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JustArts: Tell me a bit about yourself.
When European sailors traveled thousands of miles and arrived at the island of Taiwan for the first time, they gave it the name “Formosa,” meaning “Beautiful Island” in Portuguese. Last Saturday, the Brandeis Undergraduate Taiwanese Student Association hosted “Love, Formosa,” a culture show that centered around the Taiwanese traditions of love and how they fit into the modern world. The show featured great performances, fun dating games and, of course, amazing food and Boba.
The Vietnamese Student Association put on a excellent show last Thursday. The show was called “Brandeis by Night: 36 destinations,” because of the 36 guild locations in Hanoi, Vietnam. According to the event’s description, “the number 36 became iconic in representing the soul of the city. [Each guild is] famous for a different type of merchandise, such as gold, silver [and] cloth.” The event was held in Sherman Function Hall, which VSA lavishly decorated in the theme of Hanoi. The walls were decorated with lanterns and shrines as well as maps of the streets of Hanoi on the floor of the Hall, writing the street names on long strings of multi-colored tape.
“One Foot Planted,” a new installation by artists Ayelet Carmi and Meirav Heiman, explores the relationship between women, the land of Israel and the gender politics that bind the two. The work, which consists of a series of videos, envisions a post-apocalyptic version of the Holy Land, in which its female inhabitants are forced to traverse the terrain on various obstacles that keep their bodies from making contact with the earth. Some of these women walk on stilts, while others walk with orbs beneath their feet. One woman even walks on her hands — which are on stilts. The journey is painstaking. For a rough visual reference, think of it as a slowed down version of “Mad Max: Fury Road.”
“Our production highlights how women were and are treated in academia, and the footprint they leave behind for those you follow.” Sarah Salinger-Mullen’s ’19 director’s note rings true in her interpretation of Tom Stoppard’s “Arcadia.” The 1993 British play was produced by the Undergraduate Theater Collective March on 14-17 in the SCC Theater. The play takes place in one room of a country house, Sidley Park, during two different time periods separated by 200 years: the early 1800s and the present day.
KNOW YOUR PARTNER: In between the performances, audience members were invited to play games and win prizes.
RETURNING GUESTS: Junshu and Company from the Berklee College of Music was invited back to perform again this year.
HAMSTER WHEEL: The difficult relationship between women and the land of Israel is represented by orbs, wheels and stilts among many other things.
“BEAUTY NEVER FADES”: The fashion show was accompanied by a guitar solo.
COLORS AND SHADES: One of the outstanding aspects of this production is the use of lighting to indicate the mood in different scenes.
CHOCOLATE AND HIP HOP: 5Babies and JustA celebrate the festival with singing and dancing.
TIME AND LOCATION: The story features two sets of characters in different time periods, eventually arriving at the same time on the stage.
HEATED CONVERSATIONS: Arcadia highlights the role of gender in academia, including some heated debates.
JustArts: Tell me a bit about Brandeis Korean Student Association.
While the majority of this weekend’s moviegoers shelled out their hard-earned money to “Captain Marvel,” several releases from the past few weeks faded into box office obscurity. Among them was “How to Train Your Dragon: The Hidden World,” Dreamworks Animation’s third and final entry in the successful franchise that began in 2010. The series tells of Berk, a Viking kingdom that lives in harmony with dragons. It finds a serviceable ending in its finale, if not a completely satisfying one.
“My composing is inspired by movement and the contemplation of change,” composer Josh Levine began. He presented at the Music department’s composition colloquium, “Metaphors and Musical Means” on March 7 in the Slosberg music center, and music students lent an ear to Levine’s experiences at the Radcliffe Institute for Advanced Studies. Levine shared his fondness for the unity of memory and imagination, thinking about the physicality of musical performance and the way we as listeners identify with it emotionally. However, I was only available to attend the first half of the lecture, during which he discuss his thesis, a recorded flute and piano duet he played for students.