With lectures, readings, music, and art exhibitions, Queens College is especially busy in November. Whatever your age or your interest, we’re sure to offer something that will appeal to you. Stop by our beautiful, 80-acre campus and experience Queens College for yourself!
On this page we highlight just a handful of the activities scheduled at QC this month. To find a comprehensive listing, visit the QC monthly calendar and also the CUNY Month site.
But Queens College is more than just events. Check out our Study Abroad program, one of the most active and diverse programs in New York City, to see where in the world your education can take you. And we invite you to take a tour of our campus to find out more about what a Queens College education is all about.
Each year Queens College offers cultural and academic programming focusing on a different nation—an endeavor that reflects the college’s commitment to global education. The focus during academic year 2014-15 is on the Republic of South Africa, the country that produced leaders such as Nelson Mandela, Desmond Tutu, and Steven Biko; writers such as Nadine Gordimer, Bessie Head, Alan Paton, J. M. Coetzee, Mark Mathabane, and Athol Fugard; a multifaceted tourist industry that includes heritage sites, wildlife preservation, renowned vineyards, and surf destinations; globally popular musicians such as Hugh Masekela and Die Antwoord; and award-winning films such as Oliver Schmitz’s Mapantsula and Chris Curling and Pascoe Macfarlane’s Last Grave at Dimbaza.
South Africa has also had a vexed history, one that includes the era of Apartheid, the Truth and Reconciliation Commission’s public airing of the nation’s traumatic history under this regime, and widely documented struggles with HIV and AIDS. During the Year of South Africa, the Queens College community will explore the country’s past, present, and future: its politics, society, economy, and ethnicities, as well as its art, literature, music, and film.
Last Grave at Dimbaza (1974)
Directed by Chris Curling and Pascoe Macfarlane
Thursday November 6, 4:45 pm
Rathaus Hall 209
“In 1969, a small group of South African exiles and British film students formed Morena Films in London to produce films about the apartheid. In 1974 they produced one of the first, and certainly the most influential, films about apartheid. Last Grave at Dimbaza—shot clandestinely in South Africa and smuggled out of the country—had an enormous impact on global opinion at a critical moment in the struggle against apartheid, revealing to audiences worldwide the shocking inequalities between whites and blacks in South Africa. It went on to win major awards at many international film festivals.”—Icarus Films
Directed by Oliver Schmitz
Thursday, November 13, 4:45 pm
Rathaus Hall 209
The lead character in Mapantsula, a thief named Panic, is such an unflappable pickpocket that he can steal a man’s wallet and then stand there, switchblade in hand, rifling through the wallet’s contents, silently daring his victim to challenge him. He’s such a skilled shoplifter that he can wrap each half of a man’s suit tightly around one of his calves, holding the merchandise in place with heavy socks. And Panic is good with the ladies, too. This fine and caustic South African film, directed by Oliver Schmitz and written by him and Thomas Mogotlane, who plays Panic, is the story of Panic’s transformation. To depict the process whereby Panic is radicalized, Schmitz gives the film a dual time frame. Mapantsula (the title means something like gangster) cuts back and forth between scenes of a freewheeling, unreconstructed Panic on the streets and a warier man who is now in jail.
African Art from the Godwin-Ternbach’s Permanent Collection
Through August 2015
The selection of artwork focuses primarily on ritual objects and masks, but also includes textiles and currency. Throughout history, objects have served as symbols of spiritual and material power. The masks on display are all associated with strong religious and spiritual beliefs that influence the way a community responds to them. The functions of masks are as complex and varied as their forms. Alongside the African objects is a display of anti-apartheid posters, pins, and documents that aims to provide some sense of the political struggle against the violent system of racial segregation that was in place in South Africa for much of the 20th century. The documents and reproductions are examples of the visual material that was used all over the world in the decades-long protest of the treatment of black South Africans.