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Arts & Life

Griot Institute hosts Dancing Mind Challenge

By Heather Hennigan

Contributing Writer

On Saturday, Nov. 19, I participated in the second annual Dancing Mind Challenge. I woke up early, chugged about a pot and a half of coffee and spent my afternoon curled up on a couch in Walls Lounge with a pile of papers and a new book to read.  I forced myself to be somewhat academically productive for a bit, but then I was able to indulge in a book that, for once, was merely a pleasure read (“Silver Sparrow” by Tayari Jones – really good!). I’m ashamed to admit how long it’s been since I’ve cracked open a book just because, with my endless to-do list, need for sleep and Facebook, it’s basically impossible to fit in a solid chunk of time to read. I’m one of those lunatics who literally can’t put a book down once I begin reading it. So, for me, plowing through a 352-page book from start to finish wasn’t anything too unusual. To actually force myself to step away from the crazy pace of my life and read, though, was definitely a new and rather strange experience.

You would think that spending six hours of a Saturday afternoon, a decent window for productivity, purely for pleasure would make my life more stressful, but as I sit here and write this I’m surprisingly calm. Yes, that’s right, I just spent six hours reading and now I’m writing this article. I think I just want an excuse to touch my laptop keys for a bit–-oh, how I’ve missed my Macbook! My planner’s laying right next to me and as soon as I finish typing this out, I’m going to have to open it and confront all of the tasks that need to be accomplished entirely too soon. For the whole afternoon, though, I was in a room with my book and nothing to do except lean back, prop my feet up on an ottoman and read. I sat in front of a giant window with the sunlight shining on my face, turning page after page, my mind dancing far away from the four walls of the lounge. It was liberating.

This experience has also made me aware of how pathetically weak I am when it comes to disconnecting from technology. As I was reading, I actually felt my phone vibrating in my pocket when it wasn’t even there. Talk about addicted. I’ve also realized today that, along with technology, I’ve missed reading terribly–-a lot more than I originally thought I did. I plan on including more reading in my schedule and giving myself some time away from the buzzing of my phone and the light of my laptop screen. The Dancing Mind Challenge is definitely an event that I’m going to participate in again next year, and I really hope it grows in popularity over time.

Please visit www.bucknell.edu/x44034.xml for more information on The Dancing Mind Challenge, and also be sure to check out the Dancing Mind blog, which contains the reflections and experiences of all of the participants over the last two years (griot.blogs.bucknell.edu).

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Arts & Life Movies Review

Dunst’s performance in Von Trier film impressive

By Carolyn Williams

Staff Writer

Director Lars von Trier’s latest film “Melancholia” is being billed as “a movie about the end of the world” and honestly, it would be impossible to sum it up more aptly.

The film begins with a painfully lovely series of tableaux in which we see the fate of Earth as the planet Melancholia approaches. Von Trier has enlightened his audience before his characters, because the first half of the movie happens in complete ignorance of the doom inching ever closer.

Justine (Kirsten Dunst, “Spider Man,” “Eternal Sunshine of the Spotless Mind”) is a new bride on her way to her wedding reception, giddy with delight, at least at first. Looking a vision in a lavish wedding dress, with bashful groom Michael (Alexander Skarsgård, “True Blood,” “Generation Kill”) trailing along behind, they reach Justine’s sister Claire’s (Charlotte Gainsbourg, “Jane Eyre,” “Antichrist”) old world seaside estate, hours late into the reception. From here on out, the audience quickly becomes privy to Justine’s crippling depression. Although weddings in general are a display of human folly, Justine takes it to a new level as she tanks her career, has random, public sex and takes a bath when she’s supposed to be cutting her cake. Claire, uptight and humorless, is mortified and frustrated by Justine’s behavior, as is her husband John, (Kiefer Sutherland, “24”) who is financing this extravagant disaster. By the end of the night, the groom has left and the bride is left alone with her sister’s family. She tells her sister “But I tried, Claire,” to which Claire responds, bleakly, “You did. I know you did.”

Time passes before the next segment of the movie takes place. This half centers on the duty-bound Claire and the arrival of the newly discovered planet Melancholia. While John, an enthusiastic astronomer, seemingly cannot wait for what scientists have predicted will be a very near miss as Melancholia travels past Earth, Claire is absolutely panicking, convinced that the end of the world is imminent. Justine has come to visit, and it is immediately evident how far her own melancholia seems to have progressed since we last encountered her. While Claire clings desperately to the hope of survival and a continuation of life on Earth, Justine prophetically speaks her own harshly fatalistic understanding of the situation. She says, “Life is only on Earth. And not for long.”

“Melancholia” is an inhumanly beautiful film and is, at times, genuinely excruciating to watch. Von Trier (“Antichrist,” “Dogville”) turns his attention once again to the suffering of women and in Dunst has found a truly spectacular leading lady. Dunst, who has already secured the award for best actress at Cannes this year, carries the film with her fantastic portrayal of a woman in the grips of an unshakeable depression. She is a veritable angel of death as the known world dissolves around her and she is exultant to be destroyed as well. “Melancholia” is cinematographically magnificent, with an excellent ensemble cast and a brilliant star, but be forewarned, the story itself is grim and the film is anything but a happy one.

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Arts & Life Featured

Student takes on campus climate for senior thesis

By Courtney Bottazzi

Writer

There was a tangible frustration when the Campus Climate Report was presented to the University community: students wanted their voices heard. An open microphone at a forum is one way to become part of the conversation, but it is not the only way. Christina Cody ’12, a theatre major, has created a different outlet through her senior thesis, The Double Take Project. The Double Take Project is a collaboration of different dialogues that revolve around one important concept: students communicating with other students.

“My whole philosophy is that there’s no end product to change,” Cody said. For a long time, Cody has focused on the idea of theatre creating a social change, a concept often described as Applied Theater.

Cody began her project by conducting anonymous interviews with both students and professors, asking for recommendations about who would be a good person to speak to next. This past summer, Cody was trained in conducting workshops for social justice. Although these workshops are typically used to help people in third world countries, Cody realized this method could also help students on college campuses.

“I wanted to see why things happen the way they do,” she said. “The existence of this outlet can be seen as a challenge to the student community – now’s our chance to be heard, to take initiative.”

Cody is currently collecting research through three simultaneous projects: ongoing workshops, anonymous interviews and a social scene confessional. In her workshops, Cody will give fun scenarios and prompts (for example: pretend everyone is made out of clay and show us what a house party looks like to you). In this way, the dialogue is formed visually rather than conversationally. This form of communication allows students to express their opinions without over-thinking. At the workshops, there has been a valuable variety of perspectives from different students, including fraternity and sorority members, athletes, independent students and first-years.

The benefits of such a variety of students have also been seen during the anonymous interviews. In these interviews, Cody takes great care in shaping her questions; she is not trying to promote a negative or positive view–-she simply wants to listen to what you have to say.

“It’s important to me that I’m not saying ‘This is how you should live,’” Cody said.

The interviewees, thus far, have responded with a somewhat balanced response of positive and negative aspects of the social scene on campus. Students have laughed, recalling stories, and have adamantly expressed certain desires for change. Cody is giving the student community a chance at reflection while talking to someone who will not judge you on what you find. Her third project, the social scene confessional, is another easily accessible outlet to have someone hear what you have to say, whether it be a story you’ve already told to your entire hall or something you have been too afraid to share with your best friend. Christina is there to listen as an unbiased peer.

With her collective research, Cody hopes to make a change–-regardless of whether it is on a personal scale or as part of the next campus climate report.

“Every opportunity is going to a different place. I’m on this path with the rest of Bucknell,” Cody said. “At the end of the day, I gave students a place to talk.”

Additionally, Cody is hoping to have these creative workshops performed as Plan For Prominence (P4P) events so Greek members can get philanthropy credit for participating.

Want to see some of the findings? Cody and other students will be performing some of the interviews at the beginning of the Take Back the Night Rally. She will also be filming actors reading the interviews and showing these clips throughout the Bison. By sharing these stories, she hopes other students will begin to reach out.

“Know that you’re not alone,” she said.

Want to get involved? Contact Cody via email or on the Double Take Project Facebook page. Or you can find Cody in the LC Mall every day from 11-12 pm, carrying a sign that says “Tell me a story about the social scene.”

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Arts & Life

Prof. Gary Steiner fights for animal rights

By Mackenzie Halfhide

Contributing Writer

When thinking of Professor Gary Steiner, the term “philosopher” comes to mind. But it was not until his second year of law school that he realized his interest in philosophy, which sprung from his rejection of the assumptions of human nature he learned in law and economics.  After returning to the undergraduate level at the University of California at Berkeley to study human nature and agency, Steiner earned a doctorate in philosophy at Yale University.

It has been more than 20 years since Steiner began teaching here as a visiting professor. In 2005, Steiner was awarded the John Howard Harris Professor of Philosophy, an endowed position established by the eighth president of the University for the recognition of excellence in scholarship, teaching and service to the University.  Though he teaches all course levels, Steiner specializes in Descartes, the history of modern philosophy, nineteenth and twentieth century continental philosophy, and the moral status of animals. Steiner uses the history and the changes in thought as an indirect approach for teaching people how to think.

As a philosopher, Steiner has recently addressed the flaws of advocating for animal rights using postmodern thought because postmodernism defers to “singularity.”  The concept insists that the uniqueness of individual instances and situations renders it impossible to define clear principles for conduct.  Steiner intends to demonstrate that the perspective of postmodernist thinkers is ultimately self-defeating due to conflicting arguments.  The idea of singularity prohibits the ability to proclaim any act or practice as morally wrong, so whether it is rape, murder or violence against animals, the basis of postmodernism allows any atrocity to be justified according to the circumstances. Steiner’s counterargument is that if one can agree that animals are sentient beings capable of suffering and are vulnerable to us, then how can any person justify the exploitation of animals?

Professor Steiner is currently concentrating on the subject of postmodernism and animal rights in a number of different methods, including an essay set to print early next year, and a forthcoming book by Columbia University Press titled “Animals and the Limits of Postmodernism.”  He is also scheduled to lecture at the UCLA School of Law in the spring, and he will be participating in German philosophy conferences in Bern, Switzerland and Vienna, Austria over spring break.

As a proponent of the moral status of animals, Professor Steiner cannot understand how humans can so blindly exploit, abuse and interfere with animals on a daily basis, especially considering that is so easily avoidable.  He converted to vegetarianism nearly 30 years ago, and as of 1996, he has almost no interference with animals as he abides by the vegan imperative, which advocates having as little interference with animals as possible.  Steiner must be vigilant regarding the substance of everyday items because animal by products are used in more products than one would ever believe.  He is willing to make the effort because he feels it is a moral obligation to protect animals and avoid interference.

The one animal interference Steiner does have is with the cat he rescued from a veterinarian who wanted to euthanize it because feline AIDS and leukemia made the animal undesirable. Steiner shows that it is more than possible to avoid meddling and exploiting animals for personal gain. It is a duty to represent those who cannot protect their own existence.

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Arts & Life

Bucknell Dance Company seniors prepare for final performances

By Michelle Joline

Arts & Life Editor

If you have ever ventured down the daunting steps that lead to the Gateway Residence Center and the Susquehanna River, you have probably heard muffled classical and jazz-inspired music coming from what was once the girls’ gym at the University, now known as Tustin Studio Theatre. Many students are not even aware of this building’s existence, but some of Bucknell’s most inspired, talented and creative students can be found working on their projects there. Tustin Studio Theatre is where the Bucknell Dance Company rehearses, and where seven seniors are part of a company of trained dancers and became a quirky group of close friends.

This past week the Bucknell Dance Company’s seniors and I sat on the floor of the Student Space in the Elaine Langone Center to talk about dance, friendship and their upcoming performance, which is expected to be the company’s best thus far.  Katelyn Tsukada, Mikaela Soto, Kourtney Ginn, Elizabeth Burdick, Melissa Leonard, Adrienne Vischio and the one token male in the Company, Daniel Maskas, known by his peers as, “The Don,” make up this year’s senior class.  They describe themselves as an unlikely group of friends. Yet, after long Sunday night rehearsals and many inside jokes, they have formed a family for themselves. In a refreshingly open and warm fashion, they all lit up when boasting about their fellow dancers and expressed true pride in each other’s individual accomplishments.  The support system within the group’s members is apparent in their dancing and ability to coordinate with each other.  They all have different styles of dance, with some preferring ballet, jazz or tap–but it is the combination of their strengths that enhances their ability to create and perform unique and complex works.

The seniors are anxiously waiting to perform their own senior piece, and remembered how emotional and inspiring the senior performance was when they were first-years.  This year, associate professor of dance Er-dong Hu will choreograph the piece that the seven seniors will dance this spring.  The piece is expected to mold the group’s varying styles into one cohesive and emotional statement and will serve as the final chapter in the seniors’  careers in The Bucknell Dance Company, an experience that the group describes as incredible.  The Bucknell Dance Company is “definitely the best part of my Bucknell experience–hands down,” Soto said.

Those not involved with the Bucknell Dance Company, including myself, have to be a bit jealous. A sense of support and family is what everyone would like to find on a college campus, and this tight-knit group of dancers has created such a community for themselves.  This eclectic, talented and warm group of friends are fortunate to have fostered these relationships, and I would be very surprised if they did not continue to communicate and provide each other support after graduation. Behind all the jokes that flew back and forth during my short conversation with this group is a real, honest friendship that will be exciting to see translated into dance during their senior performance this spring.

You do not have much longer to see these talented dancers perform along with the rest of the Bucknell Dance Company. They will perform under the direction of Kelly Knox at 8 p.m. on Dec. 4 and 5 in the Harvey M. Powers Theatre in Coleman Hall.

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Arts & Life Movies Review

Film adaption of Holocaust story fails to impress

By Carolyn Williams

Staff Writer

Gilles Paquet-Brenner’s movie adaptation of “Sarah’s Key” is, unfortunately, average at best. Based on Tatiana de Rosnay’s international bestseller (the original French title translates to “She Was Called Sarah”), the film interpretation struggles, as does the book, to balance between its dual narratives. In its attempt to compromise between the two, it ends up falling flat.

The beginning of the film primarily focuses on Sarah Starzynski, (Mélusine Mayance), a 10-year-old Jew living in the Paris of Vichy France, 1942. Sarah’s family is taken in the night, not by the Germans but by French police officers, to be part of the infamous Vélodrome d’Hiver Roundup, in which thousands of Parisian Jews were kept in inhumane conditions at the Vél d’Hiv, an indoor stadium within the city. Sarah, in a moment of impulsivity, locks her little brother Michel in the closet, promising to return soon, taking the key with her. She expects to be home in time to let him out before nightfall. But as she and her family are kept captive day after day, Sarah begins to realize the full weight of her well-intentioned actions, and becomes desperate to escape Beaune-la-Rolande, the transit camp where she and her family are waiting to be shipped off to Auschwitz, hell-bent on keeping her promise to protect her brother.

Meanwhile, in modern day Paris, American journalist Julia Jarmond, (Kristin Scott Thomas, “The English Patient”), is writing an article to commemorate the events of the Vél d’Hiv roundup. In a turn of events which is a little too convenient for the audience member of average intelligence, it is revealed that the apartment belonging to Julia’s family was acquired shortly after the mass deportation in 1942, and the former owners were none other than the Starzynskis themselves. Julia becomes obsessed with learning the truth behind what happened to the apartment’s former tenants, and when she learns that Sarah, managed to survive the Holocaust, she turns her investigative journalism to the task of putting the pieces of this family drama together.

The real problem here is not the actors’ fault, because both Scott Thomas and the very poised Mayance give strong performances. The script is badly written, and the overall effect of the juxtaposition of modern day with historic scenes is jolting and ultimately unsatisfying. The scenes of Sarah’s story are very convincingly articulated, particularly the depiction of the separation of children from their mothers at Beaune-la-Rolande, but in comparison, Jarmond’s determined search into the past is weak and stilted. Julia’s marital troubles and recent pregnancy are tiny problems compared to the horror story of Sarah’s experience. Her survivor’s guilt is poignant, and the movie’s greatest failing is not telling more of Sarah’s life. Instead, they inexplicably focus on the soapbox from which Julia preaches the wrongs committed by the French people during the German Occupation, and we are forced to listen when, if allowed, we could see that Sarah’s story speaks much louder, and with significantly more grace, than Jarmond’s self-righteous diatribes.

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Arts & Life

Bison Stomp Out dazzles audience

By Michelle Joline

Arts & Life Editor

Saturday night, the University celebrated its Second Annual Bison Stomp Out Classic. The event showcased the dance style called “step” and incorporated talent from both University students and guests. This year the Bisonettes performed, in the style we have come to know so well from contemporary pop culture.

A lot of us became familiar with step from Hollywood films like “Stomp the Yard” and “Drumline.” Stepping is typically found in a Greek setting, and is often utilized as a form of initiation or a rite of passage into historically black sororities and fraternities. There is a lot of tradition involved in this dance, making it even more exciting that the University has become a part of its history.

The routines were visually pleasing, given this dance style’s routes in military formations, and the students were energized by the different acts.There was a great sense of community at the performance, with support from faculty, students and members of the Lewisburg community.

“The crowd seemed to love the atmosphere … We do realize that this year’s event didn’t have as many teams as last year’s show, but we really tried to emphasize the competition aspect of the Stomp Out this year,” BSU President Doneeca Thurston ’12 said.

If you did not get the chance to go to the event, look forward to next year’s performance. The Bison Stomp Out Classic only seems to be getting better and more exciting with time.

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Arts & Life

This Is Me Review

By Carolyn Williams

Staff Writer

“This Is Me”, a show taking the form of a series of monologues, and written by students and performed by actors, took a new spin on the typical campus performance.

“This Is Me” is a project that was performed on Friday, Nov. 4 in McDonell Ski Lounge and Sunday, Nov. 6 in Vedder Pit. The project was collaborated on by 22 students and 13 members of University faculty and staff, and was created by Ana Aguilera Silva ’14. 

The anonymity of the writers was preserved, promoting a sense of mutual empathy with the struggles described in each monologue and the speeches addressed issues of identity and difference which separate people from the “group” at large. 

“The idea for ‘This is Me’ came about as a response to events that groups promote on campus to highlight how they are different and unique. The aim of this project is to show that regardless of your beliefs, identities or the roles you play in our community, there is something greater that joins us as a whole, and that is our shared humanity. From there, I started talking and asking people to take part in breaking the silence and sharing a piece of their life with the rest of Bucknell,” Aguilera Silva said.

Each monologue speaks to an issue pivotal to its individual writer’s sense of self and the terms and frames through which they are viewed both on campus and in society. These identities run the gamut between body image, rape and gender identity. The raw emotion imbued in the writing translates well into the actors’ portrayals, eliciting an undeniable connection between writer, actor and audience member.

“[The most exciting part was] seeing the effect of the project in the writers and the performers. For example, when some of the performers got to meet their writers most of them were really shocked about who wrote their pieces. However, I must admit that one of my favorite moments was a one-to-one talk with Michael Green [’13] who performed ‘I Am Not a Woman.’ He said that thanks to the project, he got to understand that the trans-man he was portraying ‘ … is a guy. I am a guy, and that’s all that matters.’ Moments like this are the ones who made all the hard work of the team worth it,” Aguilera Silva said.

Students truly enjoyed attending the performance, which is quite unique in it’s formation.

“It was great to see members of the Bucknell community helping to give voice to the untold stories of Bucknellians. It was a unique experience that was truly moving to be a part of as a member of the audience,” Morrisa Gold ’13 said.

“You do not need to know someone or have gone through the experiences they have lived in order to be empathetic with them,” Aguilera Silva said.

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Arts & Life

“Baroque-Folk” is a modern Canadian Masterpiece

By Juliet A. Kelso

Contributing Writer

The 1960s gave birth to a wide range of eclectic hybrid genres which are now being revisited. Classic genres of the 1960s are making a comeback, and are being combined with other popular styles to create double hybrids. Baroque-pop is a term which describes rock ‘n’ roll infused with various elements of classical music. Rock’s edgy and wild roots are transformed by lighter components to produce a more airy and refined style. Early examples can be seen in the work of Paul McCartney and The Beach Boys. 

The second preexisting genre in this proposed coupling is folk. “Folk” is an extremely vague term and can be best summed up as any music that tells a story. Before the 20th century, folk was typically the music of the lower echelons of society, passed by word of mouth and written by unknown composers. Folk music in the modern sense began in the mid-20th century; while it is often very different from traditional folk, modern folk undoubtedly draws from it. The 1960s saw the apex of this genre. Musicians such as Pete Seeger and Woody Guthrie were pioneers of the second revival, serving as figureheads to those who followed. Resurgence of popularity led to different sub-genres and fusions including Americana, freak folk, psychedelic folk and many others, with artists like Bob Dylan and Joan Baez adopting the style.

The 2000s have been quite nostalgic, and the fusion of folk with baroque-pop, a term I call ‘baroque-folk’, is one of the products. A rich blend of inspirations from traditional folk, classical music and the second folk revival has been integrated into the indie music scene. It has become hip for artists to retreat to rustically scenic locations to write and record their music. This harkens back to the transcendentalist movement and produces music with a naturally spiritual feel.

As I have immersed myself in the indie culture and developed a fascination with the baroque-folk movement, I have noticed the role geography and background plays. I have reached the conclusion that the best work is being produced by Canadian artists. I was initially surprised when I noticed the pattern, but it all made perfect sense after reading up on Canada’s musical history. The country has a vibrant past of folk music from multiple immigrant cultures.

The king of Canadian baroque-folk is Arcade Fire, although they are much more baroque-pop than folk. Arcade Fire is an eight-person collaboration based out of Montreal. Each member is an impressive multi-instrumentalist, combining talents on the guitar, drums, piano, keyboard, bass guitar, double bass, French horn, cello, violin, viola, mandolin, accordion, xylophone, glockenspiel, harp and hurdy-gurdy.  They are arguably the most noteworthy and celebrated indie band, winning the 2010 Grammy Award for Best Album of the Year for their third studio album “The Suburbs.” The win was a triumph for the indie world since such a prestigious award is seldom, if ever, won by such an obscure group.

“The Suburbs” was released on August 2, 2010. The album is not considered folk but definitely exhibits aspects which allow it to qualify. The meter is steady and rustic, though dramatic at times, and the lyrics speak of everyday life and familial responsibilities. The pop-baroque aspect is also strong in Arcade Fire’s other albums.

To address the more feminine side of baroque-folk, one of the queen bees of the style is Canadian vocalist and musician Leslie Feist. Professionally known as ‘Feist’, the 35-year-old is a member of Broken Social Scene, a musical collective, but has become independently known for her largely successful solo projects. Her third studio album, “Metals”, was released in the U.S. on October 4, 2011, and has received much positive critical acclaim. The tracks reflect a modern woman with a deep-rooted and nostalgic soul. Her writing seems very impulsive, in a natural way. Any given track in the album can have such extremely contrasting high and low points that the listener doesn’t know what will come next. I see this variability as a reflection of the spontaneity of nature.

It is not uncommon for baroque-folk artists, especially those pursuing solo projects, to abandon stylistic elements which made them successful for innovation.  This is usually praised, but in the case of Feist, many fans and critics were disappointed. Unlike her previous work which focused on her gorgeous, classically feminine vocals that are coveted in the baroque-folk scene, “Metals” has a darker, wilder and more masculine tone. Her voice takes a back seat to her instrumentals, a tendency I’ve noticed among many indie artists. It seems to be a competition of creativity–or artful eccentricity.

The genre is ever-growing and exploding with innovation and creativity. I believe that it will be this very movement which will make the first couple decades of the millennium celebrated for pure musical genius.

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Arts & Life

Fall dance showcase set for this weekend

By Jenni Whalen

Contributing Writer

This weekend, dancers from across campus will perform in the annual Fall Dance Showcase. On Friday, Nov. 11 at 8 p.m. and Saturday, Nov. 12 at 2 p.m. in Harvey M. Powers Theatre, students will dance in 20 different pieces–-10 in the first act and 10 in the second act. Directed by Dana Chernock ’12 and Erin Ilic ’12, the performance will run for almost two hours, with a short intermission midway. There will be contemporary pieces, ballet, tap, a performance by the Lewisburg Dance Conservatory and performances from student groups, including Jelani, Irish Dance and the Latino Dance Corner.

Nikki Shea ’12, a member of the Irish dance group that will be performing in the showcase, looks forward to the show every semester. “Each year the show has something new to offer,” she said. “Coming to see the show is also a great way to show the theater and dance community support, as well as showing your support for friends and peers who are involved.”

The University’s dance and theater students have been preparing for the showcase for weeks in anticipation of this weekend’s show. In order to dance in the showcase, any student can attend auditions at the beginning of the fall semester. After a simple audition of stretches, across the floor work and a few combinations, dancers are cast into 1-3 pieces and rehearse for the rest of the semester. In addition to dancing, students have also choreographed many of the pieces in the showcase.

University students have the opportunity to participate in activities such as dance without a large time commitment.

“I love dancing at Bucknell because I am able to have what I like to call my educational stress relief,” said Abby Crane ’11, a choreographer and dancer in the showcase. “The showcase is able to expand on that by allowing me to participate in a variety of numbers from semester to semester. Overall, it is such a great program because so many people have to opportunity to do what they love and it doesn’t take up a large amount of time.”

Showcase attendees can look forward to Crane’s choreography in a piece called “Life Changing,” which features seven dancers and shows how different experiences can change an individual’s outlook on life. Another piece to look for is a dance from guest choreographer Bianca Roman, a recent University graduate. Her piece, entitled “The Boy Machine,” features seven dancers, as well as an original music score written by C.J. Fujimura ’13 and poetry by Roman herself.

“Audience members should be excited to experience all types of movement in this semester’s showcase,” Roman said. “They will truly feel inspired.”