The Dartmouth 10/23/18

VOL. CLXXV NO.88

RAINY HIGH 49 LOW 32

TUESDAY, OCTOBER 23, 2018

HANOVER, NEW HAMPSHIRE

Tuck School of Business Phi Beta Kappa restructures administration inducts new class

By HANNAH JINKS

The Dartmouth

OPINION

CHUN: A CALL TO CATERED RETREATS PAGE 4

SARAH ALPERT/THE DARTMOUTH

The Tuck School of Business began restructuring its administration three years ago.

B y Blake mcgill The Dartmouth

REGAN: CONTEMPORARY MUSIC PAGE 4

ARTS

REVIEW: ‘COLETTE’ FAILS IN ITS BIOPIC PURPOSE FOR ‘CLAUDINE’ WRITER PAGE 7

‘DAWNLAND’ SHOWS A CRUCIAL PART OF NATIVE AMERICAN HISTORY PAGE 8 FOLLOW US ON

TWITTER @thedartmouth COPYRIGHT © 2018 THE DARTMOUTH, INC.

Earlier this summer, Tuck School of Business dean Matthew Slaughter announced several new administrative positions at the school that current Tuck employees have been selected to fill.

The new roles include new deputy dean Punam Amand Keller and three associate dean positions held by former Office of the Dean chief of staff and executive director Gina des Cognets Tu’01, technology and strategy professor Connie Helfat and former assistant dean

and director of the MBA program Sally Jaeger.

For Slaughter, the process of restructuring Tuck’s administration started three years ago in the summer of 2015 when he began his new position as dean, he said.

SEE TUCK PAGE 2

On Thurs., Oct. 18, 21 members of the Class of 2019 joined Dartmouth’s Alpha of New Hampshire chapter of the honor society Phi Beta Kappa.

Founded in 1776 at the College of William and Mary, Phi Beta Kappa recognizes and connects the nation’s best students across its 286 chapters. In addition to the 21 senior-class inductees, six members of the Class of 2020 received the Phi Beta Kappa Sophomore Prize.

Students inducted into Phi Beta Kappa in the fall must hold one of the top 20 cumulative grade point averages in their class after completing eight academic terms within three years of matriculating. The Phi Beta Kappa Sophomore Prize awards students with the highest cumulative grade point averages in their class after five terms of enrollment.

The Phi Beta Kappa inductees are Olivia Bewley ’19, Connor Bondarchuk ’19, Emily Chao ’19, Nicole Chen ’19, John Davidson ’19, Christine

Dong ’19, James Herman ’19, Meredith Holmes ’19, Young Jang ’19, Josephina Lin ’19, Andrew Liu ’19, Anant Mishra ’19, Colleen O’Connor ’19, Sonia Qin ’19, Sonia Rowley ’19, Samantha Stern ’19, Alexander Sullivan ’19, Arvind Suresh ’19, Elizabeth Terman ’19, Ruoni Wang ’19 and David Wong ’19.

Re c i p i e n t s o f t h e Sophomore Prize are Emma Ester man ’20, Brandon Nye ’20, Scott Okuno ’20, Joshua Perlmutter ’20, Armin Tavakkoli ’20 and Sebastian Wurzrainer ’20.

The ceremony involved a welcoming and initiation of the inductees, followed by the awarding of the Sophomore Prize. During the for mal induction, honorees shook the hands of the chapter marshall, president and vice president. They also signed a book signifying their eternal membership and received a certificate. In her closing SEE PBK PAGE 5

SPCSA holds IDE holds second summit termly discussion B y CASSANDRA THOMAS The Dartmouth

B y LORRAINE LIU The Dartmouth

Amidst the College’s recent decision to investigate hazingallegationsandCollege President Phil Hanlon’s announcement of plans for new sexual misconduct policy, Dartmouth’s Student and Presidential Committee on Sexual Assault held its termly open round-table discussion about sexual assault on campus on Oct.

18.

Last week’s round-table discussion coincided with Hanlon’s announcement that the College will adopt a more unified policy on sexual misconduct. However, Paulina Calcaterra ’19, executive chair of SPCSA, said, the timing of the roundtable and the announcement was coincidental. The College’s Presidential Steering Committee on SEE SPCSA PAGE 3

“One people, one nation, one destiny” was the guiding m a n t r a fo r O f f i c e fo r Institutional Diversity and Equity director Theodosia Cook when she planned IDE’s second annual summit on Oct. 18. The event, which was held in the Hanover Inn, invited community members, Dartmouth faculty and staff and representatives from other regional colleges to explore issues of poverty and equity, the summit’s theme this year.

One hundred and twenty seven participants attended the event, representing an increase of over 50 attendees compared to last year’s 75.

T he summit allowed participants to see that d e s p i t e t h e i r d i f f e re n t socioeconomic backgrounds, their futures are intertwined, Cook said. She added that she has aspirations for the summit to foster a culture of inclusivity in the Upper Valley.

“We are trying to shed light on the privileges and marginalizations that everyone encompasses, and

to do that, we have to start having conversations that are uncomfortable,” Cook said. “We provide a space for people to feel safe but also exude bravery in being vulnerable.”

This year, the format of the summit changed from one and a half days to just one, with the centerpiece being a keynote presentation

by Jessica Santos, senior research associate at the Institute on Assets and Social Policy at Brandeis University.

The event also included SEE IDE PAGE3

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THE DARTMOUTH NEWS

Calloway among Book Award finalists

“Nonfiction is such an interesting category because the art of biography is not necessarily analogous to the art History and Native American of the historian or to the art of the studies professor Colin Calloway’s memoirist,” Lucas said. “But we celbook “The Indian World of George ebrate them all as artful, and I hope that Washington: The First President, the when people see that medallion they First Americans, and the Birth of the are reminded that these [awards] are Nation” is among four other finalists not just about the content, but about for the 2018 National Book Awards in the storytelling.” nonfiction.

Calloway has spent more than five The National Book Foundation years working on this book, including awards the prizes to recognize out- a term spent writing and researching at standing literary work published within Mount Vernon with a fellowship from the last year. the Washington Library. Having writThe results for the nonfiction ten most of the book while teaching in award — along with awards for fic- the Native American studies program, tion, poetry, translated literature and Calloway said he wanted to finish writyoung people’s literature — will be ing the book in “George Washington’s announced on Nov. 14. A panel of five world.” judges chose Calloway’s book from a While working at Mt. Vernon, Callist of 10 books narrowed down from loway said he was able to get a better publishers’ submissions of 546 books, sense of his target audience. according to executive director of the “I was trying to reach people National Book who didn’t norFoundation Lisa “My belief is that mally read Native Lucas.

American history,” The Indian Native American Calloway said. “If World of George history is fundamental we can’t get peoWashington tells ple to read Native to understanding the story of the American history, g reat Native American history.” get all those people American leadwho read about ers and tribes George Washing-COLIN CALLOWAY, of the 18th centon to read this, tury through the HISTORY AND NATIVE thinking they’re lens of George reading about AMERICAN STUDIES Wa s h i n g t o n’s George Washinglife. Though not PROFESSOR ton, but they’re intended to be actually reading a biography, the a b o u t N at i ve book moves chronologically through American history.”

Washington’s life, beginning with his As he was writing the book, Calearly days as a surveyor of Native loway also taught Native American American lands and ending with his studies 55, “The First President and use of diplomacy and persuasion as the First Americans: The Indian World president to appropriate land for the of George Washington.” new nation.

“I had taught classes about books “My belief is that Native American I had written before, but I had never history is fundamental to understand- taught a class about a book as I was ing American history,” Calloway writing it,” he said. said. “I wanted to show how Native This term, Calloway is teaching Americans shaped the life of the presi- Native American studies 14, “The dent, and that will show how Native Invasion of America: American Indian Americans shaped the history of the History Pre-Contact to 1800.” nation at this crucial time.”

Rachel Kesler ’19, a Native AmeriCalloway first received notice of his can studies and history double major, nomination in an email from a friend is currently in this class. saying “Congratulations on the NBA.” “Professor Calloway engages stuCalloway said his “first thought was the dents in such a unique way,” she said.

National Basketball Association … I’m “He’s the kind of professor that by just a historian, I didn’t expect it.” the second week of classes will know However, the qualifier of being everybody’s name in a seventy-person “just” a historian was not necessary. lecture. He is also someone that does According to Lucas, historians tell a great job balancing somewhat constories with “artistry and magic.” troversial material.”

B y GRAYCE GIBBS The Dartmouth

TUESDAY, OCTOBER 23, 2018

New deans appointed at Tuck FROM TUCK PAGE 1

research.”

In her new role as associate dean Slaughter said he and his colleagues for research innovation, Helfat will “wanted to be really intentional be tasked with facilitating new about thinking about the proper faculty research efforts and drawing structure and roles in the dean’s attention to the research currently office and bringing new people into being conducted. new and different roles.”

Helfat said her new duties will He noted that since Helfat and include helping faculty with ideas Keller’s roles focus particularly on for collaborative research and enhancing Tuck’s faculty research, faculty who want access to data. She it made the most sense to promote added that she is also charged with faculty members from within Tuck notifying faculty of the research who already have an understanding and faculty seminars being held at of the school and have fostered Tuck. relationships with other faculty Helfat’s own research “deals a lot members. with technology In all four new “We have a different in companies administrative ... and thinking view at Dartmouth, positions, the about how the focus is on both which is the best knowledge of faculty research teachers in the world individuals can and student benefit firms,” e n g a g e m e n t , are those who are she said.

Slaughter said. connected to rigorous S h e “To me ... noted that one and real worldteaching and of the best r e s e a rc h a r e relevant research.” ways to bolster two sides of t h e r e s e a rc h the same coin,” of current Slaughter said. -MATTHEW SLAUGHTER, Tu c k f a c u l t y “I think there TUCK SCHOOL OF members and a re w ay t o o to draw in BUSINESS DEAN many colleges new innovative and universities faculty is to in the world that spread the word think about the great research and about Tuck faculty research. scholarship that faculty do as being Helfat said she hopes the faculty somehow in opposition to the time will be able to more effectively use they spend in the classroom. We the school’s website and that she have a different view at Dartmouth, plans to encourage faculty to use which is the best teachers in the other such electronic mediums to world are those who are connected publicize their work. to rigorous and real world-relevant Helfat, who has also been an

editor in one of the world’s leading academic journals on strategic management, said she believes both her research and former position as an editor have prepared her to act in an administrative role with Tuck’s faculty. des Cognets, who is now associate dean of planning and operations, works to align dayto-day operations with the Tuck mission and strategy, communicates with the school’s senior leaders to plan board meetings and is also the lead liaison with Tuck’s five advisory boards. She said she works with the facilities team, information technology team, marketing and communications and campus planning. des Cognets and her team, who are also tasked with supporting new faculty, recently conducted a design thinking workshop that focused on the experience of becoming a new employee at Tuck.

“We interviewed people who had recently been hired about their experience ... then we went through a whole design thinking exercise to think about how [we can] re-imagine the experience of becoming a new employee at Tuck to make it the best it can be,” she said.

Having spent the last 13 years as a member of the administrative team at Tuck, des Cognets said “I have such great care and investment in what we do here and how it helps people be their best selves and how they will bring this to the organizations they will go on to lead.”

A STAR IS BORN

CORRECTIONS We welcome corrections. If you believe there is a factual error in a story, please email editor@thedartmouth.com.

MICHAEL LIN/THE DARTMOUTH SENIOR STAFF

On a rare clear night, the stars shone brightly over Dartmouth’s campus.

TUESDAY, OCTOBER 23, 2018

SPCSA hosts talk on sexual misconduct

PAGE 3

THE DARTMOUTH NEWS

ACADEMIC RIGOR IN ACTION

FROM SPCSA PAGE 1

the orientation curriculum and other new programs to prevent violence.

Sexual Misconduct, not the SPCSA, They also brainstormed ways to made the recommendations to the increase student engagement at sexual College for its new violence prevention policy. events and “I appreciate According discussed tensions t o C a l c a t e r r a , the way that the surrounding approximately 20 leadership framed male students’ people attended engagement with the event. Most the conversation sexual violence of the attendees and set up some prevention. were undergraduate “I appreciate ground rules...” students, but a the way that the few were College leadership framed a d m i n i s t r a t o r s , -KRISTI CLEMONS, the conversation and including Title IX set up some ground TITLE IX coordinator Kristi rules, creating a Clemens and senior COORDINATOR space for students associate dean of to share what their student affairs Liz concerns, positive Agosto ’01. SPCSA received responses feedback and negative feedback to through form they sent out prior were,” Clemens said. “I appreciate to the event. The form also included that everyone was really engaged in a comment section for students to the conversation.” submit feedback on Dartmouth’s Within two weeks after the sexual assault policy and prevention discussion, SPCSA members will without attending the event. submit a memo of the discussion The open round-table discussion to the College for administrators serves as a termly check-in with and staff to better understand students to ensure that their voices students’ experience. The past are heard by the College, Calcaterra summer’s summary has been helpful said. SPCSA is the liaison providing in addressing students’ concerns, students with “a safe and direct line Calcaterra said. She added that the of communication” with the College’s College has held a meeting with leadership, according to Calcaterra. different student groups to discuss the “Students don’t have to take concerns that students identified in the the initiative summer roundt h e m s e l ve s t o “Students don’t table. set up a meeting “SPCSA does with the College have to take the such great and leadership to share initiative themselves thorough work in their feedback,” identifying issues in to set up a meeting Calcaterra said. our community,” “They could come with the College Clemens said. “So I here and we will do leaderhip to share really look forward the sharing.” to receiving those SPCSA held its their feedback. They memos.” first round-table could come here Monik Walters discussion this ’19 attended the and we will do the past summer and SPCSCA round will continue to sharing.” table as current hold it every term, Student Assembly Calcaterra said. president. She and Though the topic -PAULINA CALCATERRA SA vice president of the discussion ’19, SPCSA EXECUTIVE Nicole Knape ’19 centered around ran on a platform CHAIR sexual assault and addressing its prevention, the diversity, sexual content was completely shaped by the violence awareness and mental attendees. health.

“The themes that come up are Walters expressed support for based on who are the people in the SPCSA’s work, adding that she hoped room,” Calcaterra said. to learn from the conversation that According to a draft of the the committee is facilitating across discussion’s summary obtained campus.

by The Dartmouth, students at “For me, it’s an assessment of how Thursday’s discussion inquired to approach these issues when we want about the College’s sexual assault to look for future collaboration with investigation processes and the other groups that are doing these kinds College’s progress with sexual of work, and if we want to vary our violence prevention. In response, methods of reaching out and calling the committee discussed changes to people in,” she said.

MICHAEL LIN/THE DARTMOUTH SENIOR STAFF

As Dartmouth’s midterm season comes to a close, students engage in group work.

IDE focuses on poverty and equity FROM IDE PAGE 1

many workshops for attendees to choose from. Director of the First Year Student Enrichment Program Jay Davis ’90 led a workshop entitled “Class in the Classroom: Helping First-Generation and Low-Income Students to Thrive.”

“My goal in my presentation was to help people understand the challenges that can face f i r s t - g e n e r at i o n s t u d e n t s i n their transitions to schools like Dartmouth and to understand the ways that Dartmouth supports these amazing students,” Davis said.

Cook and Davis both recognized the heterogeneity of the audience at the day-long summit, which Davis said was not only a reflection of Dartmouth’s diversity, but also a factor for speakers to consider when crafting their presentations.

“Some people in the room work with similar populations, and others don’t at all,” Davis said.

“My goal was to help people from wherever they’re coming [from] to understand what the complexity of experiences could be for firstgeneration students at Dartmouth.”

Cook added that audience members exhibited varying levels of comfort with subject matters discussed in the workshops.

“For some people who attended, [the summit] was [like] a hug because now people understand [their] circumstance,” Cook said.

“[They] don’t have to say it. Or Although the IDE summit [they] can put specific terms to speakers had many important it — there is a whole field of lessons to impart, both Cook research around [their] particular and Fairbanks agreed the biggest marginalization. So some people strength of the conference lay in may walk away feeling like, ‘I’m the dialogue created by community seen, I’m heard, I’m here.’” members. Fairbanks said he used Outside of the IDE office, other the summit as an opportunity to organizations around campus step outside his daily routine at found ways to Dartmouth and get involved gain perspective “As we say so with the summit. from people who S u s t a i n a b i l i t y often, because are also part of f e l l o w J o s e f sustainability the Upper Valley Fairbanks ’17 was community challenges are given funding by but who of fer the Dartmouth systemic and vastly different Sustainability perspectives. multifaceted, we Office to attend “When you’re the e v e n t . need diverse points engaged in this Fairbanks said of view to generate kind of work, it’s he was able to use easy to get tunnel the knowledge effective solutions.” vision, and I’m he gained from grateful for the the summit and re m i n d e r t h at -JOSEF FAIRBANKS apply it in an issues of inequity e nv i ro n m e n t a l ’17, SUSTAINABILITY and injustice in context. our community FELLOW “As we say so a re n’t l i m i t e d often, because to Dartmouth’s sustainability c a m p u s , ” challenges are systemic and Fairbanks said. “I talked to a lot multifaceted, we need diverse of community members who are points of view to generate effective tackling justice issues in really solutions,” Fairbanks said. “We are creative ways. Learning from constantly asking ourselves ... how others’ work helps me re-frame we can make [the Sustainability many of the challenges I see on Office] a more inclusive space so a daily basis as opportunities for that anyone who wants to have a change. Even in spite of some voice in the conversation feels like difficult conversations I had, I left they are being heard.” the summit with a feeling of hope.”

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THE DARTMOUTH OPINION

TUESDAY, OCTOBER 23, 2018

STAFF COLUMNIST STEVEN CHUN ’19

STAFF COLUMNIST JOSEPH COIT REGAN ’19

A Call to Catered Retreats

Contemporary Music

Leadership is not taught — if Dartmouth wants leaders, it needs causes.

There are few things more futile or depressing than attempting to teach leadership via sticky note and slightly dry Crayola Broad Point Washable Markers. Yet the words “With your support, we will build on this legacy by creating a comprehensive, four-year cocurricular strategy for cultivating that spirit of leadership” on the Call to Lead capital campaign’s website immediately conjure the image of several bored undergrads contemplating death-by-catered-sandwiches while a leadership guru gesticulates madly in the background.

It is apparent why Dartmouth believes graduating leaders is both desirable and a decent rallying cry for raising capital. What is not so apparent is whether Dartmouth has given any thought toward how leaders are created. If the College’s current programs are any indicator, this four-year cocurricular strategy will be no more than a curious peak in the local Panera Bread’s quarterly earnings graph (the author holds no grudge against catered food, though Panera’s chips are hard to get out of one’s teeth). Averting this catastrophe requires an exploration of leadership — and not the kind that one earns via certificate.

Those interested in generating “leadership” need to understand how to identify potential leaders and how to nurture them.

Leadership is a primal behavior. Forming groups keeps humans alive, but doing so introduces a problem of conflicting preferences and desires. Without a single point of direction, a group’s incoherent interests can tear it apart. Therefore, groups with a leader (often called a dominance hierarchy) tend to do better as a whole. (It’s worth noting that this is only a problem for non-eusocial animals — if this was a Call to the Hive Mind we would be having a far more entertaining debate about President Hanlon’s qualifications as Queen Mother (mustache plus, lack of egg-laying minus)).

As an animal behavior, leadership has a heritable genetic component. Well-regarded twin studies that compare identical twins and fraternal twins identify that genetics determine up to 30 percent of leadership role occupancy likelihood (while simply occupying a leadership position doesn’t make

one Churchill, it’s a start). Large population variance in predisposition for leadership implies that mandatory leadership education for all is a waste of time. By definition, we’re not all cut out for it.

However, just as important is understanding that it’s likely impossible to reliably pick out leaders from the crowd. Dartmouth has no place attempting to select who has potential and who doesn’t. The short answer to our initial question is that you can’t identify potential leaders — but you almost certainly can’t just treat the entire student body as if we all have the right stuff (the author lays no claim to any stuff, much less the right type).

Luckily, one doesn’t have to be able to identify leaders to nurture them. Leadership is an emergent quality. Leaders emerge out of need for leadership, and they ascend to their positions not out of want, but out of the recognition that it’s best for the group.

They are elected on the sheer admiration of their peers. They are deeply knowledgeable about their domain. They commit many hours to their craft. I know this because I’ve seen it happen. The DOC sub-clubs are likely the finest example of this (the author holds no leadership position in any DOC sub-club outside of those he has created for himself, namely the Enthusiasm Chair of the Biathlon Club). All these clubs feature dedicated members, constant interaction amongst members, an appreciation for talent and knowledge and well-respected, competent elected leadership.

I also know of excellent counterexamples: any leadership position earned via application that was then approved by a committee is bogus. Election by application attracts those who desire leadership for its status. I fear the College’s focus on graduating leaders has encouraged this position-seeking, offering up a platter of Potemkin positions for resume puffers to gorge themselves on.

If, then, leaders arise where needed, how can the Dartmouth community nurture these leaders? It is simple: let them lead. It stands beyond all doubt that the best way to train leaders is to allow for well-resourced, selfgoverned student organizations. The more SEE CHUN PAGE 6

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ISSUE

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House music is the pulse of the 21st century.

House music is a vague term for the but the man who would create it had taken vast and eclectic sea of sounds that are the first few steps. Knuckles had realized, coming out of speakers everywhere around by mixing and altering existing records, the world. Similar to jazz, it is a term that that sound was his material to work with, cannot do justice to the feeling and spirit within certain rhythms and rules. At The of the music that it describes. If someone Warehouse, he began to make his own asked you to define the forlorn and fey sonic creations and continued to mix and sound of Miles Davis playing the trumpet, style existing records. There was an ecstatic the best explanation you could give would response, and house music was borne by be to put on “B—es Brew,” as recorded bewildered record store clerks who were

by Miles Davis. As Jesse Saunders wrote at first unable to meet the new demand in her brief history of house music, it “is for what “we heard at The Warehouse this a feeling that can’t really be defined.” weekend.”

There are many subgenres of house In the coming decades, house music music. Delving into each and any is a became the sprawling network of clubs rewarding experience. and radios and DJs and Tropical house indulges “Rather than create fans that it is today. As those with a taste for music tracks to be played a genre that is generally that sounds like a stream voiceless, it is remarkably on the radio or in with occasional rapids, good at bridging divisions, the club, a true disc and dubstep is for people which is reflected in the who want to use mining jockey sifts through international tour schedules equipment on their minds. records and sounds in of current avatars of the Like most art forms, each order to recreate the movement. Peggy Gou is subgenre is related to the sound of their soul.” one such example, and original, but the collective she has recently played in whole still does not do Amsterdam, California, justice to the feeling of Berlin, South Korea and the music. In order to Paris, to name a few places. understand that, one needs to understand If you aren’t listening to Peggy Gou, you the artists. should be.

DJs are the artists of the house music Gou is representative of house music scene. This might confuse you if you think at its best. In a recent interview, she said, that being a DJ is no more than pressing “I don’t consider myself just a DJ; I want play on a playlist. It is far more. A true to be an artist who can do everything, if I DJ is akin to a jazz musician. Rather than can.” Earlier in the interview, it had been create tracks to be played on the radio or revealed that “people often shout her name in the club, a true disc jockey sifts through so loudly during her sets that you can barely records and sounds in order to recreate even hear what she is playing.” Not bad for the sound of their soul. If people want to a musician you likely have never heard of, listen, fantastic; if they do not, the musician nor knew has been selling out shows for the is playing for their self first anyways. last year and was the first female Korean DJ House DJs, at their best, are as to play at Berghain, Berlin’s most exclusive improvisational and incandescent as night club.

Kendrick Lamar freestyling, John Coltrane Gou is at the cutting edge of a music that making poetry come out of a saxophone, has no borders and incorporates everything. or any musician of any time or place Listening to her music is like sitting across who is inde pendently from someone dear to pursuing their unique you at a small table on sound. You might disagree “There is a softness the cobblestones of a with this, because most to the music that is Parisian street with the people’s understanding of youthful, and it flows amount of wine in your house music is the bassy like it is coming from glass that would result if version of pop music that another world, or Pinot Grigio had fallen in sometimes comes on the perhaps transmitting the light drizzle that just radio. However, like most swept through. There is a the sound of the space things, the best is unlikely softness to the music that to be what most people and stars in between.” is youthful, and it flows hear because those who like it is coming from are creating it are not another world, or perhaps hiring publicity managers transmitting the sound of and selling themselves. the space and stars in between.

In the early 1970s, Larry Levan and House music is the sound of this century.

Frankie Knuckles blended rock, soul, It is wild, international and personal. There rhythm and blues into what was at the are the true musicians, the partiers, the time the standard disco experience at superstars and the aspiring musicians. It is Continental Baths, a gay-friendly nightclub the inspiration for the beats and rhythms on the Upper West Side of New York of the hottest new tracks, and it is also its City. People loved it so much that Frankie own rich genre. Go listen to “It Makes You Knuckles was enticed to The Warehouse Forget (Itgehane)” if you have any further in Chicago. House music still did not exist, questions.

TUESDAY, OCTOBER 23, 2018

THE DARTMOUTH NEWS

Phi Beta Kappa awards distributed in ceremony FROM PBK PAGE 1

though the perks of membership were an afterthought.

“I’m just really honored to be here,” she said. “I’ve loved meeting people and learning about the society and Dartmouth’s chapter, which I didn’t know much people about before.”

remarks, Kate Soule, director of Arts and Sciences Finance and Research Administration and secretary-treasurer of Dartmouth’s chapter, taught the inductees the secret Phi “A lot of the B e t a K a p p a here are amazing, and During the handshake.

This year, the I look up to them alot.” reception, many noted that their ceremony was qualification held at Occom -RUONI WANG ’19 came as a Commons p l e a s a n t rather than sur prise, the President’s house due to logistical conflicts, e s p e c i a l l y c o n s i d e r i n g t h e intelligence and ambition of their Soule said.

According to Soule, membership peers.

“A lot of the people here are in the honor society comes with many benefits. Chief among amazing, and I look up to them a them are the lifelong connections lot,” Wang said. “I’ve taken classes members for m through local with many of them, so it’s very exciting.” alumni associations.

Barbara E. Will English professor “Through Phi Beta Kappa associations, members can network, and associate dean of the arts and attend cultural events, join a book humanities, was nominated for and club, give back through community granted honorary membership service and engage in the spirit of in Dartmouth’s Alpha chapter. ‘learning for all of life,’” she said. H o w a r d We i n b e r g ’ 6 9 w a s Chen said she was eager to take nominated for and granted alumni advantage of such opportunities, membership.

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THE DARTMOUTH EVENTS

TUESDAY, OCTOBER 23, 2018

DARTMOUTHEVENTS

TODAY

1:00 p.m. - 2:00 p.m.

Workshop: “Planning Student Events at Dartmouth,” sponsored by the Office of Student Involvement, Collis Center 101

4:30 p.m. - 7:00 p.m.

Off-Campus Programs Fair, Common Ground, Collis Center

7:00 p.m. - 9:00 p.m.

Discussion: “Queer and Still Here,” sponsored by the Native American Program, One Wheelock, Collis Center

TOMORROW 12:00 p.m. - 1:00 p.m.

Campus Safety Public Forum, sponsored by the Office of the Executive Vice President, Kreindler Conference Hall, Haldeman Center

3:30 p.m. - 4:30 p.m.

Visit with Winston the Therapy Dog, sponsored by the Student Wellness Center, House Center B (The Cube)

4:00 p.m. - 5:30 p.m

Fall 2018 Dartmouth Library Book Talk: “Your Life in Fiction,” with author and associate professor of English and creative writing Alexander Chee, East Reading Room, Baker-Berry Library

FROM CHUN PAGE 4

the administration makes decisions for students, the less need there is for student leaders. The more powerful student organizations are and the harder the decisions that need to be made, the greater the need for truly outstanding leaders.

A single cent of this capital campaign spent on leadership training sessions is a waste. Instead, ask great things of students: fund a club dedicated to combating food insecurity, celebrate student activism, offer up housing to an ambitious new student social group or

give students domain over some aspect of running the College. Do this and leaders will rise to the occasion.

A “Call to Lead” is a misnomer; leaders do not exist outside of efforts they direct. It’s misleading to think of leaders as if they can be cultivated like carrots from the Organic Farm (an excellent example of student ownership). If we want leaders, we need causes. A Call to Action is more apt. From worthy causes rise committed student groups — and from committed student groups rise leaders.

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TUESDAY, OCTOBER 23, 2018

PAGE 7

THE DARTMOUTH ARTS

Review: ‘Colette’ fails in its biopic purpose for ‘Claudine’ writer

By ISABELLE BLANK

The Dartmouth Staff

“What a wonderful life I’ve had!

I only wish I’d realized it sooner.”

– Colette In the present moment of the Time’s Up movement, Brett Kavanaugh’s confir mation to the Supreme Court and Donald Trump’s presidency at-large, the age-old narrative of man silencing woman is especially resonant. The life of Colette, an award-winning 20th century novelist and critic most famous for her book “Gigi,” should offer plenty of complex material apt for contemporary anxieties. The movie “Colette,” unfortunately, does not deliver such nuanced message, though the material is ripe for the picking. Though director Wash Westmoreland seeks to explore Colette’s early development as a novelist under the control of her first husband, Willy, the film ultimately simplifies Colette’s history to an empty effect.

Kiera Knightley plays the young Sidonie-Cabrielle Colette, whom viewers first meet living at home with her parents in the bucolic French countryside. Polite and subdued, Colette is courted by the charming libertine Henry Gauthier-Villars,

a writer known by his pen-name “Willy.” Clad in a ruffled butteryellow dress edged in black piping, Colette traipses through the garden and surrounding countryside to meet Willy in secret. This is a mode in which viewers are accustomed to seeing Knightley: a beautiful girl in historical costume seeking secret love. Though the rest of the movie seeks to establish Colette as a woman who defies the historcal limits of her gender in an erotic display of liberation, Knightly just doesn’t live up to the image of the historical Colette. Her performance proves too restrained and the script too aestheticized to live up to the woman who wrote a novel based on an affair she had with her own stepson.

Following Colette’s marriage to Willy, the couple moves to Paris.

After Willy discovers his young wife’s writing talent, he soon employs Colette to be a ghostwriter in his literary factory. Although Colette’s first novel, “Claudine at School,” is in part based on Colette’s own schoolgirl days in the French countryside, Willy takes all the credit. “Claudine at School” becomes an instant hit, and Willy forces Colette to write more novels in the series so that he may reap

both the financial and social benefits.

After discovering Willy’s repeated infidelities, a disillusioned Colette fights for sexual freedom and seeks Willy’s permission to pursue women.

Willy and Colette begin an open marriage. The movie subsequently tracks Colette’s affairs with a saccharine Southern heiress and the selfless Missy, a cross-dressing (and perhaps transgender, though this is never clarified) member of European nobility. Oscillating in dress and persona between a feminine coquette and a swaggering male bachelor, Colette anticipates Judith Butler’s gender performativity theories by 70-odd years. Willy takes a female companion who arrives in his office wearing Claudine’s schoolgirl frock and calls herself “the real Claudine.” Ultimately, Colette’s and Willy’s marriage dissolves in a legal battle over the copyright and true authorship of the “Claudine” novels, and Colette goes on to travel and act in her own theatrical performance with her lover Missy. The movie concludes with Colette looking triumphantly into the camera with greased eyes, ready to take on the stage and reclaim her own life, set free at last from her suffocating husband.

If the movie’s plot glazes over

much of the historical texture of Colette’s life and personhood to deliver a message of generalized female empowerment and hope, its aesthetic symbolism is similarly contrived. In one early scene, Colette and Willy attend a party where a female singer provides a cantomime with vocals, quite literally giving voice to a male performer. In another, Colette scratches “Willy” into a window-pane of her claustrophobic office, so that the name of her husband hovers ghost-like over her face as she bends down to write.

Willy’s swelling belly throughout the film is a not-so-subtle nod to his insatiable appetite for sexual trysts, fame and money. Though the film plays with the aesthetics of gender performativity, Knightley’s Colette ultimately conforms to the coquettish bohemian-artist trope.

Colette’s film-characterization flattens the magnitude of the defiant individualist Colette’s willingness to make a place for herself outside the margins of heteronormative sexuality, eroticism and gender identity.

The costumes, it must be noted, are lovely. The costume designer Andrea Flesch handles the sartorial evolution of Colette with dexterity.

Knightley seamlessly transitions from

wearing awkward, overly-ruffled floral dresses to diaphanous white Belle-Epoque dresses in cotton voile trimmed in black. In a bedroom scene, Willy makes Colette don the stage-costume of Claudine: a drab schoolgirl dress with a thick white collar. Later in the film, Flesch dresses Knightley in menswearinspired ensembles: ruffled blouses tucked into grey culottes or black ball skirts, topped with black boleros and fascinators. Near the end of the film, Knightley emerges in a men’s three-piece suit, infuriating Willy and marking the beginning of the end of their marriage and business partnership. In a movie centered around personal transformation and erotic aesthetics, clothes hold no small power. Flesch wields her power well.

All in all, “Colette” proves an engaging and beautiful movie, but its sterilization of the historical material makes for a hollow portrayal of a remarkable woman who led such a rich life. Colette was a Nobel-prize-nominated author whose literary prowess sprung from an abject assertion of her own sexuality, femininity and personhood.

Westmoreland’s and Knightley’s portrayal of the historical figure ultimately does not do “the real [Colette]” justice.

Review: Greta Van Fleet’s first album lacks passion and depth

By WILLEM GERRISH The Dartmouth

Over the past two years, no band has had a more meteoric rise in the world of rock and roll than the Michigan quartet Greta Van Fleet. Comprised of three brothers — Josh, Jake and Sam Kiszka — along with friend Danny Wagner, Greta Van Fleet has exploded from the small-town suburbia of Frankenmuth, Michigan to the international stage of modern rock and erumpent stardom. Propelled by two fiery EPs, 2017’s “Black Smoke Rising” and “From the Fires,” the band quickly caught mainstream attention for their classic rock revival sound rooted in a Led Zeppelin-esque penchant for thunderous riffs and singer Josh Kiszka’s distinctive howl, which is eerily reminiscent of the great Robert Plant. Unsurprisingly, this launch into the glorious orbit of rock and roll resulted in extremely high expectations and hype surrounding the band’s official debut album, “Anthem of the Peaceful Army.”

As a longtime fan of classic rock who has often lamented the direction of the genre’s modern messiahs, I took part in this mounting excitement and expectation, hoping that Greta Van Fleet would prove themselves

to be the rightful pioneers of gritty ’70s rock for a new generation.

Unfortunately, with the release of “Anthem of the Peaceful Army” this past Friday, I was sorely disappointed by an album mired in the past and ignorant of the future.

Listening to the album, it strikes me as a perfect example of misguided millennials swimming in their false sense of self as rock and roll legends. It has all the overt trappings of Zeppelin-era rock: Josh Kiszka’s vocals swell and roar like some kind of mutant front man grafted from Axl Rose and Robert Plant, Jake Kiszka’s riffs have the grit and twang of Jimmy Page, and the drums and bass provide a sturdy and foot-stomping groove to it all.

Yet as I listened to the resultant music, I realized it’s missing an important ingredient: passion and heart. Indeed, that’s what makes Led Zeppelin such a seductive band — each song has a sultry underbelly of truth and fire that pulls you in with its stark honesty and palpable feeling. The guys of Greta Van Fleet have made an error paradigmatic of their generation, believing that pristinely crafted exteriors can breed the desired passion beneath. But great music, and great art in general, works the other way around; it starts with something genuine building inside and explodes outward in a release of

energy and creativity. “Anthem of the Peaceful Army” suffers from the fact that Greta Van Fleet overlooked this essential tenet of the craft.

The album opens with a dramatic prog-rock tune called “Age of Man,” built on a Mellotron-assisted chord progression. It meanders its way to an anthemic chorus wondering “Who is the wiser to help us steer? And will we know when the end is near?” in an expression of Greta Van Fleet’s perspective on a shaky modern society defined by uncertainty. Throughout the album, Josh Kiszka’s lyrics often return to this notion of contemporary error and apocalypse. In “Watching Over,” he proclaims, “I wonder when we’ll realize this is what we got left, and it’s our demise, with the water rising, and the air so thin.”

These are statements clearly born out of a millennial society appalled by mankind’s destruction of nature and the imminent ecological disasters it has incurred. I can’t help but feel like this is not the proper lyrical inspiration for a rock and roll album, as humanity and heart are eschewed in favor of political pontification and in the process, the music loses its gut-wrenching power and descends into empty preaching and complaint.

That being said, the album still has its moments of pure, dirty rock and roll. The lead single, “When

the Curtain Falls,” is a blistering track filled with heavy riffs and lyrics concerning the pitfalls of stardom, and “Mountain of the Son” opens with a distorted slide guitar line that gives the song a bluesy sense of American heart and soul. But these moments are few and far between, and the gaps are bridged with lifeless filler. In fact, I think that’s one of the central problems with the album: much of it is simply flat and boring. The second half in particular presents a substantial drop in quality, with half-hearted attempts at quiet, emotional songs like “You’re the One” and “Anthem” coming across as cheesy and vacuous — another symptom of the band’s lack of passion and integrity.

There’s also the problem that nobody in the band has anywhere near the sheer talent and ability of lead singer Josh Kiszka. As his incredible vocals command the music, the support from his brothers and Wagner lies somewhere just above mediocrity. The drums have none of that jazzy rumble and sway of a John Bonham or a Mitch Mitchell, the bass is largely just an approximation of the guitar, and Jake Kiszka’s guitar solos lack the complexity and power of the guitar gods he is clearly trying to emulate. In fact, one of his licks in the guitar solo for “Lover, Leaver”

is lifted almost note-for-note from Jimmy Page’s concluding solo for Led Zeppelin’s “Black Dog.” I can’t help but get the sense that Jake Kiszka is still much closer to being a kid in his bedroom playing along to Zeppelin tracks than a pioneering guitarist carving out his own place in the crowded and immensely talented pantheon of six-string legends.

The bottom line about “Anthem of the Peaceful Army” is that if you’ve come looking for the future of rock music, I advise you to look elsewhere. It’s not that Greta Van Fleet have made a bad album, per se, but they’ve made an album highly derivative of their heroes that lacks the uniqueness and individuality they would need to take the next step in their impressive young careers. It’s solid music, but it has none of the bluesy swagger and remarkable innovation that made the albums of that golden era of rock and roll so revelatory. For now, other bands are better suited to carry the flag of rock’s hazy future — groups like the Marcus King Band, who are crafting a remarkable blend of Southern rock, jazz and blues that gives a nod to the past and then runs blisteringly beyond it. Greta Van Fleet might be able to lead the charge someday, but their first major attempt at doing so has fallen flat.

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TUESDAY, OCTOBER 23, 2018

THE DARTMOUTH ARTS

‘Dawnland’ shows a crucial part of Native American history

By MARIA HIDALGO The Dartmouth

“You can’t heal someone who has gone through hell,” says Georgianna, a Wabanaki woman who is also the face of the documentary “Dawnland,” presented in the Loew Auditorium in the Black Family Visual Arts Center this past Friday. This quote may be the best way to describe the experiences that were brought to light in this moving documentary, directed by Adam Mazzo and Ben Pender-Cudlip.

The film explores the first Truth and Reconciliation Commission in the United States, which exposed various nationwide accounts of forceful separation of Native American children from their families and communities by the government. “Dawnland” provides the audience a glimpse of how the process of separation and the process of reconciliation worked, the dynamics of different identities within the commission and the pressures that each group faced.

The film also provided an insightful view of the grief and healing felt by the Wabanaki community, based in Maine.

At the screening of the film, the Loew Auditorium was filled to the brim with members of the Dartmouth and the local community. Before the presentation of the movie, Duthu started his introductory speech by thanking the Wabanaki people, and then stressed that this documentary is not one that should necessarily be “enjoyed,” but rather one that should “stimulate the reflection and concern” from everyone in the community.

Once the film concluded, the audience remained silent due to the impactful and shocking events that they had just witnessed before all the audience eventually came together for a resounding applause.

During the question and answer session that followed the screening, director Adam Mazzo and Native American studies professor N. Bruce Duthu ’80 were joined by Esther Anne, the director of REACH, an organization that created the Truth and Reconciliation Commission.

Members of the community asked questions about varying topics such as the true intentions of politicians who were part of the

commission and about the current As a result, Duthu said the state of one of the Native American production was an “emotional” children documented in the film. p ro c e s s b e c a u s e t h ey w e r e In response to an inquiry about c o m p i l i n g h e a r t - w r e n c h i n g how to teach young students to be information to tell a compelling better allies to the Native American story. community, Mazzo, Duthu and One of the main goals that Jane recommended referring to the Duthu wants to achieve with the Teacher’s Guide and other useful film is for the government “to look resources and information on the at their own practices in different official website for the film. states around the country and to Duthu, who also co-produced the what extent they are respecting documentary, the interests of was contacted “It is extremely heart tribal nations’ by the film children in breaking for children directors four order to comply years ago to be not to even recognize with federal a consultant for who their mother is.” law.” He added the film. Duthus that the other said that his audience he e x t e n s i v e -JOSEPHINE NGUYEN ’22 wants to reach knowledge is “the citizenry of the forced of the United separation of States” because Native American children by the he was shocked to see how little government helped him become many Americans knew about the a key figure in helping “put into United States’ history and the context what was happening in the treatment of Native people.

State of Maine” compared to what In ter ms of how he could was happening nationally. After his impact the immediate Dartmouth journey in this film started, he was community, Duthu said he wants approached by the directors of the to create a “sense of belonging film to become a producer, Duthu between an indigenous child and said. The rest is history. his or her tribal nation, because Once Duthu became a producer, without their ability to connect he said he was “[put] in touch with with their native people, that child people within the network of can, and will, grow up ... with a filmmakers, educators, scholars, sense of something missing.” community people and funders.”

Duthu added that children This way, he was able to bring are essential for continuing tribal a significant contribution to the legacy and continued existence. film, such as when he secured a “Without no children there are grant from the Kellogg Foundation no tribal nations,” he said. needed to finish the film.

Amid the members of the As one of the main figures in audience was Eva Legge ’22, for control of the direction of the film, whom this documentary had great Duthu said he also oversaw “how to emotional significance. tell this story, because there were so For Legge, “Danwland” was many layers of sensitivity around a “touching” movie due to her people personal stories and the “personal experience in the subject way the process was unfolding,” matter.” Legge said that she had along with the directors and his immediate family members who co-producer. were personally affected by similar In addition, the producers policies of forced removals by the and directors wanted the Native Canadian government, making the American people who came film particularly resonant for her. forward with their per sonal One of the most striking aspects experiences to feel at home and of the documentary for Legge was heard. “the internal conflict between the According to Duthu,“they groups” within the Commission, [came] to these strangers and [told] which highlighted that sometimes their stories” while being recorded; the best interest of the tribe the survivors were sharing their inquestion was not the main focus most personal and life-changing for them. Legge added that the moments of “their experiences most heartbreaking scene for her growing up as children and being was when “the older woman at the removed from their family.” beginning of the film” shared her

experience about being sexually and emotionally abused by her foster father.

Legge said that “given Dartmouth’s history with Native Americans, it is very important for the student body to be educated on the subject matter,” so the Dartmouth community can learn from “Dawnland.” Through the film, the College can appreciate how far we, as an institution, have advanced in our inclusion of Native Americans while also learning how to become better allies of those communities, Legge said.

Josephine Nguyen ’22, an international student, said that the film was “very eye-opening.”

Nguyen said she chose to attend the screening to learn more about

Native American history and the “status of the Native American community today” because she “was not taught about Native American history before.”

N g u ye n w a s p a r t i c u l a rl y impacted by the scene that depicted the experiences of a mother who, upon finding her children, realized that her children didn’t recognize their parents anymore.

“It is extremely heart breaking for children not to even recognize who their mother is,” Nguyen said.

Nguyen added that she believes that films like “Dawnland” “should not just be shown to students in America. This should be added to international curriculums because it is something that does not have as much international awareness as it really should.”

PIPE DREAMS NEAR EAST WHEELOCK

ADRIAN RUSSIAN/THE DARTMOUTH STAFF

Amidst the many construction projects on campus, there is also ongoing construction outside East Wheelock house professor Sergi Elizalde’s home.