Events Calendar

Why is evolution seemingly a story of fits and starts? What allows some species to survive while others go extinct? With information from thousands of extinct and living animals, including dinosaurs and big cats, we now understand more about evolution than ever before, and we’ve learned that with great change comes great unpredictability. Award-winning paleobiologist Anjali Goswami tackles a deeply profound question: why has life on Earth evolved the way that it has?

Join fellow Yalies for an afternoon at the Asian Art Museum for its free first Sunday to enjoy special exhibits by Mayumi Oda and Qi Baishi together. Possible late tea/early supper after the museum closes. 

Kick off Feb Club Emeritus with the Yale Club of the Berkshires! We will meet Sunday, February 2 at 6pm at Antimony Brewery (55 Pittsfield Road in Lenox, MA, near Chocolate Springs), and stay as long as there is interest. Each person to pay for their own food and drinks. More information and rsvp via Facebook. 

Our time at Yale was a Golden Era, to be sure! Why nurse a cocktail for Feb Club when you can sip a soup? This early dinner gathering follows a Feb Club meetup at the Asian Art Museum (2:30-5:00 p.m. PT), but you can join us here even if you can't make it to the museum earlier in the day.  Serving Aulacese (Vietnamese), Chinese, Indian, and Thai dishes since 1999, the Chronicle consistently lists Golden Era among its top Bay Area vegan restaurants. 

A talk in conjunction with the New Haven Symphony Orchestra’s Connecticut premiere of Robert Nathaniel Dett’s “The Ordering of Moses” (in concert on Sunday, February 9, at 3pm in Woolsey Hall). The talk will include Nathaniel Gumbs, Director of Chapel Music at Yale University; Jason Max Ferdinand, Director of Choral Activities at the University of Maryland, College Park; and Perry So, Music Director of the New Haven Symphony Orchestra. Dett’s “The Ordering of Moses” should have been a cornerstone of American choral music, celebrated for its fusion of spirituals and classical traditions. Composed in 1937, this oratorio premiered at the Cincinnati May Festival and marked a pivotal moment for Black composers in classical music. However, early performances were overshadowed by racism, with the radio broadcast of the premiere cut short due to complaints from listeners calling into the station.