Bundy has served in his role since 2002 and is the longest-serving dean in school history. He will continue to serve as both dean and artistic director for the School of Drama for the 2025-26 season. 

“The opportunity to create things that invite people to entertain significant propositions and complexity with joy and empathy and understanding is a tremendous privilege,” said Bundy. “I’m going to enjoy that right through June 30, 2026.”

According to Bundy, it seemed like a “good moment” to announce his plans for stepping down, as the final year of his tenure coincides with the 100th year of dramatic arts at Yale. He also said that the construction plans for the new Dramatic Arts Building are currently being finalized.

The early retirement notice also gives the Provost’s Office the opportunity to begin the search for his successor. 

Chantal Rodriguez, associate dean of the School of Drama, said that it will be “difficult” to find someone to fill Bundy’s position. However, she said that the school is undergoing a time of transition into the next chapter of the school.

“I think it’ll be a great opportunity to engage with a new vision for the arts, and I hope it will be inspiring as well to the students,” said Rodriguez. 

Rodriguez emphasized the impact of Bundy’s legacy on the School of Drama, particularly with the financial aid offered by the school. Under his leadership in 2021, a $150 million donation from entertainment magnate David Geffen enabled the School of Drama to become tuition-free in perpetuity, beginning in the 2021-22 academic year. 

“He’s really been focused on equity and accessibility, to make sure that the school can become and continues to be accessible,” said Rodriguez. 

According to Bundy, his favorite part of his job has been witnessing students achieve a standard of work that is the hallmark of the School of Drama. 

“Those kinds of breakthroughs are absolutely thrilling,” Bundy said. “They’re kind of the proof of the pudding.”

Following his retirement, Bundy said that he will remain dedicated to theater at Yale and plans to continue teaching at the Yale College, as well as the School of Drama following his retirement. Currently, Bundy teaches “Acting Shakespeare” to undergraduates in the fall and will continue to do so in the foreseeable future. 

Prior to Yale, he served as the artistic director of Great Lakes Theater Festival, as well as the associate producing director of the Acting Company in New York City. According to Bundy, his work at Yale is a combination of directing and engaging in training at the “highest level.” 

A 1995 graduate of the School of Drama, Bundy acknowledged that his experience as a student equipped him for the challenges of the job.

“I wanted to have the opportunity to change other people’s lives the way mine had been changed,” Bundy said.

Florie Seery, associate dean of the School of Drama and managing director of the Yale Repertory Theatre, has worked with Bundy since taking on her position in 2020. She said that the shared leadership model fosters the collaborative relationship between deans.

“He very much is a believer in listening to the ideas in the room,” said Seery. 

Rodriguez has worked alongside Bundy since her appointment as assistant dean in 2016. A year later, she became associate dean and most recently was invited to become the associate artistic director of the Yale Rep. 

During her time, she said, Bundy expanded the decanal team from three to five people. 

Working with him both creatively, as well as overseeing diversity and inclusion initiatives together, Rodriguez said that she has seen him work in the capacity of multiple roles: director, dean and teacher.

Both Seery and Rodriguez described Bundy as someone who is extremely dedicated to and invested in the school, as well as the Rep. 

“He’s an amazing leader who really can see the big picture of the school and the Rep,” said Rodriguez.

Bundy spends an “incredible” amount of time and energy dedicated to maintaining both communities. This, she said, is driven by his deep passion and understanding for the art form, as well as training theater professionals. 

Seery emphasized the difficulty for hiring someone to fulfill the positions of dean of the School of Drama and artistic director of the Yale Rep. The role would require someone who is both artistically talented and competent to lead the school. 

The School of Drama and Yale Repertory Theatre are yet to announce who would fill Bundy’s position. 

 “While everyone is replaceable, he’s going to be hard to replace,” said Seery. 

The new Dramatic Arts Building is set to finish in summer 2029. 

The post After 23 years of leadership, James Bundy DRA ’95 to step down from David Geffen School of Drama and Yale Repertory Theater appeared first on Yale Daily News.

Kim left Skowhegan in tears for graduate school in St. Louis; after a semester, he moved to New York to be with Sigal. Today, the two work together as Yale School of Art instructors, as well as co-directors of the Yale Norfolk Summer School of Art — an intensive six-week undergraduate visual art program for rising seniors.

“We’re always in each other’s studio and asking each other what we think about each other’s work,” said Sigal. “On a conceptual level, on a content level, I feel like Kim and I are always talking, whether it’s in the studio or just over dinner.”

Both impressive artists in their own right, Kim is known for his abstract, almost sublime works, while Sigal engages with architecture and space in her multimedia works. Both artists have exhibited at the Whitney Biennial and museums and galleries around the world.

While different, their methods allow them to bring their unique perspectives to mentorship at both Norfolk and Skowhegan, where they continued to return in various capacities.

While their artwork remains relatively separate, the couple collaborates mostly through teaching.

Their history of studying together nearly forty years ago informs how they make decisions and operate at the Norfolk School, now on the other side of the student-teacher dynamic.

Both Sigal and Kim emphasized their differing teaching styles. Sigal opts for a more direct, “tough-love” approach, similar to her mentors’ approach when she studied at Yale. Kim, however, chooses a more vulnerable approach — sharing personal experiences with students.

The two often work separately on their creative projects. Despite being married, they said, their distinct styles and preferences are not necessarily conducive to collaborative endeavors. They tried creating together early on in the relationship; what ensued were separate careers.

“It’s a pretty private process of making art for both of us. I think we’re happy to share each other’s process pretty often as we are making work in our studio,” Kim said. “I think we rely on each other a lot to validate what’s good enough for other people to see and experience.” 

The two have led Norfolk for six consecutive summers, directing and mentoring both teaching fellows and students who attend the summer program. The two spoke about the familial dynamic and conviviality that surrounds the experience, which blooms from the entire cohort sharing a home for the entire duration.

During their summers, in addition to teaching and attending the classes of their teaching fellows, Sigal and Kim enjoy swimming in the lake at Norfolk and playing Go with each other daily.

“I feel like my sense of color and observation and refraction of light and the kind of gravityless feeling and the anxiety of being in water and experiencing sky and the kind of the bottomlessness of the ocean and marine mammals,” Sigal said. “I feel like both of us share that experience in our work as references.” 

The Norfolk School recently announced the students nominated to attend their summer program; out of these nominations, one finalist from Yale College will be announced in March.

This year, the selection process for nominees has changed. Before, students were nominated by their professors; now, they are encouraged to submit a portfolio anonymously that professors vote on.

“It felt a lot more equitable,” said Kai Chen ’26, one of the nominated students. “I think sometimes sophomores and first-years take intro classes taught by lecturers that might only have a one or two-year contract with the school of art. You don’t tend to meet the tenured professors until junior year.”

Kim and Sigal plan to return to the Norfolk School of Art for another summer of teaching, 

learning and meeting the new cohort of students and teaching fellows.

The Yale Norfolk Summer School of Art is located on the Ellen Battell Stoeckel Estate in Norfolk. 

The post Can you imagine working with your spouse? These two Yale School of Art instructors do appeared first on Yale Daily News.

The program accepts one student annually and requires no additional costs beyond Yale College tuition. Students must indicate on their Common Application that they are applying for Yale’s BA-MM program. To qualify for the program, students must successfully audition through the School of Music before matriculation or after their third year of study.

“Students are expected to play at a master’s level when auditioning, so the entrance bar is very high in terms of the expectations,” said Albert Gang ’24 MUS ’25, a fifth-year student in the program.

Instead of completing a two-year master’s program following their bachelor’s degree, students begin the intensive portion of their graduate studies during their senior year and study full-time at the School of Music during their fifth year.

Ani Kavafian, a violin professor who has taught several students in the program since its inception, highlighted the selectiveness of the admissions and audition process.

Most students who apply for a master’s degree at the School of Music have four years of elite conservatory training. Despite not having the same years of experience under their belt, BA-MM students are expected to perform at the same level — straight out of high school.

Kavafian explained that the program allows her to work with students who have both academic propensity and ability to perform music at the graduate level. 

“Very few people can be in that little circle, so it’s a very unique but wonderful program,” she said. “They’re the most organized of any of my students. And if you’re not organized, it’s an overwhelming program.”

The program is similar to other dual-degree offerings at competing schools, such as Harvard and Columbia, where students can earn their master’s at the New England Conservatory or the Juilliard School, respectively.

However, the program at Yale may offer a more convenient option for students due to the School of Music’s on-campus location.

At other dual-degree programs, students might only be able to make the trip to the conservatory once a week, said Gang. Gang’s conservatory was right across the street for his four college years.

“I would go to class in the morning, have a lesson, and then practice or do other activities for the rest of the day. It was really simple to integrate into my undergrad life,” he said.

Additionally, the program encourages students to be fully immersed in the undergraduate social scene. 

When Gang first arrived on campus as an 18-year-old during the pandemic, he noted that there wasn’t much of a community within the BA-MM program. Thus, he joined the Yale Symphony Orchestra and chamber music with other undergraduates for the first two years. 

Isabelle Ong ’28 MUS ’29 is also a member of YSO, which she finds to be “a lot of fun” and “very fulfilling.”

Like Gang, she shared that she spends more time with Yale College students than with students at the School of Music. However, Ong said that she has encountered only moments of kindness and inspiration since enrolling at the School of Music.

“When we were doing self-introductions, everyone would say that they graduated from Curtis or Juilliard, and I just graduated from high school,” she said.

According to Ong, the most immersive part of her college experience has been going to a studio class, where she learns firsthand from high-level peers and plays in front of an audience every other week.

For Kavafian, the BA-MM program offers a unique opportunity to witness her students’ growth throughout their college years, as she gets to teach her students for five years instead of just two.

“The growth that I experience with them is astounding, and I have more time to shape their musical ideas and then let them fly with their talent,” she said.

Gang also noted that the BA-MM program allowed him to study with Kavafian while at Yale College, which he wouldn’t have otherwise. While some faculty at the School of Music teach undergraduate students privately or offer lessons for credit programs, others only teach at the graduate level.

In addition to lessons, students in the BA-MM program are expected to fulfill the 72 credits required for their master’s degree, which includes theory and history, chamber music and playing in Yale Philharmonia.

Gang explained that he had already been involved in YSM courses starting his freshman year and was in Yale Philharmonia his senior year. His transition into the BA-MM program felt natural.

However, according to Gang, the biggest challenge of being a BA-MM student was seeing his undergraduate friends leave after graduation.

“The type of student who goes to the School of Music is also really different from the typical Yale College student, and there definitely was an adjustment period,” he said.

While the BA-MM program is a unique opportunity for students to experience the best collegiate education and conservatory training, there is still room for refinement within the program, said Gang.

As an international student from Singapore, Ong noted that she knew very little about the program based on online information. Further, she said that she was unable to learn about the program by word of mouth.

Gang recalled an experience where he was unable to perform in a masterclass for undergraduate students due to his enrollment in the program, despite being a junior at the time.

“There were certain opportunities that I wasn’t able to get at the undergrad level, but in summary, I had an extremely positive experience,” he said.

Other students choose not to audition for the program to experience as many years of a college education. Alex Nam ’25 is one of them; this February, he plans to audition for top master’s programs, including YSM.

Auditions for the School of Music take place from Feb. 17 to 23.

The post Meet the graduate-level musicians who study full-time at Yale College appeared first on Yale Daily News.

Droth, who is a familiar figure in the Yale community, was previously the deputy director and chief curator of the YCBA. Taking the place of Richard Brodhead ’68 GRD ’72, former dean of Yale College, Droth will assume her role as the art gallery prepares to open in March, following an extended closure for renovations. 

“[Droth] has deep understanding and rich experience of the YCBA’s many roles: as a cutting-edge research center defining the field; as a teaching center inspiring students; and as a cultural center enriching our community,” said Benjamin Polak, a member of the search and professor of economics. 

Since February 2023, the YCBA has closed its doors to undergo renovations for maintenance and to improve energy conservation. The gallery will reopen under Droth’s supervision with two exhibitions that Droth herself curated. 

The exhibitions, titled “Tracey Emin: I Loved You Until the Morning” and “Hew Locke: Passages,” will allow Yale and New Haven community members to engage with contemporary British art. 

Droth is a prolific figure in the study of British art, working not only at Yale but with institutions abroad. Her initiatives have included collaboration with the Tate Britain, Fitzwilliam Museum and Getty Museum. 

She has been affiliated with the Yale artistic community beyond the YCBA, including her time as part of Yale’s Committee for Art in Public Spaces. 

“This is great news for the arts community at Yale and in New Haven,” wrote Alan Plattus, chair of Yale’s Committee for Art in Public Spaces. “Martina is a consummate scholar and curator, a superb colleague, and a perceptive and creative advocate for the arts and arts institutions in both a historical and contemporary context.” 

She has also lectured as a member of Yale’s Art History Department and fostered the first exhibit with the Yale School of Architecture. Droth’s work with Yale’s artistic spaces spans over 16 years. 

Droth will permanently fill the position left empty when former director Courtney Martin went to work for the Robert Rauschenberg Foundation. 

David Sadighian, a member of the director search advisory committee and assistant professor at the Yale School of Architecture, expressed his excitement over Droth’s “scholarly rigor and creative vision.”

“Martina’s knowledge of the YCBA collection is unrivaled,” wrote Sadighian in an email to the News. 

Another member of the search advisory committee, Tim Barringer, Paul Mellon Professor of the History of Art, praised Droth’s curatorial work at the YCBA. He said that “Bill Brandt | Henry Moore” was a “masterly juxtaposition of photographs, drawings and sculpture.” 

This exhibition was the YCBA’s last exhibition before its closure and featured a combination of photographs and sculptures. It was accompanied by an illustrated book that was co-edited by Droth.

The Yale Center for British Art is located at 1080 Chapel St. 

The post Martina Droth appointed new director of Yale Center for British Art appeared first on Yale Daily News.

In December 2024, New Haven’s City Plan Commission approved Yale’s proposal for a seven-story dramatic arts building meant to accommodate the Yale Repertory Theater, the David Geffen School of Drama and the undergraduate Theater, Dance and Performance Studies department under one roof. The project was envisioned by the architecture firm KPMB Architects, which was co-founded by Marianne McKenna ARC ’76.

“The new rehearsal space will be really nice for all the Dramat shows,” said Elizabeth Stanish ’26, the president of the Yale University Dramatic Association. “And hopefully just for Yale theater in general.”

The proposal included new rehearsal spaces, in addition to classrooms, offices and production workshops. It is also set to include two new theaters — one with 100 seats for smaller performances and a larger, 400-seater venue for the Rep.

With a carbon-free renewable geothermal system, it will meet Yale’s standards for its “Zero Carbon Ready” initiative. 

Stanish said that the Dramat, which puts on six shows each year, had the opportunity to participate in the planning process for the design concepts. The executive leadership shared their needs and provided input about how those needs could be translated into the new building.

Carson White ’25, the Dramat’s production officer, echoed this sentiment, stating that the space is going to provide “a lot of opportunities” for theater students at Yale.

White highlighted that the planning process for the Dramatic Arts Building has spanned several decades and expressed excitement about the technological advancements of the new space. 

She said that, once completed, students will really benefit from its improved rehearsal spaces, technical resources and other facilities. 

“I desperately wish I’d still be here in five years,” she joked. “Because the technology in that building is going to be amazing.”

But not everyone is as excited about the new space and the yields of its extended planning timeline.

Joseph Roach, a Sterling Professor emeritus who previously taught in the Theater, Dance and Performance Studies department, said that he has had long-standing concerns about the construction of new theater space. 

In previous draftings of the building, Roach and a committee of TDPS Department faculty suggested important reforms and proposals for the building. In particular, Roach mentioned that the new building lacked a black box theater which undergraduate students could use for their senior project productions. 

Others have raised concerns about the demolition of preexisting buildings required for the completion of the new space. Five historic buildings will be destroyed for the new Dramatic Arts Building.

In a letter to the City Commission, Sarah Tisdale, the New Haven Preservation Trust’s director of historic preservation, expressed concerns about the loss of architecturally and historically significant structures in the historic district of Chapel Street.

“The Trust understands that Yale does need to adapt and expand to their needs. However, we always applaud more intense uses on existing University property in lieu of demolition of neighboring buildings in order to expand outward,” wrote Tisdale in the letter. 

Tisdale mentioned that representatives of the trust, along with staff from Preservation Connecticut and the State Historic Preservation Office, had made suggestions to incorporate facades from the historic buildings into the new construction and relocate one of the townhouses to a vacant location on the same block. 

Yale did not incorporate these ideas into their final proposal. Instead, the University included plans for a mural made of brick recovered from the demolished buildings.

White spoke to the News about preservational objections to the project and said that Yale must always work to better its relationship with New Haven. She said that the School of Drama and the Provost’s Office are making “good-faith” efforts to weigh that relationship in their plans. 

She also emphasized that the Dramat itself makes an effort to engage with the New Haven community, pointing to their initiatives with New Haven high school students. According to White, 40 percent of the tickets for their shows are sold to non-Yale attendees. 

The City Plan Commission’s five members voted unanimously in favor of approving the development. 

Stanish expressed her enthusiasm for seeing the project come to fruition. 

“I’m excited to see how future generations combine the spaces we already have on campus with this building,” she said. 

The building uses property at 321, 333, 337, 341 and 353 Crown Street; 142, 146, 148 and 150 York Street; and 1156 Chapel St.

The post New Haven green-lights proposal for new Dramatic Arts Building, sparking both excitement and concern appeared first on Yale Daily News.

“Introduction to Theatrical Violence,” registered as Theater 200 and jointly taught by professors Kelsey Rainwater and Michael Rossmy, is one of many unique classes offered through the theater, dance and performance studies department this semester.

The class, however, might be the only one listed on CourseTable to include knives, fake blood and fights between Yale students — even if choreographed.

“The class is a physical exploration of theatrical techniques, so the concepts for the lesson plans are built out of what we as fight directors have experienced and worked on in the field,” Rainwater said. 

According to the syllabus, concepts taught in the class aim to enhance students’ understanding of their physical movement, with a focus on the performance of unarmed combat and knife fighting. These techniques prepare actors to create and execute illusions of violence — both safely and effectively. 

Rossmy added that the class is organized so that students can explore a specific aspect of fighting in each class, such as points of contact, footwork and proper stances. 

“[We aim] to give students a baseline understanding of what it means to actively engage with those techniques to tell specific stories,” Rossmy said.

From choreographing knife work to envisioning how their characters would fight, students’ homework includes unusual assignments to foster the theoretical and practical exploration of theatrical violence. 

According to Rainwater and Rossmy, some of their favorite parts of the coursework include teaching students how to make their own stage blood — which is actually used in the choreographed fights between students. 

All fun aside, however, the heart of this class emphasizes the importance of safety in on-scene fighting.

“In many plays, the climactic moment of a show involves some form of stage combat,” Rossmy said. “[Performers must] be attuned to their own bodies and their scene partner’s as well; ensuring that they can work together to keep one another safe, while also engaging in the storytelling of each moment.”

Like any other Yale course, the class also includes typical assessments and a midterm for students to reflect on their learning. 

Most recently, the midterm exam involved a series of intense movements, from punches to blocks to chokeholds to being thrown against the wall, according to Ken Huynh ’25, a student in the class.   

Huynh said that when he first received the midterm, it seemed “impossible” to perform. However, with the help of Professors Rossmy and Rainwater, he was able to slowly break down the performance.

“Even though it’s fake fighting, at times it feels real in terms of how energy moves in your body, which is something we focus on always,” said Huynh. “Because we have to generate and restrict energy in quick sequences, it’s actually very tiring! My partner and I would sweat like crazy after our fight scenes.”

While students are expected to perform intense actions and movements, “Introduction to Theatrical Violence” also teaches students the fundamentals of consent. 

“[Professor Rainwater and I] are both intimacy directors as well as fight directors,” Rossmy said. “Because consent can change day to day, moment to moment, we allow students to work as they are comfortable… if changes are asked to be made based on a student’s needs, we make them.”

“Introduction to Theatrical Violence” is unsurprisingly popular among students, as the active, studio-based classes can shake up the monotony of lectures and seminars. According to Professors Rainwater and Rossmy, the class which only enrolls 14 students — receives more applications than it can accommodate.

Huynh is one student who will take the skills learned from this course with him to the stage. 

Huynh noted that learning different types of fighting moves and then performing them at such great speeds in an orchestrated sequence has contributed significantly to his repertoire as a skilled actor. 

“I chose to take this class because it sounded super cool and because I am interested in acting professionally in the future. It’s a valuable skill set to have in my pocket in case I need it for any performances,” said Huynh.

While professors prioritized theater majors and those with a theatrical background, they said they always end up “with a physics major or two, cognitive science and English majors,” who “bring such excitement and unique perspectives to the class.” 

Students interested in furthering their experience can take a second course called “Advanced Topic in Theatrical Violence,” in which they learn how to use swords and staves theatrically.

Professors Rossmy and Rainwater hope for students to leave the class with a greater sense of play and confidence, as well as armed with the vital skills necessary to tell stories as safely and as truthfully as possible on the stage.

The course culminates in a final video project, where students apply the skills they’ve learned to plan, script and shoot a portrayal of theatrical violence on the screen.

This course is taught on the fifth floor at Payne Whitney Gymnasium.

The post “Introduction to Theatrical Violence” teaches the art of safe, consensual fighting appeared first on Yale Daily News.

Many students, even if they don’t plan to pursue an art major, still value the chance to get involved in Yale arts, but they might not be able to do so through classes. The News talked to art instructors and students about how non-art majors can get into classes.

“I think every student should have the opportunity to take these kinds of classes,” said Kern Samuel, an instructor teaching Basic Drawing. “Even if you’re a STEM major or humanities major, engagement with the arts, or at least the basic concepts within the class of drawing, can be very useful and foundational in life.”

Basic Drawing and Painting Basics are two prerequisite courses for art majors, who get priority during enrollment. Four sections of Basic Drawing are offered this semester, each capped at roughly 18 students. 

When reviewing enrollment requests, Samuel prioritizes art majors, followed by those who demonstrate “strong, personal interest” and then general interest in the course material. However, the majority of the 14 students in Samuel’s class are non-art majors and have interests in various backgrounds and subjects, he said. 

He advises interested students to know what they want to take away from the course and share how they can contribute their already-existing interests and academic backgrounds to the classroom. Samuel values students who have new perspectives to contribute to the class.

Walker Bargmann ’25, a pre-med student, unsuccessfully attempted to enroll in Basic Drawings twice.

“I think that Yale is a liberal arts curriculum at its core, and needs to stay true to that,” Bargmann said. “They should be doing more to give opportunities to non-majors.”

Basic Drawing is designed to be accessible to all skill sets, bringing together students with no drawing experience and those with already-existing artistic backgrounds, said Samuel. 

However, he acknowledged that the breadth of skills adds challenges to teaching the class. He believes that students interested in beginner-level art could benefit from more classes that cater to their different skill levels. 

Drawing for Non-Art Majors, offered by the Yale Residential College Seminar Program, is one such course. Separate from the School of Arts’ curriculum and taught by visiting lecturer Justin Kim ’92, the course is specifically designed for students pursuing non-art disciplines. 

“I’m really trying to cover a lot of curriculum in one semester, because, for some students, this may be the only course that they take in studio art,” he said.

The course is not consistently taught; it’s been offered three times throughout the past four years. Whether the course is offered depends on Kim’s availability and the willingness of residential colleges to sponsor it. 

The enrollment process for this course is also selective. This year, there were over 60 applications for 16 spots. Some of those spots were reserved for students in the residential college sponsoring the course — Berkeley College this year. 

Kim believes enrollment requests are important opportunities for students to advocate for themselves. 

“I go through and I seriously read all of those applications,” Kim stated. “I have this whole list where I have to go through and take notes on everybody to try to winnow it down.”

Yet, there are limitations to the opportunities that Yale students have, according to Bargmann.

By the time Bargmann was an upperclassman, he could not take the Basic Drawings course due to the demands of his pre-med and major requirements, despite seeing the value of artistic skills for a pre-med student. 

Bargmann would want to see a science drawing course, as he believes that illustration skills go hand-in-hand with studying human osteology and anatomy. He wishes Yale would increase the number of seats in popular courses and provide more opportunities for students to take their first-choice classes. 

Burton Lyng-Olsen ’25, a joint Computer Science and Economics major, got into Painting Basics on his second try this semester. Lyng-Olsen was able to join the class “with persistence and leveraging [his] seniority.” 

While intro-level courses adequately addressed the needs of art majors, Lyng-Olsen said, he thinks that the current offerings don’t have space to include the level of interest from non-arts majors.

“I think the oversubscription comes from visiting people like me who are just like, ‘Oh, it seems fun,’” Lyng-Olsen said. 

According to Lyng-Olsen, art history lectures and seminars offer students a chance to learn more about art and seem far less competitive to get into than studio classes. He also pointed to spaces like the Yale Visual Arts Club, which holds social events for group painting.

“I think there’s a lot of opportunity here,” Lyng-Olsen said. “If you really care, you can find time.”

The Yale School of Art is located at 1156 Chapel St. 

The post Students and instructors provide insight on getting into intro-level studio-art classes appeared first on Yale Daily News.

Rosenblum’s book, “Closer Than Ever: The Unique Six-Decade Songwriting Partnership of Richard Maltby Jr. and David Shire” catalogs the 60-year partnership between Broadway icons and Yale alums Richard Maltby Jr. ’59 DRA ’62 and David Shire ’59. The idea for the book, according to Rosenblum, came to him in a dream.

“‘Closer Than Ever’ sort of has a double meaning because it’s the title of one of their revues and it also refers to them because they’ve been writing songs together for more than 60 years and they are truly closer than ever,” Rosenblum said. “It’s really wonderful to see them work together and hear about their work from them. They’re like an old married couple.”

During his research for the book, he interviewed both Shire and Maltby several times. The two met in their first year at Yale in 1955. Maltby was a lover of musicals seeking to become a set designer, and Shire always wanted to write and compose musicals. 

Upon their first meeting, they disliked each other immediately, said Rosenblum. 

“David thought that Richard was a snob, and Richard thought that David was a hick, but there was nobody else to write songs,” Rosenblum said. “[David] actually came to Yale with an entire musical score, just the music, no lyrics at all. Because no one else was around, they had to start writing songs together.”

They put one another through a “training period,” said Rosenblum. In it, Maltby learned the basics of musical composition and Shire that dramatism, in addition to catchiness, is essential to writing songs for the stage. 

From this training, they wrote their first jointly composed musical, Cyrano. This show would be staged at the end of their junior year as the commencement show. Through the show, the duo uncovered a rhythm of collaboration that has sustained their partnership and careers.

“David will bring Richard some music, and Richard will say, ‘No, no, no, it’s not quite right,’” Rosenblum said. “David will get kind of annoyed, but then he’ll go back and fix it, and it’ll turn into a great theater song. David still says Richard is kind of the arbiter.”

This rhythm seldom falters, but when it does, it quickly starts up again. Rosenblum attributes this synergy to Shire and Maltby’s individual selflessness and humility.

According to Rosenblum, Shire and Maltby’s more than 60 years of collaboration are akin to a marriage. Even then, many marriages don’t last nearly as long. The answer, Rosenblum believes, “lies in that neither of them is attached to being right, but they are both attached to getting the best results.”

He said that the pair is so close that they nearly finish each other’s sentences. Watching them is comparable to observing a “polished vaudeville act.” 

Through the research for this book, Rosenblum said that he learned a variety of interesting facts that few others know. For instance, Shire, a pop music fanatic at heart, wrote the Motown classic “With You I’m Born Again” in 1979. Sung by Billy Preston and Syreeta Wright, this ballad reached No. 4 on the Billboard Hot 100 chart. 

On the other hand, Maltby is a writer for Harper’s Magazine, curating cryptic crossword puzzles for the magazine’s monthly issues. According to Rosenblum, Shire told him that he would have written “six or seven more musicals” if Maltby wasn’t writing “those damn crossword puzzles.”

Rosenblum believes Maltby and Shire’s influence is significant on modern composers and writers. He hopes that readers in the Yale community familiarize themselves with their works to preserve history, as he finds them to be “cultural forebears and artistic godfathers.”’

Irene Nam ’28 has read from the book and said that its importance lies in its ability to show how ideas in the creative world are formed and brought to life.

“[“Closer Than Ever”] really shows how relationships and working as a team, especially in the musical industry, are so important and essential to making good work,” Nam said. “I think it also conveys the beauty of partnership and collaboration.”

Copies of Rosenblum’s book are available at the Yale Bookstore, where they are showcased in the books by Yale authors section, much to his delight.  

Geoffrey Block, Oxford’s Broadway Legacies publisher of “Closer Than Ever,” says that he is excited it is finally out. 

“I am delighted to report that the book was an incredible hit,” Block said. “It is an irresistibly readable, enjoyable, thorough and insightful book on a team that has often been overlooked. Not anymore.”

Before “Closer Than Ever” was published, Rosenblum’s original six-page introduction for the book was axed. Rosenblum released his unpublished foreword with the News. 

In it, he describes his piano-playing stint at the Ivoryton Playhouse in Connecticut, where he worked on the music for the first production of the summer: “Starting Here, Starting Now.” The revue of songs happened to be written by Maltby and Shire. 

He didn’t know what the show was about, much less who these two men were, but as Rosenblum began learning the score, he realized that “there was something quite special about their songs.” 

“So unbeknownst to the two of them, Maltby and Shire right away became role models for me,” wrote Rosenblum. “I had been writing music since around the time I was eleven and had recently become interested in composing for musical theater, which meant I was experimenting with writing my own lyrics as well. These two gentlemen really had it going on in a way that I thought was well worth aspiring to.” 

For the past four decades, Rosenblum said, Maltby and Shire played recurring and significant roles in his life. Through the book, Rosenblum hoped to take on the task of chronicling, deconstructing and celebrating the work of “two of the smartest, most interesting, and most diversely talented people [he knows].” 

Currently, Rosenblum is writing another book about Maury Yeston ’67 GRD ’73 ’74, composer of the Tony award-winning musical “Nine,” and his former undergraduate teacher. 

The post Joshua Rosenblum ’83 MUS ’85 chronicles Yale’s musical theater dynamic duo appeared first on Yale Daily News.

Students must still audition for these groups, but these musical commitments will appear on their transcripts as zero-credit, pass-fail classes.

This change was the result of a determined effort led by the directors of the respective ensembles, Associate Dean of the Arts Kate Krier, Dean of Music José García León and many others. According to Director of University Bands Thomas Duffy, this shift has been discussed for nearly fifteen years and has been implemented at peer institutions such as Cornell, Brown and UPenn.  

“Our rehearsals and our concerts were being trumped by curricular classes,” said Duffy. “I’ve worked for this for years to try to get some status other than extracurricular for these ensembles.”

Director of YSO William Boughton echoed Duffy’s frustration with music groups’ lack of curricular status and pointed to the hourly commitment.  

According to Boughton, rehearsals can take 28 to 30 hours a month, and student musicians spend many hours outside of this allotted time practicing alone. 

“It’s probably a greater commitment than almost any class,” said Boughton. 

Yale Concert Band President Ana Rodrigues ’25 recalled instances in which academic commitments and musical engagements clashed.

Some members had to miss entire concerts due to midterms or class-related conflicts. Additionally, some students were ineligible to receive make-up exams because Yale’s academic regulations do not excuse absences that aren’t related to an athletic competition or a medically incapacitated circumstance. 

Until last year, undergraduate music directors demanded that musicians receive the same protections as college athletes — the ability to reschedule exams in the case of an ensemble conflict. 

When Duffy mentioned these frustrations and concerns to Dean of Yale College Pericles Lewis, the Dean’s office proposed granting music groups co-curricular status. 

According to Krier, the new system not only prevents scheduling conflicts with rehearsals and concerts but also allows students to receive recognition on their transcripts for these musical involvements. 

Wayne Escoffery, the director of the Jazz Ensemble, added that the change reinforces students’ commitment to their ensemble responsibilities. In some instances, attendance is weighed more heavily after this change. YSO members now have to swipe in before every rehearsal, whereas before a student manager recorded attendance.  

“It sends a strong message that performance ensembles … are a vital and legitimate component of the learning experience at Yale,” Escoffery said.

Boughton said the transcript recognition will benefit students in various ways. Now that these commitments are visible on students’ transcripts, it is easier for music directors to write recommendations for future scholarships and fellowships. 

YSO President Keeley Brooks ’25 added that recommendation letters will carry more weight since ensemble directors are officially recognized as professors of the course.

Some students told the News that little has changed in terms of their music experience, but others have expressed concerns about attendance and expectations.

While Brooks said that the attitude towards attendance has gotten “stricter,” she clarified that the attendance policy remains unchanged. Students are allowed two unexcused absences and may be excused for a variety of reasons. 

Section cellist Christian Phanhthourath ’28 expressed concern about his YSO attendance due to a class that ends at the same time YSO begins. Although he stated that he would demonstrate the same level of commitment regardless of class status, he said he is worried now that the possibility of being late to rehearsal can potentially affect his grade. 

Duffy said that this change emphasizes the importance of communication, as well as reinforces existing expectations.

“The immediate reaction last year before people understood [the change] was, ‘So now we have to come to all the band rehearsals?’” said Duffy. “You always had to come to all the band rehearsals.”  

Rodrigues pointed out that, from a musician’s perspective, the level of dedication remains the same. “In many of our eyes, band has always been something a little more than extracurricular,” she said.

Additionally, members expressed concern about how this shift would affect the student culture of ensembles. While YCB and YGC member Alliese Bonner ’27 acknowledged these concerns, she said that this shift was “more of a change on paper” and anticipates for traditions, such as tap nights and group meals, to continue. 

Some students have faced inconveniences with the new co-curricular arrangement, particularly when registering for these classes. 

Aaron Parr ’28, a first-chair trombonist in the Jazz Ensemble, said that he encountered issues with course registration. He wasn’t officially added until after the add-drop deadline, which caused him stress. 

“It seems like people are still getting acquainted with [the new structure],” Parr said.

Though adapting to the shift might take time, students agreed that the new status will leave a positive impact on music at Yale. Many students are drawn to Yale for its exceptional music scene, and the directors hope that this change will lead to greater awareness and participation in music groups. 

Jared Wyetzner ’27, a physics major and a trumpet player in both band ensembles, was as attracted to Yale’s robust music offerings as he was to its physics department.

“I appreciate the movement for [co-curricular classes] because it really emphasizes that music isn’t just a hobby; it’s a discipline just as much as any other taught here,” Wyetzner said.

While Bonner pursues music as a major, she too finds importance in Yale’s liberal arts approach to musical offerings. She added that the university’s connection to the School of Music drew her in as an applicant. 

These ensembles are offered alongside Yale’s performance courses for credit, which include chamber music and musical theater classes.

The post Music groups, including YSO and Glee Club, become classes appeared first on Yale Daily News.

At Yale, heritage language courses are meant for students who have been exposed to a language at home and wish to continue learning it in college. However, opportunities for interaction and community-building among students learning heritage languages remained scarce until recent years.

Heritage or “kitchen” languages are minority tongues spoken at immigrant or indigenous homes. Because they are dominated by the mainstream language, heritage languages are not commonly taught in school or spoken in public. 

The social events hosted by the Heritage Meets Heritage project celebrate the diversity of languages and cultures in heritage language courses, and serve as an extension of the Heritage Meets Heritage research project, started in 2016.

“[Heritage Meets Heritage] started out as a research project among four languages at Yale (Spanish, Russian, Korean and Greek). Students filled out anonymous questionnaires and had videotaped conversations among each other; we presented it in conferences,” recounted Maria Kaliambou, Senior Lector at the Hellenic Studies Program and instructor of Modern Greek. “When COVID hit, we faced the challenge of having only two students participating, one studying Greek and the other Spanish. It was a challenging period. Now, we’ve relaunched the project with a new approach, transitioning to a more interactive and playful phase.”

Kaliambou, a founding collaborator, recalled her experience seeing the project develop over the years. It was originally meant as a way to gauge the challenges experienced by students in heritage language classes, as well as a way to inform future curricula in the languages departments. 

Kaliambou said that during the first phase of the project, students took a questionnaire about their language proficiency, identity and cultural upbringing. Later, students learning different ancestral tongues were paired and discussed their experiences as heritage speakers.

One of the findings was that many heritage speakers were united in their challenges.

For instance, many participants recounted that they did not want to take classes in their heritage language as children  but now regret that and want to learn more about their ancestral tongue to deepen their cultural appreciation.

While the Heritage Meets Heritage project started in 2016 with four languages, it has since expanded to eight. 

Two years ago, heritage language courses started being offered for Modern Standard Arabic.

Sarab Al Ani, senior lector II of modern Arabic, said that they first noticed a demand for Arabic heritage language courses in 2017, when she recalled a change in admission trends.

“We had always had heritage learners, but it was around a couple in a cohort of 50. So they were always a part of our regular classes and we tried to do differential instruction to meet their needs,” Al Ani said. “But after 2017, we noticed that the number of heritage Arabic students who are interested in taking classes increased. So we decided to start a new track of courses devoted to heritage learners. This is the second year that we’ve been offering such courses.”

Al Ani mentioned that the students enrolled in her class hail from diverse backgrounds. She said that this gives students the opportunity to compare differences in expression across various dialects and regions.

Although Arabic heritage language courses are currently offered in L2 and L3, different languages structure their courses differently — and one goal of the Heritage Meets Heritage project is to inform these developments in course structure. For Chinese, 7 different heritage language courses are offered from L1 to L5. For Russian, however, L1-L2 and L3-L4 are grouped together.

Estelle Balsirow ’26 described her experience taking Russian heritage language courses RUSS 122 and RUSS 142 last year.

Balsirow said that she was grateful to have had a heritage language course her first year. Despite having learned Russian as a kid, she had never had any formal instruction. She said the course structure prioritized strengthening students’ weaker skills, which was helpful for streamlining her formal communication skills.

Lukas Koutsoukos ’27, a student of Kaliambou’s, said: “It’s fascinating to hear how customs from a plethora of different ethnic groups can be so different but strikingly similar. From friends and relatives giving us funny nicknames to the chaos of large family gatherings, Heritage Meets Heritage taught me that people from across the globe actually share much in common.”

Heritage language courses are offered in Arabic, Chinese, Modern Greek, Korean, Hebrew, Hindi, Spanish and Russian.

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