Morrison: Comedian's fat-shaming video perpetuates harmful social stigmas

A recently published YouTube video entitled “Dear Fat People” has sparked feminist discussions about body image and its impact in social and institutional settings. The video features Nicole Arbour, a young, white, blonde—and most importantly thin—woman ranting about the “myth” of fat-shaming. What ensued is a rapid series of highly condensed, ill-informed jokes. Arbour makes a mockery of body-shaming, homophobia, misogyny, racism and even Islamophobia in just six minutes. If it weren’t so terrifying, it would almost be impressive.

Arbour’s argument essentially states that being fat is a choice. She believes fat people do not face the same discrimination that people of color, people with disabilities and gay people face.

She sums up her point of view within the first minute: “Fat shaming is not a thing. Fat people made that up. It’s like the race card with no race.”

There is reasonable validity to the idea that the overweight population in America does not face discrimination nearly to the degree that, say, people of color face. Arbour’s argument, however, is flawed in her complete misunderstanding of what fat-shaming is.

Arbour says, “Are you going to tell the doctor that they’re being mean and fat-shaming you when they say you have a fucking heart disease?”

What’s clear here is that Arbour believes that fat people do not want to take responsibility for their weight or that they do not believe they could be unhealthy. In many cases, those who are the victims of fat-shaming are not overweight to the point of poor health, but are simply curvier than the modern notion of beauty.

Arbour’s beliefs portray a common misconception about the body positivity movement. She mocks body-positive hashtags by comparing them to “#methlove” or “#teamsmokers.”

Being body positive is for people of all body types. Body positivity is not about praising bad health. It is about loving oneself and one’s physical appearance. Those who are obese or overweight to the point of health risks may need to make lifestyle changes, yes, but the point is that it is their personal choice it should not be mocked. In addition, it is especially important for women to be told that there are infinite interpretations of beauty outside of the “norm.”

The plethora of inaccuracies within Arbour’s argument can be traced to her incorrect interpretation of fat-shaming. Fat-shaming can essentially be defined by the idea that overweight or plus-sized people are treated with disrespect and face actual, legitimate discrimination. Aside from the obvious societal contempt for overweight people seen in the media, those who are overweight face institutionalized discrimination in many forms.

Discrimination against overweight people occurs in the medical, legal and professional fields every day. A 2012 study by the Yale Rudd Center for Food Policy and Obesity found instances of weight bias in education, employment and healthcare. In addition, the Boy Scouts of America only allowed scouts with a BMI of 40 and under to participate in their annual Jamboree in 2013.

An issue that Arbour doesn’t address—but one that is very apparent—is her internalized misogyny. Her arguments seem to be targeted primarily at females—the most common victims of fat-shaming. It is nobody’s place to criticize or condemn women comfortable with being fat and women who choose to love their body no matter their size.

Body positivity is important. Both women and men should not have to endure discrimination and ridicule from people like Arbour, whether it be about their personal life, appearance or health.

Jurassic Park meets Clue at Murder Mystery improv special

Geneseo improv troupe Currently Known As performed a show for students in Wadsworth Hall on Friday Nov. 22. Unlike the group’s usual shows, this performance had a murder mystery premise. As anyone who has had the pleasure of seeing the group perform knows, CKA usually starts off with a fairly routine set of sketches. Each sketch lasts five to 10 minutes and moves along at a very quick pace. “Murder Mystery” began with some typical free-form improv. Soon afterward, the actors dove into the main sketch.

The premise of the sketch was set up based on audience suggestions for the setting and nature of the murder. The audience decided that the deed was to be done in a rain forest during the Jurassic era. This led the actors through a hilarious storyline in which rival groups of cavemen and dinosaurs schemed to kill one another.

The plot thickened when a romance bloomed between a caveman, Oog, and a dinosaur, Theodore. What was especially comical about this sketch was that the dinosaurs were all very sophisticated and well-educated, while the humans were generic, barbaric cavemen. The scenes generally focused on two actors at a time and ended when another actor would run onto the stage.

The audience also decided the character that was to be murdered. Each member of the audience clapped for whichever character he or she wanted killed off––whoever received the loudest applause was assigned the role of victim. Then, offstage, the actors decided on who the murderer would be. The audience members were then tasked with deciding who they thought it was. They learned if they had guessed right at the end of the sketch.

This form of improv was extremely different compared to the usual sketches. It was one sketch that was over an hour long, rather than multiple short sketches. While this made for a much more developed storyline with some surprising twists, it did lose steam in parts. The actors had to balance creating a clear plot with keeping things funny and interesting. Unfortunately, at points it felt as though the humor was lost as the actors temporarily focused on resolving the conflict.

This long, involved sketch also allowed for a clearer look into how the actors keep an improv moving––they would usually just go with whatever their fellow actors suggested. They valued following along the current of the story over trying to have it make sense, which is what makes improv in general so entertaining to watch. Within this difficult branch of comedic acting, it’s expected that there will be some flops and inconsistencies, many of which the actors actually acknowledged and played off.

CKA put on an overall great show. Each actor fully committed to the ridiculousness and confusion that often takes over during improv performances. This “go-with-the-flow” attitude was welcome considering the length and involvement of the murder mystery plot.

While the usual short sketches are a bit more fast-paced and high-energy, it was interesting to see the troupe explore something out of the ordinary.

British boy band steers sound in different direction

To the delight of many teenage girls across the globe, popular boy band One Direction released its fourth studio album on Monday Nov. 17. Titled Four, the album features collaborations with guest artists such as Ed Sheeran for what is promised to be an edgier, more rock-inspired album. Four will most likely be another huge success for the group. With a signature, catchy and upbeat style, One Direction delivered exactly what fans are looking for. Punctuated with a few rock songs and acoustic pieces, Four is slightly less bubblegum-pop than previous 1-D offerings. That being said, the album does lack interest and originality, and may have faltered a bit by trying break away from their typical sound.

The album starts off with “Steal My Girl,” the first single off of Four. It begins with pounding drums, a clapping beat and a repetitive piano riff—the song is definitely catchy. Due to the group’s huge following, it’s likely you’ve heard this song playing on almost every radio station. As it’s a bit lackluster and quite repetitive, “Steal My Girl” may not have been the best choice for the first single––though it remains popular.

The second song “Ready to Run” shows where the boys tried to switch up their style. This track features a Mumford and Sons-inspired folksy feeling, but was ultimately unsuccessful. What makes that genre of music so interesting are beautiful melodies and raw sound, which this song completely lacks. The chorus is unexciting and the boys’ overly polished-voices are just not fit for the genre.

One track that stood out to me was “Stockholm Syndrome,” which has a bit of a 1980s feel. It’s extremely buoyant and has a beat that sounds a lot like Haim’s 2013 hit “The Wire.” It sticks to One Direction’s signature pop sound, but is a bit less vanilla. I think this song will definitely be a guilty pleasure for many people and was certainly the highlight of Four for me.

Although typical of most boy bands/male pop vocalists, it is hard to ignore the sexist undertones that play a role in nearly every song. Every single song on the album is a love song, but usually one in which the girl is described as an object. The most obvious example of this is from “Steal My Girl,” which features absolutely absurd lyrics such as, “She belongs to me” and, “Every jaw drops when she’s in those jeans.”

With Four, One Direction definitely tried to break away from their typical boy-band sound and style, but missed the mark just a bit. Although they may not have been successful in their goal, I think fans will certainly be satisfied. Four also gives us non-“Directioners” a few catchy songs to deny enjoying.

Rating: 3.5/5

Alumna artist balances memory with permanence in print exhibit

The Kinetic Gallery opened “Suspending the Impermanent: Imprints From a Throwaway Culture” on Monday Nov. 10. The display features a series of unconventional prints from artist Briana Zimmerman ‘12. Upon entering the gallery, the pieces are immediately striking. They all follow a general composition—fairly small pieces with white backgrounds, featuring tiny yet dramatic prints. While there are differences in color, subject and technique, the pieces flow nicely together to create a cohesive display. Some prints feature faces, while others simply suggest figures and are entirely abstract.

The prints are made in mixed media. They feature image transfers from Zimmerman’s own photography, as well as magazines––primarily The New York Times. The unusual nature of the prints makes it unclear as to what her exact process is.

“It’s kind of complicated, but there are a few main points. Basically, I transfer images that I either take on film or from magazines, then I either imprint them onto canvas or paper with paint thinner, a gel medium or some type of solvent that would take the ink off the original image,” Zimmerman said. “I rub them until the image transfers.”

In some works, pieces of the actual magazine paper remain on the transfer. This creates an interesting contrast between the soft lines of the transferred image with the bold colors and shapes on the magazine paper.

The design of the exhibit works well. As one walks through it, there is a noticeable balance between the more haunting, mysterious pieces in black and white with bold, colorful pieces featuring feminine faces or forms.

Although the pieces are untitled, one piece that is particularly striking features the face of a young girl wearing a soft, pink hijab. The image is distorted and worn around the edges, but the girl’s face stands out with its dark shadows and heavy contrast. Matching the title of the exhibit, the use of white space surrounding the subject makes her appear suspended in space.

The pieces stand alone well, but Zimmerman’s explanation only furthers the intrigue. She explained that her hope in creating these pieces was to capture fleeting moments and permanently imprint them. She also discussed the importance of consumerism.

“Normally, when people are flipping through a newspaper or magazine, they would just throw [these images] away,” she said. “[Companies] try to get us to buy [their products] and then throw them away and buy more stuff, so I’m trying to contain everything and preserve everything in my artwork.”

The technique is generally similar for all the pieces. There are small variations in material but large differences in time. Zimmerman explained how some pieces took as little as five minutes to transfer the way she desires, while others took as long as four hours. In order for the prints to be more vibrant and detailed, Zimmerman has to rub the transfer longer. This painstaking technique proved for an intricately designed assemblage.

“Suspending the Impermanent: Imprints From A Throwaway Culture” will be on display in the Kinetic Gallery until Dec. 1.

Book Review: Yes Please

Amy Poehler released her first book Yes Please on Oct. 28. The humorous memoir gives readers everything they want and more. It’s hilarious, witty and full of good advice and life lessons. Based on Amy Poehler’s previous credits, I had high expectations for her memoir. With her work starring on NBC’s “Parks and Recreation,” writing and performing for “Saturday Night Live” and acting in numerous comedies, Poehler is no stranger to making people laugh.

Yes Please is a mixture of essays and hilarious tales from Poehler’s past, along with some pieces of wisdom and more serious stories. But as Poehler jokingly puts it, “Let’s call this book what it really is: an obvious money grab to support my notorious online shopping addiction.”

Poehler shares stories that make her relatable to a variety of audiences ranging from college students, high schoolers, young girls––essentially anyone struggling to figure out who he or she is. Poehler occasionally uses self-deprecating humor to convey her idea that being in the background is okay. For instance, when she recalls being voted “third runner-up for ‘Most Casual’” in her high school yearbook.

Jokes aside, Poehler offers some serious insight and wisdom. One particularly prominent theme is her discussion of feminism. In the male-dominated comedy industry, Poehler has had years of experience in dealing with day-to-day oppression and offers lots of uplifting anecdotes and ideas.

Poehler’s discussion of dating in high school particularly stuck with me. “You had to be hot, but not a slut,” she wrote. “You had to be into sex but never have it, except when your boyfriend wanted it. If you had sex, you had to keep it a secret but also be very good at it, except not too good.” She follows this passage by discussing “the demon,” the voice inside every girl’s head telling her she isn’t pretty enough, good enough or interesting enough.

On top of the more serious sections, there is certainly no shortage of laughs. My two personal favorite sections of Yes Please are the “birthing plan” and one chapter written by Poehler’s long-time friend and colleague Seth Myers.

“Birthing plan” is a mock letter from Poehler and then-husband Will Arnett to their hospital doctors, describing exactly how they want the birth of their first child to go. “We plan on delivering the baby to the soundtrack of Pink Floyd’s The Wall while simultaneously watching The Wizard of Oz,” Poehler wrote. “If this kid works with us, we guarantee your minds will be blown.”

Anyone looking for a book that offers a perfect balance of hilarity and wisdom will find it in Yes Please. You will laugh, cry and get a deeper look into the mind of one of today’s most celebrated comedians.

Rating: 4.5/5

Shakespeare meets the Silk Road in “Comedy of Errors”

From Wednesday Nov. 5 to Sunday Nov. 9, Geneseo’s department of theatre and dance will collaborate with Geneseo’s Asian-American performance ensemble GENseng in a performance of William Shakespeare’s “Comedy of Errors.” This performance is the first mainstage production of the 2014-2015 season. In the nature of any classic Shakespearean comedy, “Comedy of Errors” weaves a tale of mishaps, confusion, hilarity and of course, romance. Taking place in Uzbekistan, the story follows one set of identical twins––both named Antipholus––and their identical twin servants––both named Dromio––who are separated shortly after birth and unknowingly find themselves in the same city on the same day. In the confusion and conflict that ensues, they must figure out the source of all the misunderstanding. Featuring characters from all along the ancient Silk Road, the play incorporates many cultures and settings.

The production’s spin on the original play was evident. The jewel tones and bright colors that create the background reflect the opulence of ancient central Asia. “[The play] is originally set in Europe, and my character is originally called Dromio of Ephesus,” freshman Sydney Klainberg said. “In our production, we’re now from Samarkand, which is in Uzbekistan. [It’s] now set on the Silk Road and is set in a different time.”

Although there are major differences between the two versions, Klainberg described how the Geneseo production didn’t completely deviate from the original. “A lot of the themes are the same,” Klainberg said. “But the costumes are going to be different and the sets are going to be different from what you would traditionally see.”

The performance began with eight dancers filing in. Like the rest of the cast, the dancers are donned in vibrant layers of loose-fitting clothing that command attention. Another impressive element is the resemblance between the sets of twins. Makeup and costumes make the four “twin” actors look eerily similar. Aside from the eccentric costumes and bright background, there is little else on stage. One impressive element of the show is its minimal usage of props. The actors use the space around them and their interactions to convey different environments and objects.

As is typical of Shakespearean plays, particularly comedies, the acting is exaggerated and enthusiastic. As Klainberg said, “You have to understand what he’s saying and be able to portray that to the audience ... one of the most common ways that actors who are [performing] Shakespeare do that is through big hand gestures.”

Played by junior Henry DiMaria, Antipholus of Samarkand’s wife Adriana epitomizes this in a hilariously over-the-top portrayal. Adriana isn’t the only character portrayed in drag; sophomore Chase Watkins plays kitchen wench Nell in an equally unconventional performance.

Since many of the jokes might be confusing to audiences unfamiliar with Shakespearean language, there are added motions that create another layer of humor. It was clear that the actors had fun with the performance.

“I think all of us are having a really great time and we sort of formed this family,” Klainberg said. Although the jokes are often corny and not quite laugh-out-loud, the performance was entertaining from start to finish. The actors were able to keep up the fast pace and high energy throughout the entirety of the show.

With its happy and satisfying ending, the play is definitely a crowd-pleaser. If you enjoy Shakespeare or any form of theater, I recommend getting out to see “Comedy of Errors.” The actors’ constant enthusiasm keeps the show fast-paced, exciting and will certainly impress any viewer.

Orchesis boasts student choreography, multiform dances

Orchesis held its Fall 2014 Showcase in Wadsworth Auditorium on Saturday Nov. 1 and Sunday Nov. 2. The show was a series of student-choreographed dances and included many different styles and experience levels. As Geneseo’s largest student-run organization, Orchesis has over 200 members and allows students of any dance background to sign up to be part of a routine, whether they have years of experience or none at all. The recital featured 13 different numbers by different groups of students based on their experience levels, covering everything from hip-hop to ballet.

The show opened with a dramatic, elegant piece choreographed to Sleeping At Last’s “Turning Page.” The dancers wore simple white dresses and moved gracefully with the lyrics. One particular moment that stood out was when one of the dancers executed precise, seemingly endless fouette turns, generating huge applause from the audience.

Another dance that seemed to be a crowd favorite was the only tap piece. The dancers were completely in sync with “Trashin’ the Camp” from Tarzan, emphasizing the rhythmic song with impressive footwork and high-energy movement. The audience tapped along as the dancers stomped to the beat, beaming the entire time.

In contrast with the levity of the tap number, the ballet performance of Birdy’s cover of Bon Iver’s “Skinny Love” was emotional and intense—portraying the feeling of longing the song evokes. The dancers swayed and glided across the stage in black circle skirts with white long-sleeved shirts. Broken up with acrobatic movements, this piece was especially interesting to view.

Some personal favorites and apparent crowd-pleasers were dances to Beyoncé’s “Partition” and another hip-hop dance featuring a medley of songs including the undeniably catchy “2 On” by Tinashe. For “Partition,” the dancers channeled their inner Queen B, exuding confidence and sass. The dancers were clearly enjoying themselves, putting attitude into each beat as they posed, stomped and strutted to the bass. “2 On” featured one of the largest groups and was composed of advanced-level dancers. Each dancer hit every beat with the same level of power and synchronization.

The finale was one of the best moments of the show––there was clearly a reason it was saved for last. It began with the Orchesis officers dressed as various Disney heroines and villains and featured a medley of Disney songs. The music then changed to the classic Backstreet Boys hit “Everybody (Backstreet’s Back).” The dancers jumped around enthusiastically as every member of Orchesis stormed the stage and ran in from every side of the auditorium to engage the audience in every way possible.

On their own the dances were impressive, but the fact that students choreographed the pieces made the recital especially notable. Wadsworth Auditorium was filled with families and friends, there to support a part of Geneseo’s arts and performance community.

Currently Known As knows quirky humor

Geneseo’s teaching improvisation troupe Currently Known As held a free show in Wadsworth 21 on Saturday Oct. 25. The actors improvised a series of sketches based on different scenarios with some help from audience suggestions. Currently Known As teaches students the art of improvisational theater while holding regular events and shows. Upon walking into the room where the show was staged, I was happy to see it was filled with students excitedly chattering. The setting was very casual; the audience sat at desks and chairs in a lecture set-up, with the actors at the front of the room.

To be completely honest, I was somewhat nervous about what was to come. My previous experience with improv shows was from high school student performances that could be a bit painful. That was certainly not the case with Currently Known As. Each student brought a different form of humor that kept the audience in stitches from beginning to end. The actors didn’t hold back, fully committing to each situation no matter how bizarre.

The show started off with a fairly well-known skit called “Party Quirks.” One actor was the host of a party and each guest had a strange quirk given to them by audience suggestion. The host then had to figure out what each guest’s quirk was. The suggestions were excellent; one of the most creative ideas was to act like a crime-fighting cactus.

Another one of my personal favorites was “Mannequins.” This skit involved two audience members who came to the front to move the actors around as if they were puppets. What ensued was a skit about a father-daughter dance battle that had quite a few members of the audience in tears.

At the beginning of the show, we were given slips of paper and asked to write down a few phrases. Each phrase was put in a bucket and then incorporated as a line in the skit. Some highlights included “next time on the ‘Real Housewives of New Jersey’…” and “was there always a weasel in this submarine?”

One skit that further showed each actor’s creativity was “Musical Improv.” One of the actors had a guitar and would periodically begin playing it throughout the skit. The actors then had to break into song while continuing the storyline, which in this case involved two friends who stumble upon a murderous hermit in the Amazon.

The show was entertaining from start to finish. What made it particularly exciting was the enthusiastic audience participation and constant high energy coming from the actors. I highly recommend going to the next Currently Known As performance if you’re in the mood to laugh until it hurts.

Fake Bansky arrest report sparks Internet outrage

A recent article claiming that London-based street artist Banksy was arrested, duped Internet users everywhere after a sketchy press release made its way around the web. It claimed that the London Metropolitan Police had discovered Banksy’s identity and apprehended the artist in his apartment. The release claimed that police had identified the elusive artist as Paul Homer and that he was arrested on charges including counterfeiting, vandalism and conspiracy. The story quickly blew up, with Banksy supporters taking to Tumblr, Twitter and Facebook with cries of protest. A deeper look into the story makes it clear that the arrest was a hoax, citing false sources and identifying people involved who do not even exist.

Although often criticized for being contrived and sometimes unoriginal, Banksy’s work is widely known for its controversial political themes, critiquing capitalism, big business and war. Remaining anonymous, his work developed in the Bristol underground scene and can be seen covering public spaces primarily throughout England.

With a huge, worldwide fan base––largely thanks to the Internet––the news of Banksy’s apparent arrest was met with overwhelming backlash. Twitter users tweeted at the London Metropolitan Police, demanding his release. Websites immediately began running articles in response to the arrest.

The consensus among his supporters was that Banksy’s pieces are works of art and should not be treated as a violation of the law. Many felt that bigger, “realer” problems should have taken precedence over his arrest.

One of my personal favorite tweets, mentioned in the Huffington Post, came from former conservative Member of Parliament of Corby Louise Mensch. Mensch tweeted at the UK Metropolitan police, saying, “You have to be kidding me, @metpoliceuk, Banksy? There are so many criminals out there—Banksy? The great artist?” She later corrected the misinformation by tweeting, “OK. Apparently it’s bullshit. Sorry @metpoliceuk #Banksy.”

One interesting theme of discussion among certain users was the issue of race. Many people expressed feelings that, had a person of color been caught creating graffiti, they would be labeled as a thug and met with anger from their community, whereas Banksy’s arrest led to criticism of the police and support from his fans. While it could be argued that this is simply because of Banksy’s notoriety, it was interesting to see the varying responses and discussions sparked by the hoax.

The amount of uproar and publicity generated by a single inaccurate source is what I find most provoking about this story. What started with one press release provoked a worldwide response on the Internet, which is somewhat alarming. The number of people who immediately read the article, accepted it as fact and continued to spread it just proves true all the times our teachers and parents told us not to believe everything you read on the Internet.

Choral groups bring drama, class to fall concert

The Geneseo Spectrum Women’s Ensemble and the Geneseo Chamber Singers held their first performances of the year during their Fall Choral Concert in Doty Recital Hall on Oct. 17. Both performances were conducted by director of ensembles Gerard Floriano and accompanied by accompanist in music Linda Boianova and senior Emi Okada on piano. The hall was at maximum capacity, leaving some latecomers to stand for the duration of the performance. The lights dimmed at 8 p.m. and Floriano made his entrance along with the 30 performers that make up Spectrum Women’s ensemble.

Dressed entirely in black, the chorus stood on the risers as Floriano gave a brief overview of the songs that would be performed. Their concert began with John Rutter’s “For the Beauty of Earth,” a soft, flowing piece quickly followed by “Laudate Dominum” by Mozart. This piece filled the hall with swelling crescendos and complex, multi-part harmonies.

The ensemble finished its performance with Baldasare Galuppi’s dramatic, three-part “Dixit Dominus.” This piece was much more intense than the others, starting off with a triumphant, staccato sound and transforming into something much slower and haunting. The final part of the piece returned to the earlier feeling of celebration, with a bolder sound and quicker pace.

The Geneseo Chamber Singers proceeded onto the stage after the Spectrum Women’s Ensemble took its final bow. This group had an entirely different––certainly more dramatic––stage presence. The women were dressed in floor-length, off-the-shoulder, bright red gowns. Equal in sophistication, the men wore tuxedos.

The Chamber Singers began their performance with Brahms’ “Warum.” This highlighted the contrast between the Chamber Singers and the Women’s Ensemble; it was much more operatic and theatrical than anything the first group performed. The Chamber continued with Schumann’s “Das Schifflein,” a calmer number accented by flute and French horn accompaniment and a solo by sophomore soprano Hannah Loo. The next piece, “Salve Regina,” was poignant and evocative with its sweeping harmonies that expressed a feeling of longing.

Eric Whitacre’s modern, experimental piece “Leonardo Dreams of His Flying Machine” was performed next. The lyrics describe the dreams of Leonardo da Vinci, tortured by a desire to fly. With sounds meant to evoke images of spaceships and wind along with tambourines and a small bell, this was easily the most interesting of the performances as well as the most dramatic.

The concert ended with “Where the Sun Will Never Go Down,” a medley of spirituals and traditional gospel. This was definitely the right choice for the finale. It featured numerous soloists and was entirely a cappella. The piece was bold and soulful, and it seemed that it was the most entertaining for the singers as well.

It was clear that it was an audience favorite, as it was met with huge applause and cheers at the conclusion of the piece. The performances by both groups were extremely impressive. This concert was yet another testament to the amount of talent in the Geneseo arts community.

Visiting dancer schools students in Disney favorites

Guest choreographer and Kiara Brown ‘01 hosted a mas- ter class in Brodie Hall dance studio on Sept. 24. Brown taught students a series of three dances from her work with the Disney Theatrical Group, in- cluding numbers from “Alad- din,” “Newsies” and “Mary Poppins.” Brown has had an impres- sive amount of experience in dance. She graduated from Geneseo with a major in inter- national studies and a minor in dance. She has worked as a professional singer, dancer and actress. Brown is currently a teaching artist and choreogra- pher for the Disney Theatrical Group.

After brief warm-ups and stretches in Brodie, Brown be- gan rehearsing the first number “Arabian Nights” from Dis- ney’s “Aladdin.” The dance evoked an image and feeling of a warm, summer night. Her slow movements were punctuated with sharp Middle Eastern- inspired poses. Brown instructed students to “bring their own char- acter to it,” shouting encouraging words and feedback during each run-through.

After “Aladdin,” Brown moved on to “Seize the Day” from “Newsies,” set in 1899 New York City. This dance was faster and militaristic, reflecting the en- ergy of the city. The dancers ran, jumped and stomped along to this number––the speed was impres- sive. Each dancer was able to pick up the complex moves in a short amount of time.

After this first hour of intense dancing, Brown moved to the final and––in my opinion––the most exciting number of the day: “Su- percalifragilisticexpialidocious” from the classic “Mary Poppins.” The choreography was comprised of motions that represented each letter of the word and increased in tempo as the song went on. The dance was extremely fast-paced and many of the dancers ended up laughing and arbitrarily dancing around as Brown flew through the motions. After receiving her applause from the class Brown gave some insight on her involvement with Geneseo and her current posi- tion working with Disney. She explained that professor of dance studies and artistic director of Geneseo Dance Ensemble Jonette Lancos asked her to visit. She is in residence for a few days in order to prepare students for the upcoming fall dance recital.

Having worked as a teaching artist with Disney for four years now, Brown is an “active per- former, but [she] also gets to teach things from Disney’s Broadway productions.” Along with choreo- graphing, a large part of her job is to “build musical theatre programs and dance programs in schools,” working in both underprivileged and more affluent areas. “One of my favorite parts of my job is to help students get their creativity out,” she said.

Brown said her experience at Geneseo helped to prepare her for her current career. As a student, she was involved with Gen- eseo’s student-run dance orga- nization Orchesis and choreo- graphed several musicals. “[I was] involved in nearly every single musical,” Brown said.

Not only was the master class both entertaining and successful, but it was also an inspiring experience with such a successful alumna of Geneseo. Brown’s teaching exemplifies her positivity and passion for what she does; she truly seemed to bolster confidence in the students who participated.