Stars speak out against travel ban at Screen Actors Guild Awards

The 23rd Screen Actors Guild Awards turned into an impromptu political rally on Sunday Jan. 29 as dozens of stars took the opportunity to express their viewpoints during this highly publicized event. 

As the night began, celebrities were already turning heads on the red carpet—and not just for their daring fashion choices. In protest of President Trump’s recent immigration ban, “The Big Bang Theory” star Simon Helberg and his wife Jocelyn Towne proudly displayed “Refugees Welcome” and “Let Them In” signs over their designer garb. 

As the awards were doled out, it seemed that every winner had something to say regarding the current political atmosphere—Trump’s recent travel ban in particular.     Presenter for outstanding performance by a female actor in a comedy series—the very first award of the night—Ashton Kutcher had the responsibility of welcoming guests to the awards ceremony. While doing so, Kutcher—whose wife actress Mila Kunis is an immigrant herself—also welcomed “everyone in airports that belong in my America,” assuring them, “You are a part of the fabric of who we are. And we love you; and we welcome you.”

Taking cue from both Helberg and Kutcher, the night’s first winner, Julia Louis-Dreyfus—who won for her role in the political comedy “Veep”—did not hesitate to criticize the president’s latest order, calling the ban “un-American.” 

Winners such as Emma Stone—for outstanding performance by a female actor in a leading role—Sarah Paulson—for outstanding performance by a female actor in a television movie or miniseries—and Lily Tomlin—for the Lifetime Achievement Award—made special use of their acceptance speeches to stand up for those effected by the ban and to speak out against President Trump’s recent decisions.

But two of the most powerful speeches of the night came from the cast of “Stranger Things”—who won for their collective outstanding performance by an ensemble in a drama series—and Mahershala Ali—who won the award for outstanding performance by a male actor in a supporting role for his work in Moonlight. 

David Harbour, who plays Police Chief Jim Hopper in “Stranger Things,” accepted the award for the cast—many of whom are 12-15-year-old children—and made the acceptance speech. With an amazing amount of passion—almost deserving of an award itself—Harbour struck a chord with every guest in the room. Harbour was met with a powerful reaction from his peers as he cried out, “We will shelter freaks and outcasts, those who have no homes. We will get past the lies, we will hunt monsters.” 

Not only did Harbour’s speech speak of the travel ban, but it also touched upon some major messages in “Stranger Things” itself, continuing, “And when we are at a loss amidst the hypocrisy and the casual violence of certain individuals and institutions we will, as per Chief Jim Hopper, punch some people in the face when they seek to destroy the weak and the disenfranchised and the marginalized.”

As for Ali, the issue hits extremely close to home. Telling the personal story of how his mother, an ordained minister, disapproved of his conversion to Islam 17 years ago, Ali emphasized the need to treat everyone as what we are: human. 

“We put things to the side, and I’m able to see her, she’s able to see me—we love each other, the love has grown, and that stuff is minutiae. It’s not that important,” Ali said.

He also noted how his role in Moonlight—where he played a gay, impoverished black boy growing up in Miami—taught him about the consequences of discrimination and racism. 

“[In the movie] we see what happens when you persecute people … they fold into themselves,” Ali said. 

The stars in the room had no qualms about agreeing with and supporting their fellow artists. They’ll have no problem taking Harbour’s advice to “go deeper and through our art battle against fear,” but for those unable to act through art, perhaps the words of another SAG winner would be more helpful. Taraji P. Henson, who accepted the cast of Hidden Figures’ award for outstanding performance by a cast in a theatrical motion picture, gave this reminder: “Love wins. Every time.”

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.

Hollywood bids farewell to renowned TV, film actors

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Best known for her relatable roles on “The Dick Van Dyke Show” and “The Mary Tyler Moore Show,” Mary Tyler Moore passed away on Jan. 25 at the age of 80. Sir John Hurt, who was known for his work in sci-fi and fantasy roles, passed away on the same day at the age of 77. (Tina Finberg/AP Photo)

Just one month into the New Year, Hollywood has lost two of its most groundbreaking artists. American actress-comedienne Mary Tyler Moore, 80, and prominent English actor Sir John Hurt, 77, both passed away on Jan. 25.  

More than just a talented actress, Moore is known for her characters who defied gender norms and broke the mold of female stereotypes. It was her role in “The Dick Van Dyke Show” that first rocketed her to stardom. For five years, Moore played Laura Petrie, wife to Dick Van Dyke’s Rob Petrie—but Moore played no typical TV housewife. 

“I want to do what I do in real life, what my friends do, and that’s to be a realistic wife who wears pants and doesn’t care how she looks,” Moore said on her breakout role.   

And that’s exactly what she did. As the charmingly relatable Laura Petrie, Moore—and her capri pants—grew insanely popular. 

That worldwide fame was kept alive when Moore became the star of her own sitcom, appropriately titled, “The Mary Tyler Moore Show.” Here, Moore’s feminist efforts were more pronounced than ever before. Starring as Mary Richards, a television news producer, Moore’s new show premiered just as the second wave of the feminist movement was taking hold. 

Unlike most sitcoms, the show was centered on Richards’ career and friends—not her family and home life. The comedy quickly became a household staple of the 1970s, winning an astounding 29 Emmys. 

Meanwhile, on the other side of the pond, English actor John Hurt was making waves as well. Known for playing wild and tormented characters—as well as having the ability to play a large variety of roles—Hurt quickly became one of England’s best-known actors. With a knack for sci-fi and fantasy roles, Hurt played everything from a homosexual writer, to the titular role in 1980’s The Elephant Man, to wand-maker Mr. Ollivander from the Harry Potter films. His final scene in 1979’s Alien, in which a creature burst through his chest, has been called “one of the most memorable [moments] in cinematic history.” Hurt has died on screen at least 43 times, according to IMDb.

Hurt’s convincing and sympathetic acting chops—accentuated by his trademark craggy face and “honey and acid” dripping voice—was so impressive that it gained him the title of Commander of the Most Excellent Order of the British Empire in 2004, joining the ranks of Sir Ian McKellen, Sir Patrick Stewart and Dame Maggie Smith.

Both Moore and Hurt were honored at the 2017 Screen Actors Guild Awards on Sunday Jan. 29, where they acted as poignant reminders of how excellent film and television can be a tremendous tool in helping to bring about positive social and political change.

Student curator organizes identity-central exhibition

“Old Faces, New Perspectives” opened on Tuesday Jan. 31 in the MacVittie College Union’s Kinetic Gallery. The exhibit is part of senior Maya Lucyshyn’s Edgar Fellows Program project and calls on artists to creatively interpret the word “identity.” (Ellayna Fredericks/Staff Photographer)

The MacVittie College Union’s Kinetic Gallery is hosting a new and eye-opening exhibit titled, “Old Faces, New Perspectives.” The exhibit—which opened on Tuesday Jan. 31—explores the various identities on the Geneseo campus, as artistically driven students share their creative interpretation of the word “identity.”

The student artists utilized various mediums within their pieces ranging from paint, watercolors, pen and ink, photography and even wood. Each piece, however different, portrayed both the definition of “identity” and the artist’s own individualistic identity. 

The exhibition was spearheaded by international relations and art history double major senior Maya Lucyshyn as part of her Edgar Fellows Program project. The death of the college’s studio art department is what inspired Lucyshyn to reach out to student creators who do not regularly get the opportunity to express themselves through the academic courses.

“I know that if I was an artistically inclined person it would upset me a little bit because I don’t have a place to professionally hold my skill,” Lucyshyn said.

In addition to sharing their work for their peers to appreciate, she finds it important for artists—let alone anyone—to express their identity. 

“I think that everyone has a piece or could make a piece based on identity, so it’s kind of a universal thing,” Lucyshyn said. “But I also knew that it would draw out all the artists’ unique characteristics and backgrounds.” 

Not only does the exhibit foster student creativity, but it also serves as a way for other students to learn about one another.

“This exhibit gives you a way to see more to the people you see around campus,” Lucyshyn said. “It gives the artists’ peers a chance to learn another layer of [each artist] and realize that everyone on campus has this hidden personality that you wouldn’t notice by looking at them.”

One such artist is mathematics major sophomore Jacob Yatsko. Yatsko’s “Self-Portrait” appears to be a typical self-portrait except for one glaring difference—it is plastered with bright pink post-it notes.

Yatsko explained that the base layer of his painting—the actual painting itself—represents his true identity, while the post-its are what others perceive his identity to be. “If you hear [those perceptions] enough times … sometimes your true personality gets overshadowed,” he said. Yatsko said he believes that we should all be “willing to explore more about someone,” rather than settle for our initial impressions of them. 

Meanwhile, anthropology major junior Karryann Kohlbeck’s “Untitled” depicts an eye because “everything you see is representational of who you are,” and communication major junior Michelle Soria’s “I Stand Proud of Who I Am” depicts a girl standing on a podium in front of the New York City skyline, which embodies both her cultural and spiritual identity.

Alongside Lucyshyn in planning and organizing the event were Geneseo Campus Activities Board Arts & Exhibits Coordinator sophomore Emma Belson and Lucyshyn’s advisor, Department of Art History Chair and professor of art history Lynette Bosch. Both were paramount in helping create the exhibit that is seen in the Kinetic Gallery today.

“Old Faces, New Perspectives” also tackled today’s global issues. The group of student artists represents a large variety of cultural identities, including North American, Middle-Eastern, Southeast Asian and Indian individuals, as well as LGBTQ+ individuals. 

“These are perspectives that we are not used to seeing on the Geneseo campus or in the art world in general,” Lucyshyn said.

Lucyshyn’s exhibition works to fill the representation gap felt here in Geneseo. The exhibit will be on view until Feb. 14.

Spotlight On: Kevin Pierce

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Junior Kevin Pierce is the president and resident beatboxer of a capella group Between the Lines. As a mathematics and secondary education major, Pierce hopes to incorporate his love of music into his future teaching endeavors. (Ash Dean/Photo Editor)

For mathematics and secondary education major junior Kevin Pierce, beatboxing serves as an outlet for his musical energy.

As the president and beatboxer of Geneseo’s coed a cappella group Between the Lines, BTL has been just that for Pierce: a channel to pursue his hobbies. 

“As a math major, I don’t really get a lot of opportunities for music, and like any other Geneseo student, I’m not just my major—not just a math person,” Pierce said. “But BTL has become just like my family; they make me the happiest.”

Pierce has been involved in BTL for three and a half semesters after auditioning as a beatboxer during the second half of his spring semester freshman year. Pierce has been leisurely beatboxing, however, since seventh grade. 

“I auditioned for BTL because I really wanted to be in a cappella and I missed having music in my life,” Pierce said. “When I got in, that was probably one of the best moments of my life.”

Music has always been a part of Pierce’s life; before beatboxing he was a percussionist and has been since fourth grade. In addition to beatboxing and percussion, Pierce is a drummer and even taught himself the ukulele “just for fun.”

“I can do impressions, and so what beatboxing was for me was doing an impression of the drums, and I started doing that in seventh grade when I was going through my seventh grade phase of being really into hip hop,” Pierce said. “Since then, I’ve realized what a cappella was and realized that this thing that I just did as a joke could be used as a part of actual music.” 

Since then, Pierce has been “making beatboxing up” as he goes. Even without any formal training in beatboxing, Pierce wouldn’t say that he practices beatboxing by setting aside time to rehearse.

“What I do is anytime I’m listening to a song or I hear something that kind of interests me, I try to replicate it by beatboxing,” Pierce said. “Music is constantly playing in my head, so I’m always singing something or beatboxing.” 

Pierce’s tastes are eclectic in that his musical preferences change daily. BTL’s music choices, however, do coincide with his own personal music playlists. For Pierce, picking and arranging “Beware the Dog” by The Griswolds—for a vocal solo in spring 2016—is a highlight of his music career.  

“Last year I got the solo, and that’s probably the coolest thing for me because I don’t consider myself a singer: I am the beatboxer,” Pierce said, “So knowing that not only did BTL support me in my singing, but also that I had progressed enough that they thought I was worthy enough to get a solo, meant a lot to me.”

Over the summer, Pierce will have the opportunity to be a part of the EXPLO Summer Program on the Wellesley College campus, which is a project-based educational summer camp. There he will teach logic, puzzles and math, along with an a cappella workshop for children—combining both of his interests.

Looking further into the future, Pierce aspires to continue to fuse teaching and music, as he will this summer. He would like to take a gap year after graduating to either participate in City Year or to teach abroad before beginning his career in teaching math.  

“I really want to either help with choir in a school that I’m placed in or find some way to support the arts while I’m doing math, because I think music is basically applied math, so it’s really easy to tie it into the math curriculum,” Pierce said. “I’d also love to be in a band with my friends or just join some community choir to keep that musical outlet going for me.” 

Until and after then, Pierce will keep beatboxing—which he can summarize in one word:

Spitting.

Photography exhibit exposes landscapes as cultural symbols

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The Lederer Gallery’s first exhibition of the semester—“Heterotopia” by Shreepad Joglekar—opened on Jan. 25. The series of photographs binds two locations on opposite sides of the world (Kansas in the West and Russia in the East) by displaying how the landscape of each has become a symbol of the cultures surrounding them. (Ash Dean/Photo Editor)

The Lederer Gallery in Brodie Hall opened its first exhibit of the semester on Jan. 25. “Heterotopia” is brought to us by photographer Shreepad Joglekar, an immigrant from Mumbai whose work centers around the idea of “place” and around how humans interact with the natural and constructed landscapes that surround them. 

Growing up in India, Joglekar was exposed to American culture mostly through television. Early on, he was intrigued by the places and settings he saw, like the cozy coffee house of “Friends” and the idyllic home-interiors of Mrs. Doubtfire and Home Alone. 

But after arriving in the United States, Joglekar found that he was unable to relate to his surroundings; it was then that he started to use photography as a tool to investigate an environment that was so culturally different from the one he had previously known. 

Joglekar began to view landscapes as a representation of the people occupying it, instead of as a separate entity that exists independently. In other words, a landscape is a product of the culture that uses it. 

Building on this theme, “Heterotopia” is only the latest of Joglekar’s work that explores how different landscapes, places and terrains are reflective of local and national cultures. Set up in the back of the gallery is a video that includes a lecture given by Joglekar himself to provide biographic context and conceptual framework for the exhibit.

The main exhibition consists of two sets of photos, which capture two parallel—but also contrasting—environments. On the left side of the gallery, images of a live fire village at Fort Riley, Kansas hang. Live fire villages are areas crafted to simulate the conditions and the terrain of war zones overseas. 

Fort Riley was used to train U.S. soldiers before deployment to Iraq and Afghanistan; consequently, the photographs are reflective of those landscapes—stark, dusty, arid and dominated by the color beige. Although the village is in Kansas, the scenes look foreign and unfamiliar to the eyes of an average American. 

On the right side of the gallery are photos of Kronstadt, a small island off the coast of Russia near St. Petersburg. The island is home to a historic 17th century naval site, and the photos depict lush green vegetation with remnants of small structures and gardens created during times of war. Passed down through generations, the sites and gardens sustained families during the World Wars and the Russian Civil War.

 Joglekar has linked these two places with one common phenomenon. They are on opposite sides of the globe, but the two have been shaped by national and international conflict. The environments have changed—both by natural and man-driven forces—to suit the needs of the humans occupying it. 

The landscapes themselves become symbols, as the fire village represents an American military culture and as the Russian gardens symbolize defiance and independence for the people who once lived there.

Joglekar creates not only a link between distant spaces, but also between distant times. The structures in Kronstadt have been dilapidated by time—their bare wooden skeletons overtaken by the surrounding greenery. They are relics of the past, serving as a testament to the history and culture of the people of Kronstadt. The fire village in Kansas, however, is a strikingly vivid representation of our current military situation. 

As an immigrant, Joglekar is intrigued by American culture and attitude toward foreigners. He said how “out-of-sight international conflict” is important to the American cultural experience, relaying fears and assumptions about the distant other. 

As American citizens, we are privileged with the ability to live our daily lives without being actively conscious of the fact that we are, in fact, at war. In the context of recent political changes involving immigration, Joglekar’s insight and point of view is invaluable.

Annual children’s literature awards highlight political, social issues

It seems as though the entertainment industry has taken note from last year’s widely criticized Oscar’s ceremony. The prestigious awards were boycotted due to their failure to include minority creators in many of their categories. This year, they have corrected their past plight, and the list of nominees is no longer whitewashed. 

But filmmakers are not the only entertainment leaders to celebrate minorities and important issues. When the American Library Association announced their 2017 young adult and children’s book award winners, book lovers everywhere were pleased to note that many of the nominees and winners were those that tackled racial, political and social issues. 

Nearly all categories of awards produced such progressive winners, with topics ranging from immigration, mental and physical disabilities, politics and race. The Alex Awards are given to “the 10 best adult books that appeal to teen audiences.” Winners in this field include In the Country We Love: My Family Divided by actress Diane Guerrero and Buffering: Unshared Stories of a Life Fully Loaded by YouTube trailblazer Hannah Hart. 

Guerrero’s memoir tells the story of her family’s deportation from America, separating the young actress-to-be from her parents—who still haven’t found a way to leave Columbia again to reunite with their daughter. Guerrero quite obviously points out issues in America’s immigration policy, which remain prominent even today. 

Hart’s Buffering is just as prolific, which details her life dealing with the mental health issues of both her family and herself. Hart, who spends much of her time online teaching her viewers the importance of mental health, shares personal stories about sexuality, self-worth, friendship and family—stories that she has never told her two million subscribers. Hart’s overt emphasis on mental health is rare in young adult and in children’s books, however—and certainly welcome. 

Meanwhile, the Newbery Medal, which is “the highest U.S. award in children’s literature” was given to The Girl Who Drank the Moon by Kelly Barnhill. The fantastical children’s novel is centered on a country that believes that they must sacrifice one child every year to appease an evil witch. In the middle is Luna, a young girl who accidently received magical powers at birth, and her rag-tag family of “a good witch, a swamp monster and a pocket-size dragon.” 

Barnhill’s editor Elise Howard said that the youth novel teaches its young and impressionable readers “about asking questions and making choices and daring to question an authoritarian version of the truth”—certainly relating to the current political atmosphere.

The standout winner, however, was March: Book Three, the third in a graphic novel series written by Representative John Lewis of Georgia, Andrew Aydin and Nate Powell. The series focuses on Representative Lewis’ early civil rights work, and this third and final installment won not one, but four awards this year. 

This included the Coretta Scott King Book Award—which recognizes an outstanding African American author or illustrator—the Michael L. Printz Award for “excellence in literature written for young adults,” the Robert F. Sibert Informational Book Award for “most distinguished informational book for children” and the Young Adult Library Services Association Award, which recognizes “excellence in nonfiction for young adults.” March’s win was widely supported by librarians across the country who celebrate the book’s potential impact on race relations in the U.S. 

The messages and lessons of these books—that are more radical than their predecessors—will no doubt help to turn their young readers into brave and passionate individuals who are not afraid to participate in both local and worldwide political and social movements.

Department of Music expertly tackles King’s “Carrie”

Geneseo’s Department of Music performed “Carrie: The Musical,” a reincarnation of Stephen King’s classic 1974 novel Carrie. 

The original novel has been reimagined time and time again, first brought to life as a film in 1976 and later brought to the stage as a musical in 1988. Geneseo’s performance was an adaptation of the 2012 off-Broadway revival written by Lawrence D. Cohen with music by Michael Gore and lyrics by Dean Pitchford. Professor of English and theater Melanie Blood directed and choreographed the production in Wadsworth Auditorium from Jan. 18-Sunday Jan. 22.

The crowd waited in anticipation outside the theater where the show made its Geneseo debut, excited to see how the supernatural aspects of Carrie would materialize on stage. The original novel chronicles Carrie White’s experience being harassed by other students in her high school and describes her telekinetic powers, which she eventually uses to exactrevenge. Audience members were curious about how the more mystical elements of the play would be explored in a theatrical setting.

The traditional stage was transformed into a black box theater. This placed the audience on the same level as the performers and allowed them to view the play from different perspectives. The actors moved and danced through the audience, which engaged them in the performance. The stage was split into two different settings—Carrie’s school at one end and her home at the other—allowing for a seamless transition between Carrie’s tormented life with her peers and her troubled relationship with her religious mother. 

The musical opens with a dark scene of Sue Snell—portrayed by musical theater major junior Jessica Murphy—on prom night, when Carrie—portrayed by psychology major senior Nicole Eras—takes revenge on her classmates. 

From this scene, the show moves into a flashback with the opening musical number “In,” in which students sing about their worries about finding their place in high school. As the characters dance and sing, they also wove through the audience, allowing viewers to get up close and personal with the students’ struggles. 

The show then moves into the number “Carrie,” where Carrie vents about her frustration with the harassment she faces from the other students. Her resentment keeps growing, and by the end of the play she has gained more control over her supernatural powers.

One of the most entertaining aspects of the musical was how Carrie’s telekinetic powers were portrayed through both her interactions with the other performers as well as with the surrounding props. Carrie manipulated the movements of the other students when she became aggravated with their treatment of her. 

In some scenes, Carrie took control of the world around her in an attempt to hone her powers. In an interaction between Carrie and her mother Margaret—played by communication major sophomore Maria Floriano—Carrie uses telekinesis to close the windows of her home in order to assert herself over her mother.

It’s safe to say that Geneseo’s Department of Music knows how to put on an entertaining and difficult show. “Carrie the Musical” was a remarkable and entertaining experience in which the audience was effectively brought into Carrie’s tormented world.

Latest Gandy Dancer issue emphasizes support for student art on campus

The latest issue of Geneseo’s literary magazine Gandy Dancer is fresh off the press. Created by Geneseo students, Gandy Dancer consists of submissions from students, staff members and alumni from any SUNY school. 

The magazine is published biannually by the students in the Department of English’s ENGL 426: Editing and Production class. Each new group of student editors is led by professor of English Rachel Hall.  

Gandy Dancer includes works of fiction, creative nonfiction, poetry, visual art and a postscript, as well as other submissions with literary value, such as reviews or interviews.

The layout of issue 5.1 certainly keeps the reader stimulated. The all-important first piece is a short work of fiction titled “Bare” by English major junior Rachel Britton. In just a few pages, Britton brings the reader to the edge of a wooden dock to face the brightness of the moon and the darkness of a lake at night in order to illustrate what it means to make yourself vulnerable.

Following this story are two original oil paintings by SUNY Plattsburgh student Robert Guitsy Wolf and Geneseo English adolescent education major junior Gabi Basile’s captivating poem “Stars-and-stripes Sicilian.” Rather than sorting the entries by genre, the journal flows from one art form to another. 

First, the heart is touched by an intimate story before the eyes are treated to bright splashes of paint. Finally, the ears follow the rhythm of a skillfully crafted poem.

This issue features Plattsburgh photographer Amanda Tetreault. Included is one digital photo—done in color—and four black-and-white film photographs. 

The first in Tetreault’s feature, “Our tub” stands out as the only photo in color; it pictures the corner of a pastel blue bathtub, a pink wall and a subtly patterned beige floor with flecks of the adjacent blue and pink. The angular quality of the solid floor, wall and bathtub make an intriguing image.

“Our tub” is also noteworthy compared to Tetreault’s other four photos in the way that it utilizes space. “Our tub” captures a very small, close-up space, while the following four black-and-white photos display landscapes that stretch far into the distance, taking the eyes far away and making the viewer feel small.    

The magazine showcases the talents of dozens of SUNY students. But Gandy Dancer is more than just a magazine—it’s a community. 

Before launching into the students’ submissions, the first piece of writing in the magazine is a letter to readers from the Gandy managing editors, senior English creative writing majors Oliver Diaz and Evan Goldstein, emphasizing the importance of supporting the arts at Geneseo and beyond. It describes the role of art in our lives, stating, “Finding beauty, responding to injustice and reaching out to others is the responsibility of artists.” 

But the letter also went a step further and put this concept in the context of recent events, both on the Geneseo campus and in the world. It addressed the elimination of the Geneseo Department of Art and the Finger Lakes Opera Company, stating the disadvantages of an education without art.

“What do we lose when we lose the arts? A dynamic culture and vital access to the ways in which other people think through life,” Diaz and Goldstein said.  

The letter also went as far as to mention the election, to support the concept of the public school system and to explain that art is a vital tool of communication and understanding.

This issue of Gandy Dancer is a testament to the vibrancy of a community that is oftentimes neglected, as well as the talents and passions of the students and faculty of New York’s state universities. The most recent issue can be found online at http://www.gandydancer.org, and print copies are also available for purchase.

#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.

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.

Latest Disney film charms with breathtaking animation, originality

Disney has been wildly successful with their recent string of brilliantly innovative animated movies. Films such as Frozen and Zootopia have broken box office records, gained worldwide acclaim and produced heaps of merchandise. Their latest venture, Moana, is—or should be—no different than its successors. Set in ancient Polynesia, the film follows Moana Waialiki—voiced by newcomer Auli’i Cravalho—as she attempts to find the lost demi-god Maui, who stole the heart of the goddess Te Fiti 1,000 years ago. Her goal is to bring Maui—voiced by Dwayne Johnson—and the heart back home to the island of Motunui in order to restore its vegetation, despite her father’s fear of what lays beyond the reef.

Moana may be creating a great deal of buzz, but not for its storyline. The movie has a generally linear and typical plot: the heroine sets out on an expedition to save her family and her home, along with a comedic sidekick—in this case Heihei, the corky chicken—to test her worth, despite a parent’s possible disapproval. This standard storyline prohibits the film from getting off the ground until Moana sets out on her journey.

But this slow start does not lessen the cinematic experience. Although we may predict the ending of Moana because of its common formula, what really matters about this film experience is the journey.

In typical Disney fashion, the animation is incredible. Whether set on Moana’s home island of Motunui or in the middle of the ocean with Moana and Maui encountering Te Fiti as the fiery and brimstone goddess, the tropical Polynesian setting is an amazing and almost breathtaking choice compared to other Disney settings seen in films like Frozen or Tangled.

Since most of Moana and Maui’s journey takes place in the middle of the ocean, the film explores its various aspects. On its surface, a serene atmosphere and HeiHei’s comic relief comfort the audience. But underneath the ocean, we are exposed to the unique Realm of the Monsters, which serves as a parallel, underwater universe.

Additionally, what makes Moana special is its mixed structure of diverse components, as Moana is an individualistic heroine. Not only are the film’s characters Polynesian—a diverse representation of people, compared to recent Disney films—but also Moana has a distinct body shape. She is not your typical Disney princess with “perfect” features; instead, she’s unique and curvy, which is something refreshing to see in a film from a franchise that usually celebrates Barbie-like figures in its heroines.

With that being said, Moana is also one of the most admirable and interesting Disney princesses yet. She is incredibly beautiful, but strong, always willing to stand her ground—qualities other Disney princesses seem to share, but not to the same extent or authenticity as Moana.

Along with this diverse representation comes an incredible soundtrack written by Opetaia Foa’i, Mark Mancina and “Hamilton”’s Lin-Manuel Miranda. Miranda—riding high on his recent musical success—provides a fresh sound that is both classically Disney, yet also modern, making this soundtrack stand out from other franchise films.

The songs are enthusiastic and moving, providing the perfect emotional tone for the film. Some are sung in English, while others are in Tokelauan, which is a native Polynesian language.

All that’s really left is for Moana to get the credit it deserves from Disney fans and movie lovers alike. Moana is an exhilarating masterpiece amongst a throng of similar Disney princess stories, and should be appreciated for its authenticity and diversity.

Milne Library’s digital publishing manager helps students reach career goals

If you’re a student interested in editing and publishing, take some time to get to know Allison Brown, the digital publishing manager at Milne Library. A Rochester native, Brown has been a member of the Geneseo faculty since 2012. She was originally hired as the evening and weekend circulation supervisor for Milne, but within a year she was brought on to develop the library publishing tool kit.

“The college was starting publishing programs, and I had a background in InDesign and book production, so I was brought on board to do a research project on library publishing,” she said. “Then, I was kept on as the editor and production manager for the Open SUNY textbooks. I coordinated the publishing process for all of our Open textbooks.”

With technology rapidly advancing, Brown ensures that Milne’s services and books remain up-to-date and accessible for faculty and students.

“We’ve created Open SUNY textbooks, but we also want to provide services for the faculty and students who want to use other educational resources,” she said. “So we’re trying to work with other SUNY schools to band together to solve problems with textbook affordability and making all of those resources user-friendly for faculty.”

Beyond focusing on Open SUNY, Brown is also involved with other publications on campus.

“I support the publication and public access publications here on campus, including student publications like Gandy Dancer,” she said. “I also work for the proceedings of G.R.E.A.T. Day, supporting the training of students, interns and managing editors to learn the technology and walk them through the publication process.”

Brown enjoys working on collaborative projects like Gandy Dancer; she has been a wonderful resource for student editors to gain field experience here on campus.

“I paired up a student editor with a faculty author and gave that student some really good hands-on experience with editing and gave that faculty member some more editorial support where they may not have had access to that,” she said.

Brown has been fond of editing and publishing for a while, but grad school is what solidified this interest. While obtaining her master’s degree in fine arts at Emerson College, Brown took a handful of elective courses in electronic publishing and book design. Working as Milne’s digital publishing manager has helped Brown to hone her publishing and design skills further, becoming a master in her craft.

“I really like the graphic design book production part of it,” she said. “When I began working here, I started to really understand how electronic publications and websites and e-books are structured and how to design for both print and electronic formats.”

But Brown isn’t just tech savvy—she’s also a poet. She has had multiple poems published in various literary journals, including White Whale Review.

Every book lover has their own guilty pleasure books, and Brown is no exception. She prefers to read fiction, and shamelessly indulges in young adult fiction every now and then.

Even if editing and publishing don’t interest you, Brown is a delightful source with a wealth of knowledge to offer students of any major. As students, whether it’s textbooks or novels, we are all responsible for reading, and who better to consult than Geneseo’s own digital publishing manager?

Chamber singers join RCO for magnificent holiday tradition

The Geneseo Chamber Singers kicked off the holiday season with a special opportunity to perform with the prestigious Rochester Chamber Orchestra, as directed by Geneseo’s own professor of music Gerard Floriano. The group of talented singers, along with the Bach Children’s Chorus of Nazareth College, performed Handel’s “Messiah” at Hochstein Performance Hall on Sunday Dec. 4. As the “longest-running Messiah in the region,” this full-length performance took the audience back to the time of German composer George Frideric Handel, with favorites such as the famous “Hallelujah” chorus. The two and a half hour masterpiece tells the story of Jesus’ life, from Nativity to Resurrection, and is a gem in the history of music.

But taking part in such a historic and beautiful tradition isn’t easy. The especially difficult and ornate music of the “Messiah” proved to be a challenge. The student choir rose to the occasion, however, representing the talent of the Geneseo community.

Students spent a good portion of the semester practicing their parts after classes, and the rehearsal schedule leading up to the performance was rigorous. In addition to their weekly rehearsals, the choir made weekend trips to Rochester to rehearse with the RCO at Hochstein and to Nazareth College to rehearse with the children’s choir. The dedication of the students is what made this concert feasible, with, of course, the unwavering support of Floriano.

In addition to the Geneseo Chamber Singers and the Bach Children’s Chorus, the performance featured four professional soloists: Geneseo alumna soprano Laura Heimes ‘90, mezzo-soprano Luthien Brackett, tenor Daniel Curran and baritone Jesse Blumberg. There were also some familiar faces in the orchestra, with adjunct faculty of music Jim Tiller on timpani and adjunct professor of music Herbert Smith playing the trumpet.

Despite the length of this famous composition, time flew by for the audience. Seated in a church-turned-performance-hall complete with stained glass and a “sweeping balcony,” the audience cheered long and hard for the performers when they concluded with a huge, wonderful “Amen.”

The numerous voices blended together beautifully, accented by the youthful sound of the children’s choir and the accompanying string orchestra. The sound of the choir, the orchestra and the soloists together resonated through the hall, filling the space.

Credit must, naturally, be given to the amazingly dedicated Floriano. In addition to his duties here at Geneseo, Floriano serves as artistic director for the RCO. He had an eye on all elements of the performance, expertly guiding the soloists, children’s choir and chamber singers—a truly impressive feat.

If you couldn’t make it to Rochester for this performance, don’t worry. The Chamber Singers will be performing the “Messiah” a second time, this time in Geneseo at St. Michael’s Episcopal Church on Dec. 11 at 3 p.m. The orchestra will be made up of Geneseo students and staff, and all of the soloists will be members of the choir.

Don’t miss this opportunity to see a work of musical genius in a beautiful space, as performed by your talented peers and faculty––and admission is free!

Arts and Entertainment section writer Gretta Cavatassi also contributed to this article.

Faculty piano trio gifts community with powerful array of pieces

One of Geneseo’s newest musical groups, the Geneseo Piano Trio, treated the community to a concert on Sunday Dec. 4 at 3 p.m. in Doty Recital Hall. The Trio, who keeps the tradition of chamber-music-in-residence alive at the college, performed three multi-movement works by Mozart, Shostakovich and Debussy. Debuting in November 2015, this faculty group is comprised of visiting assistant professor of violin Andrew Bergevin on violin, lecturer of music James Kirkwood on cello and professor of music Jonathan Gonder on piano.

The performance was dedicated to music listening, as there were no external elements apart from some context that was provided in the program. For the concert, the performance included just three musicians on stage, doing what they do best.

This minimalism allowed the audience to interpret each piece individually, with some even choosing to close their eyes and bow their heads in order to focus on the sounds. Others, however, decided to never take their eyes off of the flying bows on stage.

First up was Mozart’s “Piano Trio in G major, KV 564,” which was a “generally sunny” and playful three-movement piece. Although the emphasis tended to fall on the piano’s melodies, there was an accenting synchronization of the violin and cello throughout.

The collaboration between these three musicians was so seamless that the audience could fall away from the present reality and perhaps imagine Elizabeth Bennet spurning Mr. Darcy at one of Austen’s famous social dances.

Then, in a complete change of tone, the Trio performed Shostakovich’s four-movement “Piano Trio No. 2 in E minor, Opus 67.” Immediately “chilling,” this piece began with a short cello solo of long, scratchy strokes.

A product of the Soviet Communist demand for nationalism and patriotism, Shostakovich’s piece reflects the destruction of World War II with impressive piano octaves, string plucking and staccato notes. With its powerful urgency and quiet foreboding, this piece conjures up visions of winter blizzards and dangerous conflict.

The Trio finished the concert with Debussy’s “Trio in G major, L.3.” The four movements in this piece seemingly combined the previous two works, as it follows Shostakovich’s power and Mozart’s playfulness. One of Debussy’s earlier efforts, this piece is almost unrecognizable as the composer’s own, although—as Bergevin pointed out—bits of Debussy’s usual “elfin lightness” can still be detected.

The final movement of this piece lived up to its name, “Appassionato,” as it served as a wonderful finale of the entire performance. After tugging between intensity and gentleness, the piece seems to finally decide upon a powerful passion. It brought together the lighthearted dance of the first piece and the urgent storm of the second.

But it doesn’t matter how you individually interpreted these pieces, as one thing is for certain—the Geneseo community is lucky to have such brilliantly talented musicians to comfort us on dreary Sunday afternoons.

Musical mixtape serves as social commentary

The Hamilton Mixtape premiered on Friday Dec. 2 to great anticipation and fanfare. The album consists of songs from the Broadway phenomenon “Hamilton,” as written by the show’s creator, Lin-Manuel Miranda, but sung by our favorite musical artists. Miranda began the mixtape that eventually led to the creation of his famous musical in 2009. The album features 22 songs from the original score, featuring artists including Usher, Sia, Alicia Keys, Jimmy Fallon, Kelly Clarkson, Chance the Rapper, Andra Day, John Legend, Ashanti, The Roots and many more. Miranda has suggested that this is only Volume I, with a second volume expected to release shortly afterward.

The album’s songs are similar in style to the original score, which drew a widely positive reception from both critics and audiences for its unprecedented and unique portrayal of a common historical narrative. The experience of The Hamilton Mixtape does not just come with the music itself, however; with it also comes its place in the current political and social atmosphere of the country.

While most of the album is composed of covers, there are also a few uncut versions of songs that are not featured in the musical. This includes “Immigrants (We Get the Job Done),” which is performed by a diverse group of artists, comprising of Somali-Canadian rapper K’NAAN, Mexican-American singer Snow Tha Product, British-Pakistani actor and rapper Riz Ahmed and Puerto Rican rapper Residente. This song deviates from the rest by rooting itself in the present, referencing the current status of immigrants in the United States.

“It’s really astonishing that in a country founded by immigrants, ‘immigrant’ has somehow become a bad word,” the song says.

The song also tackles issues of border security, discussing the contributions immigrants have made to this country: “We’re America’s ghost writers, the credit’s only borrowed.”

The foundation of “Hamilton” itself lies in its ability to redefine the role of immigrants and minorities in the whitewashed landscape of American history. The story of Alexander Hamilton is told using a fusion of various musical styles popularized by minority groups, including R&B, rap and other combinations of hip-hop with ballads and show tunes.

The cast is also made up of many diverse performers. With members of the LGBTQ+ community, African Americans, Hispanics and Asians—in combination with the musical’s current role in pop culture—reassurance is provided to marginalized people living in fear of the current issues surrounding society. This includes everything from police brutality to hate crimes.

In terms of the lyrical content, Miranda’s creative genius shines through with the inclusion of his early demo songs, “Wait For It,” featuring Usher, and the new take on “Satisfied” with Queen Latifah, Sia and Miranda himself.

Miranda’s combination of modern American musical sound with a retelling of the classic white dominated story of this country’s origins sends an important message about the changes that have since transformed the face of this country. The new face of America is a diverse melting pot of brown, black and white faces that embody the true American values of freedom and liberty.

The Hamilton Mixtape serves to show that our history and our present don’t have to be mutually exclusive; rather, the two serve as two pieces of a puzzle that complete each other and paint a bigger, more important picture. The Hamilton Mixtape embraces change and addresses the diverse America, establishing its connection with the past and its continued presence in the future.

Greenfield shares valuable writing, publishing advice

The Writers’ House at Seneca Hall held an event with special guest professor of English Tom Greenfield on Wednesday Nov. 30 entitled “Weird Ways Writers Get Published, and Weird Things that Happen to Them When They Do.” During the talk, Greenfield discussed his experiences as a writer out in the field, showcased examples of the advantages of being a published writer and provided valuable insight and advice for aspiring student writers. The presentation not only brought clarity to a process that many students are not sure how to approach, but it also made it clear that Greenfield is more than willing to help Geneseo students succeed at publishing.

Before the presentation, Greenfield met a few of the Writers’ House residents at Letchworth Dining Hall for dinner and casual conversation. These students were surprised that Greenfield would ever want to spend an evening in a dining hall filled with pajama-clad students to eat Campus Auxiliary Services food, but the conversation flowed freely.

As one of the original fellows for the Writers’ House, Greenfield discussed with residents what it means to live there, potential ways to improve its student-writer community and possible future goals.

After dinner, the group made their way over to the Writers’ House for the presentation, where Greenfield began by making perhaps the most important statement of the night: “I encourage writers, especially who are in school, to make sure they are writing for people other than their teachers.”

But what is there to learn about writing that can’t be gained from a teacher in a classroom? Greenfield continued, saying that when he was a student writer, he “wanted a response from A) someone who didn’t know who I was, and B) someone who didn’t care if I lived or died.”

As a student, Greenfield decided early that feedback from his teachers and those that knew him well wasn’t enough, so he started to submit pieces of writing to various editors and magazines. While he admitted that he heard “no” more often than he heard “yes,” it changed his idea about writing and even teaching.

In the presentation, he defined a clear distinction between writing and writing for publication. Through his successes and failures while trying to get published, he realized that it’s necessary to work within a system and to learn what he calls “game theory.”

To get your writing published, you need to determine what an outlet wants and how you can best fill that space. And if you can work within that system, you never know where your writing may take you.

Throughout the presentation, Greenfield provided examples of individuals who published writing in different ways, which led them down rather weird and unexpected paths. For example, Geneseo alumna Tracy Strauss ‘96 started a blog that ended up landing her a segment on “The Steve Harvey Show.”

Additionally, writer David Feldman published a series of curious books entitled Imponderables, where he asked puzzling questions such as “Why Do Clocks Run Clockwise?” and “When Do Fish Sleep?” His series of books created a whole new inquisitive genre and received attention from talk shows like “Late Night with David Letterman” and “Larry King Live.”

These quirky examples showed students how having your writing published and “getting your name out there” can create real opportunities that wouldn’t have otherwise been possible. And to see faculty members like Greenfield, with a wealth of experience and stories to share, actively working with students outside the classroom was extremely encouraging––not only for those interested in writing, but for the student body in general.

It’s important not to forget that Writers’ House events aren’t exclusive to residents and that anyone can attend. Whether it’s a speaker such as Greenfield or an open mic night to share poetry and short stories, there are always opportunities to take advantage of the resources we are so lucky to have here at Geneseo.

Art History Association debuts transition-centered exhibition

After a long vacancy, the Brodie Bridge Gallery seems to have been given a new life. The gallery debuted an intriguing new exhibition on Wednesday Dec. 7—their second of the semester—entitled “Transitions.” The goal of the exhibit is to explore how different artists connect to the word “transition.” Showing a variety of mediums, from painting to photography, the exhibit is concerned with promoting the artistic talents of students and faculty.

Student-run group Art History Association—under visiting assistant professor of art history and newly appointed coordinator of the museum studies minor Alla Myzelev—brought the exhibit to Geneseo.

The opening of the exhibition drew in many attendees, as the artists and viewers discussed the different interpretations of the word “transition.” Some works included biology major senior Nicole Forti’s acrylic painting “The Two Faces of One World” and biology major sophomore Stephanie Podguski’s four small paintings entitled “Change.” Forti’s painting depicts the world transitioning from farmland to an industrialized factory, while Podguski’s portrays her experience in transferring to Geneseo.

“It was very fulfilling to see how many takes on the word students had and through what mediums they were able to express that,” French major senior and AHA co-president Jacqueline Christensen said.

Like her fellow AHA e-board members, Christensen presented her own work in the gallery, which included a portrait of Jewish conductor Rafael Schächter. Schächter is a World War II concentration camp inmate who brought music to those experiencing the worst of what the world has to offer.

In watercolor and ink, Christensen translated a portrait of Schächter and a sketch of camp inmates into her own piece.

“It’s a very dark scene, but it brings to light the amazing musical performances that they had,” she said.

The exhibit is in conjunction with a pop-up exhibit of professor of art Thomas MacPherson’s work from his Crossing Cultures: A Sicilian and American Family in Western New York. Milne Library Publishing published the book—a graphic narrative of the contrasting Scottish and Sicilian sides of his family—in September.

MacPherson—the college’s only remaining art professor and valued immigration scholar—had paintings featured in the exhibit, including “The Conversion of Great Aunt Catherine” and “The Wedding of Mary and Tony,” all of which are of or inspired by his ancestors and reflect his Sicilian-Scottish heritage. MacPherson’s work, which shows his ancestor’s assimilation to a new country and culture, is an excellent addition to the “Transitions” exhibit.

MacPherson and his watercolor class are vital to the survival of the arts on campus, according to Christensen.

“I really hope that we are able to encourage self-expression through visual art, despite the lack of programs that we have here at Geneseo,” she said.

Department Chair and professor of art history Lynette Bosch has similar hopes for this exhibit and for her art history and museum studies students. As the first exhibition that the AHA has coordinated, “Transitions” not only promotes student art, but also gives our museum studies students a chance to put their learned skills to action.

“[The exhibit] also gives hands on experience in terms of setting up exhibitions, and essentially to do this they went through all of the museum studies steps,” Bosch said. “It’s literally the curriculum in action.”

Bosch hopes to promote the idea that—though limited—the art program at Geneseo can still make waves.

“This really is a perfect event to show that we have a presence that is a campus presence, but also goes beyond the campus with MacPherson’s accomplishments,” Bosch said.

“If we could bring the entire art community together, it would reinforce a strength that we could share together,” Christensen said. “Through that, people might be more encouraged to not only express themselves, but to spread the idea that we still do have an art community on campus and it is still growing.”

HONY photographer humanizes Trump supporters with new project

Photographer Brandon Stanton took to the streets of New York City in 2010, asking anyone and everyone simple interview questions as he documented them through photography. With a goal of portraying the lives of ordinary people, the photo series—dubbed Humans of New York—was launched via Facebook and was originally based in New York City. Stanton has traveled to countries all over the world since, including Iraq, Afghanistan and Iran in order to expand his series on a global scale.

HONY’s most recent destination is Macomb County, Michigan—a town that voted decisively for President-elect Donald Trump. Macomb County made national news when they broke their 40-year streak of voting for Democratic candidates. In his newest segment, Stanton photographs and interviews people of this small town in order to grasp a better understanding on how Donald Trump became president of the United States. Interestingly enough, Stanton shies away from political questions as much as he can, ultimately aiming to create an unbiased portrait of each individual.

Trump’s win undoubtedly divided the country into two distinct halves. Trump supporters have been largely ostracized under the general assumption that they are racist and sexist. It is easy to immediately criticize and to even hate these voters; taking the time to understand the reasons behind their votes for Trump requires more effort than most are willing to give. Luckily, Stanton is here to help.

What makes HONY so uniquely engaging—and oftentimes emotional—is its microscopic perspective on a wide array of issues. Rather than focusing on a larger viewpoint, Stanton allows people to tell the story of their lives. By bringing his project to Macomb County, Stanton helps us to meet, understand and connect with Trump voters. His project helps many anti-Trump voters humanize Trump voters, instead of writing them off as bigoted individuals.

Stanton’s photographs mostly portray disadvantaged working class citizens who have struggled through some incredibly difficult times. Many are poor and lack an education and a solid understanding of the world outside their small Michigan town. One of the most interesting things we learn about the citizens of Macomb County, however, is their view on racism.

One man in particular perfectly captures what others are thinking. He says, “Watching the news, you’d think there was a race war out there. But then I walk outside and I just don’t see it. I hold the door for the black guy. He holds the door for me. I wouldn’t even know there was a problem if it wasn’t for the television.”

Stanton’s work as a photographer and journalist shines brilliantly through this single quote. We finally understand that many of our fellow Americans are only exposed to racism in the media. More importantly, we gain a vital understanding of the results of the recent election: Trump was not elected due to racism—he was elected due to the ignorance of it.

People all over the world appreciate and love HONY because of its down-to-earth, breathtakingly emotional and oftentimes hilarious honesty. Stanton’s photos always strive to help people understand social, emotional and political issues on a deeper, more personal level. It is this understanding that is vital to solving larger conflicts—after all, deep down we’re all human.

Annual Author’s Event celebrates faculty, alumni work

The Geneseo community fosters, encourages and supports the intellectual growth of its students; as a student community, Geneseo actively celebrates each other’s passions—both inside and outside of the classroom. There’s nothing like going to a musical performance and seeing your friends display their talent and hard work on stage or like watching the Geneseo hockey team dominate the rink. But there is an area of campus culture that students may not be aware of: that of our faculty and staff. Geneseo is incredibly dedicated to enriching the lives of its students, but what are the professors up to?

I had the privilege of attending a special event in Milne Library on the snowy day of Nov. 21. The annual event, called Author’s Event, celebrated the writings, performances and publications of the Geneseo faculty and staff.

Author’s Event has been held for about five years and is for any faculty or staff member who has published material in the past year, academic or otherwise. It’s an opportunity for staff to gather and to converse with each other about their work and their interests––in addition to eating some cake, too.

President Battles was in attendance, as she gave a friendly, but informal “thank you” to the authors, as well as to Milne Library for organizing the event.

As seemingly the only student present, I felt like a fly on the wall in a part of our educational community that not many of us experience or even know about. Curious, I spoke with Milne Reference and Research Librarian Sue Ann Brainard—one of the organizers of the event—about the origin of this celebration and why there aren’t more students involved.

Brainard highlighted an important issue: even though so many of our staff members are actively publishing research and other writing, there is no single place in the college where the publications are collected, listed or recorded. It is Brainard who keeps track of it all through emailing faculty members and through independently gathering information in order to compile a list.

The list of publications for 2016 was organized into a PowerPoint and projected on the wall during the event. Additionally, there was a display table that contained some of the actual faculty-authored books. Among the displayed writings was a collection of stories by professor of English Rachel Hall, research by visiting assistant professor of art history Alla Myzelev and a collection of poetry that was edited by Robert Doggett, chair of the English Department.

Brainard stated that the main reason that they’ve never invited students to the event is that Milne Library doesn’t have the space or the budget to accommodate such large numbers. She does wish, however, that students would become more involved and invested in the work that their professors are doing in their respective fields.

“What a lot of students don’t realize,” she said, “is that their professors have to be published.”

For a student studying a specific field—whether it is in the STEM subjects or the humanities—the work of a favorite professor could become an invaluable resource. Many students have even worked with professors and published collaborative material.

“That’s how these students get published before they even graduate from college,” Brainard said.

The Author’s Event showcased one such student: alumna Erika Danielson ‘15, who published research with Jeff Over from Geneseo’s geology department.

Attending this event showed me new ways to utilize the resources and great minds that make Geneseo the flourishing intellectual community it is. As students, we are always enthusiastically supporting each other in our academic, artistic and extracurricular endeavors–– so let’s not forget to do the same for the professors that do so much for us.