Connecticut College is a private liberal arts college located in New London, Connecticut. It is a residential, four-year undergraduate institution with nearly all of its 1,815 students living on campus; the college was founded in 1911 as "Connecticut College for Women" in response to Wesleyan University closing its doors to women in 1909. Students choose courses including an interdisciplinary, self-designed major. U. S. News & World Report ranked the school tied for 46th among the top liberal arts colleges in 2020; the college is a member of the New England Small College Athletic Conference The college was chartered in 1911 in response to Wesleyan University's decision to stop admitting women. Elizabeth C. Wright and other Wesleyan alumnae convinced others to found this new college, espousing the increasing desire among women for higher education. To that end, the institution was founded as the Connecticut College for Women, their initial endowment came from financial assistance from the city of New London and its residents, along with a number of wealthy benefactors.
The college sits on a former dairy farm owned by Charles P. Alexander of Waterford, he died in 1904 and his wife Harriet Alexander died in 1911, their son Frank sold a large part of the land to the trustees to found Connecticut College. The Hartford Daily Times ran an article on October 12, 1935 marking the College's 20th anniversary: "On September 27, 1915 the college opened its doors to students; the entering class was made up of 99 freshmen students, candidates for degrees, 52 special students, a total registration of 151. A fine faculty of 23 members had been engaged and a library of 6,000 volumes had been gathered together." The College became co-educational in 1969, President Charles E. Shain claimed that there was evidence that women were becoming uninterested in attending women's colleges. Connecticut College is accredited by the New England Commission of Higher Education and has been so continuously since December 1932. Connecticut College's most recent comprehensive reaccreditation took place in spring 2018.
Admission to the college is considered "more selective" by U. S. News & World Report; the college received 6,433 applications for the Class of 37.8 % were accepted. Of those admitted students 49% ranked in the top 10% of their class and 76% ranked in the top 20% of their class. In the 2020 college rankings of U. S. News & World Report, Connecticut College was ranked tied for 46th among liberal arts colleges, tied for 25th for "Best Undergraduate Teaching", tied for 27th for "Most Innovative", 71st for "Best Value", tied at 148th in "Top Performers in Social Mobility". Washington Monthly ranked Connecticut College 35th in 2019 among 214 liberal arts colleges in the U. S. based on its contribution to the public good, as measured by social mobility and promoting public service. Forbes ranked Connecticut College 128th overall in its 2019 list of 650 liberal arts colleges and service academies; the College offers more than a thousand courses in 31 academic departments and seven interdisciplinary programs, students can choose from 41 traditional majors plus opportunities for self-designed courses of study.
The 10 most common majors over the last five years have been English, Psychology, History, Biological Sciences, International Relations, Human Development, Art. Starting with the class of 2020, students at Connecticut College participate in a new interdisciplinary general education curriculum called Connections. Connecticut College has a history of undergraduate research work and students are encouraged to make conference presentations and publish their work under the guidance of a professor. Graduating seniors are awarded prestigious fellowships and grants such as the U. S. Student Fulbright Program grant. Connecticut College has been recognized as a top producer of Fulbright awardees, producing, in 2012, nine Fulbright Grant recipients; the College had 182 full-time professors in Academic Year 2017-18. The student-faculty ratio is about 9 to 1; the main campus has three residential areas. The North Campus contains the newest residential halls; the South Campus contains residence halls along the west side of Tempel Green, across from several academic buildings.
The oldest dorms on campus are Plant House and Blackstone House, which were founded in 1914. Connecticut College's two principal libraries are the Charles E. Shain Library and the Greer Music Library, located in the Cummings Arts Center; the Shain Library houses a collection of more than 500,000 books and periodicals and an extensive collection of electronic resources. ]The Lear Center has more than 50 book and art collections including research archives devoted to Rachel Carson, Eugene O'Neill, Beatrix Potter. The Charles Chu Asian Art Reading Room serves both as a quiet reading area and as the permanent exhibition space for the Chu-Griffis Art Collection; the student center is called Crozier Williams College Center is located in Central Campus called "Cro". The student center houses the Connecticut College bookstore, small conv
Savitha Sastry is an Indian dancer and choreographer best known as an exponent of Bharatanatyam. She is known to experiment with the format of traditional Bharatanatyam by using the techniques of Bharatanatyam to showcase theme based productions based on novel stories, not based on Indian mythology or religion, her innovations have been described as'path breaking' by critics, she is considered to be a'renaissance architect' of the dance form much as Rukmini Devi Arundale was in her times. Savitha Subramaniam was born in Hyderabad, lived in Mumbai before her family relocated to their home town of Chennai, she started her training in Bharatanatyam under the tutelage of Guru Mahalingam Pillai at the Sri Rajarajeswari Bharatha Natya Kala Mandir in Mumbai, with Adyar K Lakshman and the Dhananjayans in Chennai. She did her schooling from the P. S Senior Secondary School in Chennai, her graduation from the Stella Maris College. In 1986, she featured as the lead dancer in the Tamil film Ananda Tandavam, a production of her Guru Adyar K Lakshman.
She pursued her master's degree in the United States. Through the 1980s, 1990s and the first decade of the millennium, Savitha had performed to traditional repertoires of Bharatanatyam, she produced and choreographed a few full length presentations such as Krishna: The Supreme Mystic and Purushartha during this phase. She is credited to have a high degree of technical proficiency to her kinetics of the dance form in being able to deliver it with grace and technique demanded of Bharatanatyam performers. Sydney-based critic Hamsa Venkat referred to "Savitha's crisp nritta, clean lines and flawless aramandi was a breath of fresh air, inspirational for students of dance." The Audition Panel of the San Francisco Ethnic Dance Festival described her dancing with the words "Moves like a temple sculpture come to life". By 2009, Savitha departed from performing traditional margams, started her work on theme based productions. Savitha is noted for the use of contemporary and original story lines in her performances and her portrayal of multiple characters as a solo performer in them, a marked departure from the traditional Bharatanatyam theme of the nayika pining for love or pieces based on Bhakti alone.
Some of her notable productions include The Prophet: Destiny. Divinity. Doubt and Chains: Love Stories of Shadows. Savitha has been critically lauded not only for her technique, but for her innovations with the art form to take it to a wider audience. A profile story in the Times of India reported " has merged contemporary content with the centuries old dance form to create a unique niche"Critic Fozia Yasin of the Asian Age notes that Savitha "aims to bring about a renaissance in the traditional art form by marrying the aesthetics of Bharatanatyam with the power of an intelligent and novel story-line." Critic Nonika Singh of The Tribune wrote, "Knocking down pigeonholes as she breaks free, she hopes to inspire more and more aspiring dancers to soar along, in the vast expanse of tradition minus the baggage of restrictive thinking!" Critic Yamini Walia of the Afternoon Despatch & Courier reports that "her path breaking work has been recognised as a renaissance by critics and audiences all over the world."All her productions have been based on short stories by her husband, AK Srikanth, the soundtrack for the productions have been composed by Rajkumar Bharathi, the great grandson of the veteran poet Subramania Bharathi.
These have been performed in the Indian Subcontinent, South East Asia, the Middle East, Africa and the Americas, the productions have met with critical and popular acclaim. Another hallmark of Savitha's presentations is a Q & A session that she and Srikanth have with the audience at the end of the performance where the audience discuss the presentation with the performer and writer. Critic Lakshmi Ramakrishna of the Hindu praised this teamwork with the words "The husband – wife duo has struck a chord with audiences in conveying philosophical thoughts with striking simplicity, élan and elegance"She has been labeled the "Dancing Storyteller" by the popular press following these productions. Since 2018, Savitha and Srikanth have been releasing their productions on free to stream digital platforms to take their work to a world audience, they are in the process of working on releasing short classical dance videos that narrate a unique story, on the same lines of popular music videos. Their first release,'The Descent' has been awarded the Best Short Film 2019 at the Calcutta International Cult Film Festival, The Top Shorts Awards, the Near Nazareth Festival and the Best Global Short.
It was nominated the John Abraham International Short Film Festival, Florence Film Awards, the First Time Filmmaker Sessions. Savitha is married to AK Srikanth, her partner in all her productions and her classmate from her high school; the couple jointly produce their shows, live in Mumbai. Purushartha Sacrifice Krishna – The Supreme Mystic Music Within Soul Cages: The story of Life, Death & Beyond Yudh – Three Perspectives, One Truth The Prophet: Destiny. Divinity. Doubt Chains: Love Stories of Shadows In God's Country Music Within - the Group Presentation Elysian Pursuits: The Journey of Savitha Sastry Sex, Death & the Gods - a BBC documentary Chains: Live in Concert Yudh: The Dance Film Prophet: The film The Descent Awakening Three Colors Part 1: Green Under production The Shrine Under production Indian women in dance
Jack Leveson was an Australian rugby league footballer who played in the 1900s and 1910s. He played for South Sydney in the New South Wales Rugby League competition. Leveson was a foundation player for South Sydney playing in the club's first game. Leveson made his first grade debut for Souths against North Sydney at Birchgrove Oval in Round 1 1908, the opening week of the NSWRL competition in Australia. Souths won the match 11-7 with Leveson playing at halfback. Souths went on to claim the inaugural minor premiership in 1908 and reach the first NSWRL grand final against rivals Eastern Suburbs. Leveson played at halfback as Souths claimed their first premiership winning 14-12 at the Royal Agricultural Society Grounds in front of 4000 spectators. In 1909, Leveson played 10 times for the club as Souths claimed their second premiership in a row against Balmain in controversial circumstances. Balmain were furious that the 1909 NSWRL grand final was to be played as the under card to the Wallabies v Kangaroos match.
Balmain were aggrieved at the demotion of importance of the Final, asked the NSWRL to ensure it was played on a separate day. They argued that their players labour should not go towards paying money owed to Joynton-Smith and the NSWRL; the League refused and Balmain announced that they would not play. On the day of the Final the Balmain players arrived outside the ground in the early afternoon, well before the scheduled kick-off time of 2 o’clock, they picketed the entrance, endeavouring to convince patrons not to enter. Despite heavy rain and the protests of the Balmain footballers, enough of a crowd turned up to clear the debts of Joynton-Smith and the NSWRL. Balmain did not appear on the field. Souths picked up the ball and scored a try; the referee awarded them the match, with it the 1909 premiership. In 1910, Leveson played in his third grand final. In the dying minutes of the game Souths led 4-2 until Howard Hallett kicked the ball from the near the Souths goal line. Newtown player Albert Hawkes caught the ball on the full near the halfway line and on the touch line.
The rules allowed Newtown to claim a fair mark which meant they had the chance to tie the game with a shot at goal. Newtown converted the penalty drawing the game but since they had finished first on the table during the regular season, they were declared premiership winners. Leveson played with South Sydney up until the end of the 1913 before retiring. At representative level, Leveson played for Australia in 1909, New South Wales between 1908-1910 and Metropolis between 1908-1909