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The men’s hockey team is looking to continue its four-game winning streak as it takes on conference rivals RPI and Union at Ingalls Rink this weekend.Fresh off a 4–3 win over Brown last Saturday, the No. 15 Bulldogs will face off against the Engineers (3–6–3, 0–5–1 ECAC) and the No. 12 Dutchmen (8–3–2, 3–2–1 ECAC) on Friday and Saturday nights, respectively.“The RPI and Union weekend is always extremely physical, fast and competitive,” team captain and forward Andrew Miller ’13 said. “We need to make sure we have good starts in both games, and we need to play well defensively throughout the whole weekend.Last weekend’s win was contingent on a strong power play, which head coach Keith Allain said may play a role in this weekend’s games as well. The Bulldogs scored all four goals against Brown with a one- or two-man advantage and have the eighth most effective power play in the NCAA, having scored 10 out of 42 times for a 24 percent success rate.As Yale (6–2–1, 3–2–0 ECAC) takes on Union on Saturday, the team will be well-matched on the power play. Union is currently ranked first in the NCAA, having scored on 16 of 55 power plays for a 29 percent success rate.“In high levels of hockey, you’ll see that a good percentage of the games will be decided by special teams, whether it’s the power play or the penalty kill,” Allain said. “Teams are pretty evenly matched on five-on-five play, so if you can be better than them on the power play or on the penalty kill, it gives you an edge.”One of the Bulldogs’ goals for Friday’s game is to play all four lines of forwards and “get everyone involved early,” Allain said.Allain said he is pleased with the current fitness level of the Bulldog team.“It gives us the confidence that we have the stamina to out-chance our opponent,” Allain said. “But I think our mental toughness is as pronounced as our physical toughness.”RPI lost to Quinnipiac 3–1 last Saturday, and Union tied Princeton 4–4.Puck drop will be at 7 p.m. on both Friday and Saturday.

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The women’s basketball team will travel to Brooklyn Heights, N.Y. to take on the St. Francis College Terriers this Saturday.Coming off their recent win against Fordham last Tuesday, the Bulldogs (2–6, 0–0 Ivy) are seeking their first victory on the road this season.“The win against Fordham reassured us that we can defend good teams and that our game plan of wearing out our opponents works when we execute it,” guard Amanda Tyson ’14 said.The Terriers (2–4, 0–0 NEC) will play their second Ivy League opponent this week, having fallen to the University of Pennsylvania, 61–60, on a last-second Quaker basket on Wednesday.Despite their recent loss, the Terriers are currently averaging 40 percent from the field and led by a strong duo of sophomore forwards, Sarah Benedetti and Jaymee Veney, who are averaging 9.8 and 9.7 points per game, respectively.St. Francis converted 25 points off of turnovers against Penn. The Terriers’ ability to capitalize on their opponents’ mistakes poses a threat to the Bulldogs, who currently average 21 turnovers per game.Offensively, Yale brings its own strength to the table with a 74 percent free-throw average and a 40 percent average from behind the arc. In Tuesday’s win over Fordham, the Elis made seven of their 14 shots from beyond the 3-point line.“Right now, we are shooting the ball really well, particularly from behind the arc,” Halejian said.Sophomore guard Sarah Halejian ’15 currently leads the Bulldogs in scoring with 13.2 points per game and a 52.2 percent shooting percentage from the 3-point line. She is accompanied by fellow guards Janna Graf ’14 and Nyasha Sarju ’16, who both average over nine points per game.Both Sarju and Halejian were named to the Ivy League Honor Roll this week for outstanding performance in recent games against Quinnipiac and Army.“Our biggest strength is the number of players who can score the ball,” said Tyson. “Every person on the court is an offensive threat, which is huge because teams have to worry about stopping us as a whole, instead of just stopping one individual player.”Yale snapped a four-game losing streak with its 67–53 victory over the Rams this week, but the Bulldogs know that they have significant work to do before the start of Ivy League play on Jan. 19 against Brown.“For the rest of the season, we need to just focus on continuing to improve. We feel that we can definitely contend for an Ivy League championship, which is the ultimate goal for us, but for now, we need to focus on St. Francis,” Halejian said.The Bulldogs will continue their nonconference schedule over the winter break and will take on the Marist University and Georgetown in the coming weeks.Tipoff is set for 2:00 p.m. on Saturday.

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WOMEN’S BASKETBALL | Yale seeks first road win

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After Wednesday night, the Elis have to believe in second chances. Yale pulled down 12 offensive rebounds, but none was more important than one by forward Justin Sears ’16 with two seconds left that led to his game-winning layup as time expired.Sears helped the Bulldogs (3–6, 0–0 Ivy) slip past Bryant (4–3, 0–0 Northeast) 64–62 on the road. The victory gave the Elis their first win in an opponents’ arena in four tries this season.“We beat a good team on the road who had been playing well,” head coach James Jones said. “It should certainly help our confidence, but we don’t want to get overconfident.”Jones added that he was particularly impressed with Sears’ performance as the freshman star played the game while battling through illness. Sears posted a career-high 20 points to go along with nine rebounds and two blocks. He accomplished all of that in just 20 minutes, as Jones said that his coaching staff was trying to keep Sears fresh for Saturday’s game..On Wednesday, Sears said that he was focused on taking what the defense gave him.“Their big guys weren’t trying to get many fouls, so I could be more aggressive,” Sears said.Sears leads the Elis with an average of seven rebounds per game and is second on the team with 11.4 points per game. Guard Mike Grace ’13 said Sears plays beyond his years.“Most of the games he’s played in, he hasn’t played like a freshman,” Grace said.The game-winning shot was made possible when Bryant guard Joe O’Shea missed the front end of a one-and-one. Sears corralled the missed shot and passed it off to guard Javier Duren ’15, who found Grace racing down the court.The senior captain made a move to the basket but could not get his shot to fall. Sears put the ball back in for the victory.Grace said that no play was drawn up for him to take the last shot, so he was focused on giving the Elis a chance to win before overtime.“I knew I had to get the ball on the rim whatever I did because we had only four or five seconds left,” Grace said. “Justin bailed me out.”The Elis were successful inside for the entire game. Center Jeremiah Kreisberg ’14 had his best game of the season, although he is still recovering from back surgery, with 14 points on six of eight shooting from the field. The Elis outscored Bryant 42 to 30 in the paint.Yale’s big men also gave the Bulldogs a decisive advantage with four blocked shots. Although the Elis have had trouble with turnovers this season, Yale committed only eight turnovers while forcing 15 from Bryant. The turnovers were not the result of unnecessary risks on defense, according to Grace.“We were solid [defensively],” Grace said. “Coach always preaches to us that if we’re solid on defense, teams will make mistakes.”Jones added that the Bulldogs will need to continue that effort on defense when they travel to face the University of New Hampshire on Saturday. He specified that the Wildcats’ big men — led by junior center Chris Pelcher with 12.9 points and 8.1 rebounds per game — pose the biggest threat.The Elis tip off at 1:00 p.m. on Saturday in Durham, N.H.

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MEN’S BASKETBALL | Bulldogs beat the buzzer

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After two years helping students develop their mental capabilities, C8Kids, a New Haven-based cognitive improvement program created by a Yale psychiatrist, received national recognition last week.The brainchild of Yale School of Medicine psychiatry professor Bruce Wexler, C8Kids was named one of the top six finalists in the Software & Information Industry Association’s 12th Annual Education Tech Business Forum held Nov. 26 and 27 at New York City’s McGraw Hill Conference Center. C8Kids employs “cognitive cross-training,” a principle combining interactive computer games with physical exercises to enhance cognitive functions in children. The program was chosen from a pool of over 80 products for its innovation and potential to improve child academic performance, said Karen Billings, vice president of SIIA’s Education Division.“C8 Kids is unique because it focuses on more than a curriculum area or administrative task,” Billings said. “Their contribution will come from their ability to help so many students with a critical need and improve their ability to learn.”The cognitive cross-training strategy used by the program was the product of 20 years of Wexler’s neuroscience research. After his experiments confirmed that connections between neurons are shaped by environmental stimulation, Wexler applied the principle of neuroplasticity — a term referring to the changeable structure and function of the brain — to enhance cognitive development in children.C8Kids employs a series of computer games, which exercise the brain to assess a child’s cognitive strengths and weaknesses. Repetition of these tasks strengthens corresponding brain regions, thereby improving academic performance. In addition, C8Kids programs pair physical exercises engaging the same areas of the brain as the computer games to further reinforce children’s cognitive improvement, Wexler said. He added that he particularly focused on improvement in the “eight core cognitive capacities,” including attention, response inhibition and information processing.The program has worked with over 700 children around the world, including 80 Connecticut students, 300 New York students and 30 children in China. However, although C8Kids is based in New Haven, the program has yet to expand to Elm City schools.“We’ve been in extended discussions with the New Haven school system and would very much like to work with them, but they haven’t found the right school or the right class or the right kids yet,” Wexler said. “We’re still trying to find the right venue for our program [in New Haven].Wexler and Ken Coleman, president and co-founder of C8Kids’ distributing company C8 Sciences, both said they appreciate the program’s newfound recognition in the field of education. The company is currently discussing potential collaborations with Pierson Laboratories, a company contributing to educational technology, and Aristotle Circle, a tutoring program based in New York City.“[C8 Science’s high placement in SIIA’s forum] is bringing us in contact with lots of well-established companies in the education tech industry,” Coleman said. “We’d like to work with them and expand our scope accordingly.”For now, interested parents can purchase the C8Kids program for online use. C8 Sciences will soon introduce a new pricing model that will allow customers to determine how much they pay for C8Kids services, Wexler said.“We want our program to be available to kids no matter what their socioeconomic status is,” he added.C8 Sciences is hoping to develop programs that will target childhood autism and adult depression.

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To School of Art administrators, students are unable to gain the art history background necessary for their field.Undergraduate art majors are currently required to take two history of art classes, and graduate students often supplement their education in the History of Art Department despite the absence of a formal requirement, School of Art Dean Robert Storr and Associate Dean Samuel Messer said. Still, Storr, who teaches both undergraduate and graduate art classes, said he does not feel history of art offerings provide the basic knowledge of art their students need to learn and instead focus on the theoretical and methodological lenses more appropriate for the art history field itself.“Increasingly, art history is about structural, methodological or theoretical things, when in fact just the acquisition of when, where, what and how is something that students need to get knowledge of,” Storr said. “Even if they’re looking at the same material, we’re looking at it different ways.”Messer said many students are not taught art history before coming to Yale and do not want to spend time on history of art courses once they arrive.“People that don’t know [art history] can be repeating things, thinking that it’s never been done, and then be surprised when they realize it’s been done for 2,000 years,” Messer said. “I think it’s important to know [art history], but I also think you have to know it so you can step aside of things and react to things.”Messer added that when students do study art history, they gain only a “very shallow” knowledge or focus on narrow topics, adding that these are often Eurocentric in nature.“There is unfortunately not enough outreach into other cultures, into other time periods, into other modes of thinking,” he said.To increase students’ exposure to art history, particularly in a more global context, the school offers graduate seminars such as “Contemporary Global Art” or “Theories of Perception.” Still, Storr said he does not think that these courses fully combat the problem, and added that he hopes the School of Art can begin to teach its own art history survey course that could cater specifically to the needs of practicing art students. But the school lacks the funding to hire another faculty member for that purpose.“I don’t think we’re in the position to start offering survey classes in art history,” Messer said. “We don’t have the funds, and that’s really not what we’re here for.”Two graduate students interviewed said that while they feel studying art history is important for producing art, they believe graduate students already have a foundational understanding in the field. Wayde Macintosh ART ’13 said most of his peers gained a basic knowledge of art history during their undergraduate educations or through classes they’ve taken at Yale. Meena Hasan ART ’13 said students need to study art history to a greater extent based on their medium. Painters, for instance, can trace their style of art through the entire artistic canon, while multimedia artists are more limited when studying the past.Graduate students must take six credits outside of the School of Art.

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In Silliman College’s Maya’s Room art gallery, students have the chance to see parts of New Haven they have never noticed before.Seven students in a Silliman residential college seminar — taught by documentary photographer Lori Grinker — opened an exhibit displaying their work from the semester on Wednesday. The exhibit, titled “Documentary Photojournalism of New Haven,” aims to provide a survey of individual student perspectives on New Haven through photographs.Grinker, who is teaching the seminar for the third time, said she chose the New Haven landscape as the subject of the course because she thinks the city has “everything that represents what is going on in this country.” She added that her goal was to help students get out of the “Yale bubble,” which she did not realize existed until students in her first seminar introduced it to her.“I wanted the course to take them out of the safety of Yale to document things relating to their studies, or things of importance to them,” she said. “I wanted them to jump right in.”Grinker explained that as a member of the Yale community, most news she hears about life outside Yale relates to crime or poverty. But she said she hopes the show’s viewers will learn through the photographs that people in New Haven can be the same as Yale students, or that even if they are different, they might face similar struggles.Students’ projects documented subjects ranging from Iraqi refugees in New Haven to a pair of local twins to the Dixwell Fire Station. Semhal Tsegaye ’15, whose project focused on hip-hop and rap culture in New Haven, said the beginnings of the course involved simply going out into the city and taking pictures, before developing a narrower focus to create a series that “told a story.”“I started off more exploring the ‘hoods’ of New Haven,” Tsegaye said, explaining that she discovered the rap scene and decided to pursue it as her project after meeting budding New Haven rappers. Another student, Ifeanyi Awachie ’14, stumbled onto her project during an in-class photography exercise on the New Haven Green, when she photographed Kacie and Paige Piscatelli, two Gateway Community College students in quirky outfits who turned out to be twins. Grinker suggested that someone follow the twins and document their lives.“Initially, I had considered more ‘serious’ issues like homelessness in New Haven,” she said. “But I think it’s really relatable, showing two girls who live here.”Awachie said she wanted her project to force people to confront their assumptions about twins and the complexity of familial relationships. Like many students in the class, she developed close relationships with her subjects — she recently invited them to her birthday party, and both girls were present at the exhibit.Grinker said she enjoyed watching both the projects and the relationships between photographer and subject develop. She added that it often takes her students — who begin the course “shy and distant from the subject” — the duration of the semester to fully engage with both their photography and their subjects.Ify Ozoma ’15, who spent time over the summer working on a mayoral campaign in New Haven, said she thinks the exhibit portrays New Haven in a fair light. She said Yale students often view the city with a certain prejudice that she feels the photographers avoided.“I feel like Yale students either want to be completely separate from New Haven, or help,” Ozoma said. “New Haven has its problems, but we’re not its saviors. We’re just a part of the community, which the exhibit captures — and that’s why I love it.”The exhibit will be on display until the end of reading period.

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On the fourth floor of the renovated Yale University Art Gallery, a terrace sculpture garden looks out onto Chapel Street. Standing along the edge of the balcony, visitors are treated to a bird’s-eye view of the city and campus below. Like many of the gallery’s new additions, it is a tribute to both the institution’s past and present — a reminder that while the building’s foundation remains nearly as aged as the University itself, the YUAG has not closed its horizons to the future.When the gallery officially reopens to the public on Dec. 12, it will celebrate not only the culmination of a 14-year-long construction project but also the debut of over 4,000 pieces of artwork that were either newly acquired or had previously been placed in storage. With a collection now totaling over 200,000 holdings and a facility of over 40,000 square feet of gallery display space, the expansion places the YUAG on par with some of the most renowned art museums in the world.“We have striven broadly for excellence,” YUAG Director Jock Reynolds said. “Yale University now has in its art gallery, Center for British Art, Peabody Museum and libraries one of the greatest concentrations of art in any city of the world.”Beginning with the restoration of the Louis Kahn building in 2003, the revitalization of the YUAG has been a long time coming. As early as 1994, architects Duncan Hazard ’71 and Richard Olcott of Ennead Architects — formerly known as Polshek Partnership — began drawing up master plans. The completion of the $135 million undertaking arrives at the tail end of what Reynolds termed “280 years of deferred maintenance,” and the process has involved large increases in museum staff as well as aggressive fundraising pushes through the onset of the recession in 2008.But even as the gallery marches toward the future, it continues to commemorate the legacies of its past.“Our architectural plan is a retracing of the gallery’s history,” Hazard said. “The artwork is taking back its original home.OLD ART RESTOREDWhen curator Ruth Barnes arrived at the YUAG in 2010, she had just completed renovation projects at the University of Oxford’s Ashmolean Museum of Art and Archaeology. She accepted Yale’s offer of employment, she half-joked, because she had become addicted to the rigors of restoration.Barnes is the curator of Indo-Pacific art, the gallery’s only completely new collection. Made possible by contributions from Thomas Jaffe ’71, the Indo-Pacific art department features artifacts and sculptures from ancient Southeast Asia, as well as one of the world’s best collections of Indonesian textiles, Barnes said.While the gallery acquired two-thirds of its Indo-Pacific collection only three years ago, the majority of newly displayed pieces have been held in storage facilities for several decades. For some of the older work, years of dust-gathering have taken their toll.Deputy Chief Conservator Carol Snow cited a Byzantine church mosaic as an example of an older piece that underwent heavy treatment before display in Street Hall’s renovated ancient art section. Many of the procedures worked to undo the effects of outdated methods, Snow said. When the mosaic was first excavated from Gerasa, Jordan in the 1920s, gallery employees reinforced the backing with concrete, which did not hold up over time. Seventy-five years later, the piece has been refurbished to go back on display.The YUAG’s expansion project gave gallery staffers a chance to test and develop techniques for conservation and refurbishment. Methods employed include 3-D scanning, multispectral imaging and computer numeric controlled (CNC) devices. Snow said new acquisitions — of which there are 1,100 in total —  provide an opportunity for curators and conservators to identify new materials and develop new analytical methods over time.When dealing with modern and contemporary works, Snow said the shifting function of materials is especially relevant. Some present-day artists purposefully expose their pieces to decaying effects of time, causing curators to question whether they should work to preserve these pieces at all. With artworks ranging from ancient to contemporary, Snow said each department presents its own set of unique and rewarding challenges.As the conservation and collections departments transition from one-and-a-half buildings to the amalgam of three historic viewing spaces — the Louis Kahn building, the Old Yale Art Gallery and Street Hall — curators and conservators alike will continue to evaluate the evolving challenges of maintenance and upkeep.A SEAMLESS TRANSITIONWhen the original Louis Kahn building first opened in November 1953, it was christened the “Yale University Art Gallery and Design Center.” As an undergraduate student, Hazard spent many nights at the center, which housed studios for art and architecture majors in addition to exhibition space. More than two decades later, he returned to draft the master plan for the largest expansion and renovation project in the gallery’s history.But the legacies of the YUAG’s original architects persist in the renovated gallery’s design, which pays tribute to not only Kahn’s aesthetic sense but also to the vastly different styles of the other two buildings. In Street Hall’s Trumbull Room, which contains the gallery’s original donation from John Trumbull, the walls are painted bright red to honor Kahn’s original use of red wool fabric on the walls.The YUAG’s three buildings share a single main entrance, and early visitors to the spaces have lauded Ennead Architects for the seamless yet meaningful transitions between different segments of the gallery.“The integration of the three buildings is amazingly smooth,” School of Architecture Dean Robert A.M. Stern said. “The way they flow is excellent, yet you don’t lose sense of the difference between them. Each maintains its own character.”Chief Curator Laurence Kanter said the gallery’s individual exhibition spaces enabled each curatorial department to create a unique “flavor” to complement their collections. During the design process, Hazard and Olcott took into account the genre of art that would inhabit each section of the gallery. The European galleries are characterized by low ceilings and dark wall colors, whereas the modern and contemporary sections boast vast, 25-foot ceilings. Kanter described how the deep mulberry tones of his gallery were chosen to draw out the rich colors of the art.Formerly home to the History of Art Department, Street Hall has been transformed from once “cannibalized classrooms” into galleries reminiscent of those envisioned during the 19th century, Curator of American Paintings and Sculpture Helen Cooper GRD ’86 said. But one feature of the hall is unmistakably modern: the glass elevator, topped with a vast skylight and sandwiched between steel staircases. Within Street Hall’s 1866-era structure, “there is the sense of light drifting down through the glass,” Hazard said.

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Late on Saturday night, computer science professor and Saybrook College Master Paul Hudak, New Haven bassist Jeff Fuller and Harvey Xia ’16 came together as jazz musicians. In the dimly lit Saybrook Underbrook, the piano, bass and alto saxophone trio played nine standard tunes for an hour and a half for an audience of roughly 15 students.This small combo jazz ensemble’s performance was brought to life by the recently established Coffehouse Coda series, which has sponsored biweekly jazz performances in the Underbrook since Nov. 10. Earlier this semester, the Yale Jazz Collective, a student group that promotes jazz at Yale, partnered with Hudak to invite New Haven musicians and Yale students to perform as part of the series in duos, trios or other small groups from 10 p.m. to 1 a.m. on Saturday nights. On Sunday afternoons, the Collective also hosts weekly jam sessions for both experienced jazz musicians and newcomers, Hudak said.The Coffeehouse Coda series resulted from Hudak’s personal effort to promote jazz in Saybrook and the Collective’s efforts to play small jazz combo, he said. The performances follow the Underbrook Coffeehouse that takes place from 7 p.m. to 10 p.m. on Saturday nights and bring Yale student bands and other rock and pop performers from the New England area.“Students can play just for the fun of it, but if they think ‘we have a gig in two weeks, we better rehearse and get better’ — those opportunities are really important,” Hudak said.The Coffeehouse Coda and jam sessions are the first steps in developing a jazz scene at Yale, three Jazz Collective members said. Academic and extracurricular opportunities for jazz at Yale have been lacking compared to those at peer institutions for roughly the past three decades, when most of Yale’s competitors began to invest in formal jazz programs, Jazz Collective Vice President Julian Reid ’13 said. By lobbying the Music Department and higher-level administrators for academic opportunities, creating a community of jazz musicians and promoting jazz events on campus, Reid said the Collective hopes to nurture jazz culture at Yale.While many of Yale’s music professors have jazz experience and expertise, peer institutions including Columbia, Princeton and Harvard offer faculty members and resources specifically for jazz studies. Currently, the University offers only a handful of jazz theory and history classes, and the School of Music focuses exclusively on classical music with the exception of Willie Ruff’s Duke Ellington Jazz Series and Fellowship, which brings famous jazz musicians to Yale and New Haven.At Columbia, undergraduates can pursue a special concentration in jazz studies along with a major, and Princeton offers a certificate, the equivalent of a minor, in jazz studies. Both schools also give academic credit for performance — through both private lessons and ensemble work — which Yale offers at both the undergraduate and professional levels for classical musicians but not for jazz performers, leading many jazz-oriented undergraduates to pursue their music independently of the school or department.To jump-start course offerings in jazz that focus on improvisation, the Jazz Collective is designing a residential college seminar that it hopes to get approved for next fall, Jazz Collective President Sam Frampton ’15 said. The class would ask professional musicians from the New England area, and potentially Yale faculty members, to teach jazz performance, improvisation, theory and history, he said.Patrick McCreless, the director of undergraduate studies for music, said the department would welcome more jazz courses into the curriculum given demonstrated student demand, citing as potential jazz professors Brian Kane, a theorist who plays jazz guitar, and professor Michael Veal, an ethnomusicologist who plays the saxophone. Yet the small faculty size and liberal arts focus of Yale’s Music Department limits potential course offerings, he added.School of Music professor and Jazz Ensemble Director Thomas Duffy said he would be interested in teaching informal workshops on jazz performance and improvisation, but that he sees formal classes as potentially more effective for motivating students to make a consistent commitment to jazz.Duffy said he sees the extracurricular Jazz Ensemble as the “easiest” outlet for extracurricular jazz performance on campus given its regular rehearsal schedule, faculty and budget support and the infrastructure of the larger Yale Bands organization. But the Jazz Ensemble is a 17-piece big band, which may only appeal to some performers, Frampton said. The Jazz Collective hopes to develop opportunities for small groups that are even more improvisational, Hudak, who is also the Collective’s faculty advisor, said.Frampton explained that the “smoky club” atmosphere of small ensemble performance could help expose students — both performers and listeners — to jazz culture beyond the music itself. The Collective organized its jam sessions, he added, to offer another “raw” look at jazz.Before lobbying for institutional change, the Jazz Collective must demonstrate enough consistent student demand for jazz, Frampton said. This requires mobilizing jazz musicians already at Yale to ask for jazz opportunities and help create popular support by exposing the rest of the Yale community to jazz. Reid said the group hopes to put jazz music at the front of student consciousness with a weeklong festival in April that will bring professionals from New Haven and New York and organize interdisciplinary jazz lectures and student performances — including jazz-related a cappella groups.Reid added that concrete examples of Yale’s commitment to jazz, such as a residential college seminar or festival, could help convince jazz-oriented prospective students to enroll at Yale, which would build the jazz community over time. He recalled speaking with high school seniors who expressed skepticism over opportunities for jazz at Yale, some of whom chose other schools because of their interest in jazz.“You want visiting students to see an active thriving community here,” Frampton said.But the Collective may face monetary challenges, Hudak said. Creative and Performing Arts Awards cannot fund events by performers from outside Yale, so the jazz festival and Coffeehouse Coda may need to find other sources of funding.Hudak added that administrators have supported jazz events like the Coffeehouse Coda in the past since they also provide alternative ways of socializing. As an alcohol-free option on a Saturday night, the coffeehouse can be a model for other arts events where students “[don’t] think they have to get plastered,” he said.“[Student jazz musicians] get to be creative and do cool things, while other students can be entertained for the night too,” Hudak said.The Jazz Collective is comprised of roughly 15 student members.Correction: Dec. 6A previous version of this article stated that the residential college seminar program typically does not pay its professors. In fact, the program does pay its instructors for teaching.

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Students aim to develop jazz culture