The Summer of Transformation: How Dartmouth’s Performance Groups Redefine College Life
There’s something uniquely magical about the way summer transforms college campuses. The pressure of exams fades, the pace slows, and suddenly, there’s room for something entirely different—something creative, communal, and often life-changing. At Dartmouth, this transformation takes center stage through its sophomore summer performance groups. Personally, I think this tradition is one of the most underrated yet profound aspects of college life. It’s not just about dancing, singing, or acting; it’s about stepping into a version of yourself you might not have known existed.
One thing that immediately stands out is the sheer scale of participation. This year, a record number of students auditioned, with some groups welcoming nearly 60 new members. What makes this particularly fascinating is that many of these students have no prior experience. It’s a testament to the power of these groups to create an inclusive space where beginners are not just welcomed but celebrated. From my perspective, this is where the real magic happens. It’s not about perfection; it’s about exploration, growth, and the joy of trying something new.
Take the dance groups, for example. Names like Fission, Razzbery, and Shebalite aren’t just clever deviations from their full-year counterparts—they’re symbols of a summer-specific identity. Each group has its own hand signs, traditions, and themes, creating a microcosm of belonging within the larger campus community. What many people don’t realize is that these groups are more than just performance troupes; they’re incubators for creativity, teamwork, and self-discovery.
Crystal Wang ’28, co-summer director of Shebalite, puts it beautifully: “Immersing yourself in a totally new environment can be really daunting… [but] the dance group is almost like a little micro environment that really lets people explore parts of themselves they would have never known.” This idea of exploration is what makes these groups so compelling. In a world where college students often feel pressured to have everything figured out, these summer performances offer a rare opportunity to play, experiment, and grow without judgment.
What this really suggests is that college isn’t just about academics or career prep—it’s about discovering who you are and who you want to be. The technical skills learned in these groups are important, but they’re secondary to the personal transformations that take place. Paulina Fomicheva ’28, co-summer director of Splenda, emphasizes this when she says, “I hope it increases people’s confidence. You can learn how to dance in two months.” It’s a powerful reminder that growth doesn’t always require years of practice; sometimes, it just takes a leap of faith.
If you take a step back and think about it, these groups are also a microcosm of larger societal trends. In an era where loneliness and disconnection are on the rise, especially among young adults, these performance groups offer a counter-narrative. They’re a reminder of the power of community, of the joy that comes from creating something together. Avery Aaronson, co-director of Ujimelt, highlights this when she talks about the group’s name, derived from the Kwanzaa principle of ‘collective work and responsibility.’ It’s not just about the performance; it’s about the bonds formed along the way.
A detail that I find especially interesting is how these groups adapt their routines to accommodate beginners. Camille Weinstein ’28, co-director of Fission, explains that they’ll often modify dances to make them more accessible. This raises a deeper question: Why don’t more areas of life operate this way? Imagine if workplaces, clubs, or even friendships were designed with the same inclusivity and adaptability. The world would be a very different place.
The a capella and comedy groups follow a similar ethos. Summerphonix, for instance, focuses on creating a social space where friendships can flourish, regardless of skill level. Nick Lutsky ’28, co-president of Can’t Rent Comedy, sums it up perfectly: “I just want people to feel like they are funny. Because they are.” This sentiment is at the heart of what makes these groups so special. They’re not just about the final performance; they’re about the journey, the laughter, and the connections made along the way.
As someone who’s spent years studying human behavior, I’m struck by the psychological implications of these groups. They challenge the notion that talent is innate, showing instead that confidence and skill can be cultivated in a matter of weeks. They also highlight the importance of play in adulthood—something our culture often dismisses as frivolous. But play is how we learn, grow, and connect. These summer performance groups are a masterclass in the art of play.
Looking ahead, I can’t help but wonder if this model could be replicated in other contexts. What if corporations adopted a ‘summer performance group’ mentality, encouraging employees to explore new skills in a low-stakes environment? What if communities created similar spaces for intergenerational connection? The possibilities are endless, and they all stem from the simple yet profound idea that growth happens when we step out of our comfort zones.
In conclusion, Dartmouth’s sophomore summer performance groups are more than just a campus tradition—they’re a blueprint for how to live a more creative, connected, and courageous life. Personally, I think we could all benefit from a little more Fission, Shebalite, or Summerphonix in our lives. After all, isn’t that what summer—and life—is all about? Embracing the unknown, finding joy in the process, and discovering the best versions of ourselves along the way.
