Award-winning dance company celebrates Indian heritage, culture

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Mystic India dance company performed on campus on Saturday April 15. The company merges past and present Indian culture in their brilliantly choreographed dances. The performance was the final show in Geneseo Campus Activities Board’s Limelight and Accents series. (Ash Dean/Photo Editor)

Hosted by Limelight and Accents, the award-winning Mystic India dance company blew Geneseo audiences away with a high-energy performance on Saturday April 15. 

The company uses a combination of traditional Indian dance and modern movement, and founder Amit Shah maintains the company by incorporating new Western influences as the company grows. 

Mystic India has received international acclaim in North America, Europe, Africa and Asia as the first United States-based Indian dance company to make this kind of impact on such a large scale. Famous Bollywood icon Farah Khan praises Mystic India, describing their performances as “visually grand and dynamic” and “a kaleidoscope of color and beauty.”

“Their choreography is even better than in the films,” Khan said.

There were several sections to Mystic India’s showing in Geneseo, each showcasing a different facet of Indian culture. Live narration was given before each piece to explain the story behind the dancers’ movements. 

The show opened with the story of Ganesha, the remover of all obstacles. Ganesha is the Indian god of wisdom; over the years, he has become a common symbol of Hinduism. Dancers came on stage in beautifully elaborate and colorful traditional Indian clothing. The dance itself was traditional, with cultural music and movements. The women wore bells on their ankles, which made their movements percussive and attention grabbing. 

The next piece was based on Holi, the festival of color in which children throw colored powder at each other in a celebration of color and life. The dancers in this number wore different colored costumes and threw glitter at each other and even into the audience. 

The next two parts of the performance were dance numbers that doubled as scenes of a play, the first of which told the story of Radha Krishna, two Hindu gods that represent masculinity and femininity. The performers—as well as the live narrator—did a beautiful job of portraying this love story and the classic Indian folktale. 

The second part was a recreation of the history of King Akbar, the third ruler of India during the Mughal Dynasty. He is known as a force of equality because he created his own religion: “a religion of God.” 

Soon, the dancers returned to the stage with explosive energy. In this section, they portrayed the different subcultures among the villages of India, illustrating both the similarities and differences between these Indian cultures. The style of dancing, tempo and clothing varied for each subculture, and the dance incorporated Bhangra, a style of dance traditional to the Punjab region of India typically performed to the beat of a drum.

The performance then morphed into a much more modern form of dance. The performance became Westernized, but still showcased Bollywood culture. The choreography and costuming also appeared to be more sexualized and flashy, showing how Western ideas and modern pop culture has been integrated into traditional Indian culture. 

Mystic India was a spectacular show with an eclectic collection of numbers. The choreography, music and beautiful performers took the audience on a stunning journey through Indian culture and history.

Musical Theater Club dazzles audience with hilarious songs

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Geneseo’s Musical Theater Club presented their biannual performance on Friday March 31 and Saturday April 1. This semester’s theme was “Lights, Camera, MTC.” (Annalee Bainnson/Assoc. Photo Editor)

The Musical Theater Club treated the Geneseo community to a dazzling performance on Friday March 31 and Saturday April 1 in Wadsworth Auditorium. The performance, “Lights, Camera, MTC,” featured scenes and skits from well-known musicals—but with a Geneseo twist. 

The show opened with two crowd favorites from the High School Musical series. “All For One” was performed by all members of the club with high energy and passion, which made it incredible to watch and “I Don’t Dance” had two groups of guys playfully joking about the similarities between baseball and dancing. 

The humorous acting and facial expressions were especially entertaining in this number, which was directed by theater major senior Brodie McPherson, biology major freshman Patrick W. Jones and MTC’s president senior Benjamin Ranalli.

“The New Girl in Town”—a song featured in the musical “Hairspray”—was a standout performance that cleverly featured the club’s female newcomers. From the colorful dresses to the percussive choreography, the audience was thoroughly impressed by this fun routine directed by McPherson, Ranalli and musical theater and communication double major sophomore Erin Burris. 

MTC’s rendition of “Cabaret’s” “Don’t Tell Mama” was particularly funny. The club’s male performers took the stage to get the audience chuckling with altered lyrics that joked about what college students tell their mothers versus what they are actually doing at school. The mastermind directors behind this number were psychology major senior Francesca DiGiorgio and MTC’s vice president senior Beth Ohman. 

The show’s second act continued the fun with “Life Outside Your Apartment,” from “Avenue Q.” MTC’s lyrics, “Life outside Geneseo” creatively conveyed students’ love for the school and the bittersweet feeling that accompanies the idea of graduation. This relatable skit was directed by communication major senior Noah Pfeifer and MTC’s treasurer junior Lisa Cento. 

Next up was the “Cell Block Tango” from “Chicago,” which introduced six sassy performers portraying “six salty celebs.” Instead of using characters from the famous musical, student directors childhood and special education major juniors Hanna Fox and Shari Bischoping and MTC’s secretary junior Danielle Comerford decided to take their own route. In this number, students told the stories of infamous celebrity break ups, such as Zac Efron and Vanessa Hudgens and Drake and Rihanna, which made for a positive response from the audience.  

The seniors soon took the stage in a number they collaboratively directed from High School Musical. The performance was a tribute to graduation and to letting go of some of the great experiences and memories made at Geneseo, not to mention in MTC. 

Then, in a very appropriate ending, all MTC members gathered on stage for the final number: “We Go Together” from the classic musical “Grease.” Each performer donned a crazy outfit, creating a fun atmosphere. The solid vocals and lively choreography made for a spectacular closing number directed by Comerford and Ohman.  

The audience—which encompassed many MTC alumni—was left inspired by the success of the club, serving as a great representation of the levels of creativity that Geneseo students have to offer.

Lily Cai Dance Company blends past, present Chinese culture

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The Lily Cai Dance Company performed in the Wadsworth Auditorium on Saturday March 25. The company’s specially choreographed dances blend past and contemporary Chinese culture. (Ash Dean/Photo Editor)

The Lily Cai Chinese Dance Company treated Geneseo to an awe-inspiring show on Saturday March 25. The performance consisted of three individual pieces: “Dynasties,” “Xing” and “Silk Cascade.” 

The company was established in 1988 by Lily Cai herself, whose choreography melds ancient Chinese dance forms with modern dance. Her “passion has been to reveal the soul and internal beauty of the Chinese women through dance” and she does so by “bridging the continuum from past to contemporary,” according to Cai.

The opening number, “Dynasties,” was a work spanning ancient to modern times. The piece began with modern choreography and simple costumes, but then traveled in time from 770 BC to the 1920s. 

All six dancers quickly reappeared in traditional Chinese clothing carrying baskets over their shoulders. The repetitive movement of the dancers creating an “S” shape with their torsos represented the women of the Zhou Dynasty. 

The scene then transformed into a representation of the Tang dynasty, where graceful, elegant court dancers appeared with long red ribbons. The beautiful ancient art of ribbons is mesmerizing to watch. The ribbons were thrown up in the air and floated effortlessly around the dancers. Next, during dance of the Qing dynasty, the dancers emerged with large headpieces and traditional platform sandals.

The piece soon left the dynastic era and the dancers moved to the music of a different kind of royalty. The piece transformed into high society culture of 20th century Old Shanghai. Chinese tradition began to mix with Western influence as the dancers moved in less conservative dresses and began to explore newer styles of dance.

The next piece, “Xing,” explored the Chinese art of fan dance. Cai’s choreography draws from all regions of China to create a more contemporary, edgy form of fan dancing. She describes “Xing” as “a dance of unique body language—soft yet powerful, a clear tribute to the strength, grace and beauty of dancers.” Cai dedicated this piece to the dancers of her company. 

The final piece, “Silk Cascade,” was an exciting, stunning performance that armed each dancer with 20-foot long silks. The piece was inspired by artist Jackson Pollock and by the strokes of a paintbrush in traditional Chinese calligraphy. 

The beginning of the piece was an intense burst of black and white ribbons, which symbolized the opposing and complementary yin and yang. As colorful ribbons were introduced, the music and movement became joyful and peaceful. 

This piece has become Cai’s choreographic signature. It represents all important elements of a “good life.” The red ribbon represents good fortune and joy, the gold ribbon represents prosperity and the green ribbon signifies long life and happiness. 

The piece closed with a whirlwind of ribbons moving in all different directions. After a big crescendo, the lights went dark and the organized chaos ended.  

Cai’s inspiring choreography was a beautiful fusion of traditional Chinese culture and contemporary dance styles. The dancers successfully illustrated some of the history of Chinese culture, with an emphasis on the culture of women. From the conservative dresses and more restricted movement styles to the free, colorful ribbons, the performance demonstrated the beauty of growth and change.

Lederer Gallery adds 95 pottery pieces to permanent collection

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The Lederer Gallery is in the process of adding 95 pottery pieces to their permanent collection. A gift from the late professor of music Alan Case, the pieces were created by contemporary artists, but are inspired by Native American pottery traditions. (Ash Dean/Photo Editor)

Geneseo’s Lederer Gallery presents exhibitions of contemporary local and national artists, Geneseo faculty, juried student work and graduating art students’ final projects. With an exciting new acquisition, the gallery is closer to achieving its mission of encouraging art appreciation.    

The gallery recently gained a beautiful collection of 95 pottery pieces from the late professor of music Alan Case to add to their permanent collection. Created mostly by contemporary artists and largely influenced by Native American culture, pieces have the look of traditional tribal pottery. 

Many have intricate details that appear to tell a story and are colorful. There is the exception, however, of some solid black and white pieces. Some pieces even have the silhouettes of animals and people painted and glazed on the surface of the clay. This reveals the very traditional aspect of Native American pottery. A lot of the detailing or painted images symbolize unique parts of their culture and values.   

The pieces are believed to be from the late 20th century, as many of the artists have engraved their names on the bottoms of their work. Some of the artists share the same last name, leading to the belief that some are related. This would not be surprising, as Native American customs and traditions such as pottery making were handed down from generation to generation.

Most Native American pottery pieces used coils, which are layered on top of each other to form the sides of the pot or bowl and are not adorned with detailed patterns or designs. This collection, however, breaks the mold and is considered to be fairly contemporary.

We know that several steps went into the creation of these pieces. They are made with mostly red or black clay and are fired and glazed several times before completion. Each piece is unique in size, shape and color. The details are painted on the surface of the dry clay and then put in a kiln to glaze and become permanent.  

Director of the galleries of art Cynthia Hawkins said that she hopes to feature these newly acquired pieces in a black and white exhibit by September. 

Hawkins said that the collection of pottery fits nicely with the gallery’s older pottery collection, which consists of native and southwestern pottery from the 1940s, as donated by a former Geneseo faculty member. The pottery in this collection is older and more rustic, most likely made for utensil rather than craft. 

Nevertheless, Hawkins said that this beautiful addition to the gallery will “extend our understanding about the quality of Native American artwork.” Although these pieces are not antiques, Hawkins believes that the quality and history of this collection is immeasurable and deserves recognition. 

Many have asked why Hawkins doesn’t sell the pieces, but “you can’t put a price on these,” she said. She explains that these pottery pieces are exactly what art history majors might find in a textbook, and Geneseo would be wise to hold onto such a collection that adds culture and authenticity to our art community.

Daly exhibits quiet beauty of rural landscapes

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The Lockhart Gallery debuted Jonathon Daly’s “Background” on Feb. 1.  The exhibition is centered on simple representations of rustic settings and aims to point out the coexistence of human beings and the natural environment that surrounds them. The exhibit will be on display until March 8. (Ellayna Fredericks/Staff Photographer)

Main Street’s Lockhart Gallery debuted “Background” on Feb. 1, an exhibition of still life and landscape paintings by Jonathan Daly.

Daly is a Buffalo native and was raised on an old, rural farm, surrounded by a creative environment. With painters as parents, Daly was simply born to be an artist. His identical twin brother caught the creative bug, too, and works as a designer. 

After graduating from Syracuse University, Daly found inspiration from Jerome Witkin’s work—a narrative artist whose paintings deal with political and social issues—and decided to pursue his passion for painting. He returned to Western New York to paint and to reconnect with the natural environment that he grew up in after attending the MFA painting program at Boston University. 

Daly’s work itself is influenced by his father as well as Bruce Kurland, a contemporary painter known for his “dreamlike” still life paintings. Daly currently lives in a cabin near a small creek in Bliss, New York and continues to let his remote environment motivate his painting.

His work tends to depict rural surroundings and to reflect “the delicate coexistence between our natural roots and the synthetic fabrications of our species” and the relationship between the natural environment and how humans inhabit it. Daly’s work is specific to his experiences, as he seeks to find the “beauty in an imperfect setting.” He strives to uncover the rich details that may go unnoticed in the world.

The works in “Background” are exclusively landscapes and still life paintings with a common pattern of wildlife and broad color. The landscapes are ominous and gloomy, yet calm and peaceful and are simultaneously simple yet detailed. 

This pastoral setting shows the depth and openness of upstate New York. Most of the landscapes also include native wildlife, further symbolizing the beauty of nature and life. 

Daly’s paintings exhibit intriguing shadows, as exemplified in “Moonlit Mailbox.” This piece is similar to its peers, but it draws attention to itself. There is an image of a snowy driveway across the street from a tiny, lonely mailbox. The scene seems to take place at dusk when the moonlight lights up the darkness of the night. With strategic use of cool colors and shadows, the piece accurately captures a chilly night in the countryside.

Daly’s still life paintings convey a similar theme to that shown in the landscape pieces. In fact, it almost seems as though these depict the insides of the houses found in the landscapes. The still lifes all depict various objects on shelves. 

Many of these items—including animal bones, old cans or cups, fruit, flowers and even fishing hooks—correlate with the rural tone of the exhibit. Interestingly, the objects are stacked or are balanced on top of each other. “Skull & Bobber” shows an animal skull sitting atop a small pitcher. In this piece, Daly captures his original message of man and nature peacefully coexisting.

In a beautiful representation of rustic settings, Daly’s exhibition captures the details that go unnoticed in the world’s countryside—a message that the Geneseo community would do well to learn from, as it is easy to forget to enjoy the beauty of the nature that surrounds our small town.

La La Land continues to waltz into the hearts of viewers

After winning a record breaking seven Golden Globes, La La Land is still sweeping people off their feet. 

Written and directed by Damien Chazelle, the modern musical is set in today’s Hollywood, but restores the beauty and romance of old fashioned Hollywood musicals. With Chazelle’s extraordinary passion for film, he conveys an emotional story of dreams, love and life, accentuated by the inspiring performances from Ryan Gosling and Emma Stone as they pull you in and leave you wanting more.

Stone plays Mia Dolan, a struggling actress who works as a barista on the Warner Brothers lot. She faces the cruelty of auditions where the casting directors yawn, play on their phones and even interrupt her. Despite her unsatisfying day job, she waits patiently to be discovered and to become a classic star. 

Her counterpart Gosling plays Sebastian Wilder, a dedicated jazz musician who refuses to let classic jazz die. He dreams of opening his own jazz club; until then, though, he works as a restaurant musician, playing what he is told to perform. These two old-fashioned characters meet on a jammed freeway where they get off to a rocky start—both victims of modern road rage. 

What follows is an opening number, complete with dancing on top of cars in the middle of a traffic-full Los Angeles freeway, which sets the tone of the whole film. This modern scene is a great example of the traditional musical corniness we all secretly love. It is this balance of youthfulness and joy—as shown throughout the film—that makes La La Land so unique for its genre.

When Mia and Sebastian meet for the second time at a party, the audience is treated to the charming number “A Lovely Night,” where both characters tease the other about never falling for each other. This scene starts simply, as the two sing a casual conversation, but eventually ends in a tap routine.     

This fresh yet timeless choreography—which comes to us via the creative mind of seasoned choreographer Mandy Moore—continues to unravel the flirtatious story of these two artists. Moore’s use of props and her connection to the percussiveness of the music keeps viewers on the edge of their seat.

As expected, Mia and Sebastian end up falling for each other due to their shared passion for the past and to their encouragement of each other’s dreams. Their relationship is filled with lovable innocence as they relive old films and old jazz. 

But as the two become more comfortable with each other, they each begin to become part of the modern world that surrounds them; slowly, they lose the clarity in their own dreams. Though they adamantly help each other through the good and the bad, the couple faces the reality of life when they must decide what they want more: love or success. 

In Stone’s final number “Audition (The Fools Who Dream),” she gives her most impressive performance yet. Benj Pasek and Justin Paul’s touching lyrics recognize and commend those who dream and those who love whole-heartedly despite facing hardship or loss. The song reminds Mia—and the artists in the audience—to value love and to remain passionate, even in the face of trouble.  

As the film draws to a close, Mia and Sebastian’s final scene gives us a chance to imagine what our hearts may have wanted to see, despite what our minds already know. Chazelle’s brilliance doesn’t disappoint the audience from start to end. The film is a moving masterpiece with elements of humor, heartbreak and the creativity of song and dance.

Geneseo faculty alumni captivate with original sonatas

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Geneseo faculty alumni James Willey and Linda Boianova visited Geneseo on Sunday Jan. 22 to present Willey’s original piano sonatas. Boianovaperformed these pieces, while Willey supplied the audience with the significance of each. 

The Geneseo community was treated to a dynamic piano recital by instrumental coach and accompanist in music Linda Boianova on Sunday Jan. 22 in Doty Recital Hall. 

Boianova is a Bulgarian-American pianist who holds a doctoral degree in performance, vocal coaching and stage direction from the Eastman School of Music. A former Geneseo faculty member, Boianova is currently studying Arabic and ethnomusicology in Muscat, Oman. 

The program consisted of three sonatas for piano, as composed by fellow former Geneseo faculty member James Willey. Willey, also a graduate of the Eastman School of Music, began studying piano and composing at a young age. 

The first of the sonatas was written in 1960 when Willey was a senior in college. The language of the piece is similar to that of Paul Hindemith, a composer Willey greatly admired at the time. He described his four-sectioned, one-movement piece as “deliberately cheesy and satirical.” 

The piece itself is layered with multiple opposing themes, as if to foreshadow his future works. The initial soft and playful melody gradually built up into a forceful staccato. 

The second sonata put emphasis on the use and long-lasting sound of the foot pedal, as Willey believes this sonata is “dramatic and exuberant, yet peaceful.” The piece opens with an allusion to Little Richard, which Boianova instantly brought to life through a series of complex and sporadic rhythms. 

The widely different themes are heard and cut off throughout the piece, up until a gentle melody broke through, like an “eruption of light.” These sounds slowly faded away as the pianist lightened her movements and let the echo of the last note effectively close the piece.

The third and final sonata was a three-movement piece that is still being tweaked, according to Willey, who described this sonata as being very sentimental and close to his heart.  

The piece is almost a combination of the first and second sonatas. The first movement is strong, powerful and fast. As the first movement ends, the melody becomes quiet, slow and calm, akin to the “sun coming through the clouds” after a storm, before transitioning to the second movement, which Willey called “goofy and bouncy.” 

This movement sounds similar to the first sonata, as its familiar themes find their way in and out of the main melody. In the last movement, Willey quoted himself by incorporating a theme from a separate piece he had composed. It slowly fades to an end, as the last note powerfully resonated in the room.

Performances like this serve as a reminder of how important it is to keep the arts alive at Geneseo. Willey and Boianova provided a beautiful demonstration of the power of artistry, talent and collaboration.