The award supports independent research in the arts and humanities at the American Academy in Rome. Both Princeton recipients are undergraduate alumni.

Princeton University will present the honors at Alumni Day, scheduled for Feb. 22, 2025.

Voting registration rates among Princeton undergraduate and graduate students have more than doubled largely thanks to the program.

He reflected on literature, compassion, belonging, home and the "qualities which make us human."

I started this project in October, 2014, so I would have a nice handwork project while traveling for a month in Europe. I love it!!!

A bunch of pre-cut threads and trims, a small package of mixed seed beads/buttons/sequins, a folded piece of felt with various sizes of needles, embroidery scissors, Sue Spargo's book, and 16 wool chicks already stitched to the background wool fit very nicely into a 12 x 9 inch zippered, mesh bag.... perfect to tuck into my backpack! I stitched on the airplanes, in people's homes, and with my beady/quilty friends! At the end of the month, 8 chicks were finished. You can see them here.


Since then, I've been busy making a Travel Diary quilt, and starting another very challenging "Shimmer" quilt, which will be the subject of the next post. However, once in a while, the Chicks are just the right break from machine sewing. Working on them makes me happy and peaceful.


The new ones are in this post... As you can see in the photo below, I still have 2 chicks to embellish, plus one that might need something more.


When all of them are finished, it will be time to decide what to do with them. My idea so far is to make them into a small wall quilt, hand quilting around the chicks, maybe adding a few flowers between some of the chicks.  I'll wait to decide, keeping all options open until the chicks are finished.


Most of the chicks are girls, but so far 3 of them seem to have a bit of testosterone...  can you tell which ones are the boys? You'll need to click on the above picture of all 16 to enlarge it enough to find the boys. If you feel like making a guess, let's give them numbers starting at the top left with 1 and going across row by row. As you can probably tell, the one below is definitely a girly girl!

By the way, the lace trim on the above chick is vintage lace from LaDonne Weinland, an Etsy vendor. It was white, which was too "strong" a color for this piece. So I painted dye on it!!! These are the pieces I painted. To give you an idea of scale, the lace is just under 1/4" wide. The chick, from the bottoms of her feet to the top of her crown, is exactly 3 inches tall.

Threads! 

People ask me where I got all the threads I use for these chicks. Here are some answers...

Variegated pearl cotton. I'd estimate that over half the stitches (all the beaks and feet, most of the edge stitches, tails, and top-knots) are pearl cotton, size 8 or 12. I like using threads that are subtly variegated. DMC and Valdani are two brands of pearl cotton that come in a ball for $5 to $7 per ball. I have purchased some Valdani balls from Sue Spargo and some from this site.

But most of my perle cotton comes from African Folklore Embroidery ... Leora Raikin, the owner, packages hand-dyed, variegated, pearl cotton on cards of three colors, each color about 10 yards in length, for $5.  She has a HUGE selection, from which you can have 24 colors for only $40!!! I love the colors, the subtle changes of colors in the variegation, and the quality of the thread. Here's a page that shows her colors in size 8 pearl cotton... mind boggling!

My photo does not show the full amount you get... only how it is packaged, 3 colors to a card!

Embroidery floss.  For finer stitches and details, I often switch to regular embroidery floss. Again I gravitate toward the variegated colors. DMC has put out a lot of new variegated skeins in recent years. If you have an older supply of solid colors, you might want to check out DMC's 24 new colors. Here's an Etsy seller that offers them. Or, if you are in the Seattle area, Nancy's Sewing Basket (on Queen Anne hill) stocks all of them. They are much more subtle than previous DMC variegated floss choices, more like hand-dyed. Anchor has also added nice options to their line.




I also buy hand-dyed embroidery floss when I see a skein that appeals to me. Again, I like the subtlety of it.

Other threads. Sue Spargo offers a line of variegated silk threads in beautiful colors, which she calls Silken Pearl. I bought some of them from her during the class, and have enjoyed using them. The sheen of the silk is a lovely contrast to the more matte quality of the pearl cotton.

In her book, Sue recommends using a wool thread to applique the wool chicks to the background wool. Since it is quite expensive, I used 60 weight cotton applique/sewing thread by Metler, which I already had in a range of colors. It works fine. If I didn't already have the Metler thread, I probably would have bought a set of Genziana wool threads on bobbins on Etsy, here. This wool thread is a bit too fine for embellishment work, but it's great for wool applique.

Novelty yarns, metallic threads, chenille, dazzle threads, etc. all have their occasional use as well. As I tend to like more matte and less bling, I don't often use these threads. But it's fun to experiment with them. I did use chenille on one of the above chicks... can you find it?

As followers may recall, I started hand stitching hexies for a Grandmother's Flower Garden quilt in March, 2012... three years ago. Watching my friend, Christy, basting sweet, reproduction fabrics around paper forms, making little stacks of 3/4-inch hexagons, I just couldn't resist! These Beadlust posts show the various steps to making the quilt top and the start of  hand-quilting in more detail than this post.

Although I'm still hand-quilting, the end is in sight now. I'm hoping to finish in time for our County Fair in August.

In this post, I thought it might interest you to look at how much time it takes to complete each of the steps in hand piecing and quilting a 3/4" hexie quilt, and the total number of hours involved. I'm basing time estimates for all of the repetitive steps on how long it takes me to do a large number in one sitting, after having practiced... in other words, at my best speed.

Step 1 - Planning the Quilt and Getting Fabrics - time: 20 hours

I decided to make a version of the traditional 1930's Grandmother's Flower Garden quilt that is less common than the one with a path or ring around each of the flowers. I chose this design. Note the green hexie leaves, which form a vertical-horizontal grid.


The final size is 72 x 92 inches, a comfortable size for a twin bed, a total of 4,694 hexies. I wanted to use as many different fabrics in this quilt as possible.

• flowers = 280 different print fabrics with any background color except green or white.
• leaves = 150 different print fabrics in green
• flower centers (repeats OK) = 25 different solids
• double border = 1 print + 1 solid

Although I had collected 30's reproduction fabrics for a few years, I certainly needed more. From a selection of fabrics given to me, fabrics purchased in an eBay auction, and my stash, I found enough to make each of the flowers unique. Although there were not enough greens to make the leaves unique, I had about 60 different green prints, such that each is not repeated more than 3 times in the quilt. So, in the end the quilt includes more than 360 unique fabrics!

Step 2 - Wash and Iron all of the Fabrics - time: 15 hours

Yikes! A few of the fabrics I wanted to use were already washed; most were not. Knowing it should be consistent, and worrying that the reds might bleed, I decided to pre-wash and iron all of the fabrics. Doing this step in stages, as I acquired fabrics, I'm not really sure how long it took, perhaps quite a bit more than the above estimate.

Step 3 - Cutting and Trimming all of the Hexies - time: 28 hours

For each of the  4,694 hexies, I cut a 2" square of fabric, and trimmed off the four corners. Of course, I cut and trimmed in multiples, except for a few that I fussy cut individually. Again, since I did this step in stages, the above time estimate is a bit rough.

Step 4 - Basting the Fabric to the Paper Hexie Forms - time: 235 hours

Once I learned that using YLI quilting thread for basting makes it go much faster than using regular sewing thread, I was able to baste 20 hexies per hour.

Step 5 - Stitching Hexies Together to Make Flowers - time: 105 hours

Averaging 2.5 complete flowers per hour, it took me about two and a half 40-hour-work-weeks to whip-stitch all 238 full and 42 partial flowers. There are 14-17 whip-stitches per 3/4 inch seam.

Step 6 - Stitching a White Hexie Ring Around 130 of the Flowers - time: 130 hours

On average, it takes me 1 hour to whip-stitch 12 white hexies around each flower.

Step 7 - Layout Flowers for Quilt Top; Note Position on Each - time: 4 hours

I didn't fuss too much about the layout, spreading out the flowers randomly, making sure the red ones were evenly spaced, and that no areas were overly dominated by one color. Assigning each row a letter and each position within the row a number, I marked each flower on the back (writing on the center paper piece).

Step 7a - Half Flowers and Double Border All Around - time 90 hours

This is an update, added Feb. 2018. (I can't believe I forgot this important step when writing the original time line.) To make 42 partial flowers to fill in the gaps around the edges of the top, I cut fabrics, basted hexies, joined petals, and then stitched the partials into the gaps. To make the outer border, I made 522 individual hexies, stitched them into rows, and then stitched the rows onto the top.

Step 8 - Sew Flowers into Small Groups - time: 90 hours

To assemble the quilt top, I grouped 8-12 flowers, and whip-stitched them into a solid piece. There were 30 pieces, which took about 3 hours each to complete.

Step 9 - Sew Small Groups Together to Complete Quilt Top - time: 123 hours

I first sewed the small groups into rows, then stitched the rows together. As the sections got larger, the stitching took longer, making it difficult to estimate the time with total accuracy. I did a couple of time tests at different stages of the process in order to figure the above total. I completed this step on March 1st, 2013, one year after basting the first hexie.

Step 10 - Iron/Starch Top, Remove Papers and Basting Stitches - time: 33 hours

Removing all the basting stitches and papers took a lot longer than I would have guessed. But when I look at the pile of basting threads, it begins to make sense.

Step 11 - Assemble Quilt Layers, and Baste - time: 12 hours

Christy and Lunnette helped me layout the back, batting, and top on the floor; then baste in a 4 inch grid. I think we pinned it first, then basted, then removed the pins. On our knees for most of the time, it sure was wonderful to have their help!

Step 10 - Quilt and Embroider the Flower Centers - time: 70 hours

Choosing a floss in a similar color to each flower center, I embroidered a flower. Intentionally, some of the stitches act as quilting stitches, while others slip between the layers and don't show on the back. Around the edges of the quilt, it took about 15 minutes per flower center. Toward the middle of the quilt, it took about 20 minutes per flower center.

Step 11 - Quilt Flower Petals - time: 106 hours

Quilting around the petals of each flower requires turning the quilt 270 degrees for each petal, which is why it takes at least 20 minutes per flower, longer toward the middle of the quilt when the whole weight of the quilt must be constantly shifted. There are 238 whole and 42 partial flowers. I'm figuring an average of 25 minutes per whole and 10 minutes per partial flower.

Step 12 - Quilt Around White Rings - time: 65 hours

Like quilting the flower petals, quilting around the outside edge of each of the 130 white rings requires turning the whole quilt as I work, which adds a lot to the time it takes. I believe quilting the entire top in a diagonal grid of straight lines would take about half the time it takes to follow the curved, zig-zagging path of the hexie flowers, leaves, and rings.

Step 13 - Quilt Around Each of the Leaves - time: 79 hours

Not only does this step require turning the quilt as I stitch 360 degrees around each leaf, it also requires knotting and burying the tail at the start and finish of each leaf. Also I'm changing color of thread to more or less match the fabric color for each set of 4 leaves. Around the edge, it takes about 9 minutes per leaf; toward the center 11 minutes per leaf. There are 474 leaves total, at an average of 10 minutes/leaf.

Step 14 - Assemble Hexies for the Border Facing - time: 37 hours

To face the double (print + blue) border on the back of the quilt requires 522 hexies. To sew them together, forming the border strips, takes about 1 hour per 14 hexies.

Step 15 - Trim Backing and Batting; Blind-stitch Facing to Border - time: 13 hours

There are 264 hexies around the outside edge of the quilt top. Since I have not done this step yet, the time estimate (blind-stitching 20 hexies together per hour) is somewhat rough.

Step 16 - Remove Paper Pieces and Basting from Border and Facing - time: 10 hours

Again, since I have not done this step yet, the time estimate is based on the time it took to remove paper pieces and basting threads from the quilt top.

Step 17 - Blind-stitch Facing to Quilt Back - time: 13 hours

Step 18 - Quilt Around Print Fabric Border - time: 13 hours

Step 19 - Blanket Stitch Around Outside Edge of Quilt - time: 10 hours

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

Total Time to Complete Hand-Piecing the Quilt Top: 873 hours

This is equivalent to nearly 20 weeks or 5 months on a 40 hours/week job. It took me a year. Mostly the time flew by as I basted and hand-stitched the little hexies together. Always there was a new print to enjoy, a new stack mounting in size to admire, a growing quilt top to thrill me.

Total Time to Complete Hand-Quilting: 428 hours

Since this job isn't completed yet, the time is only a rough estimate, based on the times it took to do some of the already completed steps. In all, hand quilting will take the equivalent to 10 or 11 weeks of full-time work. I find the quilting rather very boring. After taking a break for more than a year, I started working on it again and hope to be finished by August this year. Audio books are the answer to the tedium for me.

Total Time, Start to Finish: 1,301 hours

With Steps15-19 still to complete, the total is a rough estimate. Still, it is obvious that making a quilt like this, start to finish, requires more than 1,300 hours or the equivalent of over 8 months of full time work. If I were to be paid only minimum wages (2015, Seattle, WA - $11/hr.), the cost of the quilt would be $14,311 + about $500 in materials, or a total of $14,800.  Good thing I intend to keep and use it myself!

UPDATE, July 4, 2016

By June, 2015, I completely finished one corner, an area big enough to photograph so I could submit an entry form to the 2015 La Conner Quilt Festival, sponsored by the La Conner Quilt & Textile Museum. On August 7th, 2015, I received notice that it was juried into the show. Wow! That sent me into high gear for sure. After working non-stop, 7 days a week, and an average of 10 hours per day, I inserted my needle into that quilt for the last/final time on Aug. 24th, 2015, just days before delivering it to the museum. It took me 3 years and 3 months, start to finish!


I was surprised, honored, and incredibly pleased to find out it won the Curator's Award of Excellence, one of the top awards, which then qualified it to be shown at the museum for the month following the Festival. Note, the finished size is 71 x 93 inches, and there are 4,700 individual hexagons in it.


Big work for both hands, but sooooo satisfying!


In fact it was so satisfying that I've started another hexie quilt... Can you believe it? So far, I've made 733 hexie flowers for it! Although they are the same size hexies, there are no reproduction fabrics and the arrangement will be anything but traditional. Don't know why I love the hexagon shape so much... but it's certain that I do.

The quilting community is awesomely generous!!!  Thanks to all who have sent me scraps for making hexie flowers:


I really understand and appreciate that it takes time to sort through your scraps, selecting some that you feel might work for me, packing them to send, getting them to the post office. In some cases, you even took time to cut them into 2" squares for me... WOW! Bless your hearts!

The most interesting thing is that all the fabrics I've received so far are ones I might have picked myself, yet so far there are no duplicates. As of Oct. 19th, I have cut petal sets for about 650 flowers (from my own scraps and fat quarter stash, as well as scraps I've received from other quilters), all of them unique! That's about 90% of what I need to make the quilt, and certainly enough to keep me busy for a looooooong time. It will probably take me a year or so to baste and stitch all of the flowers, although I admit to going at it with a lot of gusto.

Oh dear, I'm sorry to have neglected posting here for so long. Although many suitable topics and photos have passed through my mind and camera, there just hasn't seemed to be a nice chunk of time available for putting it all together. Today is the day to begin again!

Inspired by Alice, by Marilyn Lidstrom Larson of Willow City, ND (detail of border)

For the past two months, it's been all about quilts and quilting for me, with beading taking a bit of a back seat for a while. My quilt and travel buddy, Lunnette, and I flew to Ontario, California for The Road to California, which is a ginormous quilt show with more than 1,000 quilts on exhibition and over 200 vendors. We gawked (and spent all of our allotted budget) for 3 whole days, barely noticing our fatigue and sore footies.

There are several intriguing subjects to cover, inspired by our experiences there. Today's post is about traditional applique and machine quilting.

Inspired by Alice, by Marilyn Lidstrom Larson of Willow City, ND photo credit (for this photo only): Road 2 CA

Inspired by Alice, by Marilyn Lidstrom Larson, detail showing back

Inspired by Alice, by Marilyn Lidstrom Larson, detail of center

Inspired by Alice, by Marilyn Lidstrom Larson, detail of center quilting

Inspired by Alice, shown in the photos above, won the first prize of $1,000 in the Traditional, Wall, Applique category of the main (judged) exhibit! Take a moment to study the pictures, click on them to enlarge them, notice the way the applique and machine quilting compliment each other. Also think about what this might have looked like if the maker, Marilyn Lidstrom Larson, had hand-quilted her work the way Alice, her grandmother (and inspiration for the central portion of the quilt), would have done. I love this quilt, totally love it, and believe it deserved the award it received.

At the same time, it saddens me that in all the juried/judged shows I've seen (and entered) recently, there is no category specifically for hand sewn quilts... quilts which are hand-pieced, hand-appliqued, hand-embroidered, and/or hand-embellished, and finished with hand-quilting. Nope, hand-sewn quilts are judged right along with machine-sewn quilts. In my observation, machine-quilted pieces are the ones that win almost all the prizes, even in the traditional categories. Why is that? Is hand-quilting considered passe, a thing of our grandmothers' time? Is it because machine-quilting has more pizzazz in the viewers' and makers' eyes? Is it because the machine manufacturers are huge financial supporters of these shows and providers of much of the prize money? Is it because the machine manufacturers run the training programs for judges?

OK, let's look into this subject a bit more. Later, I'll tackle the subject of the influence of the machine manufacturers. For now let's consider this question:

Does machine-quilting enhance quilts that are otherwise hand-sewn?

I learned to create decorative painted papers from Paulus Berensohn, Albie Smith, Lynne Perrella, Anne Bagby, and others by taking wonderful workshops from them in the 1990s, and soon adapted their techniques to making books with beadwork inserted into the covers, like the one below. I use my painted papers on the book covers and for signature covers, which look great with this type of binding.

But after moving to the island where I've lived for 20 years now, I gradually got into quilting and textile arts, kept the beadwork going, and cut way back on painting. Until now!

Inspired, cajoled, and arm-twisted by one of the Textile Guild members, who wants to learn how to paint papers and make books like mine, I agreed to teach a workshop (2 days of painting and 2 days of bookmaking) for the guild members. Of course, since I hadn't painted for many years, I first had to get back into practice. Yay! What fun I've been having, painting in my shed (thankfully heated). The paper below is my favorite of about 20 painted in the last two weeks. The size is 18 x 24 inches. (Please click to see the details!)

And below are two more to go with it.  The paper above will be used for a book cover, even though it will be hard for me to cut it up. The two papers below will be cut (horizontally) into thirds, and used as signature covers. For those unfamiliar with bookmaking, a signature is a section of papers within a book. Each of the six signatures in my book will be covered with this decorative paper.


It's a fun, playful, and experimental process to paint like this, easier for me than it would be to paint figuratively (landscape, still life, or people). With this type of painting, I just mix matte medium with a color or two of acrylic paint, and apply it by rolling, stamping, stenciling in layers. I keep adding layers until I like it, at which point it's a finished paper. There is always at least part of each paper that pleases me enough to use it for bookmaking and paper arts.

These are the basic supplies and tools I use to paint the papers:

1.) Although acrylic paints and this method can be used to paint on almost any surface or paper, I usually paint on 80-90# drawing paper to make decorative papers.

2.) I prefer using a roller to apply background colors or glazes, rather than a brush. My favorite, purchased online from Dick Blick Art Supplies, is a 2.2"  dense foam roller.

3.) Assorted stamps and stencils. I carve a lot of my own stamps, as you will see below, but sometimes also use commercial stamps. Note that commercial rubber stamps with fine detail for stamping with inks do not work well with acrylics, as the paint clogs the fine lines, ruining the stamp.

4.) Assorted materials, such as a notched adhesive-spreader, coarse sea-sponge, webbed food packaging materials, and bubble wrap are useful to print, texture, and stencil.

5.) Acrylic paints. I use heavy-body paint (rather than fluid acrylics) of student-grade or better quality.

6.) Matte medium and glazing medium (slow drying) are added to extend the paint.

I know, maybe you're thinking I should do a video tutorial. OK. You set it up, and I'll do it. In the meantime, I'd rather be painting...  Here are three more recently painted papers for your viewing pleasure (I hope).



The one directly above is my attempt to emulate batik fabric from India. I had a bedspread back in the hippy 60s with a burgundy design on a mustard yellow background, the memory of which was the inspiration for this paper. I carved all of the stamps used to make it.

I love to carve my own stamps, and sometimes cut my own stencils as well. Let's take a look at that process. It's quite easy really, requiring only a block of Speedy-Carve (or other high-density rubber carving block), and a Speed-Ball Carving tool. Designs can be free cut, drawn right on the carving block, or transferred from a tracing. Here's a fairly decent tutorial on the stamp carving process.

Designs? Well, everywhere I look I see possibilities for carving more stamps! Recently, visiting a fabric store with my quilting buddies, I spied a fat quarter of batik fabric with a luscious design. Here is the fabric:

And here is the stamp I carved from a tracing I made of the central flower. The stamp is the same size as on the fabric, about 3" in diameter.

I also cut a stencil, which you can see below. A friend had a commercial stencil of these three leaves, which I really liked. After borrowing her stencil to use on one of my papers, I traced the painted image, and cut out my own stencil. The tool in this image is a Speed-Ball cutter, which I use to carve the rubber to make stamps.

You've already seen (way above) the whole sheet of paper I painted using just this stamp and stencil, but here's a detail. If you click to enlarge, you can see more about how I paint in layers, first the background colors, next the leaves, then a different color over-stencil on the leaves, and last the flowers.

If you like to play with paint, you might want to give it a try! Here are just a few more of my recently painted papers to tempt you...





I'll be teaching a 2-day bookmaking workshop in mid-May using papers like these to create three different books. There may still be a spot or two available in the class. If you are interested, you can contact me for more information.

You may want to visit my website to see more about my handmade books and painted papers. And there are several earlier posts here on Beadlust with pictures of books made with painted decorative papers and beading by my students, as well as other related topics. Here are a few of them:

1. Wedding book
2. Lisa's book (from a workshop I taught in Wisconsin); her fabulous website is here.
3. Susan's book (from a workshop I taught in Wisconsin)
4. painting papers for making Christmas cards
5. Using symbols in our art and symbols in acrylic painting  
6. Using these techniques to paint with dyes on fabric and more fabric paint/dye examples

Susan Anderson took my bookmaking/painting/beading workshop twice at the Coupeville Art Center. These are the papers for her first book, and if you click to enlarge, you can also see her finished book.

And, to close this post, here is a photo of some of the handmade books I've created over the years... most of them utilize decorative painted papers and bead embroidery.

Thanks for sticking with me to the end of this long post :)!

Charles (Charlie) Tennyson has been appointed Princeton’s new director of Transportation and Parking Services following a national search to fill the position. He previously served for five years as deputy director of the department.

Alban Forcione, an internationally renowned scholar of 17th-century literature of “Golden Age” Spain, the Walter S. Carpenter Jr., Professor of Language, Literature and Civilization of Spain, Emeritus, and Princeton alumnus, died Sept. 14 at age 82.

Gilbert Harman, the James S. McDonnell Distinguished University Professor of Philosophy, Emeritus, died at his home in Princeton on Nov. 13 after a long illness with Alzheimer’s. He was 83.

The new producing artistic director of the theater and music theater season at the arts center sat for an interview for our ‘What I think’ series.

Eric Franklin Wood, a world-renowned hydrologist who did groundbreaking work in drought prediction and served on the Princeton faculty for 43 years, died from cancer in Brooklyn, New York, on Nov. 3. He was 74.

The Princeton microbiologist has also created a non-infectious version of the COVID-19 virus that researchers can study safely.

Hale Freeman Trotter, an emeritus professor of mathematics, died at 91 at his home in Princeton, New Jersey.

Daniel Osherson, Princeton’s Henry R. Luce Professor in Information Technology, Consciousness, and Culture, Emeritus, known for his  creative scientific explorations with collaborators in many disciplines, died at home on Sept. 4. 

Hisashi Kobayashi, whose steady leadership as dean guided Princeton's School of Engineering and Applied Science through a rapid expansion of programs and facilities in the late 1980s and early 1990s, died on March 9. He was 84.

“His mathematical legacy is enormous,” said John D’Angelo *76. “Joe was among the most friendly, popular and influential mathematicians of his generation.”

Hubbard, the top-ranking information technology administrator at the Georgia Institute of Technology, will join the University in January.

Lisk taught biology at Princeton for 30 years before transferring to emeritus status in 1990.

tataata has added a photo to the pool:

A lecture on the legacy of Catholic women in the arts and sciences.

A 30-minute guided tour of the latest exhibition in the Milberg Gallery in Firestone Library at Princeton University. Tours meet in the lobby of Firestone Library. The exhibition is open Monday to Friday from 10 a.m. to 6 p.m., and 11 a.m. to 6 p.m. on Saturday and Sunday in the Milberg Gallery, Firestone Library. Open to the public. “Monsters and Machines: Caricature, Visual Satire, and the Twentieth-Century Bestiary” will focus on the use of bestiary – animal or zoological motifs – in visual satire during the period between World War I and the end of the Cold War. Drawing from PUL’s rich collections of 20th-century posters, illustrated periodicals, and ephemera from North America, Europe, Asia, Eurasia, and the Middle East, the exhibition will look at works of weaponized visual humor created by and aimed at exponents of different national cultures and ideologies. The exhibition will run from September 12 to December 8, 2024.

Euphoric Whispers This event is free, but a ticket is required to attend. To reserve a ticket, use the University Ticketing website. This concert features a rare NJ appearance of Ali Akbar Moradi and Pejman Hadadi, two of Iran’s most renowned musicians. Moradi is the greatest living master of the tanbour, an ancient 2-stringed long-necked fretted lute traditionally used in religious ceremonies. Hadadi is the innovative percussionist (tombak, daf) who has been a member of the Dastan Ensemble for over 20 years and has collaborated with countless master musicians in Persian and world traditions. They will perform ecstatic and trance-inducing Kurdish music from western Iran – music that is little known in the US. Featured are meditative improvisations based on the repertoire of the Yarsan people, and the beauty and complexities of the art of this region. “Love, spirituality, intoxication with the divine and the power of music…With one string providing a drone, everything else rides on a single string of the tanbour, and in Mr. Moradi’s hands, that string encompasses an expressive universe.” - New York Times "The masterful Hadadi delivers an astonishing array of sounds." - Los Angeles Times Aliakbar Moradi Aliakbar Moradi, often hailed as “the best tanbour player alive” (Songlines Magazine, Issue 26, 2004), was born in 1957 in Guran, near Kermanshah, the central city of Kermanshah Province, Iran. Encouraged by his grandfather and father, he began studying the Tanbur at the age of six. Under the guidance of masters such as Sayyed Hachem Kafashyan, Sayed Mahmoud Alavi, Ali Mir Darvishi, Allah Morad Hamidi, and Sayyed Vali Hosseyni, he not only mastered the instrument but also delved deeply into the Kurdish maqam repertoire. Moradi gave his first recital at the age of 14 in Kermanshah. A year later, he established the first Tanbur group within the cultural department of Kermanshah. He then embarked on tours across Iran and later co-founded the renowned Shams Tanbur Ensemble. In 1991, he won first prize at the String Instrument Festival. Starting in 1992, he conducted extensive research on the ancient maqams of the Tanbur, resulting in a significant publication: a set of four CDs and a booklet released in 2002 by Maison des Cultures du Monde. Over the years, Moradi has published more than 23 recordings and books. He has collaborated with numerous esteemed musicians, including Shahram Nazeri, Kaykhosro Pournazeri, Kayhan Kalhor, Ardeshir and Bijan Kamkar, Pejman Hadadi, Erdal Erzincan, Ulaş Özdemir, Pezhham Akhavass, Mehdi Bagheri, and Arash and Kourosh Moradi. In addition to his research, recordings, and performances, Moradi teaches Tanbur in Tehran and Kermanshah. Currently residing in Kurdistan, Iran, he founded the cultural center The House of Tanbur in Guran. This center offers year-round music classes and hosts annual Tanbur and Kurdish music festivals to preserve and promote the rich cultural heritage of the region. Pejman Hadadi Pejman Hadadi, a renowned percussionist from Tehran, Iran, began his musical journey at age 10, studying under Master Tombak player Assadollah Hejazi. Influenced by greats like Bahman Rajabi and Hossein Tehrani, he later mastered the Daf, inspired by Bijan Kamkar’s recordings. Moving to the US in 1989, Pejman began his professional career in 1991, collaborating with notable musicians such as Hossein Alizadeh, AliAkbar Moradi, Kayhan Kalhor, Shahram Nazeri, and joining the Dastan Ensemble in 1995. He co-founded ZARBANG, the pioneering Iranian percussion ensemble, in 2000. Pejman’s innovative techniques on the Tombak, including tunable frame drums, and his partnership with REMO to develop synthetic-skin Dafs, have significantly expanded the instruments’ global reach. Dedicated to education, he established Neyreez World Music Institute and has received the Durfee Foundation Master Musician Award twice. Pejman’s compositions span dance and film, including soundtracks for Prince of Egypt and Prince of Persia.

The inaugural Princeton GAASA Conference will be an enriching and dynamic event that brings scholars, activists, historians, and community leaders together to discuss African American history in the state of New Jersey. This year's conference theme is "Institutional Memory and African American History in New Jersey" which brings crucial narratives of African American contributions to the state to the forefront of public consciousness. This event aims to deepen the understanding of African American life, promote meaningful dialogue, and inspire actionable change. The conference will take place on the campus of Princeton University on Saturday, November 23, 2024.

The inaugural Princeton GAASA Conference will be an enriching and dynamic event that brings scholars, activists, historians, and community leaders together to discuss African American history in the state of New Jersey. This year's conference theme is "Institutional Memory and African American History in New Jersey" which brings crucial narratives of African American contributions to the state to the forefront of public consciousness. This event aims to deepen the understanding of African American life, promote meaningful dialogue, and inspire actionable change. The conference will take place on the campus of Princeton University on Saturday, November 23, 2024.

The inaugural Princeton GAASA Conference will be an enriching and dynamic event that brings scholars, activists, historians, and community leaders together to discuss African American history in the state of New Jersey. This year's conference theme is "Institutional Memory and African American History in New Jersey" which brings crucial narratives of African American contributions to the state to the forefront of public consciousness. This event aims to deepen the understanding of African American life, promote meaningful dialogue, and inspire actionable change. The conference will take place on the campus of Princeton University on Saturday, November 23, 2024.

The inaugural Princeton GAASA Conference will be an enriching and dynamic event that brings scholars, activists, historians, and community leaders together to discuss African American history in the state of New Jersey. This year's conference theme is "Institutional Memory and African American History in New Jersey" which brings crucial narratives of African American contributions to the state to the forefront of public consciousness. This event aims to deepen the understanding of African American life, promote meaningful dialogue, and inspire actionable change. The conference will take place on the campus of Princeton University on Saturday, November 23, 2024.

The inaugural Princeton GAASA Conference will be an enriching and dynamic event that brings scholars, activists, historians, and community leaders together to discuss African American history in the state of New Jersey. This year's conference theme is "Institutional Memory and African American History in New Jersey" which brings crucial narratives of African American contributions to the state to the forefront of public consciousness. This event aims to deepen the understanding of African American life, promote meaningful dialogue, and inspire actionable change. The conference will take place on the campus of Princeton University on Saturday, November 23, 2024.

The inaugural Princeton GAASA Conference will be an enriching and dynamic event that brings scholars, activists, historians, and community leaders together to discuss African American history in the state of New Jersey. This year's conference theme is "Institutional Memory and African American History in New Jersey" which brings crucial narratives of African American contributions to the state to the forefront of public consciousness. This event aims to deepen the understanding of African American life, promote meaningful dialogue, and inspire actionable change. The conference will take place on the campus of Princeton University on Saturday, November 23, 2024.

The inaugural Princeton GAASA Conference will be an enriching and dynamic event that brings scholars, activists, historians, and community leaders together to discuss African American history in the state of New Jersey. This year's conference theme is "Institutional Memory and African American History in New Jersey" which brings crucial narratives of African American contributions to the state to the forefront of public consciousness. This event aims to deepen the understanding of African American life, promote meaningful dialogue, and inspire actionable change. The conference will take place on the campus of Princeton University on Saturday, November 23, 2024.

In this talk, Graham Neubig will discuss a new frontier in AI models, vision-language models that understand the world's cultures. The talk will be in two parts. First, Neubig will discuss training of multilingual multimodal multicultural models that understand images and text, and have increased ability to answer culture-specific questions about multimodal data. Second, he will discuss work on "image transcreation", where models have been developed that can transform images to make them more relevant to a particular culture. This work has applications in a number of areas, such as cultural localization of educational materials (to accompany translated text). While these methods cover many languages, African and not, the talk will focus on examples specifically from the African context, and challenges we currently face therein.

Conversation with emerging writer, art critic, curator and Princeton alum Simon Wu ’17 as he discusses his new book, Dancing on My Own, with Monica Youn ’93, Visiting Professor of Creative Writing. Followed by a book signing and reception. Current Princeton students can register to join writer and art curator Simon Wu ‘17 for a private dinner and career conversation from 4:30-5:30 PM.

Pioneering Indian Muslim feminist Rokeya Sakhawat Hossain (1880-1932) wrote speculative science fiction, manifestoes, radical reportage, and incisive essays that transformed her experience of enforced segregation into unique interventions against gender oppression everywhere. Her radical imagination links the realities of living in a British colony to the technological and scientific breakthroughs of her time, the effects of hauntingly pervasive systems of sexual domination, and collective dreams of the future, forging a visionary, experimental body of work. If her contemporary B. R. Ambedkar urged the “annihilation of caste,” Rokeya demands nothing less than the annihilation of sexism, with education as the primary instrument of this revolution. Her brilliant wit and creativity reflect profoundly on the complexities of undoing deep-seated gender supremacy and summon her readers to imagine hitherto undreamed freedoms.

“Chigumadzi argues that within the liberal international order, it is “reasonable” and “workable” to struggle to end apartheid and racial segregation, while it is “unreasonable” and “unworkable” to struggle to end settler colonialism and indigenous land dispossession. In arguing that apartheid is overrepresented in the International Left’s racial discourse and historiography, Chigumadzi draws from generations of Black South African political activists, philosophers, and historians—most notably from the Pan Africanist-Black Consciousness Tradition. These traditions critique apartheid’s relatively short 54 years of institutionalized racial segregation as the paradigmatic historical framework for analyzing South Africa’s three centuries of settler colonialism and land dispossession. Drawing from this black radical critique, Chigumadzi rejects the liberal notion that apartheid’s end is the object of liberation struggle, and, instead asserts the centrality of the struggle for the return of indigenous lands.” Dr. Panashe Chigumadzi is an award-winning writer and Assistant Professor of African History at Brandeis University. Chigumadzi holds a doctorate from Harvard University’s Department of African and African American Studies, and a masters in African Literature from the University of the Witwatersrand, Johannesburg, South Africa.

Philosophers have historically played a foundational role in musicology, from theorizing the origins of music to its potential for political liberation. In this reading group, we aim to closely read the central philosophical texts on music to understand their arguments and why they have remained prominent among musicologists and cultural theories.

Can paranoia be a mode of historical emplotment? The catastrophe of the First World War produced a genre of pessimistic writing. Oswald Spengler’s Decline of the West was among the most widely read. Still, the era produced dozens similar: Francesco Nitti’s The Decadence of Europe: The Path To Reconstruction (1923), Albert Demangeon’s Le Déclin de l’ Europe (1923), Wythe Williams’ Dusk of Empire: The Decline of Europe And The Rise Of The United States (1937), and Arturo Labriola’s Le Crépuscule de la Civilisation: L’Occident et les peoples de couleur (1936). In all, the coming historical consciousness of the colonized world figures significantly. Drawing on Hayden White’s notion of historical emplotment, this presentation will examine the paranoid structure of such writing.

William Dudley, senior advisor, Griswold Center for Economic Policy Studies, Princeton University; and former president of the Federal Reserve Bank of New York In conversation with Markus Brunnermeier, Edwards S. Sanford Professor of Economics, and Director of the Bendheim Center for Finance, Princeton University Wednesday, November 20, 2024, from 4:30-5:30 p.m. Julis Romo Rabinowitz Building, Room 399 Co-sponsored by The Griswold Center for Economic Policy Studies (GCEPS) and Bendheim Center for Finance (BCF) Open to the Princeton University Community Group of 30 Report Publication, G30 Working Group on the 2023 Banking Crisis, chaired by William Dudley

As part of Dyane Harvey-Salaam's fall 2024 dance course, "The American Experience and Dance Practices of the African Diaspora," guest artist Mickey Davidson gives a lecture/workshop on Authentic Jazz and Swing Dance Practices. Open to University community.

Join the Program in Judaic Studies and the Department of Religion on Tuesday, November 19, for this talk delivered by Ilana Pardes. Lunch will be available before the event's start, between 11:30am–12:00pm only. The account of the rise of Israelite kingship in the Book of Samuel is one of the greatest narratives of antiquity that has been passed down to us. Far from being a dry chronicle, it offers both an unblinking perspective on political realities and a daring representation of the humanness, the nakedness, of royal figures. The talk will revolve around the encounter of King David and the wise woman of Tekoa (2 Samuel 14). Special attention will be given to the dramas behind the scenes, to the hidden links between the parabolic tale of the wise woman and the story of the House of David. All are welcome to attend, but space is limited – please RSVP to judaic@princeton.edu and note any dietary needs. More about Ilana Pardes Ilana Pardes is the Katharine Cornell Professor of Comparative Literature at the Hebrew University of Jerusalem. She is currently a Visiting Professor in the Program in Judaic Studies Program at Princeton University. Her work has focused on the nexus of Bible, literature, and culture as well as on questions of gender, aesthetics, and hermeneutics. She is the author of Countertraditions in the Bible: A Feminist Approach (Harvard University Press, 1992), The Biography of Ancient Israel: National Narratives in the Bible (University of California Press, 2000), Melville's Bibles (University of California, 2008), Agnon's Moonstruck Lovers: The Song of Songs in Israeli Culture (The Samuel and Althea Stroum Lectures in Jewish Studies, University of Washington Press, 2013), The Song of Songs: A Biography (Princeton University Press, Lives of Great Religious Books, 2019), and Ruth: A Migrant’s Tale (Yale University Press, Jewish Lives, 2022).

Join us for a conversation with two of the nation’s leading election scholars about the county line, preserving free and fair elections in New Jersey, and the future of elections in the United States.

Join us for this exciting public lecture featuring Hideo Mabuchi, a 1992 Princeton Alumnus and Professor of Applied Physics at Stanford University. A physicist by training, Dr. Mabuchi explores a nexus of conventional scientific research in quantum engineering, traditional craft (as a dedicated ceramist), aesthetic philosophy, new materialism, and integrative education.

Lecture Series | Overcoming Bipolarity: New Approaches to the Cold War

Join Princeton University Glee Club for a three-day celebration of the Glee Club’s past, present and future with a festival of singing, camaraderie and concerts! On November 17th, join Princeton University Glee Club and PUGC alumni in a public chapel sing. *** PUGC 150th CELEBRATION - a 3 day festival! Opening Concert: The King Singers with the Princeton University Glee Club Friday November 15th, 7:30pm Richardson Auditorium, Princeton, NJ Gala Concert: PUGC - Then, Now, and Onwards! with the Princeton University Glee Club and PUGC alumni Saturday November 16th, 5pm Richardson Auditorium, Princeton, NJ Glee Club Come-and-Sing: Fauré Requiem with the Princeton University Glee Club and PUGC alumni Sunday November 17th, 2:30pm Princeton University Chapel, Princeton, NJ

Join Princeton University Glee Club for a three-day celebration of the Glee Club’s past, present and future with a festival of singing, camaraderie and concerts! On November the 16th at 5pm, a massed choir of Glee Clubbers past and present convenes for a Gala Concert which evokes the history of the choir, and which ushers in its future. This performance features the world premiere of “More to Live For” by Shruthi Rajasekar ’18, composed to be sung together by Glee Clubbers of all generations. *** PUGC 150th CELEBRATION - a 3 day festival! Opening Concert: The King Singers with the Princeton University Glee Club Friday November 15th, 7:30pm Richardson Auditorium, Princeton, NJ Gala Concert: PUGC - Then, Now, and Onwards! with the Princeton University Glee Club and PUGC alumni Saturday November 16th, 5pm Richardson Auditorium, Princeton, NJ Glee Club Come-and-Sing: Fauré Requiem with the Princeton University Glee Club and PUGC alumni Sunday November 17th, 2:30pm Princeton University Chapel, Princeton, NJ

Pulitzer Prize-winning poet Paul Muldoon, Princeton’s Howard G.B. Clark ‘21 University Professor in the Humanities and Professor of Creative Writing, offers a brief survey of Irish history from earliest times to the present day through the prism of his own poems. No tickets required.

REEES/Slavic Grad Film Series Bordenlens: Queer Outlines of Geography and Gender Organized by Sofia Guerra Sponsored by the Program in Russian, East European and Eurasian Studies, the Department of Slavic Languages and Literatures, the Humanities Council, the Princeton Institute for International and Regional Studies and the Program in Gender and Sexuality Studies. All Films Shown with English Subtitles

Ever wanted to try a sound healing meditation? Come join GSG and CPS for a mindfulness hour, guided by a certified sound healer.