Buffalo poets share award-winning work

The Geneseo Poet Society and the Department of English celebrated National Poetry Month with a reading on April 19. The event featured Buffalo area poets Ben Brindise, Justin Karcher, Megan Kemple and Aidan Ryan, who read pieces dealing with diverse topics ranging from grief to social justice. 

Assistant professor of English Lytton Smith opened the reading, praising the performing poets for their excellence with both spoken-word and written poetry. 

“There is a sense of energy, possibility and necessity [in their poetry], and especially now in America there’s a need for that,” Smith said. 

Fiction and poetry writer Brindise was the first performer of the night. A teaching artist at the Buffalo Literacy Center, Brindise was voted Best Poet and Best Local Writer at the Best of Buffalo Artvoice Awards in 2015. He recently published his first spoken word chapbook, Rotten Kid—which is a collection of six poems and two short stories—with Ghost City Press. His writing has been featured in many publications, including Foundlings Poetry Magazine, Ghost City Review and Artvoice.

“Almost everything we write can be brought back to our environments, societies and experiences,” Brindise said. 

His first poem of the night, also featured in Rotten Kid, was a beautiful piece that discussed growing up and making one’s mark on the world. 

“You Became a Flower in the Most Poetic Way” and “To See Them Weightless” are products of new experimentations in Brindise’s writing—but all of his work deal with similar themes, including childhood trauma and imagination. He closed his portion of the reading with his final poem featured in Rotten Kid.

Playwright and poet Karcher followed Brindise’s performance. Karcher is the co-artistic director and playwright in residence at Theater Jugend in Buffalo. His recent works have been published in The Rain Party and Disaster Society and Funk Fiction.

During his performance, Karcher spoke with enthusiastic hand gestures, as he shared five poems with the audience, most of which included hilarious images. Karcher still, however, maintained a visceral and emotive quality throughout the reading.

Next was Kemple, a Just Buffalo Literary Center teaching artist. Her plays have been produced by Buffalo United Artists, American Repertory Theatre of Western New York, Road Less Traveled Productions and Niagara University. Additionally, Kemple’s poetry has appeared in Foundlings Poetry Magazine and Feminspire. She is also the author of two chapbooks, American Blasphemies and Accidental Intimacies. 

Kemple shared four poems with the audience, including “The Birthday Card” and “America, My What Big Teeth You Have.” Her final poem discussed the Brock Turner sexual assault case. Kemple’s poems kept to a socially conscious motif, which was received with much approval.

The final poet of the night was writer and educator Aidan Ryan. Ryan, too, is a teaching artist at the Just Buffalo Writing Center and a co-editor of Foundlings Poetry Magazine. Ryan has had pieces published in various journals and magazines, including Octavius, The Sigma Tau Delta Rectangle and The Public.

Ryan shared eight poems at the reading, covering a wide range of topics, from office life to grief. He included poems from his book, Organizing Isolation, which will be released on Friday April 28. The entire work has no type, but is made of individually cut letters, showing that each poem has a different “voice.”

The reading was an inspiring success, which was evident in the silence that could be heard during the poets’ pauses between stanzas. The audience was captivated by their words and images—left unable to stop thinking about the power of poetry.

Asher talks literature, ethics in new book

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Professor of philosophy and English Kenneth Asher gave a talk on his most recent book, Literature, Ethics and Emotions, on Saturday April 15. The book explores how literature contributes to our ethical understanding. (Annalee Bainnson/Assoc. Photo Editor)

Professor of philosophy and English Kenneth Asher gave an enlightening talk on Saturday April 15 regarding his new book Literature, Ethics and Emotions. 

Published in both England and the United States, in Literature, Ethics and Emotions Asher explores the question of how literature contributes to our ethical understanding—where philosophy cannot. In his book, he explored the works of several writers to argue that literary scholars should locate the answer to this question in the history of moral philosophy.

Of note, discussions in an English class often deal with dissecting the behavior of characters or—in the case of poetry—dissecting the “implied stance of the speaker,” according to Asher. Asher argued that both can be classified as a discussion of ethics. 

He believes that emotions are central to our ethical code and that literature can provide us with important emotional understanding.  

“Do we project ourselves into the other? Do we try to imagine what it would be like if we were in their shoes?” Asher asked. “Or do we undertake the more strenuous attempt of trying to imagine what it is like for the other to be in their own shoes? If the latter, does this entail a kind of arrogance on our part: the presumption that we actually could know?” 

Asher dedicates chapters of his book to authors such as D.H. Lawrence, T.S. Eliot, Virginia Woolf and George Bernard Shaw. He uses these modernist writers to explore how literature provides emotional understanding in practice.

“A reader’s response ought to be more spectatorial, one more of third-party understanding based on a regulated emotional response, rather than the tight identification that empathy as a kind of mirroring seems to encourage,” Asher said.

Where other philosophers tend to focus on the novel, Asher explores lyric poetry in Literature, Ethics and Emotions. The discussion examined Eliot’s “Four Quartets,” which explores the idea of the objective correlative, or a set of objects, situations or events that act as a formula for an emotion that the poet hopes to evoke in the reader. The phrase “I have measured out my life in coffee spoons” from Eliot’s poem “The Love Song of J. Alfred Prufrock,” illustrates this. 

“So, perhaps our question might be recast to ask whether literature can alter character, with character understood to be the stable agent of action patterns,” Asher said.

The development of character—when construed as such—is a slow, arduous process of intellectual and emotional discrimination for which the growing child relies on parents, teachers and more broadly, cultural norms, according to Asher. 

“Gradually, one learns to detect the morally salient and what sort of response—both in kind and degree—is appropriate. The role of literature is to refresh and refine this set of responses,” he concluded. 

Asher certainly provided an interesting exploration of the nature of literature, the effect of media on our ethical and emotional responses and the ways in which literature can bring us together through the ethics and emotions embedded in written works.

Last Lecture inspires audience through personal anecdotes

Based on Randy Pausch’s memoir written while he was dying, Elizabeth Falk delivered her own hypothetical “Last Lecture” to impart wisdom from her life journey. Using metaphors about landmarks, Falk’s talk was inspirational and broadening. (Annalee Bainnson/Assoc. Photo Editor)

Elizabeth Falk of the School of Education presented her hypothetical last lecture, “Navigating by Landmarks: People and Words that have Illuminated My Path,” as Geneseo’s inaugural “Last Lecture” on Wednesday April 12. 

Falk began her talk by stating that while she is “navigationally challenged,” frequently needing her GPS in her car, there were a few words that have served as “landmarks” throughout her life in order for her to decide which way to go.

“Persistence” was the first of a series of words that had incredible power and meaning to Falk. Born in 1950 in Auburn, New York, Falk grew up with two brothers, her mother and her violent father. 

“Each of us has something in our pasts that seeks to distract or destroy us,” Falk said. “It could be a person, a particular place or a label you’ve been forced to live under. It can wound you and define you, it can permanently change who you are meant to be, and it can alter the path you follow—if you allow it.”

The first major landmark Falk discussed was books. As her mother read voraciously, Falk described her memory of taking a red wagon filled with books to and from the library with her brothers and mother.  

“They offered an air of possibility and the promise of escape,” Falk said.

The second landmark of her childhood was water. Falk partook in many water sports on Owasco Lake near the city of Auburn, like swimming and sailing. The water offered Falk safety and distance because her father couldn’t swim.

Falk mentioned that as a child, she found she had perfected the act of invisibility in order to handle her father’s anger and violence. 

She entered college at Geneseo and said that, at the time, women had two choices in terms of studies: nursing and teaching. Falk chose teaching, but mentioned that in reality, teaching chose her. 

The second major word for Falk was “passion.” 

“It is possible to find work that is challenging, fulfilling and joyful,” Falk said. 

But, bringing in her third word “choice,” she said that even if you do find work that you love, you still have to make some hard choices. If you’re prepared and practiced, however, you can make good choices, Falk said. 

She discussed how if you make a bad choice, you can turn around and replace those bad choices with better ones. Here, Falk mentioned a few teachers from her past who had told her she wasn’t musically inclined, creative or a good enough writer. 

She then mentioned how later in her life, their words were overlooked, as the need to create became stronger than those words uttered. In one way or another, she accomplished those things the teachers said she couldn’t do.

The fourth and final word was “joy,” as focusing and looking for joy carries Falk through the ups and downs of life. She showed many pictures of her children and grandchildren, all who serve as an immense source of joy in her life. 

“The thing about joy is that it’s fleeting—you have to focus on it,” Falk said. 

This collection of words and the stories Falk associates with them provided an inspirational framework around which Falk could deliver inspiration through the wisdom she has gained throughout her life. 

Like any great lecture, Falk’s talk left the audience questioning their choices with whom they’re surrounding themselves, as she discussed the chances we have to get choices right if only we are prepared and willing to keep improving the choices we make.

Teres manipulates line, color in “50 Years of Photography”

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Michael Teres’ “50 Years of Photography” explores the photographer’s experimentations with light and color. Consisting of self-portraits and shots of the human body, landscapes and food, the exhibition will be on display in the Lederer Gallery from Wednesday March 22–April 29. (Ellayna Fredericks/Staff Photographer)

The Bertha V.B. Lederer Gallery is holding a thought-provoking new exhibition from photographer Michael Teres titled “50 Years of Photography” from Wednesday March 22-April 29.  

Teres is a retired professor of studio art here at Geneseo who has been exploring the way light affects various objects and forms. He has been photographing what he finds from a young age. Seeing these photographs in one gallery is a treat, as you can trace how Teres matured as a photographer throughout his life. 

The exhibit includes pieces from a series of self-portraits, including pieces that focus on a variety of subjects including food, landscapes, nature and the human body.

The photographs currently in the gallery are numerous and each is distinct in its exploration of line and color. The gallery is attention-grabbing upon first glance, simply because of the various hues central to each piece. Teres takes the colors in his photos and reduces them to the three primary colors: red, blue and yellow. This creates an interesting relationship between line and color, giving Teres’ work a distinct quality. 

Many of Teres’ photographs explore light and shadow in relation to the lines of the human form. By shining a light on the human body, shadows inevitably create new, harsher lines, redefining how we think the human body should appear and blurring the line between what we think we know and what appears before us.

One such piece is that of a woman bent over in a yoga-like position. This movement creates a line between her shoulder blades, as her hair falls to the floor; her hands are held up behind her back, extending the line even further. This opened the photo vertically; one’s eye is drawn upward. This photo explores space and balance as well, as the woman is positioned slightly off-center, standing in front of a completely white background. 

Teres also explores light in landscapes. Using Photoshop, Teres enhances certain aspects of photographs, creating lines with different shades of color to further manipulate our perceptions of reality within a single photograph. These photographs bring to mind a mixture of surrealist and pop art photography.

There are also several prints on display in the exhibition. These are standouts, especially when presented side by side. One such pair of photos uses a similar print in both, but while the first uses many different ink colors, the second is only black and white. Essentially, the pair is exploring the same movement, but the different colors and light patterns draw our eye in different directions, allowing for vastly different reactions to each. These pieces are reminiscent of pointillism and pop art. 

All of Teres’ photographs are evocative, visually mind-bending and contradictory. The viewers easily find themselves drawn into each piece, as they attempt to grasp the subject principles of design that Teres was focused on. 

Each of Teres’ photographs are a striking experiment that gives the viewer new perspectives in regard to how we see our own bodies and the dimensions of the world we live in.

Fiction author Novey shares writing secrets

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Fiction writer and translator Idra Novey visited the college on Monday Feb. 27 to speak about her first novel, Ways to Disappear. The novel, which centers on the disappearance of and search for a Brazilian author, examines the ways in which we long to be understood. (Ash Dean/Photo Editor)

Poet and translator Idra Novey treated the Geneseo community to a reading from her widely acclaimed first novel Ways to Disappear on Monday Feb. 27.

The novel won the 2016 Brooklyn Eagles Prize for Fiction, earned a spot as one of National Public Radio’s Best of 2016, The New York Times Editor’s Choice and The Paris Review’s Staff Pick, among other honors. She has had two collections of poetry published in the past and has also had other short stories and poems published. 

Novey herself cuts an impressive figure; she has taught at Princeton University, Columbia University, New York University, Fordham University, the Catholic University of Chile and in the Bard Prison Initiative. She is currently the Visiting Distinguished Writer in the MFA Program in creative writing at the Long Island University in Brooklyn. 

She has translated the works of many prominent Brazilian writers, such as Clarise Lespector’s The Passion According to G.H. With her own writing, however, Novey wanted to write the book that she couldn’t find, and for her that included a character who did not conform to stereotypes of a translator.

Ways to Disappear is set in Rio de Janeiro, and it follows the story of Brazilian author Beatriz Yagoda, who disappears after accruing gambling debt. In her absence, a loan shark attacks her children and editor and American translator Emma. Emma then teams up with Yagoda’s children to solve the mystery of her disappearance. 

“They are all looking for her, but none of them is looking for the same person,” Novey said. 

The novel explores translation, the ways in which people long to be understood and how we confine each other to certain definitions and expectations. Novey said that with Ways to Disappear she wanted to push fiction forward a little bit by working between genres and at times between languages, which she said she believes invigorates a writer’s work. 

She admitted that her book incorporates instances that are autobiographical in nature, but it is mostly fictional. During her reading, Novey reminded the writers in the room that you don’t need to have lived the exact situations that your characters are in—but you do need to have experienced the same emotions as them. 

When asked how she maintains motivation to write, Novey recommended that writers maintain a sense of urgency about why a book needs to be written and why they need to be the one to write it. She keeps herself motivated by finding new ways to re-enter her own work, such as through empathizing with characters that do not warrant empathy upon a first reading, or through considering her characters’ different points of view. 

Above all, though, Novey is sure to continuously ask herself whether or not she’s taking each scene as far as she can emotionally. 

On the other hand, when translating a work, Novey has different priorities based on whether the work is poetry or prose. With poetry, she can let the music of language take priority; with a work of prose, other factors must take priority—notably the images that the work creates in its original language versus those it would create in another language.

Novey encouraged a room full of young writers to stick with their craft, offering up this critical piece of wisdom: the writing you throw away feeds whatever you write next.

New York Fashion Week gets political

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Designer Tracey Reese is among those during this year’s New York Fashion Week who donned a pin in support of Planned Parenthood. The Public School Fashion collection is just one show that chose to speak out against current politics via their design. (Seth Wenig/AP Photo)

Fashion has long been hailed as an art form used to make powerful social and political statements. This year’s 2017 New York Fashion Week was no exception.

The Council of Fashion Designers of America partnered with Planned Parenthood and handed out pins with the motto, “Fashion stands with Planned Parenthood” at all of the shows. The goal was to “increase awareness, engagement and support” for the organization, which has recently been threatened by the Republican Party and President Donald Trump’s administration. 

Many designers donned the pins; each time one of the pins was shared on social media with the hashtag #IstandwithPP, the Council of Fashion Designers of America donated $5 to Planned Parenthood.

In addition to this sweeping support, individual designers used their designs and shows to make statements regarding the current political atmosphere around the globe. Many American designers used their designs to protest the recent decisions of Trump and the oppression of women. On the other hand, British designers like Jenny Packman took the opportunity to explore the implications of the recent Brexit vote. 

Tome—a New York City based line—utilized its show to further support Planned Parenthood. Its models were sent down the runway sporting the CFDA Planned Parenthood pins. At the end of the show, creative directors Ryan Lobo and Ramon Martin wore “Stand with Planned Parenthood” T-shirts. They also showed their solidarity for Guerilla Girls, an anonymous all-female art coalition, by having “GG” on their blazers.

American designer Prabal Gurung—one of the designers for Hillary Clinton’s presidential campaign—had arguably one of the most political and socially motivated collections of the year. His show featured garments with feminist statements emblazoned on the sleeves. One silk dress included snippets of famous speeches from feminist icons, such as Susan B. Anthony’s “They threw things at me, but they were not roses.” 

In the show’s closing, rather than sending out an array of gowns as is traditional, Gurung sent out three models wearing pantsuits, which have recently become symbols of female empowerment. 

In the finale, every model walked down the runway with T-shirts with different feminist statements on them. Gurung himself walked out wearing his own, which read, “This is what a feminist looks like.”

Jeremy Scott outfitted all of those who were helping with his show with T-shirts that read, “OUR VOICE IS THE ONLY THING THAT WILL PROTECT US.” The actual designs in his show featured more subtle messages, as he was hoping to express support and the need for creative expression. 

 Many designers commented on the inclusivity of the fashion industry and how it is such a flexible and important mode of creative expression. Some designers stated that they did not care who was wearing their clothes; rather, they cared about the people that are connected to the narrative within the pieces. 

It seems that the most prominent fashion trend this season was activism. Through colors, form and at times written words, these fashion designers used their designs to help spur others to action in order to bring to the world the changes they wish to see.

NYC Mayor’s Office gets New Yorkers on the same page

The New York City Mayor’s Office of Media and Entertainment recently announced its One Book, One New York initiative, a program that intends to unite all five boroughs through the act of reading. This giant book club is attempting to get as many New Yorkers as possible reading the same book at the same time. 

A similar initiative was attempted in 2002, but due to organizational issues the program fell through. There have been other similar initiatives in cities like Seattle, but this will be the first time that the program will be successfully launched in New York City. 

To avoid the issues of previous years, the MOME has created a website where participants can vote for their favorite of five award-winning novels, which have been recommended by various celebrities. This vote will then determine which book will fall into the hands of (hopefully) everyone in the city. 

The first of the five has been nominated by American actress, singer and “Frasier” alumna, Bebe Neuwirth. Americanah, written by Chimamanda Ngozi Adichie, follows the stories of Ifemelu and Obinze, a young couple who are forced to flee from military-ruled Nigeria to the United States and London, respectively. Once Ifemelu reaches the U.S., she recognizes that what it means to be black in America is vastly different than in Nigeria. 

Meanwhile, Obinze is living a separate life in London as an undocumented immigrant, due to post 9/11 travel procedures that hindered him from joining Ifemelu in America. Fifteen years later, they find each other again in Nigeria, rekindling both their love for one another and for their country.

Danielle Brooks, known for her roles in the Broadway production of “The Color Purple” and hit Netflix series “Orange Is The New Black,” recommended Between the World and Me by Ta-Nehisi Coates. Between the World and Me offers a contemporary look at the questions, history and institutions upon which America was built, with a specific emphasis on race. Coates attempts to look at how we can reconcile with our history, exposing the realities of being black in America and how those who are different from the “norm” must wrestle with society. 

Comedian Larry Wilmore’s pick is The Brief Wondrous Life of Oscar Wao by Junot Díaz, which follows Oscar, a man who dreams of becoming the Dominican J.R.R. Tolkien. A curse that has plagued his family for generations, however, stands in the way of his dreams. Díaz allows his readers to peek at Dominican-American history through the lens of a contemporary American experience.

Giancarlo Esposito—known for his roles in “Breaking Bad” and its spinoff “Better Call Saul”—chose quite an intriguing book as his candidate for the vote. The Sellout by Paul Beatty is the satirical story of a young man raised in isolation as he participates in a race trial that eventually sends him to the Supreme Court. 

The One Book, One New York webpage describes The Sellout as, “challenging the sacred tenets of the United States Constitution, urban life, the civil rights movement, the father-son relationship and the holy grail of racial equality—the black Chinese restaurant.”

The final submission comes from “Shameless” star William H. Macy, who has chosen to recommend A Tree Grows in Brooklyn by Betty Smith, which captures the coming-of-age story of Francie Nolan, who spends her formative years in the slums of Williamsburg. Described as an American classic, Smith’s novel demonstrates a sincere focus on the connectedness of families, even as they suffer through difficult eras. 

The One Book, One New York initiative is being encouraged to support the city’s publishing industry, local libraries and bookstores. And each of these books has some connection to the New York City area. 

In a time when our country seems more divided than it has ever been, this program is hoping to unite one of America’s arts capitals through literature.

Zelda Fitzgerald outshines husband in myriad of new media

Amazon released the first season of “Z: The Beginning of Everything” on Friday Jan. 27, an adaptation of Therese Anne Fowler’s novel Z: A Novel of Zelda Fitzgerald.

The series makes creative use of some of F. Scott Fitzgerald’s most famous quotes and references throughout many of his literary works, cataloguing the relationship between Zelda Fitzgerald and F. Scott Fitzgerald as one of the literary world’s most famous couples. As the title implies, this series does not focus on F. Scott Fitzgerald—instead, it centers on his wife, Zelda.  

The series opens in Montgomery, Alabama in 1920, where we see Zelda Fitzgerald as a feisty young woman. Zelda Fitzgerald regularly disobeys her father, attends dances with soldiers and spends time with her friends. Her desire to get out of Alabama, to find a man with whom she can communicate with on an intellectual level and to break out of the gender limitations placed upon her results in an obvious strain upon her relationship with her father. 

When Zelda Fitzgerald meets her future husband, the audience witnesses the instant physical and intellectual connection between the two. Both Zelda Fitzgerald and F. Scott Fitzgerald prove throughout the series to be impulsive and hotheaded individuals, and it is this shared recklessness that initially bonds the couple. 

Quickly though, these moments end up stressing their relationship more than strengthening it. When F. Scott Fitzgerald reveals that they’re running out of money while they’re driving from New York City to Montgomery, Zelda Fitzgerald decides to speed through a toll booth, saying that she’s “trying to save some money.” All is fun and games until she hits a deer, at which point an argument breaks out between them.

The final episodes focus on the sexism that Zelda Fitzgerald faces and battles with head on. At one point, the couple is denied room at a hotel because Zelda Fitzgerald is wearing pants—a habit considered “improper” for a lady at the time. Zelda Fitzgerald comes up against these sexist expectations both in her appearance and behavior time and time again, and it is because of her nonconformity that she is remembered so well.

Zelda Fitzgerald’s struggle to find her place in a society that rejects her, however, is captivating. It is enticing to watch her retain a relationship that came to define her fame and to see as she tries to find what place she holds within her famous husband’s writing process. 

When it comes to F. Scott Fitzgerald himself, though, we see a very different figure than we’re used to. Critics of the show have disapproved of the author’s apparent lack of passion in his writing and in his relationship with his wife. 

But the show is centered on Zelda Fitzgerald, not F. Scott Fitzgerald, and those critics would do well to remember this. The series is instrumental in showing how it was Zelda Fitzgerald who ran emotional interference regularly for her husband. As an alcoholic and a somewhat self-destructive writer, The Great Gatsby mastermind gets himself into some tricky situations. 

This series is just one amongst three new film and television stories centered on Zelda Fitzgerald and is a part of a surge in stories that work to give real historical women their dues. There’s no doubt that “Z: The Beginning of Everything” deserves to join the ranks of such recent historical movies such as Hidden Figures and Loving. 

Zelda Fitzgerald was certainly a woman ahead of her time, as she was far too witty and smart to conform to the expectations of the age and place in which she lived—making her a perfect role model for today’s modern woman.

#J20 Art Strike encourages artists, creative institutions to criticize new administration

The worldwide #J20 Art Strike took place on Friday Jan. 20 as one of the many ways in which people reacted to and resisted President Donald Trump’s inauguration. 

The art strike—which may initially seem counterproductive considering the ways in which art can be used as a social and political platform—was a call to museums, theaters, concert halls, galleries, studios, art schools and non-profits to close their doors on Inauguration Day. 

Participants in the strike were hoping to send a clear message: things will not continue as usual in President Trump’s America—there will be resistance from artists who are against the types of behaviors that, as President, Trump is attempting to normalize.

This is a reaction against what the organization’s website describes as “Trumpism—a toxic mix of white supremacy, misogyny, xenophobia, militarism and oligarchic rule.” The authors of the website explain that Trumpism is “an invitation to motivate these activities anew, to reimagine these spaces as places where resistant forms of thinking, seeing, feeling and acting can be produced.” 

Around 100 artists signed the call, along with many commercial galleries who shut down in solidarity. Many museums offered free admission and/or special programs while Trump was sworn in, including the New Museum in New York City, the Museum of Contemporary Art in Los Angeles and the Brooklyn Museum.

Additionally, the organization explains that this act of non-compliance was only the beginning. While this was just a day-long strike, its message and spirit is meant to last the entirety of Trump’s term; and thereby, it was not one symbol, but the first of many to come from the art world. 

Although the strike was not necessarily to fight against the actual inauguration of Trump, it did strive to send the message that his behavior and presidential actions will be watched closely and taken in stride— not overlooked. 

The strike was not just a message to Trump and his administration, but also to other artists as well. In an effort to redirect artistic efforts towards social and political discourse, the strike encouraged artists around the country to reflect on how the creation and the display of artistic works can influence and inform society. 

Just as the numerous women’s marches—from Seneca Falls, New York to London, England—united women and men in cities all across the world, art can also be used to unite people behind a common cause. This was, and continues to be, the goal of the #J20 Art Strike organizers—to remind and encourage artists of all mediums to use their art as a mirror. 

As we’ve recently seen, popular and respected artists—such as actress Meryl Streep in her 2017 Golden Globe acceptance speech—receive a strong public response when they use their voice to comment on the political climate or certain social issues. Artistic expression is an effective way in which individuals are able to express their thoughts and opinions. 

The #J20 Art Strike demonstrates that art is a power not to be underestimated, but revered.

Revival series a welcome return to cozy, quirky town

Netflix released its long-anticipated revival series: “Gilmore Girls: A Year in the Life” on Friday Nov. 25. Consisting of four 90-minute parts—one for each season of the year—the series takes us through an entire year of fast-talking, coffee gulping and town meeting shenanigans. The entirety of the revival was written by the original “Gilmore Girls” creator and writer Amy Sherman-Palladino and husband Daniel Palladino. The series begins in one of Lorelei and Rory’s most beloved seasons—winter. We are warmly welcomed back into the picturesque town of Stars Hollow as Rory returns home for a visit with her mother Lorelei. The beginning of the series answers all the questions devoted “Gilmore Girls” fans have been holding in their hearts for years.

In each episode we return to one of Stars Hollow’s quirky festivals—in one episode we watch as the town’s resident control freak Taylor plans a musical.

After years of wondering, we learn that our favorite bookworm has had quite a successful career as a journalist and writer for The New Yorker. Meanwhile, most will be relieved to find out that her quirky mother has been with her diner-owning boyfriend Luke for nearly nine years and is still running The Dragonfly Inn. At the Inn things are status quo, although Sookie has taken some time off and Michel is beginning to feel restless.

The series does not neglect the death of actor Edward Herrmann, who played everyone’s favorite grandfather, Richard Gilmore. We learn that his character has passed away as well, and his death serves as an important point around which the revival is fixed. The series serves up a classic Gilmore fight, as Lorelei argues with her perfectionist mother Emily over something Lorelei says at her father’s funeral.

We also learn the fate of Rory’s hilariously intelligent school friend Paris, who, after all her hard work at Yale, is working at a fertility clinic. We discover that she has broken up with her long-time boyfriend Doyle and has two children.

Although we are more than happy to simply experience the wonderfully wacky town of Stars Hollow, fans of the show knew that there had to be more in the cards for this eccentric mother-daughter duo. And the series does not disappoint.

Though some may argue that the overall plot linking these four seasonal parts may appear weak, these revival episodes were intended to give the show’s fans just a little more time with their favorite characters—and this the series achieves masterfully.

We are immersed once again in the witty banter between the Gilmore women, watch as powerful matriarch Emily passive aggressively takes down those who don’t meet her standards, worry over the fate of Luke and Lorelei and laugh at the quirks of the small town in which they live. Just like the original series, this revival captures the journey of Lorelei and Rory as they navigate professional life and personal relationships.

Each of the impressive women in this series feel lost. Although the series is known to serve up hilariously odd situations, we see that the Gilmore women are struggling with issues we’ve all come up against. Whether it be loss of work, relationship doubts or moving on to a new, unknown way of living, the revival perfectly captures the circle of life through three generations of women.

But don’t be fooled—this revival wouldn’t be complete without shocks and scandals. The final four words, which Sherman-Palladino has had locked and loaded for years now, have been kept secret since the original series began. Cementing the show’s theme of the transience of life and love that holds us together, the words are surprising to say the least, and have viewers everywhere screaming for more.

“Wicket Ways” exemplifies community history with fictional croquet match

The Livingston County Historical Society premiered “Wicket Ways,” a play written and directed by Conesus resident Ruth Henry, on Oct. 1 at The Riviera Theatre. Henry was inspired to write “Wicket Ways” after a 2014 croquet match. It just so happens that Geneseo was home to the American Croquet Company, which manufactured 90 percent of America’s croquet sets in the 1860s.

Set in 1895, Henry’s play takes local history and historical figures in order to explore the relationships between them. The first of the notable figures is William Pryor Letchworth, played by Brian Lewis. Letchworth lived from 1823-1910 and was a businessman who bequeathed his estate, which is now the heart of Letchworth State Park. He’s known for his humanitarian efforts and various published works.

Clara Barton, played by Hannah May Henry, lived from 1821-1912. Founder of the American Red Cross, Barton worked as a nurse in the Civil War.

Perhaps most well-known to Rochester natives, however, is George Eastman, played by Chris Norton. Eastman lived from 1854-1932 and was an innovator and entrepreneur who founded the Eastman Kodak Company, popularizing the use of roll film.

Caroline Bishop, played by Tamara Albert, was a teacher, secretary and eventual executive assistant to Letchworth. Alive from 1849-1926, Bishop took over as the superintendent of Letchworth State Park after Letchworth’s death in 1910.

Rounding out the cast of main characters is John Rorbach—played by Dennis Dawson—Colonel of the New York 104th Regiment of NY Volunteers and president of the American Croquet Factory.

Gathered in what is now Letchworth State Park’s Glen Iris Inn, the characters are supposed to be enjoying a simple game of croquet. For most—since croquet was one of the few sports in which both women and men could compete equally—the game is an opportunity to flirt and to consider possible suitors.

The show was accompanied by the music of Geoff Clough, who proved excellent in the task of creating historically believable, yet contemporary tunes that kept the audience interested and engaged.

The play entertains the fascinating question of how this particular group of historically important figures would have interacted with each other. Placing the play at the Glen Iris—which is still in operation—allows for the audience to better picture the scene.

“Wicket Ways” provides a much-needed appreciation for Geneseo’s local history and the effect it has had on the country as a whole.

“Page to Stage” teaches adolescents to value time, relationships

Presented by Geneseo’s Department of Music, “Page to Stage: Edges” premiered from Wednesday Sept. 7-9 in Doty Recital Hall. According to music director and lecturer of music Don Kot—who directed the production with professor of English and theater Melanie Blood—“Page to Stage” brings freshmen, sophomores, juniors and seniors together to cohesively work on a project. Regardless of where these students are in their college careers, they came together and combined ideas to create this show for the Geneseo community.

“Edges” is a contemporary song-cycle exploring the universally treacherous young-adult years. It features music by Justin Paul and lyrics by Benj Pasek, who were only 19 and 20-year-old students at the University of Michigan, respectively, when they collaborated to create this performance piece, which premiered in 2005. Paul and Pasek have gone on to receive Tony awards for their other work as songwriters for Broadway musicals “A Christmas Story: The Musical” and “Dogfight.”

According to Kot, “Edges” revolves around coming-of-age themes and the questions, “Who am I?” “What’s in my way?” and “What do I want to become?”

The opening song “Become” was sung by the whole group, specifically featuring musical theater major sophomore Brian Sousis, psychology major senior Nicole Eras, musical theater and English double major senior Rebecca Leville and education major senior Ben Reiner.

The coming-of-age theme was especially prevalent when the performers sang “But still I smile because I need to look strong/And all the while I keep soldiering on/I want to see me from where I begun/But I’m afraid to be/Who I am, who I want to become” from the song “Become.”

This verse displays the feeling for which this music-cycle is named. These characters are struggling with the fact that they are no longer children, but are not yet respected as—or even feeling prepared to be—adults. They are on the “edge” between childhood and adulthood. In the show, they work through their fear of failure and making the wrong choices.

Throughout “Edges,” the musical numbers touched upon a deep sense of loneliness and a longing for connection. Many of the songs highlighted how these young adults are attempting to chart the territory of romantic relationships, and just as they are beginning the relationships, they are challenged. In one instance, a sudden pregnancy rocks a relationship, and a profession of love threatens another.

“Caitlyn and Haley”—sung by musical theater and communication double major sophomore Erin Burris and musical theater major junior Jessica Murphy—was immensely relatable for anyone in the audience who has siblings. Younger sister Caitlyn bemoans her older sister’s behavior as she begins to lie to her parents, smoke and date.

Older sister Haley sings of how her little sister has become annoying and seems much younger to her now more than ever. In reality, the sisters are feeling the tension of growing up. They are no longer able to relate to each other in the same ways; instead, they long for the relationship that they shared in the past.

Beautifully supported by choreography, the performance captured countless moments that young adults face as they long for times past, yearn for the realization of the future and struggle with how to use their time wisely.

Activist women take center stage in dance troupe’s passionate performance

Rochester-based dance company FuturPointe Dance brought an energetic and powerful “visual feast” of contemporary dance to the MacVittie College Union Ballroom in their “Red, Green & Gold” performance on Saturday April 23. Before their performance, the director of the company held a small workshop, which allowed students the opportunity to learn contemporary dance moves and to discuss the creative process involved in dance.

FuturPointe has recently become an all-women company, and they have been exploring and discussing the question of what it means to be a woman, as well as examining the various injustices that contemporary women face. The “Red, Green & Gold” performance strongly displayed this support for the feminist cause.

The show opened with Nina Simone’s “Four Women.” The dancers moved in the crowd, making use of small red lights, which appeared to be thrown amongst them. The dancers had certain sets of choreographed music, but would improvise around them. This would be a unifying factor in each dance of the night.

At this point, the show took an energetic turn with Missy Elliott’s “Pep Rally.” This number’s choreography emphasized the flexibility and strength of the dancers as they balanced, jumped and stretched their bodies, using dance to make a statement about contemporary society.

The third dance—and perhaps the most striking one—made their feminist statement much clearer and more powerful. The tempo slowed down for this dance and the music was replaced with a compilation of inspirational speeches. The voices that filled the ballroom were those of strong women who continue to use their positions in the public eye to incite change in society: Oprah Winfrey, Malala Yousafzai, J.K. Rowling, Emma Watson and Toni Morrison, to name a few. These speeches touched upon topics of feminism, failure, inspiration and creativity.

Samples of Rowling’s 2008 Harvard Commencement address, Winfrey’s 2013 Harvard Commencement address and Watson’s United Nations speech that launched her HeForShe campaign were included in the number. These excerpts urged the audience to not be discouraged by failure. Instead, they need to persevere and commit themselves to causes that they feel strongly for. FuturPointe addressed the dire need for gender equality and encouraged audiences to devote their lives to their passion—whatever that may be—as that’s where you’ll find true success.

This was followed by Devotchka’s “How It Ends,” which included excerpts of Hillary Clinton’s 1995 speech given at the UN’s Fourth World Conference on Women Plenary Session in Beijing. Her statement that “Human rights are women’s rights and women’s rights are human rights once and for all” drives home FuturPointe’s overall message of equality and independence.

The performance, however, did not feature exclusively women. One number featured two dancers reciting George Carlin’s poem, “I’m a Modern Man.” The reading of the poem—combined with the women’s performances—points out the juxtaposition between being a modern man and being a modern woman.

Throughout the entire performance, FuturPointe explored topics that are at the forefront of the social activists’ minds. FuturPointe proved that dancing tells a story, illustrating to the audience just how to tell these stories through movement. FuturPointe also shared with us one of the company’s mottos: “If you point towards the future it will point right back.”

This performance came at a good time, as students are beginning to prepare for the final weeks of the semester. It reminds us students to immerse ourselves in our passions, to value our education and to fight for what we believe in.

Molière one-act comedies emphasize humor in everyday life

The department of theater and dance is presenting a performance titled “Love and Laughter in Repertory: Two Plays by Molière” from Monday April 18-23 at the Black Box Theater. Molière was a French playwright and actor who lived in the 17th century and is often considered one of the greatest masters of comedy in Western literature. He studied at the Collège de Clermont and after 13 years as an actor, he began writing. He based his plays on the methods and materials of commedia dell’arte, French farces and neoclassical theatre.

Commedia dell’arte is a form of theater characterized by masked actors. This tradition began in Italy in the 16th century and led to more improvised performances based on sketches and scenarios. Commedia masks capture exaggerated, unusual facial features as an indication of personality.

The first play in “Love and Laughter” is a one-act comedy called “The Jealous Husband,” translated by Alfred Bermel and directed by junior William K Gfeller, with choreography by junior Sierra Bouchard. This play is about a middle aged man, Le Barbouillé—played by junior Chase Watkins—who claims he is the “unhappiest of men” because his wife appears to be straying from him; living her own life that isn’t entirely about catering to his needs.

Sophomore Rachel Britton plays Angélique—Barbouillé’s wife—and she argues that her husband makes her unhappy as well because he spends so much time hanging around in bars. She attempts to sneak out to a party in hopes of meeting with her lover, Valère—played by junior Jordan Griffen—but her husband returns home before she does. This initially leads to another argument, but ultimately the couple comes to a compromise.

This play is set in the 1940s, as Gfeller wanted to place this show in an iconic setting in American history in order to add personality and some fun to what could be seen as a dated comedy.

The second play is another one of Moliére’s one-act comedies called “The Forced Marriage,” also translated by Bermel, directed by junior Joshua Shabshis and choreography by Bouchard. Shabshis wanted to combine Molière’s influences with his Eastern European roots and upbringing and this play captures the historical roots of contemporary slapstick comedy.

“The Forced Marriage” follows a 52-year-old man, Sganarelle—played by Griffen—as he decides whether or not he wants to marry the young Dorimène. He consults his friend Géronimo—played by senior Paige Gordon—as well as, Pancrace—an Aristotelian scholar played by freshman Wesley Ebersole—Marphurius—a Pyrrhonian scholar played by sophomore Kimberly Romano—and fortune tellers—played by Ebersole and Gordon.

Dorimène is eager to marry Sganarelle, but only because he is so much older than her and has amassed a great deal of wealth. She plans on marrying him with hopes of quickly becoming a widow so she can live in leisure with her lover, Lycaste—played by junior Thomas Magnus.

But when Sganarelle learns of her attitude toward their potential marriage, he goes to her father, Alcantor—played by sophomore Matt Tyler—in an attempt to leave the arranged marriage. This angers Alcantor, so he sends his son Alcidas—played by freshman Jenna Bunce, who is a great fencer—to give Sganarelle an ultimatum. Ultimately, Sganarelle is forced into the marriage with Dorimène.

These actors and directors in the department of theater and dance captured the hilarious comedies, which expertly characterize Molière’s work. “Love and Laughter” engages the audience in the performance and successfully explores the questions, humor and relationships that characterize our lives.