Tag Archives: art

Real World Geneseo and the Power of Student Performance

Posted by Kyle Frink, Poetry reader for issue 4.2

Mariposa Fernandez at the McVittie Union Ballroom during All- College Hour January 20th

Mariposa Fernandez at the McVittie Union Ballroom during All- College Hour January 20th

In mid-January of this year several students participated in the Real World Geneseo class taught by Professor Becky Glass, Executive Assistant to the President, and Mrs. Fatima Rodriguez, the Assistant Dean of Students, Multicultural Programs & Services. Even at a school where the majority of students are white, it’s important to note that there are people dedicated to providing resources and support for those who are marginalized and/or underrepresented. The four-day class focused on intersectionality, and the heart of it was a writing seminar lead by Mariposa Fernandez. Fernandez is a Puerto Rican author, poet, and performance artist born and raised in the Bronx. She is the author of Born Bronxeña: Poems on Identity, Love & Survival (2001), and has been featured on the HBO series Habla Ya! and in the HBO documentary Americanos: Latino Life in the United States. She lives in New York City. She, along with Dr. Broomfield, Assistant Professor of Dance Studies, prompted the students to divulge their inner most feelings and share intimate stories about their backgrounds. Some of these students weren’t writers, or familiar with creative nonfiction, and had not ever shared these stories before.

In mid-January of this year several students participated in the Real World Geneseo class taught by

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Jenny Soudachanh, Liz Boateng, Seung Yun Kim, Nana Boakye, Momo (Jawad) Tazari, and Skyler Susnick during the performance February 28th.

Professor Becky Glass, Executive Assistant to the President, and Mrs. Fatima Rodriguez, the Assistant Dean of Students, Multicultural Programs & Services. Even at a school where the majority of students are white, it’s important to note that there are people dedicated to providing resources and support for those who are marginalized and/or underrepresented. The four-day class focused on intersectionality, and the heart of it was a writing seminar lead by Mariposa Fernandez. Fernandez is a Puerto Rican author, poet, and performance artist born and raised in the Bronx. She is the author of Born Bronxeña: Poems on Identity, Love & Survival (2001), and has been featured on the HBO series Habla Ya! and in the HBO documentary Americanos: Latino Life in the United States. She lives in New York City. She, along with Dr. Broomfield, Assistant Professor of Dance Studies, prompted the students to divulge their inner most feelings and share intimate stories about their backgrounds. Some of these students weren’t writers, or familiar with creative nonfiction, and had not ever shared these stories before.

The script to the full New Vistas performance is archived in the Theatre department. Video recordings of the performance can be purchased for $25. I went and saw it twice. The powerful message Geneseo’s student artists have to share is more than meaningful; it’s their everyday reality. This performance says, “This is who we are. We are proud. We demand respect. We are the voices of this generation. We are the change.”

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Gandy Dancer 4.2 Preview!!

Posted by Emily Peterson, Poetry reader for issue 4.2

Here's a sneak peek at our cover for issue 4.2! Artwork by Lei Pen Gan

Here’s a sneak peek at our cover for issue 4.2!
Artwork by Lei Pen Gan

As the cruel month of April comes to a close and the beginning of May is within sight, Gandy Dancer issue 4.2 is nearly ready for launch. With contributions from students across ten different SUNY schools, issue 4.2 delivers a wide range of poetry, fiction, creative nonfiction, and art that encapsulates SUNY’s literary skill. The Gandy Dancer staff has worked all semester long to curate a magazine that celebrates diverse voices and unique creative expression.

We are proud to publish six different works of fiction in this issue of Gandy Dancer including Sarah Hopkins’ haunting piece, “Frontierland,” which is a story set on a bleak and dusty oil well that captivates the reader with its strong sense of place. We are also pleased to publish Abigail Allen’s “Love is Lemons,” a quiet story that highlights the subtleties and frustrations of young love. Issue 4.2’s poetry selection offers poems from eighteen different authors. These poems range dramatically in theme, tone, and structure. Michal Zweig’s “Happy//Over” commands the reader’s attention with its shifting typeface, strikethroughs, and a spliced in quote from a US Supreme Court justice. Jay’s two poems, “Winning the Lottery, 1969” and “Cannon Fodder” employ an economy of language which is concise yet powerful. Christine Davis’ deeply personal essay “Onliness” explores the complexity of family dynamics and the role of only children. “What Are You Laughing At?” by Brendan Mahoney is a humorous work of nonfiction that delivers poignant commentary on modern day comedic discourse. The Gandy Dancer staff is proud to publish original artwork in a variety of mediums—peppering photography, painting, collage, and even sculpture throughout the magazine. Issue 4.2’s Featured Artist is Lei Peng Gan whose three paintings “Untitled No. 17,” “Muar: Jalan Meriam No.2,” and “Intersection No. 5” feature rich colors and distinct lines.

We hope you join us for the official release of Gandy Dancer issue 4.2 at the launch party on Wednesday, May 11 at 9:00 AM in the College Union Hunt Room.

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Hip Hop Symposium 2016 and a Multimedia Glace at Hip Hop as Performance

Posted by Sean Delles, CNF reader for issue 4.2

“The revolution will not be televised… The revolution will be live”

-Gil Scott Heron

I don’t know about you all out there, but the art of performance has always struck me as being connected in some strange way to the literature we read. I think this correlation exists in my mind not because of something cut and dry that both the forms share (e.g. convention, narrative structure, whatever), but because of the eventual impact these forms have on one’s perception. I often find myself at the end of a great performance getting that same exact inward glow of profundity that one receives finishing a great book. Like suddenly the thin layer of snow plastered onto the side of your car window you couldn’t scrape off from earlier has flung off in-passage, and driving now you can see the glory of what’s in front of you in its entirety.

Perhaps it’s a stretch to compare the afterglow of a performance to driving visibility, but I can’t be the only one who has felt this feeling and marveled at it at some point or another. Here… try this if you think I’m exaggerating: Think to the last time you went to a performance- whether it was a play or a concert or music event- and recall that exact moment you stepped out of the venue. That’s when I’ve noticed the sensation is at its strongest. Feel the cool air of the evening brush against you (your lungs sigh in relief at the prospect of breathing in air that hasn’t already been breathed out by dozens of others); notice the muffled chatter of strangers around you (talking about what transpired inside no doubt); and scan the just-beginning-to-fill street in front of you. You’ll realize then that nothing really even looks like how it once did. That’s the feeling. However long you were in that building witnessing that particular performance, you became separated from yourself. Nothing (if the performance did what it was supposed to do) existed beyond the present moment of spectatorship, and in coming back down to reality your brain got tripped up in transition. Surroundings are new and profound and filled-to-the-brim with meaning, and what you soaked up indoors superimposes itself outdoors onto the very fabric of your personal being. I see this exact moment in time as the true power of performance, because without doing anything but buying a ticket, you alter your consciousness in significant ways.

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Introducing Our New 4.2 Editors

Posted by Kate Collis, Creative Nonfiction Reader for Issue 4.2

It’s that time again—the cut-off date for submissions to Gandy Dancer for 4.2 has come and gone and we’re happily reading away. As always, a new semester means a new set of editors who have fresh outlooks. In light of this, I’ve spoken to all four section heads to give readers a chance to get to know them and their ideas about their genre.

Shayna Nenni, Fiction Editor

ShaynaKate Collis: What constitutes a good short story?

Shayna Nenni: A good story will be grounded in a particular place, a place that readers can connect to. Along with that, well-developed characters and compelling situations that illustrate their relationships to each other, to their past, and themselves. I think it’s important to understand where our main character and secondary characters stand with themselves.

KC: What would set a story apart from the rest and make it publishable to you?

SN: I love a good plot. As simple as that sounds, there is nothing more thrilling to me than reading a good piece, skimming ahead because I’m so excited to see what comes next that I literally can’t wait to get to the next line. That, or really connecting with a character. Not necessarily the main character, but any character. To physically feel a connection from reading a piece, that is what sets one apart.

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