The Dartmouth 09/17/2021

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VOL. CLXXVIII NO. 16

FRIDAY, SEPTEMBER 17, 2021

HANOVER, NEW HAMPSHIRE

Back in the classroom at last: New allegations claim students and professors react to BVAC donor Leon return of in-person instruction Black ’73 sexually harassed Russian model BY Daniel Modesto The Dartmouth Staff

NAINA BHALLA/THE DARTMOUTH SENIOR STAFF

BY Sydney Wuu The Dartmouth Staff

After over a year of Zoom learning, thousands of Dartmouth students and professors have returned to the classroom to welcome the new school year. The 2020-21 school year consisted predominantly of virtual classes, with roughly 10 courses being offered in person during the 2021 winter and spring quarters. Summer term featured 19 fully in-person classes as students and faculty alike received their COVID-19 vaccines and submitted documentation to Dartmouth College Health Services. In a sharp transition from recent terms, 634 classes are in person this fall, according to an email sent to campus from Interim Provost David Kotz and Dean of the Faculty Elizabeth Smith. The email noted that a few professors

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with “exceptional” circumstances requested to opt out of in-person instruction. Only 13 courses were granted such accommodations. Students share first impressions Aspiring doctor Ramsey Ash ’24 has enrolled in CHEM 51, “Organic Chemistry,” INTS 18, “Global Health and Society” and SPAN 2, “Spanish 2” this fall. “We had a class discussion in [INTS 18] yesterday, which was so cool because we weren’t in breakout rooms on Zoom,” Ash said. “I really liked being able to meet other people in person and feel like I’m connecting with people who have similar interests as me.” Adriana Chavira-Ochoa ’24 lived on campus for all three terms of her freshman year and took online classes. Chavira-Ochoa said that it is “a huge shock” to be back in person after the

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Q&A with National 9/11 Memorial designer Michael Arad ’91 BY COALTER PALMER

NEWS

summer and believes in-person classes will allow her to “learn and perform better.” “I’m loving it so far — it’s so different,” Chavira-Ochoa said. “Meeting the professors in person and my classmates has been such a blessing. I feel more motivated to stay on top of my classes and feel much more interested in my coursework. The last three terms felt so isolated and bland — now the school feels alive.” Marina Wang ’25 was admitted as a member of the Class of 2024 but decided to take a gap year during which she taught reading, math and science to school-age children via Zoom and road-tripped across the U.S. with other gappers. A large factor contributing to her decision was the shift to online learning, she said. Wang emphasized that there is “so

Michael Arad ’91 is the designer of the National September 11 Memorial at Ground Zero in New York City. His design — titled “Reflecting Absence” — was selected from more than 5,200 proposals submitted to a 2004 competition organized by the Lower Manhattan Development Corporation. The memorial, which features two waterfall pools in the footprints of the North and South Towers, is intended to convey “absence made visible,” according to Arad, and displays the names of the 2,983 people killed in the Sept. 11 attacks and in the 1993 World Trade Center bombing. These names include the 12 Dartmouth community members who died on that day — Paul Ambrose (Dartmouth Medical School Residency ’96-’99), Juan Cisneros ’99, Christopher Colasanti ’90, Kevin Connors Tu’73, Kevin Crotty ’80, Brian Dale ’80 Tu’81, Joseph Flounders ’77, Jeffrey LeVeen ’68, Frederick Rimmele III (Maine-Dartmouth Family Practice Residency ’97), Thomas Theurkauf, Jr. Tu’81 and Richard Woodwell ’79. In the days after the 20th anniversary of the attacks — this past Saturday — The Dartmouth sat down with Arad to discuss his work on the memorial, how his Dartmouth experience informed his work and his recent projects. What motivated you to submit a design to the memorial competition and to ultimately take on the task of building the memorial? MA: I think what motivated me initially was very much being in New York and witnessing the attack, which motivated thousands of New Yorkers to get engaged — not just people in the architectural community, but everyone seemed to be very engaged in the question of, “How do we respond as a city to these attacks?” Here in New York, places like the Javits Convention Center became sites where people came together to look at different

design plans, and to opine on them with a level of civic engagement I don’t think you’ve ever seen in New York City. I think that was really important, and that sort of propelled me to start thinking about the question of how to respond as a city and how do we create a place, a memorial, that reflects on what occurred here with the attacks and the way that the city responded to them. The memorial’s early design was quite different from the final one. Can you briefly describe the creative process you went through, from your early designs to the memorial we see today? MA: I actually started thinking about a design for the memorial before there was a memorial design competition. The initial impulse I had was to think about a memorial in the Hudson River, in part because, early in this process, the idea of rebuilding anything at the World Trade Center felt fraught with so much difficulty and emotion. Ground Zero then was a six-story-high, 16-acre pile of smoldering rubble, with recovery crews climbing across the hellish landscaping and pulling bodies out of the debris. So, at the time, I couldn’t actually imagine what you would rebuild at the site. I imagined the surface of the river shorn open and forming two square voids, symbolically marking the Twin Towers somehow, and these empty spaces would remain empty: Even though the river would flow into them, they would never fill up. I spent months trying to understand if it could actually be built and ended up creating a small desktop model of the fountain at home and taking a picture of the model, superimposed over the Hudson, from the rooftop of our apartment building against the skyline — and this is a process that took over a year. I could see the absence of the towers in the skyline mirrored and reflected in these twin voids that I’d created. I set it aside and came back to it a year later, following the selection of a master plan for the World Trade Center site that

More allegations against former trustee Leon Black ’73 have come to light after an internal review ordered by Black’s company revealed that Black paid convicted sex offender Jeffrey Epstein over $150 million dollars from 2012 to 2017. Last October, a New York Times report revealed that Black had paid Epstein at least $50 million in the years after Epstein first pleaded guilty to charges of sex crimes in 2008. After the New York Times report was published, Black requested that the board of his company, Apollo Global Management, conduct a review. The results of the review, which was released in January, indicate that Black had paid more than $150 million to Epstein for services related to trust and estate planning, taxes and philanthropy. The review also found no evidence that Black played a role in Epstein’s criminal enterprise. In June, former model Guzel Ganieva filed a lawsuit against Black, claiming that Black sexually harassed and abused her over the course of seven years. Ganieva has also alleged that Black flew her to Florida against her will to meet Epstein in 2008. Community members at Dartmouth have on multiple occasions lobbied the College to take action about Black’s ties with Epstein and change the name of the Black Family Visual Arts Center. Dartmouth Community Against Gender Harassment and Sexual Violence, an advocacy group comprised of alumni, students, faculty and other College affiliates, called on the College to remove Black’s name from BVAC in February. Ruth Cserr ’88, a founding member of the group, said that the recent allegations have “distressed” several members of the group and have caused her perceptions of the building to change. “I feel like every time I walk in, now that I know about Black and his relationship to Epstein, it’s an affront to all the survivors of sexual violence and harassment,” Cserr said. “It’s just a constant reminder.” College spokesperson Diana Lawrence declined to comment on the recent developments, noting that the allegations were part of an “ongoing legal matter.” She confirmed that there were no plans to rename the arts center. Cserr said that the College’s inaction indicates a lack of “will or bravery or concern [regarding the allegations against Black].” She stressed that the College should respond promptly given Black’s recent tenure on the Board of Trustees and the history of sexual misconduct at Dartmouth. On Jun. 1, Ganieva filed a defamation lawsuit in a New York

state court against Black. According to the lawsuit, Black falsely accused her of extorting him in a Bloomberg article, which was published shortly after Ganieva alleged on Twitter that Black had sexually harassed and abused her. In the article, Black stated that he had a “consensual affair” with Ganieva and that her allegations were unrelated to his decision to step down as CEO from Apollo Global Management. The lawsuit details Ganieva’s relationship with Black, alleging that Ganieva experienced a cycle of “intimidation, abuse and humiliation by Black” including “forced sexual conduct against her will” and an instance of rape in 2014. Ganieva added that Black exhibited “ d e ro g at o r y a n d c o n t ro l l i n g conduct,” including belittlement and physical intimidation. In early July, Black’s lawyers filed a counterclaim, in which they wrote that the allegations made by Ganieva were a “work of fiction” and contend that the relationship between Black and Ganieva was “casual, episodic and completely consensual.” According to the counterclaim, Ganieva initiated an extortion campaign in which she “would harm Mr. Black’s personal and professional life” if he didn’t send her “exorbitant sums of money.” In an emailed statement to The Dartmouth, Black’s attorney Danya Perry wrote that Ganieva’s alleged Florida meeting with Epstein was “made up,” adding that recorded conversations reveal that “Ms. Ganieva acknowledged… she never met Jeffrey Epstein in Mr. Black’s presence.” She denounced the “sham lawsuit” as an attempt to “destroy” Black’s character. A month following Black’s counterclaim, Ganieva alleged in an amended version of the lawsuit that Black flew her “down to Florida [in 2008] without her consent to satisfy the sex needs of Epstein.” According to the lawsuit, Black warned her to not tell anyone or “he would frame her with possessing ‘very serious’ drugs that would make her family and son ashamed of her.” The lawsuit claims that once Ganieva arrived at Epstein’s home in Florida, she was uncomfortable being in the presence of both Black and Epstein, who allegedly coerced her into “[laying] in between [them].” It states that Ganieva recalled feeling “disgusted” and “caught off-guard” and that she clearly stated that she would not have sex with Epstein. The lawsuit states that Black then flew her back to New York in silence. G a n i e v a ’s l a w ye r Je a n n e Christensen wrote in an email statement to The Dartmouth that she and her firm will continue to “aggressively litigate the claims alleged against Leon Black on behalf of our client Guzel Ganieva.”

NIK MEDRANO/THE DARTMOUTH STAFF

began to restore the site into the fabric of the city. This plan broke down the 16-acre super-block created for the World Trade Center in the 1960s into four smaller city blocks. These four quadrants were different in size — the largest was about eight acres in size, about half the size of the site. And this quadrant was where the Twin Towers had once stood, and that became the basis for the memorial design competition. However, the competition guidelines called for that eight-acre memorial site to be some 60 feet below the surrounding

streets and sidewalks — at the time, after the recovery effort had concluded, the site extended roughly this distance below the surrounding streets and sidewalks to the lowest basement slab within the World Trade Center complex. In thinking of my own experiences in places like Washington Square and Union Square, and of how important it was for me to be able to go to these public places and to feel connected, the guidelines of the competition seemed to call for something that was very different than what I had SEE MEMORIAL PAGE 2


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