Objects, Documents (co-author) •A rt Journal (editor-in-chief ex officio) •A rtforum, Grey Room, Modern Painters, The Art Book (author, articles and reviews)
PLANNING: Sarah Lawrence’s donning system helps students realize nearly any course of study they can imagine. Students approach their advisers with ideas and aspirations, and together they devise a workable plan.
the path
The process of finding direction is a large part of what education should be about. At Sarah Lawrence, students create their own paths of study with help from a “don,” a faculty member whose close, personal advising guides them throughout their years at the College.
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“Part of our job in a student’s first year is to develop a rounded sense of that student’s intellectual interests, motivations, and style, precisely in order to give them the best and most honest advice possible.”
›› Combining a traditional art history major with extensive modernist studies as an undergraduate, JUDITH RODENBECK thought she knew what she
wanted to pursue after college. “I arrived at art school thinking I would be exploring filmmaking, but wound up in the Studio for Interrelated Media exploring film, video, and performance and an expanded repertoire of technologies of sound, movement, and recording,” she says. With that experience, she knows firsthand the journey involved in discovering one’s passions. As a don at Sarah Lawrence, she tailors her advising to each student’s needs. “Many of my donnees have a pretty good idea of what they want to do after graduation,” she says. “Others only gradually find the through-line of their narrative, and for those students the gentle probing that a don gives is invaluable. Then the don will point those students to the members of the faculty who are most in tune with the student’s goals.” Sarah Lawrence students themselves have a particularly useful and unique tool for identifying the professors who suit them best: the interviews they conduct with faculty when selecting courses. “The interview process works at a number of levels,” says Rodenbeck. “Primarily, it introduces students to the contents of a course and to a particular professor’s way of shaping that content. But at a deeper level, it also serves as a teaching moment: students learn how to make a careful assessment in a short amount of time, how to filter through their own intellectual needs and passions, and how to engage in an interesting and motivated conversation about a subject they are hoping to know in more depth.”
“A little advising can make a big difference. One of my students, for example, was into ecology. She wanted to study the New York waterfront and the impact of expanding Manhattan out into the river. Somewhere in the middle of that, she discovered some shipping archives. Apparently, no one else had been in the archives, so the archivist was excited. She showed my student all the hundreds of files they had. “At first, my student had almost nothing to work with, which is a period we go through in research, and then she had this humongous project. So I said, ‘Well, what’s impor-
tant to you?’
“That helped give her the courage, I think, to follow wherever her interests led. Starting with an interest in ecology, she ended up studying the political economy of a port city, New York, and she discovered that containerization had transformed the New York economy so that the New York ports shut down, and then Port Elizabeth and the other ports. “Second semester she decided to expand her research to the Northwest, and she looked at Portland and the archives out there. When she graduated, she was hired by the unions to be an economic specialist. Now, the last report I got, the unions have sent her to Oxford to study the global economy. “So, she started out with this curiosity about one thing, ecology, but step by step that led her to economics. She really wasn’t an economist, so she had to learn. That’s
something Sarah Lawrence does so well: we tap the motivation of each student.”
—KOMOZI WOODARD, HISTORY FACULTY
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the conversation
Take a round table. Surround it with chairs for no more than 15 students and one professor. Pull out the reading or problem set completed since the last class session. Before long, ideas and questions rise to the surface in a discussion that involves everyone in the room. This is the Sarah Lawrence seminar.
“The process of the seminar discussion leads eventually to the light bulb—and you don’t forget that light bulb. That doesn’t happen with PowerPoint presentations.” —JUDITH SARAFINI-SAULI, ITALIAN FACULTY
!&? ›› Talking about Sarah Lawrence students, economics professor JAMEE MOUDUD
refers to their desire to “push themselves to do challenging work.” In his own research, Moudud models that approach—and his intensity spills into seminar discussions. “If a class has the right mixture of students,” he says, “it can feel like a graduate seminar.” Moudud’s research interests are interrelated. “I’m analyzing state capacity—the role the state has played in capitalist development. A second component of my work involves an analysis of competition in the work of the Oxford Economists’ Research Group and a challenge to conventional analyses of competition. And third, I’m looking at the relationship between business tax and profit rates.” As he is “attempting to tease out an alternative to the ‘states versus markets’ debate,” all of these topics are central to the policy debates in the current economic crisis. 6
In response to events around the world, Moudud often finds himself leading and advising “teach-in” panels that address timely issues and spark conversation on campus. Around the seminar table, he strives for a balance “neither too restrictive nor too laissez faire”—a combination of student engagement and lecturing. “My explanations and student commentary are equally important,” he says. “If a seminar is successful, students establish relationships with one another and the professor. It’s this comfort zone that enables the exploration of new ideas.”
JAMEE MOUDUD ECONOMICS FACULTY
BS, M Eng, CORNELL UNIVERSITY; MA, PhD, THE NEW SCHOOL FOR SOCIAL RESEARCH; AT SLC SINCE 2000 Economic Interests •M acrodynamics and fiscal policy •B usiness competition and the implications for development policy •S ir Roy Harrod’s contributions to growth and policy •T he role of the state in the development process •N onlinear econometrics in the study of public investment and tax rates in the US and abroad Publications •A lternative Theories of Competition: Challenges to the Orthodoxy, 2012 (co-editor) •S trategic Competition, Dynamics, and the Role of the State, 2010 •P apers on the developmental state and expansionary fiscal policies in Harrod’s growth framework, International Journal of Political Economy, 2008-09
“In the seminar, students are encouraged to take responsibility for what they read, rather than be passive recipients of the professor’s knowledge.”
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GINA PHILOGÈNE PSYCHOLOGY FACULTY PhD, ÉCOLE DES HAUTES ÉTUDES EN SCIENCES SOCIALES, PARIS; AT SLC SINCE 1998 Interests •S ocial and cultural psychology •R ace and social identity •S ocial representations Publications •F rom Black to African American: A New Social Representation (1999) •T he Representations of the Social: Bridging Theoretical Traditions, ed. with Kay Deaux (2001) •R acial Identity in Context: The Legacy of Kenneth B. Clark (2004) •S ocial Categories in Everyday Experience, ed. with Shaun Wiley and Tracey A. Revenson (2011) Editorial Responsibilities •A ssociate editor, Journal of Community and Applied Social Psychology
the process
In nearly every course, Sarah Lawrence students meet regularly one on one with professors to pursue a project that emerges from the intersection of their interests and the course topic. This process, called conference work, demands creativity, initiative, and responsibility—and offers tremendous educational rewards. 8
INSIGHT: Through extended and rigorous exploration of conference topics, students acquire deep familiarity with their research—an intellectual immersion that helps them articulate their ideas and build on their knowledge.
›› Born in Haiti, raised in Quebec City, educated in France, and living in the United States, GINA PHILOGÈNE is deeply
familiar with navigating multiple cultural identities. As an academic, her interest in social psychology stems in part from that experience, and many of her books explore identity—including a current work in progress, Just Call Me American, which explores the naming of groups and the reappropriation of names by the groups themselves.
“Students reach a point where, in the process of writing, the project really becomes theirs, with their own ideas.”
A FEW SAMPLE CONFERENCE PROJECTS:
›› “Composting: How It Might Remediate the Bee Dilemma and the Waste Dilemma”
›› “Double-Edged Tools: A Study of Technology and Gender in the American Labor Force”
›› “Friendly Fat;
Such research—combining extensive theoretical background with empirical investigation—is a model for how she helps her students approach their individual conference projects. “I help them identify their key interests,” says Philogène, “and try to instill the fact that each project allows them to take a position about the world.” As questions arise in the process of determining a thesis, she guides the student toward the appropriate theoretical perspective. “Then we proceed in reviewing the literature,” she says.
Although this is Philogène’s general approach, she emphasizes the need for personal insight. “You have to take each student individually and really immerse yourself in getting to know him or her in a very short time,” she says. That kind of mentoring can make a huge difference and lay the groundwork for graduate study and more. “I just finished a book—published by the American Psychological Association—with a former student,” says Philogène. “He’s now a professor in New Jersey.”
“A conference project is not a term paper. It’s more like a senior thesis in almost every class—an independent research project that you might only do elsewhere as an honor student in your senior year. Here, you’re doing that kind of independent research from the first year forward.”
Pernicious Protein”
›› “The Iraq War on Film” ›› “Her Message Is Committed: Martha Graham’s ‘Letter to the World’”
›› “Insects as Other: An Exploration”
›› “Inventing the Ultimate Cell Biology Board Game”
›› “‘No Need for Such a Bulgakov’: Theatrical Revenge in The Master and Margarita”
›› “The Plague of Coral Diseases”
“Working in a serious and responsible way on conference projects teaches something very valuable and very important. That kind of practicebased learning translates into responsibility in the world.” —JOSEPH LAUINGER, WRITING FACULTY
—DAVID PERITZ, POLITICS FACULTY 9
the opportunities From research to internships, Sarah Lawrence students make use of the vast resources of New York City to extend their learning and acquire experience. Faculty members— many of whom have professional connections in the city—lead field trips and introduce students to people and pursuits that can have a lasting influence on their lives.
“I’m committed to demystifying the art-making experience by exposing students to the practical ways people solve problems that arise while making original work.”
DAVID NEUMANN THEATRE FACULTY
BFA, SUNY AT PURCHASE; AT SLC SINCE 2007 Choreographer and Performer •C horeographer on “The Total Bent” by Tony Award-winning Stew at The Public Theater •C horeographer and performer in a duet with Mikhail Baryshnikov •C ollaborator and performer with Jodi Melnick at Jacob’s Pillow Dance Festival •C horeographer of creature movement in I Am Legend with Will Smith Artistic Director, multidisciplinary dance company: Advanced Beginner Group •C ommissioned works presented at PS 122, Dance Theater Workshop, Central Park Summerstage (collaboration with John Giorno), Symphony Space (collaboration with Laurie Anderson), The Kitchen, New York Live Arts, Walker Art Center, and MASS MoCA •R ecipient of two New York Dance and Performance “Bessie” Awards, 2010; Foundation for Contemporary Arts Award, Creative Capital Grant, Princess Grace Fellowship, and a Rockefeller MAP Grant, among many others Featured Dancer •B ig Dance Theater, Jane Comfort, Susan Marshall, Doug Varone and Dancers, Doug Elkins Dance Company, and club legend Willi Ninja
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›› As the child of parents who worked in experimental theater, DAVID NEUMANN had countless
opportunities to observe the creative process backstage and during rehearsals. “It was the most formative part of my artistic development,” he says. At Sarah Lawrence, he finds ways to share that kind of exposure with students. “I always invite them into the rehearsal process,” he says. “Students have had opportunities to see Mikhail Baryshnikov dance, dress rehearsals for a new musical at The Public Theater, and original pieces in the downtown dance and theatre scene.”
How students have used the city:
Joined professor for an informal gathering at noted poet AMIRI BARAKA’S HOUSE
Gained access to archived productions of plays at the LINCOLN CENTER LIBRARY
Played keyboards with a singer-songwriter at the BITTER END ON BLEEKER STREET
Traveled to BROOKLYN MUSEUM with African history class; ate dinner at Ghanaian restaurant
Privately screened films at an ART GALLERY for a research project
Attended performances at the METROPOLITAN OPERA as part of an Italian course
In addition to watching professionals at work, Neumann’s students themselves gain experience in the city. “Students work across a wide array of theatres and have positions in electrics, scenery, administration, casting, and performing,” he says. “Often, they come away from internships with a more realistic view of working in the city as an artist—more confident, with a clearer vision, and glad to have the kind of perspective our theatre program can offer.”
Interned with MTV’S NEWS AND DOCUMENTARY DEPARTMENT
As they accumulate experience, Neumann encourages students to test their imaginations and find their own voices—not to merely repeat what they know. He also insists that students question the purpose and limits of their art. “At Sarah Lawrence, we spend time investigating why we do theatre today,” he says. “We ask students to study across a wide spectrum, so they come away with a broad palette and a wider lens as to what theatre can ultimately be.” 11
“Our students are not limited by any particular discipline. That gives them a deeper understanding right from the get-go.”
JOSHUA MULDAVIN GEOGRAPHY FACULTY BS, MA, PhD, UNIVERSITY OF CALIFORNIABERKELEY; AT SLC SINCE 2002 Current Research • I nternational environmental policy and impacts on local resource use and vulnerability in the Himalayan region •C limate change policy •S ocialist transition’s environmental and social impacts in China •S ustainable agriculture and food systems •G lobal resource and development conflicts via capital flows to Africa, Latin America, and South/ Southeast Asia •A id to China since 1978 Publications and Media •C ontributor to Economic Geography, Geopolitics, Environment and Planning A, Geoforum, the Los Angeles Times, The Boston Globe, the South China Morning Post, The New York Times global edition, and BBC World News Grants Awarded •N ational Science Foundation •S ocial Science Research Council •F ord Foundation •M acArthur Foundation •L uce Foundation •T he Fulbright Program
the capabilities
Having taken charge of their education, Sarah Lawrence students are ready to meet their futures head-on. Combining resourcefulness, confidence, and highly developed communication skills, they succeed in graduate study and impress employers with their ability to assess problems and devise creative solutions.
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›› Among the first interdisciplinary disciplines, geography is a subject ideally
suited to Sarah Lawrence—and encompasses much more than memorizing capitals. As JOSHUA MULDAVIN describes it, geography is about “the relationships between human beings and the environment—or the intersection of the natural world with the social, cultural, economic, and political worlds.” During 30 years of research on the environmental and social impacts of contemporary development in China—along with teaching geography in the US— Muldavin has learned a great deal about that intersection while involving students in pressing issues. “One student,” he says, “helped me organize the first international sustainable food and agriculture workshop and film festival in Beijing; others have produced documentaries, devised ways to fight food waste and hunger, and conducted ethnographic research to compare different approaches to resource management in China, India, and Nepal.” This kind of real experience results in students who can accomplish what they set out to do. “Sarah Lawrence students don’t just find the job that’s right for them; many of them create the job—or create the organization,” says Muldavin. “They integrate all of what they learn into their thinking in an organic way so it works for them. As a result, they see the world differently. They come up with ideas differently.”
“I often talk about what I call the Great Transformation that takes place here. That is the transformation from doing demanded work to doing your own work. When our students go out into the world and into graduate school, they take responsibility for what they do.”
REAL EXPERIENCE: As a sophomore, one of Joshua Muldavin’s students—Trevor Wallace—was awarded a fellowship to spend the summer documenting the experiences of people in rural Nepal. The fieldwork led to Trevor’s film project, “Hydroelectric Dams in Nepal through Documentary.”
“Sarah Lawrence students are interested in the environment and development, but many of them are also artists—and Trevor is a great example of that. I’ve asked him to join in my international research project on land grabs. As a videographer, he can make short videos of case studies that can be used by organizations trying to empower local voices.” —JOSHUA MULDAVIN, GEOGRAPHY FACULTY
“Part of the skill set that Sarah Lawrence imparts to students is this: they know how to plan a project, pitch a project, and execute that project on time—and to talk about that project to a variety of audiences.” —JUDITH RODENBECK, ART HISTORY FACULTY
—CHARLOTTE DOYLE, PSYCHOLOGY FACULTY
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the relevance
Sarah Lawrence students emerge from the College as lifelong, interdisciplinary, evolutionary learners. Their ability to communicate—especially in writing— and their cognitive flexibility prepare them well for our changing world, a world in which 65 percent of the jobs that will be available when today’s high school students begin their careers don’t yet exist. With their experience initiating, completing, and presenting meaningful projects, Sarah Lawrence graduates know how to achieve their goals. They are intellectual entrepreneurs, ready for the world as it is. “One of the things I notice with our students is that when you meet them later in life, what they say is, ‘Who did you study with?’ There is something very durable and personal about the intellectual relationships here. At the core of what you remember about Sarah Lawrence are the relationships.” —FREDRIC SMOLER, LITERATURE FACULTY
“This intellectual entrepreneurism that Sarah Lawrence promotes ... positions us to be exceedingly relevant in the world today.” —FREDERICK STRYPE, FILM FACULTY
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“The focus on writing at SLC is an advantage, because being able to write—under any circumstances about essentially anything—with elegance and grace and intelligence is extremely important. The writing work at Sarah Lawrence prepared me for grad school more than any exam-driven program would have. Writing helps solidify what you’ve learned and helps you develop your voice as a thinker. It’s one of the most important parts of being a scholar, being able to articulate your ideas. SLC sets you up for success in that way more than any other program I’ve heard of.” —AIMEE GRAINER ’10
“Most educational systems say, ‘You have an A. You can relax.’ Sarah Lawrence is much more like real life: You have to be satisfied with your own accomplishments. You can’t always wait for somebody to tell you, ‘That’s fine. That’s good enough.’” —MELISSA FRAZIER, RUSSIAN FACULTY
“I don’t teach my students anything that isn’t useful in the world. I teach writing, and I conceive of myself as a teacher of rhetoric, but basically I want them to write clearly and distinctly.
“Employers know that clarity of writing reflects clarity of thought. So much depends not merely on what you have learned, but also on your ability to transmit what you have learned. That’s one reason why we put such emphasis on writing at Sarah Lawrence. It really goes back to the faith we have in the importance of a liberal education as fundamental to civilization.
“Our students learn the value of action, innovation, and initiative, each of which they find extremely relevant after graduation. There’s a lot of practice-based learning at Sarah Lawrence, and there’s something very entrepreneurial about that. “A Sarah Lawrence education is experiential and it’s personal. That combination prepares our students for virtually anything.”
A professor of writing at Sarah Lawrence since 1998 and a former editor of The New Yorker, VIJAY SESHADRI is a widely published poet, essayist, and book reviewer. His awards include NEA and Guggenheim fellowships and the James Laughlin Prize of the Academy of American Poets.
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SLC at a Glance CHARACTER
EXCHANGE PROGRAMS
Founded in 1926, Sarah Lawrence is a coeducational liberal arts college with a distinctive academic philosophy emphasizing the individual student.
• California Institute of the Arts (Cal Arts) • Eugene Lang College • Falmouth University, England • Pitzer College • South India Term Abroad (SITA) • Spelman College • Tsuda College, Tokyo, Japan
CAMPUS Sarah Lawrence College occupies 44 wooded acres in Yonkers, NY, near the village of Bronxville— just north of New York City. A 30-minute train ride from the Bronxville station takes students into Midtown Manhattan.
ACADEMIC PROGRAM The academic structure combines small seminar classes with individual, biweekly studentfaculty conferences. Students choose freely from among the following areas with the guidance of their faculty don: Africana Studies Anthropology Art History 3-2 Art of Teaching Asian Studies Biology Chemistry 3-2 Child Development Computer Science Dance Design Studies Economics 3-2 Engineering (with Columbia University) Environmental Studies Ethnic and Diasporic Studies Film History Filmmaking, Screenwriting, and Media Arts French Geography German Global Studies Greek 3-2 Health Advocacy History International Studies Italian Japanese
Latin Latin American and Latino/a Studies Lesbian, Gay, Bisexual, and Transgender Studies Literature Mathematics Music Music History Philosophy Physics Politics Pre-Law Pre-Med Psychology Public Policy Religion Robotics Russian Science, Technology, and Society Sociology Spanish Theatre Visual Arts • Digital Imagery • Drawing • Game Design • Painting • Photography • Printmaking • Sculpture 3-2 Women’s History Women’s Studies Writing
GRADUATE PROGRAMS The College’s 11 programs of graduate study—the art of teaching, child development, dance, dance/movement therapy, health advocacy, human genetics, dual degree in social work and child development, theatre, women’s history, joint degree in women’s history and law, and writing—enhance the undergraduate community.
INTERNSHIPS A few NYC examples: • Guggenheim Museum • American Civil Liberties Union • The New Yorker • Mount Sinai Medical Center • New York City Department of Education • CNN (Cable News Network) • Legal Aid Society • Amnesty International • Random House Publishing
ADMISSION The College considers many factors in evaluating applicants. These include intellectual promise, motivation, and creativity, in addition to the quality of each student’s secondary school program and writing skills. Teacher recommendations and extracurricular activities play a role in admission decisions as well. A personal interview is recommended. SAT/ACT scores are optional.
FINANCIAL AID To make a Sarah Lawrence education available to a wide range of students, the College awards a variety of financial aid. More than half of the student body receives some form of financial assistance.
VISITING CAMPUS Prospective students and their families are welcome to visit Sarah Lawrence year-round. Campus tours, information sessions, personal interviews, class visits, and overnight stays with current students are all available. To arrange your visit, go to: www.slc.edu/admission/visit
OPEN HOUSES Learn about Sarah Lawrence firsthand at one of our Prospective Students Days in the fall. Highlights include a campus tour, information sessions, and creative performances by current SLC students. Call the Office of Admission or visit www.slc.edu/psd for details and to reserve a spot.
CONTACT Office of Admission Sarah Lawrence College 1 Mead Way Bronxville, NY 10708-5999 (800) 888-2858 • (914) 395-2510 slcadmit@sarahlawrence.edu sarahlawrence.edu/admission
TO REQUEST MORE INFO, SCAN HERE:
This booklet was printed with soy ink and is made from FSC®-certified paper that contributes to responsible forestry. SLC 3371 • 4/14
Continuing its longstanding policy to actively support equality of opportunity for all persons, Sarah Lawrence College does not discriminate on the basis of race, sex, color, sexual orientation, gender identity or its expression, disability, religion, age, veteran status, or national or ethnic origin in its admissions, employment, educational policies, scholarship or other financial aid programs, or in access to other College-administered programs. Sarah Lawrence affirms that it admits students and selects employees regardless of race, sex, color, sexual orientation, gender identity or its expression, disability, religion, age, veteran status, or national or ethnic origin and thereafter accords them all the rights and privileges generally made available to students or employees at the College. The College is strongly committed to basing judgments about individuals solely upon their qualifications and abilities and to protecting individual rights of privacy, association, belief, and expression.
OFFICE OF ADMISSION 1 Mead Way Bronxville, NY 10708-5999 www.sarahlawrence.edu
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