Siobhan Marks and I have been working to organize a doula training workshop with Warm Welcome Birth Services. Doulas provide non-medical support to laboring people. The training will be on campus March 7, 8, 28, and 29 and four-day attendance is required in order to be eligible for certification. This training is taught by a certified professional midwife, and ends with a hands-on module with pregnant families. Sign up ASAP if you are interested. Currently, funding for the training is pending, but likely. If you need more information, please contact me or Siobhan.
Come and experience 30 patients’ journeys through dTMS treatment for major depressive disorder. This piece by Amherst student Christianna Mariano is part of an exploration of how we can use sound to interpret data in different ways. Owen Miur, Amherst alumnus and Medical Director of Brooklyn Minds, will be speaking about his cutting edge research with dTMS treatment, and Jake Meginsky, filmmaker, composer and visiting lecturer at Amherst College, will be performing.
UPDATE: From now until at least May 1, all Amherst College events are restricted to Amherst students, faculty, and staff (Amherst ID required).
The Amherst Symphony Orchestra (ASO) presents the fourth in its yearlong series of concerts devoted to the music of classical Russian Masters with a program of works by 20th-century modernist Igor Stravinsky.
The program will feature music from two of Stravinsky’s seminal ballet scores: the orchestral suite derived from Pulcinella, as well as the complete music to Petrushka. Mark Lane Swanson, music director, conducts, and Faith Wen ’20 is the featured pianist in Petrushka.
Both ballets feature Pulcinella, a stock character of 17th-century Neapolitan commedia dell’arte and comic puppet popular ever since throughout Europe (e.g., known as Punch in England, Petrushka in Russia). Pulcinella is in Stravinsky’s “neoclassical style” and is derived from pre-existing works by Italian Baroque composers, including Pergolesi. Petrushka is in Stravinsky’s fiery primitivist and radical rhythmic “signature” style, full of coloristic effects and exoticisms. In Pulcinella, our marionette hero loves elusive Pimpinella; in Petrushka, he competes with a Moor for the attentions of a ballerina. In both, he dies and is brought back to life by a magician.
Tickets are available at the door beginning at 7 p.m. Tickets are $10 for the general public; $5 for senior citizens, students with ID and children under 12; and free to Amherst and all Five College students with ID.
AC After Dark is hosting an ice skating event at Mullins Center Community Ice Rink this coming Saturday! On March 7, we will have a bus that leaves from Converse at 8:10 p.m., and from UMass at 10:45 p.m. We will also cover entrance fee/skate rentals. Snacks will be provided! Scan the QR code to sign up!
Selected Video Works presents four videos by Mariah Garnett made between 2010 and 2014. These works represent the early cornerstones of her experimental documentary practice. In all four films, the relationship between subject and filmmaker is foregrounded, calling into question the power dynamics at play in representational art practices.
“Garbage, The City, And Death” uses a Fassbinder text to reframe a real-life relationship between long-lost siblings as a romantic rivalry. It was Garnett’s first attempt to mix theatricality with a real relationship between herself and her subject.
“Picaresques” takes its inspiration from Lieutenant Nun, the autobiography of a transgender conquistador at the turn of the 17th century as its inspiration and abruptly becomes a portrait of Garnett’s own friendship with a 9-year-old tomboy from Santa Monica. It is an attempt to look to the past and future for heroes of a similar gender to the artist’s own.
“Encounters I May or May Not Have Had with Peter Berlin” moves through phases of idolization, anxiety ending in a touchdown in reality in a conversation between the artist and Berlin himself. This is the first film in which Garnett used impersonation as a strategy for representing her subject.
Finally, “Full Burn” marks a shift in Garnett’s practice away from overtly queer themes to the geopolitical. It is a portrait of four U.S. war veterans who have continued to use their own physicality to earn a living, three as stunt men and one as a massage therapist. It is a meditation on masculine duty, trauma and re-enactment.
Mariah Garnett is an artist and filmmaker who lives and works in Los Angeles. She holds a B.A. in American civilization and an M.F.A. from California Institute of the Arts in film/video. In 2019 she was awarded a Guggenheim Fellowship in Film/Video for her feature film, Trouble, which premiered at the London Film Festival and was named one of the best documentaries of the year by Sight + Sound. Her work has screened and been exhibited internationally at venues including The New Museum, The Hammer Museum, Tate Belfast, REDCAT, SFMoMA and her exhibiting gallery, Commonwealth + Council. She is a MacDowell Fellow, and her work has been featured in Bomb, Artforum and Reverse Shot.