Geneseo Dance Ensemble wows with culturally conscious performances

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The Geneseo Dance Ensemble showcased their biannual performance from Thursday Feb. 23-Sunday Feb. 26. “49Live: Leaping Boundaries” featured student dancers and alumni in a variety of dances. This semester, GDE welcomed guest artist Molly Christie Gonzalez, who choreographed one of the dances. (Keith Walters/Campus Photographer)

The Geneseo Dance Ensemble staged its much-awaited spring performance from Thursday Feb. 23-Sunday Feb. 26 in the Alice Austin Theater.

The performance, entitled “49Live: Leaping Boundaries,” was the 98th concert since GDE’s creation 49 years ago. Directed by professor of dance studies Jonette Lancos, “Leaping Boundaries” was a showcase of the artistic talents of both Geneseo students and guest artist Molly Christie Gonzalez. 

The performance began with a peppy “Fiesta,” where six dancers took the stage to showcase a lively yet graceful routine. These dancers began the dance in a fast pace with frenetic energy. Halfway through the number, however, the music shifted and the dancing became more smooth and mellow. “Fiesta’s” lively pace was a perfect beginning to the performance and continued to shine through its subsequent numbers.

“Fiesta” was followed up with the more introspective “Who Am I?” Four dancers, including alumna Katie Keller ‘13, commanded the stage to perform a mechanical and somewhat somber dance, which served as an examination of habits. A recording of “The Habit Poem” played at the beginning and the end of the performance, defining habit as people’s “greatest helper or heaviest burden,” which works “with the precision of a machine.” 

The themes of “Who Am I?” were reprised later in the show by the performance of “R1E2V3O4L4V3E2S1.” While eight people performed the latter dance, both aimed to “investigate the intersection of analytic processes and creativity” and were choreographed by adjunct instructor of dance studies Jody DeLoria. “R1E2V3O4L4V3E2S1” used tap dancing to depict repetition and reflection. 

After taking a glimpse into habits and the human mind, “Leaping Boundaries” shifted to the natural beauty with “Aqueous.” In three segments, dancers focused on the themes of surge, fluidity and pulsation; the background sounds shifted from the waves of the Pacific Ocean to the peaceful strumming of a mandolin and then to the deliberate beat of a drum. 

As the music changed, so did the choreography. Dancers began by mimicking the to and fro of an ocean tide before enacting the peaceful flow of a stream; finally, they danced to the rigid patterns of a drumbeat.

Throughout the program, two dancers staged a recurring themed performance called “Awakenings.” The segment was performed by communication and psychology double major senior Sophia Garber and geology and musical theater double major senior Michael Reed. 

Elegiac and nimble, Reed and Garber spun around the stage to gospel songs by Ruby Philogene. Lyrics like “I feel like a motherless child” complimented the gray outfits and the light-footed movements of these two student dancers.  

The last two numbers of the concert took a lighter tone than most of the previous dances. The “Grande Tarantelle” was inspired by a traditional dance performed in Italy to stomp on grapes during wine season. GDE’s interpretation of the “Grande Tarentalle” involved multicolored dresses and each of the dancers playing tambourines as they moved. 

Following the “Tarantelle,” a banner onstage introduced guest artist Gonzalez, who choreographed the final number “Candela.” “Candela” took its inspiration from social dancing in Cuba; with lively music playing, dancers clad in red or white dresses began dancing with each other. 

As the dance went on, more people came from the wings to join. “Candela,” true to its origin, was reminiscent of any party atmosphere, as bright outfits and animated dancing made a strong close to the event. 

“Leaping Boundaries” was especially captivating with its inclusion of these cultural influences and Gonzalez’s expertise. As the college attempts to keep its art community alive, GDE is instrumental in showcasing the strength of dance and other creative media.

Dance lecturer teaches Katherine Dunham’s legacy, technique

In Brodie Hall’s Fink Lecture Room, the college’s 20th century dance history class was treated to guest lecturer Molly Christie González on Monday Feb. 20, as sponsored by various programs such as The Department of Student Life and Orchesis Student Dance Organization.  

A former student of American dancer Katherine Dunham and current adjunct professor at Bard College at Simon’s Rock, González spoke of Dunham’s legacy and the messages the legendary artist aimed to portray through her art. 

It was by chance that González met and came to be instructed by Dunham. At just 12 years old, González was introduced to the famous “Dunham technique” through a teacher who studied with Dunham.

Five years later, that same teacher brought her fellow company members to Dunham’s dance seminar in St. Louis, Missouri. González said that Dunham “always had an intergenerational approach to education and life,” as her seminar had a range of participants from children to professional dancers to older community members. 

In her lecture, González emphasized Dunham’s legacy, impactful messages and effects on the study of dance by presenting the idea of an artist as a scholar, activist and an educator all in one. 

Dunham’s purpose was to break barriers in the discipline of dance. In addition to dance, she studied anthropology, which prompted her to consider the meaning behind dance. Dunham would ask such questions as why do people partake in the activity or how do dancers grow as people through their art. 

As a result, Dunham’s approach to teaching dance was unconventional, according to González. She would occasionally stop her lessons to ask her students, “Why are you here?” Dunham was very reliant on the functions of dance rather than the form, which she called “socialization through art.”

Outside of the performance area of dance, Dunham wanted to break the stigma and the labeling not only behind her identity as dancer, but also that of dancers everywhere. Often recognized as the “mother of black dance,” Dunham wanted to break the label of a “black” dancer to be simply recognized for her talent and value as a human being. 

Additionally, Dunham aimed to eliminate the negative stigmas of dance in the academic world. She wished to show that dance can be both beautiful and smart, not strictly one way or the other. She faced these problems “head on” through her teachings and specific dances, according to González. 

Dunham’s technique is all about “movement for a purpose” and connecting to others through the art form. She comprised this technique from her personal opinions as well as from studying history from other cultures such as those in the Caribbean. All of this led to Dunham becoming a prominent figure in the creation of modern dance. 

González’s goal was to teach Dunham’s technique and legacy through the eyes of the dancer’s students. Professor of dance studies Jonette Lancos met González at SUNY Brockport—both professors’ alma mater—in 2015, where González was performing. 

Lancos reached out to González—who has been an artist resident at Geneseo for the past two semesters—to perform in the upcoming Geneseo Dance Ensemble performance 49 Live: Leaping Boundaries, to which González agreed. 

González encouraged the student dancers at her lecture to pass Dunham’s legacy onto their peers and younger generations of dancers. 

“Now it’s on you. Now it’s your responsibility to pass it on,” González said. “She is very relevant; she needs to be taught and she needs to be shared.”

New York Fashion Week gets political

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

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

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

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

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

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

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

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

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

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

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

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

Students affected by FLO defunding: Where are they now?

President Denise Battles made the decision this past semester to end Geneseo’s financial support for the Finger Lakes Opera Company. Putting up high-quality, professional productions of famous operas like Bizet’s “Carmen” and Verdi’s “La Traviata,” FLO was a valuable asset that not only brought art to the community, but also employed many Geneseo students. 

FLO also provided internships—40, to be exact—in areas such as marketing, arts administration and technical-theater, and it allowed music students to perform in the opera’s ensemble. 

The decision to defund FLO—effective Nov. 11, 2016—was met with an outcry among students both inside and outside the music department. Many of these students took immediate action by hanging flyers around campus to raise awareness of the situation, by petitioning door to door in the Geneseo neighborhoods and by speaking out at Student Association meetings.

Now as the new semester has begun and Battles’ decision remains firm, there has been a marked change among the student body. The response to the defunding of FLO has created an atmosphere of heightened resilience and awareness of the possible threats to the arts at Geneseo. Even non-musical groups, such as SUNY literary magazine Gandy Dancer, have come forth with statements of support, emphasizing the importance of a true liberal-arts education. A few months have passed since the decision went into effect, but the passion from students seems just as strong as ever.

As a result of these changes, some Geneseo students have been affected more than others and are now scrambling to deal with the consequences. Vocal performance and history double major senior Noah Chichester and vocal performance and communication double major sophomore Nicole Rizzo were some of FLO’s biggest proponents last semester, spearheading much of the awareness effort and attending SA meetings together.

Rizzo’s academic experience has perhaps been among the most affected by Geneseo’s disassociation from FLO. Rizzo’s interests and career goals are specifically in arts administration, and an important part of her decision to attend Geneseo was the opportunity to work with a high-caliber opera company like FLO. Now that this is no longer an option, Rizzo’s academic plan has been derailed. 

“One of the school’s values is ‘inclusivity: fostering a diverse campus community marked by mutual respect for the unique talents and contributions of each individual,’” Rizzo said. “You can imagine my frustration with this statement.” 

Since the decision, she has been forced to apply to other schools with the programs that she needs. 

“I would just really like to see the college attempt to be more transparent,” Rizzo said. “I don’t want future students to be stuck in my situation.”

Rizzo won’t be the only one who will be inconvenienced. As of 2016, the SUNY system has researched and implemented a new “Applied Learning” initiative, designed to strengthen and increase the use of internships and other hands-on learning experiences. For Battles to cut FLO in the face of this initiative has baffled and saddened students like Rizzo and Chichester.

Battles’ reasoning behind the initiative was to “utilize the money in the Geneseo fund for scholarships for incoming students,” according to Chichester. 

This sounds all well and good, but what about the students that already attend Geneseo who hold the expectations that their interests and needs will be valued? 

“I didn’t find that to be a convincing enough reason,” Chichester said. “I think it’s sad that her business model for Geneseo is to run it based on whatever will be the most profitable.” 

FLO’s Founder and Artistic Director and professor of music at the college Gerard Floriano has future plans to fundraise in order to turn FLO into a certified non-profit, according to The Livingston County News. In addition, the company will present Puccini’s “Tosca” in a special performance at Canandaigua Academy this August.

The Filharmonic a cappella group brings valuable lessons to student musicians

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The Filharmonic a cappella group visited Geneseo on Saturday Feb. 18, hosting both a workshop and concert. The all Filipino-American group helped Geneseo’s student musicians improve their skills and learn new techniques. (Elizabeth Jacobs/Staff Photographer)

The famed Filipino-American a cappella group, The Filharmonic, made a stop in Geneseo as part of the Limelight and Accents Performing Arts Series. The Filharmonic hosted an a cappella workshop in Doty Hall, which was followed by a concert of their own on Saturday Feb. 18 in Wadsworth Auditorium. 

As a professional a cappella group, The Filharmonic were contestants on the popular TV show “The Sing-Off,” appeared in Pitch Perfect 2 and have been guests on “The Late Show with James Corden.” 

As such an accomplished a cappella group, The Filharmonic took some time during the workshop to share their skills and experience with the a cappella groups on campus. Students from Between the Lines, Exit 8, Emmelodics, Southside Boys and Hips ‘n Harmony were all present, as well as a couple of groups that traveled from the Rochester Institute of Technology. 

The Filharmonic gave a brief performance before asking if any of the groups in the audience wanted to perform one of their own songs for critique. BTL chose to perform their rendition of Blackstreet’s “No Diggity,” as arranged by alumnus and former member of BTL, Sam Evans ‘16. The Filharmonic gave constructive feedback, as they worked with the group to further improve their a cappella skills. 

Coincidentally, The Filharmonic sings a version of that same song in many of their concerts, so they had particularly helpful insight for the group. After BTL left the stage, one group from RIT performed one of their songs. The Geneseo groups in the audience were supportive and eager to hear what collegiate a cappella groups are doing at other schools.

The Filharmonic spent the remainder of the workshop taking questions from the audience. They discussed their experience on tour, their unique background of being an all-Filipino group and the future of a cappella as a genre. 

They ended the workshop by stating how impressed they were with the high level of musicianship from collegiate a cappella groups, how far a cappella has come and that groups like the ones here on campus are sure to create a promising future for a cappella.

The lively energy at the workshop carried over into the concert that followed. The Filharmonic gave a full performance at Wadsworth Auditorium, sharing their own renditions of popular songs from a range of popular artists such as Mariah Carey, Justin Bieber and Rihanna. 

The group kept the audience on their toes with crazy beat boxing breaks and audience participation. There were quite a few laughs, too, as they even called up a girl from the crowd and serenaded her on stage to a song akin to the scandalous blockbuster hit Magic Mike. 

After the show, students lined up for a meet and greet with the group. The Filharmonic spent some time chatting casually with students, taking pictures and signing merchandise. The group was incredibly approachable and met every fan with a smile. 

This Limelight event provided Geneseo students with a rare opportunity to meet, to learn from and to sing with touring professional musicians.

Could Betsy DeVos help art education?

One of the latest disappointments from the Trump administration has been the appointment of Betsy DeVos as secretary of education. 

Many criticize the pick due to DeVos’ lack of experience and harsh criticism of the public school system, having never attended or worked in a public school. She even stated recently that she’d be happy to abolish the Department of Education altogether—but DeVos may surprise us, as she has the potential to be a positive force for the future of art education. 

DeVos has a “lifelong interest in art and design” and has the credentials to back it up, according to her own website. She served on the Board of Trustees for the John F. Kennedy Center for the Performing Arts under former President George W. Bush, funded the DeVos Institute of Arts Management at the University of Maryland with her husband Dick and served on the board of ArtPrize. 

In addition, she and her husband founded the Dick and Betsy DeVos Family Foundation, which supports causes in five areas, two of which are education and art. 

ArtPrize—which is credited as being “the most-attended public art event on the planet”—is an art competition that takes place in downtown Grand Rapids, Michigan, over the course of 19 days. ArtPrize proudly describes itself as being an “unorthodox, highly disruptive and undeniably intriguing” event where “anyone can find a voice in the conversation about what is art and why it matters.” It boasts attendees and artists from all over the world who travel to see “every inch of downtown” covered in art. 

DeVos’ association with such a seemingly progressive, modern and inclusive event is interesting considering her history of using her vast funds to support only private Christian schools, which are, for better or worse, notoriously conservative. While DeVos herself is not the mastermind behind the formation of the event, her son Rick is its founder and current chairman.

This, however, has not kept the arts community from criticizing DeVos and her recent appointment. In fact, senior editor at Hyperallergic Jillian Steinhauer suggests that we should be wary of DeVos’ enthusiastic involvement of the arts, saying that it is “a form of soft power—a means to look benevolent and enlightened while being pretty nefarious.” 

Steinhauer also states that although we must acknowledge DeVos’ alignment with the arts, it should not discourage creators from criticizing our new secretary of education. 

There is also, of course, the crucial fact that DeVos has remained largely silent when it comes to the arts and the future of art in the public education system. Instead, she focuses on her proposed installment of school choice and charter programs, which she had previously begun in her home state of Michigan. 

Furthermore, DeVos’ apparent view of the arts certainly does not align with that of President Donald Trump, who has threatened to defund the National Endowment for the Arts. Would DeVos turn her back on the arts to stay in the good graces of the man who gave her the power to turn her education dreams into a reality? 

While DeVos’ past support of the arts may shed a more flattering light on the secretary, the best that art teachers and enthusiasts can do right now is keep their fingers crossed and hope that the arts remain a priority for DeVos.

Livingston Arts hosts 50th annual members’ exhibit

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Livingston Arts is celebrating their 50th anniversary with their annual members’ exhibition entitled “Freedom of Expression.” The show strives to represent a large variety of artists, mediums and themes, and it features some of Livingston County’s most inventive artists. (Annalee Bainnson/Assoc. Photo Editor)

Livingston Arts’ latest exhibit is one of their most dynamic yet. “Freedom of Expression” is the center’s 50th annual members’ exhibit that shows the work of its members. 

Founded by late Geneseo professor of art Bertha V. B. Lederer—for whom the Lederer Gallery on campus is named after—the center has been holding members’ exhibits from its inception in 1967. 

Livingston Arts’ bicentennial coincides with that of the Lederer Gallery, which held its own anniversary gala and exhibition in the fall.

“In our 50th season, we continue to expand the media represented and the geography of our artists,” Executive Director of the Livingston Arts Center Betsy Harris said. “We welcome all two and three-dimensional works in traditional and digital media for our exhibit.” 

One look at the exhibit and any visitor can see that this is unequivocally true. Filling both the New Deal Gallery and the Apartment One Gallery, the pieces ranged from beautifully crafted paintings to groundbreaking sculptures.

This year’s title and theme derives from former President Franklin D. Roosevelt’s “Four Freedoms” speech in which he outlines the four “essential human freedoms:” freedom of speech and expression, freedom of every person to worship God in his own way, freedom of want and freedom from fear. This, of course, stays true to the New Deal Gallery—which presents Works Progress Administration artists’ works from FDR’s New Deal—and connects to recent political issues. 

One notable piece in the show is Dan DeZarn’s “Winter Wood and Heat Study,” a sculpture composed of wood fired terracotta pieces engrained with fossilized leaves and mounted on the wall via steel rods. 

Interestingly, the piece is presented as a whole, but its pieces can also stand alone. DeZarn is the director of the Office of Sustainability and a former professor of sculpture at the college. He has ties with the annual Ephemeral Arts Festival, which aims to promote the concept of nature as art. 

Meanwhile, Mark Calicchia’s “Metamorphic Moments in Time” is another standout as a dollhouse packed to the brim with miniatures, buttons, pins and other objects. The sculpture can be seen from 360 degrees, with something new to observe at every angle. 

Some rooms of “Metamorphic Moments in Time” have a theme, such as Christmas or art, but others are compilations of various objects. The roof is adorned with smaller houses and the outside of the house is surrounded with pictures with accompanying observers, resulting in our own realization as viewers that we are outsiders looking in on this sculpture. 

While the exhibit boasts its fair share of traditional media—such as Julia Stewart’s expertly crafted “Silent River” and Ted Wetherbee’s “Clock Without Hands,” which is a series of “nursing home paintings”—some pieces likely cannot be seen elsewhere. David Missel’s “2 Dolphins” and “Golfer” are carvings done on pieces of bracket fungus and Patrice Case’s “Scoop” and “Stir” are exquisite sterling silver spoons that she handcrafted with carvings and cutouts, but are still completely usable. 

Tucked up on the top of Murray Hill, the Livingston Arts Center is an unassuming and small building among a community of larger structures—but waiting inside is the work of some of Livingston County’s best artists, creators and innovators, proving that Livingston County has its fair share of artistic genius. 

“Freedom of Expression” is on display until March 18.

Netflix docuseries chronicles creative processes of modern artists

One of Netflix’s newest original endeavors also happens to be its most artful to date. With the new documentary series, “Abstract: The Art of Design” the online television and movie watching platform is taking a look at the artistic journeys of eight modern artists. 

These aren’t your typical oil-on-canvas artists either: they are dynamic creators of widely different media and are making big waves in their respective fields. Through this new documentary series, Netflix brings us into the lives and artistic processes of an illustrator, a Nike shoe designer, a stage designer, an architect, an automotive designer, a graphic designer, a photographer and an interior designer.

Through clever and charming animation, each episode is personalized to the artist with montages that showcase their work. Although they differ greatly in terms of what and how they create, all eight of the featured designers seem to agree that the best art comes from experience, and the series is about communicating these experiences to the public.

As a part of its personalization, the documentary series takes care to film each individual in his or her natural spaces—gone is the traditional interview against a black background. 

This style of filming not only adds visual appeal for the viewer and allows for more of a focus on the process of creating art, but it also humanizes the artist. Seeing architectural genius Bjarke Ingels standing next to one of his mountainous buildings serves to remind us that this amazing artistic feat has come from a human mind—someone that could be sitting right next to us. 

From each of these artists, we learn vital lessons about what it means to be an artist and the motivation behind creating. Episode one is dedicated to illustrator Christoph Niemann, whose colorful abstractions and cartoons have graced the cover of The New Yorker 22 times—and counting. 

Using Legos to create abstract structures and images that every New Yorker could identify, Niemann affirms that design celebrates the world and makes familiar things look new and innovative. 

We are also introduced to non-traditional artists—people behind the scenes that the world forgets to appreciate. This includes people like Tinker Hatfield—the legendary Nike shoe designer who is credited with popularizing Air Jordans and for whom design is about problem solving and “predicting the needs of the future”—and stage designer Es Devlin, who is the mastermind behind some of the most innovative productions of “Hamlet” and memorable Beyoncé concerts. 

By bringing these artists to the public’s attention, the documentary series effectively broadens our definition of an artist. Instead of just a painter, drawer or photographer, an artist becomes anyone dedicated to pushing boundaries and to creating enjoyable and meaningful products.

The documentary itself seems to be a perfect example of what Niemann suggests in the very first episode: “The gateway drug is not creating art, but experiencing it.” Thus, the series provides a perfect introduction or continuation of any viewer’s individual artistic journey.

Rutkowski lectures on importance of transgender studies

Geneseo’s international English honor society Sigma Tau Delta decided to not only revolve their lecture series around political and social issues that are relevant today, but to also illustrate how the study of English adds to social criticism. 

They kicked off the series by inviting associate professor of English Dr. Alice Rutkowski to speak about transgender topics and literature in a lecture entitled “The Transgender Turning Point” on Thursday Feb. 9. 

Rutkowski began working at Geneseo in 2003 as an English professor, but she has also taught classes in women’s studies, American studies and humanities. Her scholarly interests include 19th and 20th century literature, American literature, civil war literature, women’s studies, queer theories and transgender studies.

To begin her lecture, she told the story of how she, as a cisgender individual, became an activist and teacher of transgender studies. It all started 10 years ago when one of her students came out to her as transgender. She had never met someone who was transgender, and so she researched some terms, wanting to be a better educator and friend to this student.   

That student—the first publicly transgender student at Geneseo—embarked on a roving education about transgender issues and findings, and in 2006 created an assembly for open conversation about trans identities on campus.

In addition to this experience, in the summer of the same year, Rutkowski attended the National Women’s Studies program in Oakland, California. At the conference, she was introduced to many of the vital issues in trans politics.

“It seemed to me that students needed more background in theory and critical terms to explore gender identity in a setting that both demanded rigorous engagement, but offered a sort of safe place for discussion and exploration and disagreement,” Rutkowski said.

She introduced a women’s studies course that focused on transgender studies in the spring semester of 2008. Even though she was not an expert in the field, she felt as though “it had to be done.” 

In fact, Rutkowski pointed out that at least one student from the class every semester transitioned, though not because her course encourages transitioning; rather, because they finally felt they had a safe space to be who they are, according to Rutkowski.  

Rutkowski’s main point in Thursday’s lecture was to start a discussion and to increase the knowledge of trans identities on campus. Rutkowski is also the coordinator of the Geneseo Safe Zone Program training. Safe Zone is a program where individuals become allies in their commitment to educating themselves about oppression, heterosexism and homophobia and in their combat of these issues on a personal level. 

The Safe Zone program will have a class in the fall semester where students can become trainers. Although students must apply to be in the class, it will serve as a great opportunity to learn more about how to use appropriate language and it will serve as a safe environment for people in the LGBTQ+ community. 

Rutkowski mentioned that she was doing a lot of “speaking for” the trans community and ideally a trans employee or professor would be able to be present and to represent his or her own community. 

For now, however, Rutkowski is attempting to make waves in Geneseo’s trans community in order to make the campus—and by extension the larger community—more understanding and accepting of trans identities.

Chance the Rapper first Grammy winner without label

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Twenty-three year old newcomer Chance the Rapper took home three Grammys last Sunday. He is the first artist to ever win the award without a record label. (Matt Sayles/AP Photo)

There is much to talk about in the days following the 59th Grammy Awards—from Beyoncé’s show stopping performance while pregnant to Adele’s big wins—but perhaps the most talked about artist of the night is newcomer Chance the Rapper. 

The Chicago native won three major awards on Sunday Feb. 12—best new artist, best rap album and best rap performance—and he did it all without a label, choosing instead to give his music to listeners for free. 

With a career that began when he was just 18 years old touring as Childish Gambino’s opening act, Chance—born Chancelor Johnathan Bennett—has created a total of three mixtapes, the latest of which earned those three Grammy wins.  He then released them online for listeners to stream—completely free of charge. 

Both Acid Rap and Coloring Book have received rave reviews from fellow rap artists, critics and former White House inhabitants (Malia Obama is a fan). In fact, Coloring Book, with its authentic themes of “God, love, Chicago and dance,” beat out some huge names in the category for best rap album, including DJ Khaled, Drake and Kanye West. 

Although he’s certainly had the chance to sign with many major labels, Chance decided to stay independent, which allows him to “offer my best work to people without any limit on it” and work more creatively and freely. Plus, Chance has said that he doesn’t want to be a part of the record labels’ “dick-swinging contest” to get the most and best rappers.

And his refusal to sign with a record label hasn’t hindered Chance in the slightest. He’s written for and learned from West, collaborated with Lin-Manuel Miranda and toured with Macklemore. 

“I honestly believe if you put effort into something and you execute properly, you don’t necessarily have to go through the traditional ways,” Chance said.  

So how exactly does this 23-year-old rap genius make a living? The answer is simpler than expected—by selling concert tickets and merchandise. That’s it. Being an independent artist comes with some seriously dedicated fans. Who wouldn’t appreciate being able to legally and easily download quality content straight to their iPhones and computers?

Although he doesn’t come without his fair share of history, everything about Chance seems to be genuine: his love for his new family—as he has a young daughter with girlfriend Kirsten Corely—his dedication to producing meaningful music and his determination to tell the truth. 

In fact, Chance is an active fighter against gun violence in his hometown of Chicago and is a part of the My Brother’s Keeper campaign, which strives to address the challenges faced by young black individuals and to promote racial equality. 

As for the rapper’s next move, it could be anything; he’s independent, after all. But for now, he’s followed up his Grammy wins with the announcement of his spring tour, which will be sure to keep Chance out of record labels’ reach.

Met releases over 300,000 photos in collaboration with Creative Commons

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The Metropolitan Museum of Art has partnered with Creative Commons Zero to release more than 300,000 images of their famous artworks, free for the public to download. This is a part of the museum’s recent Open Access efforts to adapt to the tech era. (Courtesy of Creative Commons)

The Metropolitan Museum of Art in New York City is the largest art museum in the nation, and one of the largest in the world. It is expansive not only in terms of physical space, but also in the size of its permanent collection, which contains over 2 million works, separated into seven sections. 

People from all over the world travel to New York to wander through history in the museum’s countless rooms and halls—but as of Feb. 7, patrons won’t have to travel so far. The Met has made all images of public domain works available online under Creative Commons Zero. That’s over 375,000 images from over 5,000 years of global culture at your fingertips.

All of the images—many of which have achieved worldwide fame—can be used, altered and shared by anyone with no costs. Students, educators, artists and art enthusiasts alike now have easy access to this vast encyclopedia of artwork, thus opening an array of new artistic possibilities. 

The works are part of a digital catalogue that has been constantly growing over the years as the museum expands its collection. Making the catalogue publicly available on the Internet is part of The Met’s Open Access policy change in an effort to adapt to the new digital age. 

Some may view this change as damaging to the art’s integrity instead of as a cultural advantage; while posting the works publicly will surely reach more people, it could also be argued that viewing art online detracts from the visual and conceptual value of a piece. 

Key aesthetic aspects of a work—such as texture, size or physical dimensions—are minimized or lost when hidden behind a two dimensional screen just a few inches wide. Sometimes viewing art is meant to be visceral. Is it worth having thousands of works readily available through this mass digital medium when the impact and meaning of those works may be diminished by it?

On their official website, the Met explained that the transition to Open Action is an important step in fulfilling their mission statement in a new era of technology. The Met crafted their mission statement over 140 years ago, pledging to be a “museum and library of art, of encouraging and developing the study of the fine arts, and the application of arts to manufacture and practical life.” 

When this statement was created, the museum’s prime focus was the wellbeing of the people of New York City, but now technology has provided us with the tools to share information on a much larger scale. Ignoring this opportunity to reach more people would be failing to live by that mission. 

“Since our audience is really the 3 billion Internet-connected individuals around the world,” Chief Digital Officer at the Met Loic Tallon said, “we need to think big about how to reach these viewers, and increase our focus on those digital tactics that have the greatest impact.”

All of the public domain artwork can be found at creativecommons.org, along with key information about each piece, which includes title, artist, medium and date of creation. It’s possible that The Met’s transition to Open Access will pave the way for other museums to follow suit.

Regardless, The Metropolitan Museum of Art has now opened its doors not just to New York City, but to the entire digital world as well.

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.

Lady Gaga’s halftime show wows viewers despite political divisions

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Lady Gaga’s halftime show performance this past Sunday at Super Bowl 51 impressed the nation. Many praised the star’s subtle political references and overall positive attitude, as well as her breathtaking showmanship. (Darron Cummings/AP Photo)

When Super Bowl 51 began on Sunday Feb. 5, thousands of fans were filled with excitement and curiosity, wondering if the four-time Super Bowl winners—the New England Patriots—would take home the Lombardi trophy yet again. But perhaps even a bigger sense of mystery surrounded Lady Gaga and her half time show. 

With various rumors floating around about what the famously over-the-top pop star would surprise us with next, many couldn’t wait to see which rumors proved true.

One of the biggest issues surrounding Gaga’s performance was the prohibition of any political statement from the star. Known as an outspoken celebrity, Gaga’s political affiliations are no mystery. Yet rumors ran rampant that the singer was explicitly told not to “bring anything up about the election, or mention Donald Trump.” The National Football League, however, denied this vehemently, telling the media that this rumor was “nonsense.” 

When the performance finally began, any questions about a political statement were immediately answered, as Gaga kicked off her gig—while standing on the roof of the stadium, surrounded by red and blue lights—with a rendition of “America the Beautiful” and “This Land is Your Land.” 

Super Bowl half-time performers are not usually in the habit of starting their performances with patriotic songs—that right is usually reserved for the singer of the National Anthem. Although football is an exclusively American sport, it seems to be clear that the inclusion of “This Land is Your Land” is meant to be a statement regarding President Trump’s recent travel ban. 

In addition to these patriotic anthems, Gaga also quoted the Pledge of Allegiance, announcing, “One Nation under God, indivisible, with liberty and justice for all.” Some are also arguing that the inclusion of one of Gaga’s more inspiring and powerful songs, “Born This Way,” was also a political statement about inclusion. 

It wasn’t all political, though. Many were just as excited to witness what was sure to be an amazing and entertaining show from one of the world’s top pop stars. And Gaga did not disappoint her “little monsters.” 

Starting the show off by leaping down from the roof and onto the stage below, Gaga began her 13-minute performance with one of her very first hits, “Poker Face.” With an army of back-up dancers and a keytar, the stadium watched in excitement as the star strutted and danced around the stage in a bedazzled body suit, belting out her top hits. 

It was also rumored that Beyoncé—who recently announced her pregnancy with twins—would make a guest appearance, as she and Gaga collaborated in 2010 on “Telephone.” And while she did perform the hit, her partner was absent. But this should not come as a shock, as Gaga posted on Instagram prior to the show, thanking her fans and stating that “I’m doing these 13 minutes solo!” 

Another one of Gaga’s partners, Tony Bennett, made a seconds-long appearance before the performance began, cutely introducing the show with a bottle of Pepsi. 

For the most part, Gaga’s set list was a blast from the past—many songs dating back to her early career in the 2000s, apart from a few more recent hits. Of course, Gaga’s new album, Joanne, made an appearance with one of its more popular songs, “Million Reasons.” 

For this newest hit—and arguably the most serious song of the night—Gaga took to the piano. Some are criticizing the inclusion of this song, citing its stylistic differences from the rest of the set list, but what would be a Gaga show without variation? 

After Gaga ended the show by climbing to the top of a metal staircase, throwing her microphone into the crowd and hurling herself down, the crowd—and the Internet—exploded. Millions are praising Gaga not only for her musical and entertainment prowess, but also for her positive and optimistic attitude. Despite her fame, the star has managed to stay humble and has become a spokesperson for individualism and acceptance. 

It’s no secret that 2017 has begun as a tumultuous year, with much of the nation divided politically. But it seems that Lady Gaga was a more than appropriate choice to deliver a message of togetherness and cooperation to the nation.

Photographer behind Beyoncé’s artful pregnancy photo revealed

Beyoncé shocked the world last week with the announcement that she and her husband, rapper Jay-Z, were pregnant for a second time. And if the sight of Bey’s baby bump wasn’t exciting enough, she also disclosed that her family would be growing by two this time. That’s right: Beyoncé is pregnant with twins.

The unexpected announcement came via Instagram, as she posted a beautiful pregnancy photo that has now topped the world record for most Instagram likes. The photo shows Beyoncé kneeling in front of a brightly colored bouquet, holding her belly. She is nearly nude, with silk underwear and a veil draped over her head. 

This striking photo was just the first in a series that was released the next day. The shots are incredibly dreamy and ethereal, yet strong—a gorgeous portrayal of motherhood. So, who is the mastermind that Beyoncé chose to capture her growing family so artfully?

The photographer behind the images is Awol Erizku, a Yale graduate who was born in Ethiopia, raised in the Bronx and is currently based in Los Angeles. He is primarily a photographer, but also works with sculpture, music and film. 

His work has been shown in the Museum of Modern Art in New York City, but he’s also established a presence in the entertainment industry by collaborating with rapper ASAP Rocky and by photographing actress Viola Davis for The New Yorker.

Erizku’s work has always been deeply tied to music and pop culture, while also focusing on notions of black beauty. His early works transpose famous artworks from the past into the current context of black culture by replacing the traditional white subjects with young black men and women. 

One of his most famous pieces features a black hand with long painted nails holding a red rose—a re-creation of the common symbol seen outside nail salons, which usually pictures a white woman’s hand with her nails freshly done. 

Some of his more recent works focus specifically on the intersectionality between music and visual art. His 2016 exhibition at the Nina Johnson Gallery in Miami was accompanied by a mixtape he curated himself, as he said, “For me the mixtape is like a hypothesis and the show is the proof … Mixing is like art to me. The sound has to follow the concept behind the work on display.” 

He takes musical inspiration from artists like Rihanna as well as Beyoncé and Jay-Z. He also uses familiar music in his gallery exhibits to reach out to the audience he wants to talk to: people who live in the Bronx, Little Haiti or Compton. People recognize the music, and it makes them feel more comfortable walking into a space they wouldn’t normally enter.

So it makes perfect sense for Beyoncé to choose Erizku for her pregnancy shoot. While she didn’t immediately name Erizku as the photographer, the symbolism and aesthetic didn’t make it hard to guess. 

One photo in particular was a dead giveaway, featuring Beyoncé posing on top of an old red Porsche overflowing with flowers. The same Porsche was used in a previous exhibition of Erizku’s, titled “Ask the Dust.” He has since been confirmed as the photographer responsible for the shoot.

The specific poses that Beyoncé srikes are also very meaningful and reflective of Erizku’s previous photography. The insta-famous shot of Beyoncé kneeling in the flowers is symbolic of the traditional image of the Virgin of Guadalupe, a Roman Catholic patroness and mother figure in the Latin culture. 

The Virgin is typically pictured in a frame of flowers, similar to those in the photo of Beyoncé. Another shot from the series depicts Beyoncé standing similarly to Sandro Botticelli's masterpiece “The Birth of Venus.”

The opportunity to photograph Beyoncé has catapulted Erizku’s work even further into fame and notoriety. Based on the stunning works we have seen from him thus far and the strength of his artistic mission, we can be sure to expect even more beauty from Erizku in the future.

Netflix turns classic children’s books into mesmerizing series

From the outside, “A Series of Unfortunate Events” may seem like a grim and unforgiving Netflix series that annihilates any signs of happiness. The opening credits even beg the audience to “look away” in a tune sung by Neil Patrick Harris, who plays the infamous Count Olaf. But these first signs should not deter you from watching the fantastical adaptation of Lemony Snicket’s A Series of Unfortunate Events.

Fans of the book series will certainly be pleased with the Netflix series. Contrary to the dull and underwhelming 2004 A Series of Unfortunate Events film, Netflix revamps the series and gives it the full adaptation it deserves.

Harris plays a comedic yet disturbing Count Olaf who will stop at nothing to gain the fortune of the Baudelaire orphans—three innocent and clever children who just lost their parents in a terrible fire—by using various disguises. The series is successful in translating the intellect Snicket gives to each of the children, making them daring and strategic no matter what sticky situation they find themselves in. 

Violet—played by Malina Weissman—is the inventive elder sister, whose mind works strategically and is always trying to think of new ways to solve the trio’s problems. Klaus—played by Louis Hynes—is the middle child who uses the extensive knowledge he gains from various books to help Violet save their lives and their fortune. 

Then there’s the sharp-toothed Sunny—played by youngster Presley Smith—who offers much-needed comic relief. Smith’s baby language is translated into well-executed and smart phrases that only Violet and Klaus can comprehend.

If the gloomy atmosphere isn’t enough to remind you of the orphans’ miseries, Lemony Snicket himself—played by Patrick Warburton—is there every step of the way to always remind you of the horrible suffering you are voluntarily watching. Warburton brilliantly plays a deadpan version of the narrator/author, dropping hints on the upcoming fate of the Baudelaire children; Warburton portrays the excellent wit that made the original series so likable—even by a much more mature audience.

In fact, Netflix seems to perfectly capture the attitude of Snicket’s books, beginning each book adaptation—The Bad Beginning, The Reptile Room, The Wide Window and The Miserable Mill for a total of eight episodes—with Snicket’s small message to his beloved and deceased Beatrice, which appears in each book. 

For someone unfamiliar with Snicket’s humor, it may be difficult to appreciate the show for its irony and satire. If you look below the surface, however, there are many details to pick up on. The children are much smarter than the adults, especially the banker Mr. Poe—played by K. Todd Freeman—who has an uncontrollable cough and brings the orphans from one guardian to the next. Despite the Baudelaire's constant warning to the adults around them that the sea captain or big-eyed scientist is in fact Count Olaf in disguise, they refuse to believe the siblings.

The melancholy tone of the series is also satirical. The Baudelaire’s constant stream of bad luck may seem repetitive, but it only works to emphasize the show’s ironic message that the world—especially today’s world—is a horrible and unforgiving place for children to grow up in. 

The one big flaw within the series is the somewhat flat and awkward portrayal of the Baudelaire orphans by the young actors. For such intellectual children, their intelligent dialogue and cunning wit does not seem to translate well across Weissman and Hyne’s portrayal of their characters. 

Despite the show’s encouragement to “look away,” Netflix’s “A Series of Unfortunate Events” should be watched with full-attention and great delight both for its accurate representation of the original series and for its refreshing attitude.

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

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

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

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

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

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

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

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

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

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

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

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

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

Sociology professor finds the key to well-being

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Professor of sociology Steve Derne has published his latest book, Sociology of Well-Being: Lessons from India. Based on 203 interviews he conducted in India, Derne explains to his reader “how to live the good life.” (Courtesy of Steve Derne)

Everyone wants to know the key to living a happy life. Is it eating the right foods? Exercising? Spending time with family and friends? Professor of sociology Steve Derné may have found the answer.

Derné’s latest book, Sociology of Well-Being: Lessons from India, takes an in-depth and personal look at how well-being is approached and achieved in India. By conducting a total of 203 interviews over 10 years, Derné has gained some critical insight into the keys of healthy and happy living.

Drawn to India by chance in 1986, but staying by choice, Derné is no stranger to conducting research there. In fact, he’s lived there on and off for the past 30 years, and has become a devotee of the Hindu god, Shiva. From his experiences, he has found that Indians have a useful way of looking at life: “[they] generally see that it’s all good.”

Derné began this newest study back in 2007, deciding to shift his sociological focus from suffering to well-being. Why? Because he, like everyone else, wants “to live the good life.” In the city of Dehradun and throughout the Himalayas, Derné asked these three basic questions: “What does well-being meant to you? Can you tell me about a time when you experienced well-being? Can you tell me about a time when you experience a lack of well-being?” 

Derné was particularly excited by the answers, explaining, “I knew immediately that these were the best interviews that I’d ever done because it turns out that there’s nothing that really guides people when they’re talking about well-being.” 

When asked about what leads to well-being, Derné’s interviewees told him that everything from “getting good sleep and giving up eating pawn” was the key. From this data, Derné finds that “living the good life” is dependent on two major things: our ability to find meaning during hard times and our ability to find simple pleasures. 

Derné also says that well-being is largely mixed. 

“You can have lack of satisfaction and satisfaction at the same time,” Derné said.

Well-being is constantly changing as your focus changes and, interestingly enough, is the result of contradictory actions. So how do we go about bringing well-being into our own lives? We find simple pleasures and partake in a large variety of activities, according to Derné. 

“One time I’m surfing, one time I’m horseback riding, one time I did kayaking,” Derné said. “But you’re not going to be able to surf all your life. It’s really the ability and the commitment to find pleasures so that you have little things that bring up your life.”

Included in the book is research from some of Derné’s senior sociology students, who conducted the same interviews in the United States. Their own research was analyzed and presented on Geneseo Recognizing Excellence, Achievement & Talent Day. 

Interestingly, Derné finds no great contrasts between the American and Indian interviews. Rather, Derné has found that well-being “is the same all around the world. Americans do see those things, too, but Indians see them more easily.”

The book itself is a rewarding read, with charming real life characters and Derné’s personal voice ringing loud and clear. If “living the good life” is one of your New Year’s resolutions, then perhaps this is the book for you.

Student-led music club fosters encouraging learning environment

Cadenza is a blossoming student-oriented club dedicated to teaching basic music skills in a low pressure, open and friendly environment. Students of all majors and levels of experience are welcome. The club held its first official meeting on Tuesday Feb. 7. 

This unique club began to take shape in the spring of 2015 when a group of music majors realized that they were all struggling with similar topics in class. Coming together on their own, these students began to host informal workshops to help each other with their studies. 

Part of being a music major requires learning skills that may be outside of one’s specific instrument or expertise, so students who were more experienced in certain areas—such as piano skills or music theory—would take turns hosting the workshops. Students with different musical backgrounds could share their knowledge and help each other become more well-rounded musicians. 

Over time, these workshops became more regular, as they began to draw interest from an increasing number of music majors. A few participants realized that people of all majors and skill levels could benefit from these sessions, however, and decided to make it an official interest group on campus. 

Cadenza is currently led by two of its founding members, sociology major senior Katherine Zaslavsky and French major senior Noah Weiss, both double majoring in instrumental music. 

From the very beginning, Cadenza has been almost completely student-led and oriented. It offers something that a college music class can’t: an opportunity to improve music skills or to learn something new at your own pace and without the pressure of grades or credits. It can be a learning supplement or a hobby; attend only a workshop or two, or attend weekly. 

The only staff involvement is from its advisor, adjunct faculty in music Jim Tiller, who stands in as conductor every so often.

The club held an interest meeting on Jan. 31, where students shared their ideas for specific topics or areas of music that they would like to learn about more. The material is always determined based on the needs and the interests of members, as anyone can suggest ideas for workshops, regardless of skill level. 

The material is often focused on music theory basics and on filling in the gaps with material that some musicians may not have been exposed to in class or in high school. This year, however, Cadenza is starting off with a basic piano workshop, with no prior experience necessary. 

One main difference between Cadenza and other campus clubs is that it’s not cumulative in any way—you can pick and choose what meetings you’d like to attend based on the material being shared. There’s no final performance, no auditions and no requirements; it’s all about learning.

But it’s not all business all the time. Every so often, Cadenza will host a musical game night with random questions about various famous musical works and the scandalous behavior of historic composers. (They were the celebrities of their day, after all.)

While Cadenza is a great opportunity to foster a budding interest in music with no strings attached, it also opens a way for students to become more involved in the music department.

The music department has many resources that can be used to expand upon any area of interest. Did you like learning solfège and sight singing? Maybe consider the voice class for non-majors. Want to expand your piano knowledge a little further? The music department offers piano classes as well.

As of right now, Cadenza is only a few members large, making for an intimate but laid back learning atmosphere. The club has potential for growth, however, and is a great example of how we should be encouraging exploration of the arts.

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.

Zelda Fitzgerald outshines husband in myriad of new media

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

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

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

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

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

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

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

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

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

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

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