When: Saturday, February 10th 4:00-6:00pm





In 1998, petty criminal, Reza, who has spent half his life in prison in a northwestern part of Iran marries a woman prisoner. They have a child together and, after a while, the woman is pardoned. Several months later the man is also released. The three of them begin a new life outside the prison, but a harsh society is waiting for them. The director, Mohammad Rasoulof, was born in Shiraz in 1973. He has made numerous short films and has worked as assistant director on feature films. "Twilight" is his first feature film. It is based on true events and the characters play themselves.
IUPUI's 2006-2007 Rufus and Louise Reiberg Reading Series present the Affrilachian Poets, poets addressing their rural roots, racism, and identity

IMA's fascinating "Africa in the Americas" film series presents "Favel Rising"



A young woman named Zhu Yingtai from Shangyu, Zhejiang, disguised herself as a man travelling to Hangzhou to study. During her journey, she met and joined Liang Shanbo, a companion schoolmate from Kuaiji (會稽) in the same province.
They studied together for three years, during which their relationshi
p strengthened. When the two parted, Zhu offered to arrange for Liang to marry her 16 years old fictitious sister. When Liang travelled to Zhu's home, he discovered her true gender. Although they were devoted and passionate about each other at that point, Zhu was already engaged with Ma Wencai (馬文才), a man her parents had arranged for her to be married to. Depressed, Liang died in office as a county magistrate. On the day Zhu was to be married to Ma, whirlwinds prevented the wedding procession from escorting Zhu beyond Liang's tomb. Zhu left the procession to pay her respects for Liang. Liang's tomb split apart, and Zhu dived into it to join him. A pair of butterflies emerged from the tomb and flew away.
blowing, athletic movement sped up to impossible speeds. “Rize” tracks the fascinating evolution of the dance: we meet Tommy Johnson (Tommy the Clown), who first created the style as a response to the 1992 Rodney King riots and named it “Clowning”, as well as the kids who developed the movement into what they now call Krumping. The kids use dance as an alternative to gangs and hustling: they form their own troupes and paint their faces like warriors, meeting to outperform rival gangs of dancers or just to hone their skills. For the dancers, Krumping becomes a way of life – and, because it’s authentic expression (in complete opposition to the bling-bling hip-hop culture), the dance becomes a vital part of who they are.


In addition to performances, art buffs and amateurs alike should know that there are also several upcoming Cuba-themed lectures planned at the IMA. February 25 (the same day as the opening of the three Cuba-themed exhibitions) Dr. Judith Bettelheim, curator of the Campos-Pons and AfroCuba exhibits discusses the context for the selected pieces at "AfroCuba Through the Artist's Lens." March 20, Krista A. Thompson of Northwestern University talks about the sea as a common metaphor in Caribbean art. Hear a rabbi, a psychologist and a poet discuss various themes present in the art of Campos-Pons April 26 at the IMA. Learn specifically about the recurring theme of Santeria in her art during a guided tour of the Maria Magdalena Campos-Pons: Everything is Separated by Water exhibition April 7 and May 17.
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The full opera will be performed March 9 and 11 at Clowes Memorial Hall. For details visit www.indyopera.org. If this event sounds interesting, you should check out the collaboration of Indianapolis Opera and the great Chinese artist Master Au on Valentine's Day.
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Maria Magdalena Campos-Pons: Everything is Separated by Water -- Organized by the IMA, Maria Magdalena Campos-Pons: Everything Is Separated by Water will be the first touring mid-career retrospective of this important Afro-Cuban artist’s work, comprising approximately 40 objects produced over the past 20 years. From her earliest relief paintings to her recent room-sized mixed-media installations and large-format Polaroid photographs, Campos-Pons has built a dynamic model of inventive identity. Using art to comment on her imagined displacement from Africa, her actual exile from Cuba, and her experience as a black Cuban woman living in North America, Campos-Pons has re-assembled fragments, symbols and memories of personal and collective history, religion, mythology and art. Many of her works deploy the female body—in its entirety or fragmented—to address the challenges inherent in building a coherent identity in the modern world.

