In many cultures, the moments where communities band together to tell stories, or more importantly to listen to them, are held in the highest regard. In America, reading fairy tales to children and telling ghost stories around a campfire are considered rites of passage, but where are these moments for adults?

Since 1997, “The Moth” has invited people from varying societal, economical and geographical backgrounds to share their stories and learn from one another’s experiences. Created by writer George Dawes Green, “The Moth” aims to create community and inspire audiences through the exchange of important, transformative or compelling moments.

Looking back on his youth, Green wanted to recreate the summer nights in Georgia when his neighbors, family and friends would gather on front porches to drink and tell stories. The podcast gets its name from the moths that would dance around the porch light as they talked.

“The Moth” didn’t start out as a podcast. Green began by hosting live storytelling competitions in his living room, which quickly grew into internationally hosted events. StorySLAMs are open-mic events where anyone is invited to tell five-minute stories inspired by the evening’s theme. The winners continue on to GrandSLAMs, which “The Moth” describes as “the ultimate battle of wits and words.”

In addition to these events, “The Moth” hosts a Mainstage where five storytellers have workshopped their personal narratives with the event’s directors to create longer and more developed stories. They also conduct workshops in high schools, and invite the students to present their stories at live performances.

Over the years, the event has become what Catherine Burns, artistic director for “The Moth” calls “a modern storytelling movement” that has inspired “tens of thousands of shows worldwide in places as diverse as Tajikistan, Antarctica and Birmingham, Alabama.”

“The Moth” has hosted people of differing backgrounds such as police officers, doctors, musicians, ministers and professional gamblers, as well as many famous voices such as Dan Savage, Neil Gaiman and Martin Scorsese.

In 2009, “The Moth” decided to record these stories and share them over the airwaves. This resulted in “The Moth Radio Hour,” a Peabody Award-winning radio show that has aired on over 450 stations around the world.

As its popularity rose, the founder and creative team decided to make the “The Moth Radio Hour” available in podcast form, as well as curated episodes of their favorite stories told over the past two decades. Every Tuesday new episodes are released.

Last year, in celebration of its 20th anniversary, “The Moth” compiled many of their favorite stories and transcribed them to be published in a book titled “All These Wonders: True Stories About Facing the Unknown.”

The book contains 45 stories, which Michiko Kakutani of The New York Times summarized beautifully. “Some are heartbreakingly sad; some laugh-out-loud funny; some momentous and tragic; almost all of them resonant or surprising. They are stories that attest to the startling varieties and travails of human experience, and the shared threads of love, loss, fear and kindness that connect us.”

Every story gives listeners a new perspective on the world around them, and new insight into the experiences of others. There are so many ways to consume these stories, it’s completely up to the audience’s preference. Consider downloading this week’s episode on your favorite podcast app, going to a live show or reading some of the stories in their books. As they say at the end of almost every episode, “have a story-worthy week.”

On Saturday, Feb. 3, downtown Bangor hosted many free events celebrating literature, art and music during the sixth annual Bangor Humanities Day.

The celebration kicked off on Friday evening with a Humanities Powered by PechaKucha event at COESPACE. PechaKucha is a presentation style where 20 slides are shown for 20 seconds each, keeping presentations concise and fast-paced. Topics of the evening included: making a living as an author, medical ethics, the Maine Multicultural Center, wedding perfection hysteria and bacteriophages.

The McGillicuddy Center collaborated with the University of Maine Museum of Art (UMMA), Bangor Public Library, Maine Discovery Museum, COESPACE and Nocturnem Draft Haus as host locations for the Bangor Humanities Day events. Many organizations contributed as event partners, such as the UMaine Department of Art, Bangor Public Library, Bangor Symphony Youth Orchestra and the Happenings Series.

The Bangor Public Library hosted three events throughout the day. At 12:15 p.m. in the Library Atrium, live Irish and Scottish songs were performed by a local Celtic Quartet. In the Crofutt Room at 1:15 p.m. there was an informal panel to discuss the broad range of grants that are available for public cultural programs. Folklore archivist Katrina Wynn held an oral history workshop at 2:15 p.m. in the Library Business Center, to teach the basics of conducting oral history recordings.

Nocturnem Draft Haus hosted a Poetry and Prose Reading at 3:15 p.m. as part of UMaine’s “The Happenings Series,” a multidisciplinary and genre-fluid creative events collective. The last event of the evening was hosted by the UMMA, which offered tours of the gallery’s new collections given by the UMMA director George Kinghorn, as well as appetizers from Basil Creek Catering and a cash bar.

In addition to these events, many other activities took place throughout the day: a downtown cultural scavenger hunt with prizes given out at 6 p.m. at UMMA, a StoryWalk featuring local author Lee DeCora Francis’ “Kunu’s Basket: a story from Indian Island” and a University of Maine student art show at COESPACE.

The show featured over 20 works from students enrolled in Ed Nadeau’s Painting II and III courses. In class, his students are continuing to develop painting concepts while placing emphasis on the characteristics of materials. Through special projects, the students are being encouraged to tackle technical and expressive issues in the hopes that it will lead to personal growth. The Bangor Humanities Day student art exhibit showcased an array of new challenges and learning experiences.

“The exhibition allows them to get to learn about retail commercial work, how to produce an exhibition, and working with the public,” Nadeau said. “Everything was put together pretty last minute, but everyone pitched in and brought it together.”

Ariel Goos, a fourth-year student studying studio art, and Jane Parlee, a third-year student studying art education, were featured in the exhibit. Goos’ work included both a natural landscape, titled “Orono Bog Walk,” and a more abstract piece, titled “Blue Abyss.” Parlee’s pieces titled “Fireflies in Acadia” depicted a natural and whimsical national park.

“Nadeau showed us how to hang our pieces, how to create the labels, he showed us all of the techniques we need to know,” Goos said. “Setting up was definitely labor intensive. For student shows on campus, they do a lot of the set up for you. It was nice to get that experience and get feedback from the community.”

Parlee’s perspective on the experience is slightly different from that of Goos, due to the difference in their degrees. However, Parlee found it equally challenging and thought-provoking.

“In art education, you get thrown into the student teaching aspect, which kind of takes away from making art. It changes the time factor, and makes me think more about how my students will see my art,” Parlee said. “This year I have thought a lot about the purpose of making art. I hope to set a good example as an artist for my students. I want to be a someone who doesn’t just teach, but also creates.”

Next winter, look for Bangor Humanities Day’s list of scheduled events celebrating culture and the arts in downtown to have an opportunity to experience this celebration first-hand.

For many students, winter break evokes excitement for holiday celebrations, hometown family and friends, and most importantly, a break from the stress of academia. This winter break, some students found themselves discussing topics like microeconomics or social inequality while continuing their studies through a Winter Session course.

Winter Session begins in Dec. 27 and run until Jan. 16. Winter courses are designed for any student, whether they are looking to catch up, get ahead, or take a lighter spring semester. With 30 courses ranging from Astronomy to Women’s, Gender and Sexuality Studies, there are many options for students to choose from.

All Winter Session courses are conducted online through Blackboard, leaving flexibility for the student to decide when and where to do their work. While some classes have a live lecture component, most are conducted through pre-recorded lectures, discussion boards and exams.

During the fall and spring semesters, a course’s content is spread out over 15 weeks. Since Winter Session is only three weeks long, the university suggests students be prepared to spend 30-40 hours per week on coursework.

Nina Mahaleris, a third-year journalism and international affairs student, thinks Winter Session offers not only an opportunity to continue studying, but also a chance to try a different form of education.

“I think WS [Winter Session] and online courses provide students with a better sense of independence when it comes to learning,” Mahaleris said. “Completing assignments and exams are entirely the responsibility of the students, the only difference is the timeframe is much more intense, and there isn’t a physical class to attend where the professor can remind students about their upcoming due dates.”

Like many students, Mahaleris found herself taking an online course to stay caught up on her degree progress. Winter Session provided her with an opportunity to stay on track while taking a more difficult course load.

“Although I’ve been at the university for three years, I’ve still got quite a bit of work to do before graduation. This is actually the first time I’ve ever done a winter session, and I’m really enjoying it,” Mahaleris said. “I think it’s important that the university continually offers WS and summer session, because their current system, the ‘Think 30’ program that encourages students to take 15 credits per semester, isn’t realistic for everybody. All students come from different financial backgrounds, study abilities, and it isn’t always possible or wise to take full course loads each semester.”

Despite being a wonderful opportunity for many, a winter course may not be suitable for every student’s schedule. For those attempting to juggle the workload, some students taking winter classes have found many ways to stay organized and on track.

One way to keep the Winter Session essays and exams in order is through the use of a daily planner. While this is a reliable organizational tool during the regular semester, it is particularly helpful while attempting to balance the change of environment, as well as the unexpected distractions that accompany being home.

Another asset in staying on track is a cell phone. While it can be a window into an unmeasurable amount of distractions, it can also be good for setting reminders which help dedicate specific parts of the day to coursework.

A great way to stay motivated and productive is by taking the course with a friend. Whether they live in the same house or across the country during winter break, having someone to study with, ask questions, or bounce ideas off is a great source of motivation.

Winter Session courses may not be for everyone. Those who are balancing many responsibilities over break may find themselves overwhelmed. Next winter, it might be best to take your schedule into consideration when determining whether a winter course is the right option for you.

On Friday, Dec. 1, the Lord Hall Gallery held an opening night for the annual Senior Art Exhibition. Titled “Polychrome,” it is the culmination of a studio art capstone course that hoped to teach students the essential professional practices needed to work in the visual arts after college.

The gallery is filled with 99 works produced by 16 students. In addition to creating the pieces, the students were in charge of every element involved in making the exhibit happen. While every piece told its own story, the exhibit as a whole seemed to celebrate the work done over the academic careers of the artists.

Polychrome means to be of many and various colors. Through the diversity in its pieces, the exhibit reflects its title. Organized by the flow of the visual content rather than by artists, the show melded the variety of artistic mediums and styles. The artists themselves have different concentrations and backgrounds, creating an exhibit which appeals to varying audiences.

The project helped Orie Lafevers, a fine arts student featured in the exhibit, understand how complex the process can be.

“It has opened my eyes to the fact that there are so many pieces that go into opening an exhibit. It’s insane how many people it took, and how many jobs there were. There were students in charge of lighting, floors, even feng shui,” Lafevers said.  

While her pieces in the exhibition depict many natural and spiritual scenes, a lot of her art is inspired by her service in Afghanistan. When her battalion discovered her passion for the arts, she became the designated battalion artist. She was placed in charge of taking photographs, drawing commissions and designing tattoos for her fellow soldiers.

“Many of my best drawings were done in my spare time with a pencil and some printer paper,” Lafevers said.  

Lafevers shared that the tranquility and nature found in her exhibit pieces is inspired by her grandmother.

“My grandmother, Pat Thurston, does a lot of Maine landscapes in different mediums. She has always supported me in art and she is the one who taught me what to strive toward,” Lafevers said.

While Lafevers’ passion for art is shared by her family, for many art students it’s not uncommon to be questioned about their chosen field. Jim Linehan, professor of art and the official curator of the exhibit, believes that now more than ever is the time to study art.

“There is more need for artists today because of the digital age,” Linehan said. “Almost every business has to have some sort of art department, and there is such a variety in opportunity.”

Linehan has had many phases in his career as an artist. While teaching art for 40 years, 35 of which he taught at University of Maine, Linehan’s focus on personal art has varied.   

“You’ll have seasonal moments in your career,” Linehan said.

Linehan hopes that this capstone will prepare his students for the next phase of their careers. He believes that an artist is also a small business person. While the students have spent the past few years refining their work, this course aims to equip them with the knowledge needed to further their careers.

“It’s absolutely essential to have this kind of experience. Some will go to grad school, some will be artists, some will work in museums, but this is the heart of it all. The course answers the question ‘Ok big shot, now what?’” Linehan said.

The exhibit will be on display until Feb. 2, 2018 but the experience will stay with the students involved.

“Students need to have confidence, and through this project everything begins to seem real,” Linehan said. “This class helps them see themselves as professionals.”

The exhibition is free and open to the public. The Lord Hall gallery is wheelchair accessible, and open Monday through Friday, from 9 a.m. to 4 p.m.

On Wednesday, Nov. 1, the Latin American Student Organization (LASO) hosted a Dia De Los Muertos celebration at the Memorial Union. Decorated with multicolored balloons, streamers and flags, the North Pod was transformed into a Day of the Dead festival and feast that brought Latin American culture to campus.

Students were invited to sit together and enjoy Mexican cuisine while listening to Latin pop music. At 12:30 p.m., the Union was filled with the sound of a four-piece mariachi band. Members of LASO helped set up and direct the serving of catered Las Palapas food during the event, as well as facilitating discussions of Hispanic culture with those in attendance. The event was hosted in hopes of raising awareness of Hispanic heritage and the Hispanic community on campus.

Third-year psychology student Isabel Paredes is the vice president of LASO. She joined the group at the end of her first-year at UMaine with the hopes of reconnecting with her culture.

“Our idea behind this event is to help make our campus more culturally aware,” Paredes said. “I come from a place with a large Hispanic population. While at home I had many friends who spoke Spanish, when I first got here I had to call my parents to speak Spanish. Being a part of this has made me a more open person. Through this organization, I get invited to other groups programs and get to learn about other cultures.”

Dia de los Muertos is celebration observed across Latin America dedicated to cherishing those who have died by keeping their memory alive. Combining Aztec ritual with Catholicism, it is believed that on the first of the month the spirits of deceased children are reunited with their families for 24 hours. Then on the following day, the spirits of the adults return and enjoy the festivities that are prepared for them by their families and friends.  

In honor of their loved ones, families create altars decorated in brightly colored flowers, candles and the favorite food of those who have passed. Later in the afternoon, the celebration moves to the cemetery. Families go on picnics, play games, listen to music and frequently end up spending the night near their family member’s grave.  

Despite its ancient roots, many Americans associate the holiday with nothing more than sugar candy skulls and fluorescent colors. While these spiritual and cultural elements have recently found their way into American pop culture, the effects of its popularization surpass merely evoking questions of cultural appropriation. The recent popularity of the holiday has shifted its perception in the hispanic community. It quickly transformed from a working class celebration, to the middle class’s remembrance of their roots.

LASO’s attempt to share their heritage overtook the North Pod, as students from all cultural backgrounds boisterously celebrated Hispanic culture. If you are interested in joining The Latin American Student Organization, their weekly meetings are held in the Multicultural Lounge on Tuesdays at 7 p.m.

When most people hear the words “Shakespeare” they are teleported back to a foggy memory of their high school English classroom. When the teacher announced that the next reading would be a work of Shakespeare, some signed, others cringed and a few prayed for the roles of Romeo and Juliet. No matter the reaction, everyone knew the next few weeks would be spent stumbling over iambic pentameter and Old English while reading out loud.

Upon heading to college there are two paths, one which allows you to dive deeper into Shakespeare’s works, and one which permits you to never have to face him again. However many people, no matter which choice they make, end up revisiting his literary genius through some medium outside of the classroom.

To kick-off their Homecoming weekend events, the Collins Center for the Arts hosted Aquila Theatre Company’s rendition of Hamlet as well as a pre-performance lecture on Thursday, Oct. 12. Through these events, the University of Maine invited the audience to revisit the literary classic and allowed them to gain a new and in-depth perspective unattainable in the classroom.

The Aquila Theatre Company spreads their love of and dedication to classical theater across the nation through bringing their production to over 50 American cities per year. This was not their first time on the CCA stage, in 2016 they brought us Agatha Christie’s “Murder on the Nile” and “The Adventures of Sherlock Holmes”.

In addition to their seasonal tour, the New York based company works to produce innovative public programming. Their “You|Stories” program worked to bring stories of the veteran community and the public to the stage through a story capturing app, public events, performances, talks and readings.

According to the Aquila Theatre Company’s mission statement, “We believe passionately that everyone should be given the opportunity to engage with classical drama of the highest quality at an affordable price right in their own community, experience arts from other places and exchange ideas. We re-examine what constitutes a classical work and, in so doing, seek to expand the canon. We endeavor to create bold reinterpretations of classical plays for contemporary audiences that free the spirit of the original work and recreate the excitement of the live performance.”

In other words, they hope to make the post classroom experience of renowned works a little more interesting.

The company of eight actors used two mobile platforms, two chairs, a few props and the remarkable effects of digital projection to reimagine the tragic tale of the Prince of Denmark. Most performances, which open as written, begin during Francisco the guard’s night watch of the castle in Elsinore. Aquila, however, opened with an interpretive dance lit by the full moon which narrated the characters relationships and history.

Hamlet, played by Lewis Brown, was portrayed as the epitome of college students: lost in life and love. Clad in buckle-covered boots which reached his knees, he trampled across the stage with the fire of a scorned son. After his father’s death and his mother’s remarriage, Hamlet seeks revenge under the guise of a mad man. Brown depicted the two sides of Hamlet as clearly as night and day. For his love Ophelia, played by Lauren Drennan, being driven to madness was not an act.

Drennan approached Ophelia in the way many have before her. A dutiful daughter of Polonius and innocent sweetheart of Hamlet, driven to insanity and suicide by the death of her father. While Drennan’s portrayal was memorable, it didn’t seem to define the character as more than her relation to those around her.

Before Aquila lit up the stage, the university’s Stephen E. King Chair in Literature, Caroline Bicks, gave a pre-performance lecture. Instead of focusing on the protagonist, Bicks discussed the different portrayals of Ophelia and how our modern day notions of her reflect our perception of adolescent girls today.

Bicks pointed out that in most of Shakespeare’s female roles we see not only a lover or a daughter, but women asking bigger questions about the world around them.  When compared to these characters, the Ophelia we know seems out of place. However when examining the texts, there seems to be many moments when Shakespeare wanted more than her modern portrayal.    

No element of the performance or lecture resembled those of a dusty high school classroom. From the red velvet seats, the iambic pentameter and Old English did not seem stumbled, but instead projected with passion. When the lights faded to black, the audience could have passed any test.

Grade A+

On Friday, Sept. 8, The National resurfaced in their seventh album, “Sleep Well Beast,”
reminding us of the divine power of their music.

Over a mix of digital echoes and drum loops, frontman Matt Berninger dives deeper into the pool of his own troubles. The album takes you on a tour through the locked doors of Beringer’s mind. Beringer transforms his personal and complex emotions into bites for his audience to consume. The album frequently produces moments that feel more like confessional intimacies than song lyrics.  

In an interview with Rolling Stone, Berninger gave more insight into his process and motive. “[It is] about marriage, and it’s about marriages falling apart. I’m happily married, and but it’s hard, marriage is hard and my wife and I are writing the lyrics together about our own struggles and it’s difficult to write, but it’s saving my marriage. Not saving my marriage, my marriage is healthy, but it’s good for everything! And so it’s gonna be a strange record, and I’m crazy about it.”

However, the album is much more dynamic and intricate than that.

The first single, entitled “The System Only Dreams in Total Darkness,” was released in early May. In an interview with Pitchfork, Beringer discussed how the album is “an abstract portrait of a weird time we’re in.” The single feels politically inspired, yet it is not overstated. “There’s political content in almost every song we’ve ever written on some level. It colors everything. There was no intention that this was more political than before.”

Cultivated through their nearly 20-year career, this album hosts a menagerie of new sounds and styles, yet still provokes the same feelings that their earlier work did. The magic behind The National’s music spurs from its lyrics. Beringer’s songs are woven from multiple strings of consciousness. The moments created are so specific, while maintaining the ability to be relatable the listener’s ears. When you listen to these songs, you feel as though you are living intimate moments with Beringer. The lyrics in the album’s title track describe that all too well:

“Go back to sleep, let me drive, let me think, let me figure it out

How to get us back to the place where we were when we first went out.”

All in all, this album feels like a tragically romantic scene found in any movie. The double doors open, people are dancing in slow motion. You gaze across the dance floor searching for the love of your life. The crowd breaks apart and a spotlight shines on your other half, dancing with someone else.

Grade: A-

Down a street riddled with puddles, past the old house on the left, under the sewer grate you never even noticed, lives your darkest fear. Based on the novel written by Stephen King, Andy Muschietti’s rendition of “IT” reintroduces you to Pennywise the Clown and the tragedy he inflicts on the town of Derry.

In a small Maine town, local children are mysteriously disappearing one by one. Missing posters litter every lamp post and bulletin board, but no one seems to find it that unusual. After experiencing horrific visions, seven outcasts band together and become the town’s only hope to rid itself of the ancient shape-shifting monster that plagues their community every 27 years.

While reflecting other ’80s friend groups, such as those in “Stand By Me” and “The Goonies,” the Losers’ Club hosts well-rounded and perfectly developed characters. The young cast included names such as Jaeden Lieberher, Sophia Lillis, and “Stranger Things’” Finn Wolfhard. Between bike rides, secret postcards and fanny packs, the chemistry formed between the gang seems strong enough to enable them to overcome anything, whether it be the local bullies or a demonic clown.  

Pennywise, played by Bill Skarsgard, seemed more computer-generated imagery (CGI) than monster. While Skarsgard’s expressions were chilling, he seemed fairly absent from the screen. The level of fear inflicted is minimal when it is obvious to the audience that nothing happening on the screen is real. However, that doesn’t mean anyone left the theater unscathed.

As the plot progresses, Muschietti’s adaptation seems to switch between sentimental nostalgia to horrific theatrics without any transition. This creates a disjointed flow, which might have been avoided if the primary emphasis of the film was directed less at the gang of friends, and instead shifted to developing the haunting legend that was only touched upon.

All of this aside, the movie was thoroughly entertaining and the experience as a whole was one-of-a-kind. Between the brotherly love and dynamic love triangle, the gang’s bonding was endearing and made rooting for them easy. The suspense-driven moments were incredibly haunting, staying with you even after you’ve gone home.

A theater located near the setting of the film, filled with red balloons and anxious audience members, created a unique viewing experience. The audience’s synchronized screaming, then embarrassed laughing, then screaming again made the demonic clown monster projected on the screen much less scary.

Overall, this adaptation leaned too much toward the jump-scare gore style currently fueling most horror movies, and only slightly incorporated the story’s natural blood-curdling and goosebump-inducing qualities. “IT” did not let you forget, however, that you’ll float too.

From May 19 to Sept. 2, the University of Maine Museum of Art hosted an exhibit titled “I Wear What I Want.” Composed of over 100 photos by Susan Barnett, the collection depicts people of differing backgrounds turned away from the lens.

Unlike other portrait series, Barnett’s focus isn’t on the individuals, but rather what they are wearing. The shots allow us to see the subjects’ environment, hairstyle, body and clothing. By shifting the focus off of the face, Barnett’s work evokes bigger questions regarding expression, identity and the audience’s own judgment.

Despite the vast differences between them, each person is wearing a T-shirt with phrases and images that reflect anything from deeply rooted ideologies to someone’s favorite band. Barnett uses T-shirts as social mirrors. They exemplify this nation’s history and our phases of culture; the things that brought us together and tore us apart.

Barnett started taking photographs at a very young age, but her passion for the T-shirt began while studying art history and studio art at Marymount College in Tarrytown, N. Y. As a student activist, she created silkscreen T-shirts with slogans in protest against the Vietnam War. Today, Barnett’s photos are featured across the country. Having completed over 60 exhibitions, Barnett also published a book titled “A Typology of T-shirts.”

In an interview with Cara Buckley of the New York Times, Barnett discussed the photo she captured eight years ago of a women’s T-shirt. That photo ignited and inspired her “Not in Your Face” series.

“I found out so much about her, from the back without seeing her face. It had to do with her identity, her declaration of who she was that she wanted everyone to see,” Barnett said in a New York Times interview.

Appearance is integral in self-expression. Who someone is, what they are interested in or how they feel about the world can be communicated by making a choice as simple as what shirt to wear. Expression in this form can be found on our own campus. Lydia Elwell, a second-year student at UMaine, is a perfect example.

Wearing a screen printed T-shirt featuring Jean-Michel Basquiat’s Dinosaur piece, she explained how she purposefully sought out and purchased it because of her love for the artist.

Elwell thought that if people had to determine the elements of her personality based on the shirt, they might assume that she is interested in art. “I do have a sincere interest in art, even though I’m not really artistic myself,” Elwell said.

While that assumption may apply to Elwell’s personality, she recognizes that there can be discrepancies when making judgments based on so little information.

“Unfortunately, I think people do judge each other based on their clothing. I’m not sure that’s a good thing, but I think everyone does it,” Elwell said.

Barnett’s work emphasises the potential damage that can be created by quick judgments. She gives the audience a small window into who her subjects may be. That way, the observer has the full control over what they see in the photo.