Culture – The Stanford Daily https://stanforddaily.com Breaking news from the Farm since 1892 Fri, 15 Mar 2024 08:19:56 +0000 en-US hourly 1 https://wordpress.org/?v=6.4.3 https://stanforddaily.com/wp-content/uploads/2019/03/cropped-DailyIcon-CardinalRed.png?w=32 Culture – The Stanford Daily https://stanforddaily.com 32 32 204779320 ‘The Wolves’ lets each character score their own goal https://stanforddaily.com/2024/03/15/the-wolves-captivates-beyond-field/ https://stanforddaily.com/2024/03/15/the-wolves-captivates-beyond-field/#respond Fri, 15 Mar 2024 08:19:39 +0000 https://stanforddaily.com/?p=1244903 Campus production "The Wolves" balanced serious issues with comedic relief through the touching story of a girls' soccer team, Ramzan writes.

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The TAPS Main Stage production of “The Wolves,” directed by Ph.D. candidate Marina Johnson, “kicked” around nuanced themes of identity, vulnerability and adolescent aspirations and showcased the concept that every player has their own unique shot in the game of life. 

“The Wolves” is a dynamic play that captures the lives of a high school girls’ soccer team (known as The Wolves) as they navigate the complexities of teamwork and the challenges of growing up. I attended the second of three performances on March 8 at the Harry J. Elam, Jr. Theater, and was astounded by the stunning set, dramatic lighting and intricate character work presented by each actor.

Upon entering the theater, the audience was met with an undeniably “real” feeling set — a stage designed as a grassy field adorned with sneakers, backpacks, benches and water bottles. The performance began in medias res, with the actors enthusiastically running onto the stage in overlapping high energy conversations. The topical lighthearted banter was highly comedic and landed well among audience members.

I was impressed by the immersive atmosphere created by the actors, who performed exercises like crunches, jumping jacks and stretches in synchrony while conversing onstage. The energetic choreography of soccer drills created a palpable sense of camaraderie among the teammates, drawing the audience into the world of the play with captivating intensity.

What struck me most about this play was its raw authenticity and the depth of its characters. A unique aspect of this performance was that there were no principal or leading actors; every character in the ensemble had their own individual bits and storylines that intertwined seamlessly, with no one character particularly outshining the other. Each member of the team is distinct, with their own struggles, dreams and insecurities, yet united by their shared passion for the sport of soccer.

#46, played by Deniz Yagmur Urey ‘24, provided a standout performance as a homeschooled misfit, viewed as an outsider by the team for her uncommon life practices. Her subtle yet charismatic line delivery was hilarious (notably, her response to the team mistakenly referring to the style of her home, a yurt, as a “yogurt”), and watching her find her place within the social hierarchy of the team over the course of the production was gratifying.

One of the play’s greatest strengths lies in its ability to tackle complex themes with sensitivity and tasteful coverage. The play ingeniously addresses a range of social fault lines, such as teenage “cliques,” gossiping and young death. From concerns with body image and identity to love and loss, “The Wolves” fearlessly confronts the realities that shape the lives of young women today in an immensely resonant and thought-provoking manner. 

As the play develops, for instance, an overall diminishment in the team’s health and morale is evident. A girl who had been struggling with an eating disorder, #2 (Sophia Wang ‘26) has a nosebleed onstage and #7 (Eryn Perkins ‘25) gets injured and is forced to use crutches for the remainder of the play. 

The declining physical health of the team parallels a decline in their social health, as the girls begin to have serious disagreements involving their personal lives, drama over #7’s boyfriend, and the girls’ opinions about one another. The fracturing of the team was portrayed with immense rawness and realism, and was mirrored in the play’s set design itself. 

In a particularly climatic scene, the back wall of the stage separates into two halves, seamlessly opening toward opposite ends of the room filled with beaming lights and intense fog. This jaw-dropping moment of suspense ended with a member of the team walking into the abyss of light, demanding the attention of everyone in the audience. This moment, as we come to learn, signifies the accidental death of one of the girls, and introduces sharp developments of grief among the teammates.

The ensembled cast delivered a stellar performance, bringing to life the multifaceted dynamics of teenagehood with remarkable nuance and sincerity. This production demanded and demonstrated a strong command of physicality, displayed in intense scenes of kicking soccer balls and running while simultaneously spewing quick witted banter with not a single actor missing cues, fumbling lines or sacrificing emotional connection at the sake of keeping up athletically. 

For many plays that are dense in textual dialogue, it can often be difficult for audiences to entirely follow specificity in discourse. Though “The Wolves” piece was chock-full of quick banter and intricate conversation, the commitment to storytelling and emotional clarity made this piece a joy to follow throughout its 90-minute runtime. 

Highly energetic music, stunning visuals and intense exercises in between scene changes provided great intricacy. Although the scenes individually were relatively long, they never dwelled on a singular topic, avoiding staleness and allowing the beats of the scene to flow seamlessly. 

From the spirited banter during warm-ups to the poignant moments of vulnerability, the actors captured the essence of adolescence, eliciting laughter, empathy and introspection from the audience. Each actor fully and authentically embodied their characters in dynamic ways, and there wasn’t a dull moment in this performance. The immense hard work and dedication of everyone involved in “The Wolves” was certainly evident, and made for a thoroughly compelling piece.

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‘Yakuman Chance’: Girl talk at its finest https://stanforddaily.com/2024/03/14/yakuman-chance-girl-talk/ https://stanforddaily.com/2024/03/14/yakuman-chance-girl-talk/#respond Thu, 14 Mar 2024 07:29:15 +0000 https://stanforddaily.com/?p=1244750 Sharing the stories of four friends coming together to play mahjong and catch up, "Yakuman Chance," an original play by Jayda Alvarez, gave viewers an intimate look into the intricacies, honesty and complications of female friendships.

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Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques.

Content warning: this story contains references to suicide. If you or someone you know is at risk, you can call the National Suicide Prevention Lifeline at 800-273-8255. Additional resources are available here.

Jayda Alvarez ’24’s original play “Yakuman Chance” ran in the Nitery Theater from Feb. 29 to March 2, sponsored by the Stanford Theater Project. The play artfully wove together the dynamic nature of female friendships with weird, sometimes absurd humor and refreshing honesty.

For the duration of the 90-minute play, four actors gathered around a table — four young women, friends since high school, reuniting after a couple years apart to play a game of mahjong before they are blown apart again to their respective corners of the world. 

Actors would periodically move on and off the stage, but such actions were temporary: all movement was centered around the wooden table squared neatly in the middle of the stage. The characters were brought together by a physical location as they converged in the center of the stage, the physical convergence of the four different paths they led.

The singular set, designed by Richard John ’27, and small location did not detract from the play’s power; rather, it enhanced it. The theater felt cozy, and the distance between characters and audience members was marginal. It was a physical blurring of the line between the reality we live in and the reality Alvarez created.

Sitting in the front row of the theater, I could notice little details, like the stitching on a character’s bag, the grooves on the wooden chairs and the sound of the mahjong tiles as they clinked. The difference between what I saw and what the characters were experiencing grew smaller.

Lighting designer Ness Arikan ’26 expertly managed spotlights to draw attention to particular moments and highlight expert costume details, which were designed by Jeannette Chen ’23 M.A. ’24. The choice of two long braids for Piper — a childish, bubbly character — expertly contrasted with the lace blouse and brightly-colored bow donned by Brianna, a more mature yet easily excitable character. 

Sebastian Blue Hochman ’26, Yakuman Chance’s sound designer and composer, added to the ambiance with a mixture of live music and pre-recorded audio files. Hochman switched between the acoustic and electric guitars with ease, paralleling the thematic movement of the show. 

What struck me most about “Yakuman Chance” was the chemistry between the four actors. I was reminded of myself and my three friends from high school catching up during winter break over a game of Dora Candyland. 

Although our questions didn’t quite compare to Piper asking her friends “do you orgasm when you pee?” the scenes set up by “Yakuman Chance” made me feel just about as home as I do every time I start four-way FaceTime calls, watch my friends pile into my “clown car” or walk into class to see half of a sesame seed bagel left by my friend. I felt like each character was allowed to be their silly, authentic selves without holding anything back in a way that mirrored a real friend group.

“Yakuman Chance” also handled more serious issues with grace. Brianna shared the frustration and hurt she felt as she discovered her infertility due to PCOS. Her tone made her emotions clear as she lamented the loss of her dream to have kids and exasperatedly said it felt like she was no longer “enough of a woman.” The emotional impact of this scene hit much harder because her friends had teased her earlier on in the play for wanting to have a kid so young. 

Brianna’s experiences with PCOS were contrasted with her friend Christina’s, whose diagnosis was revealed in a nonchalant way by Piper in passing.

Two other members of the “gab circle,” Olivia and Piper, exchanged pointed remarks about the other’s privilege, whether due to their race or ability to attend college, throughout the show. Near the middle of the show, their quips escalated into an argument, with Piper accusing Olivia of idolizing others’ experiences as people of color and Olivia pointing out Piper’s privilege from being white-passing. 

In realistic fashion, they later made up only after prompting from the other two. This conversation highlighted the imperfect nature of friendships, made up of people who, though imperfect, seek to learn from their mistakes. 

There were moments of “Yakuman Chance” that emotionally wrecked me, specifically the one where Olivia confessed her previous suicidal thoughts. She revealed to her friends that when things got “real hard,” she’d make a list of things to stay alive for. Every time, the top three things would be “you, you and you,” she said, pointing to each one of her friends gathered around the table – the fourth being the long-running game of mahjong they’d play together. 

In response, the girls gathered together in a tight, heartfelt group hug with Olivia at the center as if the other three were protecting her after she was so emotionally vulnerable, and, as I noticed the tears in Olivia’s eyes, I became aware of the ones in mine.

The play’s conversations were just as organic and real as those in my own life, and Alvarez’s director’s note made it clear why. She described her unconventional directing process, with the first few rehearsals being devoted to playing mahjong and having conversations, much like the characters of the play do. 

“In our playing and talking, I witnessed the development of a sororal bond,” Alvarez wrote. “It dawned on me that we weren’t rehearsing the play, we were doing the play.” 

“Yakuman Chance” was the perfect way to spend a Saturday afternoon. It was a wonderful blend of lighthearted humor mixed in with more somber topics, and I found myself blinking back tears more than once, both from uncontrollable laughter and upwellings of sadness.

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Cardinal Canvas: Untangling Ruth Asawa’s web https://stanforddaily.com/2024/03/07/cardinal-canvas-untangling-ruth-asawas-web/ https://stanforddaily.com/2024/03/07/cardinal-canvas-untangling-ruth-asawas-web/#respond Thu, 07 Mar 2024 09:19:18 +0000 https://stanforddaily.com/?p=1244225 In celebration of Women's History Month, columnist Adam Golomb reviews "The Faces of Ruth Asawa," an iconic exhibit at the Cantor that highlights Asawa's work as an artist and activist. "Each expression is ephemeral, yet sustained and fixed in clay, a lonely moment frozen in time," Golomb writes.

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In “Cardinal Canvas,” Adam Golomb spotlights art on and around the University, exploring and reviewing artwork that students may otherwise miss.

Editor’s Note: This article is a review and contains subjective opinions, thoughts and critiques.

How much of a person’s story can be told by their eyes? Their smile? In “The Faces of Ruth Asawa,” the titular artist explores the deep intimacy of gazing into another person’s soul and the nuances that emerge from a singular, captured expression.

“Faces” comprises of 233 ceramic face masks, each a hand-molded clay cast of Asawa’s friends, family and community, hung up on a brown wall. Alone, each one represents a fragment of her heart, but together the piece creates an illustrious web of love and dedication — to and from the people in Asawa’s life.

I got lost in the faces. Their individual expressions are immediately mesmerizing. Each cast is unique, telling a diversity of stories. A child’s face with cherubic cheeks and eyes close to the nose will be placed next to a wrinkled face, smile lines laden with wisdom. With just a mask, Asawa encourages the viewer to engage and immerse themselves in the world of that face. 

Before coming to the Cantor in 2022, “Faces” lived on the exterior entryway of Asawa’s personal home. Asawa creates an army of her loved ones, the faces that protect her, proudly displayed outside her home as a shield. The first mask created in the project at the very top is Asawa’s herself, the root of her own support network.

Considering how each mask is cast from a loved one, “Faces” represents the impact the people in Asawa’s life had on her. But she also had a massive influence on her community as a passionate advocate for equal access to the arts. The pamphlet about the exhibit at the Cantor details how, after initially being barred from attending arts university due to racial discrimination, Asawa championed a democratic approach to art. She was a pivotal force in establishing the public Ruth Asawa San Francisco School of the Arts, which is now named after her.

Most of the masks in “Faces” have their eyes closed. From a logistical standpoint, this makes sense: When someone’s face is being casted in plaster, they naturally close their eyes. 

So when a face was captured with open eyes, I fixated on it. One in particular, right in the middle of the piece, gazes at the viewer with a tired expression. I stared back, as if in a visual conversation. This is the power of Asawa’s exhibit: It prompts the viewer into a pseudo-intimate relationship with a face they don’t recognize.

One mask, towards the top, stands out as the only one with a neck. The face points up in a grimace. The expression was likely in anticipation of the plaster, but it reminded me of both the humanity and temporality of each mask. Asawa preserves a momentary snapshot of each person and their narrative. Each expression is ephemeral, yet sustained and fixed in clay, a lonely moment frozen in time.

I love viewing “The Faces of Ruth Asawa” from both the perspective of Asawa and that of an outsider. To Asawa, the masks are portraits of her family and closest loved ones, yet to anyone else, they are narratives to explore and project conversation onto. This dichotomy reminds me of the beauty of art that is made for oneself; to witness Asawa’s personal reminder of her values is profound.

Cantor’s new exhibit “Day Jobs” opened this Wednesday. “Faces” is right across from the new exhibit — if you visit, I implore you to take a moment and look into Asawa’s life.

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‘EnCounter Culture’ brings the party on stage https://stanforddaily.com/2024/03/04/encounter-culture/ https://stanforddaily.com/2024/03/04/encounter-culture/#respond Mon, 04 Mar 2024 08:12:29 +0000 https://stanforddaily.com/?p=1243976 The highly-anticipated dance show EnCounter Culture took place Saturday night. Well-loved dance teams and newcomers alike delivered thrilling performances, writes Cameron Duran.

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Editor’s Note: This article is a review and contains subjective opinions, thoughts and critiques.

The best party held on campus Saturday night was at Dinkelspiel Auditorium. Student dance show EnCounter Culture (ECC), hosted every winter quarter by hip hop team DV8, featured performances by 13 groups. According to DV8 dancer Brianna Freeman ’25, the show sold out in four minutes after tickets went on sale last week. 

The show was an explosion of movement, talent and fun. Well-known acts like Alliance and Basmati Raas impressed as always, but some of the newcomers made the biggest splash.

Freestyle dance club FreeFlow, which formed last year, performed for the first time Saturday. They lived up to their name with a relaxed, expressive act composed of individual performances in different dance styles. The result was captivating and fresh, bringing a personal, improvisational energy to their act. 

“We’re not trying to look like everybody else,” said FreeFlow dancer Sharon Wambu ’24. 

And it shows — this club will certainly be one to watch.

Heels group Sirens, founded last year by a former DV8 dancer, performed a crowd-favorite routine. Their choreography to Beyoncé’s “Freakum Dress” was particularly strong, with formation changes and levels making good use of its 13-person team — one of the smaller groups of the night. 

Rounding out the newcomers, Echo proved that less is more with a one-song contemporary fusion performance to Labrinth and Zendaya’s “All for Us.” The group’s emotive, fluid choreography showed off the dancers’ grace and flexibility. 

Traction Modern Dance Company also delivered a one-song hit, theirs to the mellow melodies of Bon Iver’s “For Emma.” Dressed in blue, dancers flowed like water, employing inventive shapes and floor work. Their thought-provoking use of bodies in motion left me wanting to see more.

Later, Innovative Styles impressed in olive green. Most memorable was their surprising interpretation of ROSALÍA’s “DIABLO.” The dynamic, futuristic fusion song was equally matched by fittingly innovative choreography, including a high-flying partner acro move.

The night’s host, DV8, performed two long sets to end the first and second acts. Their theme was “DVM8KEUP BR8KUP,” loosely conveyed through their song choice and stellar custom wardrobe pieces. DV8’s playful, bouncy choreography and captivating performance quality won over the crowd. 

Legacy’s performance also made use of a theme. Dancing in white pajamas, their exhilarating performance featured a surprising transition from Son Lux’s moody “Dream State” to the joyful “Dreams” by The Cranberries. 

Basmati Raas easily won the award for highest production value of the night, bringing in props and large set pieces for their dojo-themed routine. The group provided the clearest narrative of the night, using video projection, narration and acting to tell the story of a student’s fight to earn their black belt. The energy never dipped during the group’s long performance as the dancers’ energized movements and facial expressions provided constant entertainment. 

Mua Lac Hong (MLH) and Kayumanggi similarly incorporated props into their performances. MLH, a Vietnamese dance group, danced in an enchanting collaboration with hats and colorful fans. Kayumanggi, a Pilipinx performance group, performed an exciting Tinikling routine accompanied by bamboo poles. 

Alliance had the best mix of the night with its blink-and-you’ll-miss-it routine. The car-themed soundtrack, including hits “Vroom Vroom” and “Tokyo Drift,” created fast-moving vignettes of the highest quality. Entertaining group choreography, combined with eye-catching individual moments, made for a winning number. 

Non-audition teams Common Origins and XTRM also gave fun and upbeat performances. Common Origins opened the show with several fan favorite songs — “Diva” was their best routine, with sharp, confident movements. XTRM, a K-pop dance group, had non-stop energy and cute, eclectic outfits in black and pink.

Excellent lighting design by Dinkelspiel’s Samantha Schroeter added an extra touch of professionalism, while emcee Kheshawn Wynn ’23, a DV8 alum, commanded the show with assured charisma. 

“I’m just glad that they wanted me to be a part of this,” Wynn said. “It still feels like family.”

According to a few of the night’s dancers, the love was also felt backstage. Many dancers performed with more than one group, including Freeman, who dances for both DV8 and Innovative Styles, a jazz group. There’s “great camaraderie” between groups, said Freeman, with the teams “all hyping each other up on stage.”

Wambu, who performed with FreeFlow and Legacy, said she “always look[s] forward to DV8’s performances.”

“To see a lot of Black women shine in that way is awesome,” Wambu said.

Those who missed out on ECC aren’t out of luck; the show was livestreamed on YouTube, and Stanford’s dance teams will take the stage again at Alliance’s annual show Hipnotized in spring quarter.

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Cardinal families sample campus dining https://stanforddaily.com/2024/03/03/families-sample-campus-dining/ https://stanforddaily.com/2024/03/03/families-sample-campus-dining/#respond Mon, 04 Mar 2024 01:53:47 +0000 https://stanforddaily.com/?p=1243886 Family members shared glowing reviews of the parents' weekend dining hall menus, while students expressed more mixed opinions.

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During Family Weekend, Cardinal families gathered at campus dining halls across campus to try different meals prepared by Residential & Dining Enterprises (R&DE). While students shared a range of colorful opinions regarding dining options — which included tree-shaped pasta served at Arrillaga — family members mostly expressed complimentary remarks. 

“Overall, the food was great. Every dish was really good, and I loved the variety,” said Mario Martinez, father of Viviana Martinez ’27, from Loredo, Texas. 

“I think the food is wonderful. From the main course to the desserts, beverages and the broad selection of fruits and vegetables, I think the dining is great,” said Xiyu Li, mother of Daniel Yang ’25, from Austin, Texas. Li added that a large family group, with whom she ate dinner, had similarly positive feedback. However, not all the students were impressed.

“They only make good food when parents are here,” Yashaswi Bista ’27 said. “For once, the chicken was actually edible.” 

Li also noticed an improvement in this year’s dining options compared to the meals offered during last year’s Family Weekend, although she had “nothing to complain about last year.” 

“It looks like all the dishes are quite healthy, made with some really interesting ingredients, which you probably would not find at most other schools,” said Balakrishna Kumthekar, father of Amit Kumthekar ’27, from Santa Rosa, California. 

Kumthekar was dazzled not only by the quality of the cuisine, but also the variety of dishes and uniqueness of the ingredients. 

“At home, we eat a great variety of food — my wife is Italian and I am Indian, so we cook many different dishes. I’m really happy that my son is at a place where his nutritional well-being is taken care of,” he said. “Kudos to the chefs and the nutritionists and the entire team for preparing such a wonderful smorgasbord of food here.” 

Other parents felt overwhelmed by the variety of options. I’m a little bit jealous. The food here is really good,” said Eric Johnson, father of Miranda Johnson ’26, from Omaha, Nebraska. Although, I haven’t tried a whole lot of it because they had blueberries this morning, and I just got plates and plates of blueberries.”

Miranda said that the produce selection in Arrillaga is especially appealing. I never had really good fruit growing up, because it’s always cold in Omaha and we never had berries,” she said. 

Though Miranda enjoyed eating at Arrillaga during Family Weekend, she said that “we have had better chicken in the past. But because we had Hawaiian rolls and really good fruit today, I’m very, very happy.” 

Johnson was critical of the eggs at first, noting that they were “congealed and somewhat rubbery at the beginning.” However, he said that the eggs vastly improved after the first batch, and that generally the dining is “absolutely fantastic.” 

“In fact, my daughter will call me and show me what she is eating, just to make me jealous,” he said. “In most sit-down restaurants, I don’t think you would get something this good.” 

At Lakeside, students had different opinions compared to their parents, confirming a broader consensus among many students that R&DE staff improved the dining selection for Family Weekend. 

“I think they had really good options that they don’t normally have,” Martinez said. “I do believe that they made it better for the parents.” 

While parents were impressed by the range of food available, students commented that the selection at Family Weekend may not be representative of their daily dining experience. 

“I definitely think that the food was more flavorful and better prepared for Family Weekend,” said Francesca Pinney ’27, adding that the dining halls offered a greater variety of food, healthier and tastier options, and especially better fruit. 

“I feel slightly upset that in reality Stanford dining doesn’t seem to live up to the standards they advertise to the broader Stanford community,” Pinney said. 

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Cardinal Canvas: First-year MFA showcase celebrates community ‘&’ identity https://stanforddaily.com/2024/02/29/first-year-mfa-showcase-review/ https://stanforddaily.com/2024/02/29/first-year-mfa-showcase-review/#respond Fri, 01 Mar 2024 03:28:12 +0000 https://stanforddaily.com/?p=1243803 A new exhibition at the Coulter Art Gallery features works by five artists in painting, photography and sculpture. The showcase is "a thought-provoking delight," writes columnist Adam Golomb.

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In “Cardinal Canvas,” Adam Golomb spotlights art on and around the University, exploring and reviewing artwork that students may otherwise miss.

Editor’s Note: This article is a review and contains subjective opinions, thoughts and critiques.

Five first-year MFA students re-contextualized and reshaped history in their showcase “&,” curated by Associate Photography Professor Jonathan Calm.​ The showcase’s artwork — which will be on display at the Coulter Art Gallery until March 15 — engages in conversation about identity and community, introducing five unique perspectives that critique the world around them.

In her painting “Rabitting,” Emily Harter creates a scene of hunting season with warm colors and a sense of pursuit. Grey-colored hunters run rampant with rifles, some hiding in bushes to find just the right angle and some helplessly scratching their heads. The titular rabbits scurry, avoidant of their predators’ reach, despite the overwhelming army of hunters and dogs. 

“Rabbiting” portrays community from two standpoints. First is the huntsmen’s, all working together towards a common goal. Contrasted by the bright golden grass, the grayscale hunters blend into one another: one battalion indivisible. Their unity is moving, yet moored by bloodshed of innocent creatures. Harter asks the audience: “What does it mean to revel at the fall of others?” 

Her own answer might be revealed through the rabbits themselves. I question whether the rabbits feel the anxiety of potential abduction; they run in circles, almost teasing the hunters, but also jump high and fast, as if running from doom. To be hunted is a paradox of utter fear and carelessness — it is shackling and liberating alike. 

Elina Frumerman explores the metaphorical barriers to entering a community in her three-piece work “The Distance Between,” an acrylic painting depicting an early memory of immigrating to the US from the USSR. Her memory captures a black-and-white image of an endlessly long metallic station decorated with tall, metal, compass-like sculptures; the artwork also includes two of those steel sculptures reconstructed in real life, guarding the painting.

Frumerman contrasts the tangible from the intangible in memories. While the painting’s realism convinces the audience of this station’s existence, the materiality of the sculptures undercuts that image, putting the memory’s reality into question. It is impossible to not compare the abstraction of that memory to the visible shadow of the sculptures. 

In this way, “The Distance Between” simulates the supposed rules and boundaries of arriving to a novel land. People are asked to leave memories of their past, of a previous life, at the door, becoming abstract concepts that can’t match the real – or, at least, their new reality. 

Another artist, Damon Casarez, further questions the rules of immigration in his work “Attributes of a Good Citizen.” The piece is comprised of five paintings: a tuna sandwich, a crumpled dollar, a white hand above a darker-skinned one reminiscent of Michaelangelo’s “The Creation of Adam,” an unfilled burrito and a folded American flag. 

Casarez’s paintings reflect the cultural assimilation expected of immigrants. Acting as a guidebook, “Attributes” walks an outsider through Anglo-American values of money, work and patriotism. Previous cultural heritage acts as baggage to be discarded before assuming a new identity, one of assimilated tuna sandwiches and empty burritos. 

In the third painting, however, Casarez illustrates the only way to maintain one’s cultural identity: to be the hand receiving. The top hand grandly bestows something indiscernible to the darker hand beneath it. This piece exposes the systematic efforts to force immigrants to perceive their culture as inferior, as requiring donation.

Other artists illustrated community by elevating individual relationships. In “Remember When, Remember When…,” Cooper Salmon immortalizes small interpersonal moments through a series of colorful pastel paintings. A son playing a violin stubbornly while his mother watches over; a dentist carefully peering into a patient’s mouth; a kid spraying water into an older man’s mouth. 

Salmon implements a cartoonish style to prioritize genuine emotion over direct likeness. In a scene of newlyweds, my personal favorite, the groom’s big blue eyes are filled with tears of joy as his cartoonishly large hand holds his bride’s hand. The work urges us to value the sentiment of our interactions rather than their materiality.

Salmon’s pastel colors and comic visuals also depict his literal vision. The artist is diagnosed with Retinitis Pigmentosa, an eye disease that will eventually leave him blind. As a result, his cataracts led to both looseness and sharpness in color, which he manifests in his work: a beautiful and tragic love letter to the world and how he perceives it.

The final piece challenges cultural symbols and the morality bestowed upon them. “Untitled (Mary)” by Andrew Sungtaek Ingersoll is a sculpture of the Virgin Mary made out of ground meat discards from grocery stores. The statue inhabits a commercial freezer, cryogenically formed with red pigment to maintain its color.

When I read about the material of this piece, I was shocked. A holy figure made out of frozen, trashed, bloody meat; it is the definition of sacrilegious. Ingersoll provocatively presents a deity as, quite literally, garbage, calling into question how we perceive cultural and religious icons. What does it mean to worship the undesired insides of an animal? The piece encourages us to critique what we may be blindly complicit to, to re-examine what we value, lest it also be composed of rotting meat.

This showcase is a thought-provoking delight, providing insight into what it means to belong to a community from various angles. I strongly encourage anyone to go see it.

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Art & Boba spill creativity at Cantor https://stanforddaily.com/2024/02/29/art-boba-talks-sweeten-up-cantor/ https://stanforddaily.com/2024/02/29/art-boba-talks-sweeten-up-cantor/#respond Thu, 29 Feb 2024 09:25:10 +0000 https://stanforddaily.com/?p=1243740 A new event series invites students to the Cantor for intimate conversations with artists. The initiative allows students to connect with their creatively-minded peers.

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Whether an art aficionado or a first time visitor, the Cantor Arts Center is calling on all Stanford boba-lovers to enter its halls for its new event series, Art & Boba Talks. 

Introduced last academic year, Art & Boba Talks invite a small group of around 20 students to engage in a Q&A conversation with visiting artists of diverse mediums and backgrounds, all while sipping on the variety of boba drinks provided. 

Despite the potentially intimidating grandeur of the Cantor, Art & Boba Talks are held in its warm and welcoming auditorium. Attendees are seated in a circle, creating a casual atmosphere and encouraging dynamic dialogue. During the talks, everyone in attendance introduces themselves and is asked to share any questions and thoughts with the artist and their fellow peers.

Vivian Sming, associate director of academic and public programs at the Cantor, said the event was designed for students “to get their questions answered about what it’s like being an artist.”

Past talks have featured Grace D. Li, author of “Portrait of a Thief” and Stanford Medicine student, visiting photographer Sabelo Mlangeni and visual artist and filmmaker Sofía Gallisá Muriente, whose video “Celaje” is on display now at the Cantor.

The next talk on Friday will feature artist Christine Wong Yap, who specializes in social practice, printmaking and public art. Artist-duo Young-Hae Chang and Marc Voge will also be participating on April 5, representing their company Young-Hae Chang Heavy Industries, whose practice syncs original texts and music in 26 languages.

According to Alyssa Diaz, Academic Programs Coordinator for the Cantor, Art & Boba Talks are “meant to be an entry point for people at whatever stage they are as an art-interested individual.” 

This broad goal encourages students of all majors and interests to come together to engage thoughtfully with the art world. 

Ariana Lee ’27 has attended multiple talks, in part for this sense of community.

“Arts initiatives on campus get less attention than STEM ones, so it’s also nice to be able to connect with other students passionate about the arts. The boba is a great touch too,” Lee wrote in an email to the Daily. 

The Art & Boba Talk initiative has also worked in tandem with other events and programming at the Cantor, encouraging students to personally connect artists to their art practice and process.

For example, a November talk featured interdisciplinary artist Kenneth Tam, whose video installation “All of M” was showing at the Cantor’s Madeleine H. Russell Gallery at the time. “It was nice getting to hear about his creative process,” said Cooper Salmon MFA ’25.

According to Diaz, Art & Boba Talks will continue throughout the remainder of winter and spring quarters.

“We’re introducing something that forms a consistency, something that we can offer throughout the year,” Diaz said.

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Harmonic hauntings: ‘Ghost Quartet’ captivates CoHo https://stanforddaily.com/2024/02/27/ghost-quartet-captivates-coho/ https://stanforddaily.com/2024/02/27/ghost-quartet-captivates-coho/#respond Wed, 28 Feb 2024 05:45:00 +0000 https://stanforddaily.com/?p=1243597 Theater Lab's production of "Ghost Quartet" wove together different stories, themes and contexts, Kearns writes.

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Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques.

Theater Lab performed an intriguing rendition of Dave Malloy’s “Ghost Quartet” last weekend at CoHo, marked by unconventional storytelling and musical depth. The show, which featured four interwoven narratives spanning seven centuries, delivered a complex tapestry of “love, death and whiskey” that, at times, proved challenging to follow.

The show eschewed the familiar narrative framework in favor of a more fragmented, cyclical approach to storytelling. From the mystical tales of Scheherazade and Dunyazad in 14th-century Persia to the tragic sibling rivalry between Rose Red and Pearl White in 17th-century Germany and Japan, “Ghost Quartet” threaded different plotlines together in fascinating ways. The story extended to the modern day and culminated in a 21st-century New York City subway tragedy, illustrating the cyclical nature of the show’s themes. 

Throughout each tale, themes of ambition, revenge and the quest for love intertwined, demonstrating the timeless and universal nature of these human experiences.

The lack of a traditional storytelling arc in “Ghost Quartet” added a layer of complexity that, while artistically bold, occasionally made it challenging to discern a coherent overarching plot or to fully invest in the characters’ journeys. The transitions between tales felt abrupt at times, leaving little room for the narrative or emotional development typically facilitated by a more linear progression.

Despite the show’s convoluted plot threads, the four actors showcased their range and versatility as they transitioned between various characters and epochs. 

Both an actor and director, Sam Howell Petersen ’24 shone through their portrayals, bringing to life characters like Scheherazade, Pearl White, Soldier and Lady Usher with remarkable physicality and vocal skill. Their performance was not just acts, but evocative embodiments, marking the production with memorable depth and dynamism. Petersen’s ability to convincingly inhabit multiple roles underscored the intricate storytelling and thematic richness of the piece.

Peter Li’s ’25 contributions were also multifaceted, showcasing both his musical talent as a pianist and his capacity to bring humor and a distinct personality to his performances as Monk, Astronomer and Driver. His ability to blend comedy with musical skill added a unique layer to the show, making his performance memorable and engaging.

Among the song cycle, “Any Kind of Dead Person” and “The Astronomer” emerged as my personal favorites, as I resonated deeply with their evocative melodies and poignant lyrics. However, the show’s diverse musical landscape meant that not every song managed to strike the same chord, with certain pieces overshadowing others in their appeal. Some songs felt inconsequential to the central plot of the show and lasted longer than I felt was necessary.  

The finale, “The Wind & Rain,” transformed the theater into an interactive space, creating an unforgettable communal experience. The boundary between performers and spectators blurred as percussion instruments were distributed among the audience and participants were invited to play alongside the musicians. This immersive element not only captivated the audience, but also beautifully echoed the show’s themes of connection and the cyclical nature of storytelling, culminating in a collaborative and resonant conclusion.

Regardless of the occasional obscurity of its plot, “Ghost Quartet” was a testament to the power of music and imagination, woven together in a tapestry as intricate and mysterious as the narratives it sought to tell.

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A spoonful of magic: Stanford Light Opera revives ‘Mary Poppins’ https://stanforddaily.com/2024/02/26/stanford-light-operas-mary-poppins/ https://stanforddaily.com/2024/02/26/stanford-light-operas-mary-poppins/#respond Tue, 27 Feb 2024 05:57:16 +0000 https://stanforddaily.com/?p=1243518 Charlotte Kearns writes about the magic, musicality and merriment in "Mary Poppins," produced by Stanford Light Opera Company.

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Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques.

The Stanford Light Opera Company’s production of “Mary Poppins” delighted audiences with a fresh and vibrant take on the beloved classic at Dinkelspiel Auditorium this weekend. 

The Light Opera Company, a student-led theater organization, presented three enchanting performances amid its annual showcase. The show, based on the P. L. Travers’ book series and Disney movie adaptions, tells the story of a whimsical nanny’s transformative impact on the Banks family, through extraordinary adventures and lessons.

Running for three hours, the show is a commitment, but it is one that pays off due to its continuous entertainment value.

Under the adept direction of Liam Fay M.S. ’25, the production struck a balance between honoring the original material and injecting humorous moments that resonated with contemporary audiences. Fay’s directorial note emphasized that theater is meant to be fun, a sentiment that this production embodies from start to finish. 

The musical numbers were the production’s heart and soul. “Step in Time” was an electrifying tap number that showcased the cast’s synchronicity and stamina. Equally exciting was the inventive choreography in “Supercalifragilisticexpialidocious,” which brought whimsy and playfulness to the stage as dancers spelled out the compound word. 

Despite missing the flying Mary Poppins moment that is a staple of most Mary Poppins’ productions, the show dazzled its audience with several sleight-of-hand tricks that kept the story’s magic alive.

The scene where Mary Poppins pulled out oversized items from her seemingly small carpet bag elicited gasps and applause. The clever staging of a kite flying gracefully across the stage brought a delightful outdoor freedom and joy into the auditorium, while showcasing the creative ingenuity behind the production. 

Sarah Lewis ’24, in the titular role, embodied the magical nanny with grace and charisma — every moment she was on stage was enchanting. Her sweet voice filled the theater, inspiring everyone to tap their feet to popular songs from the musical, like “A Spoonful of Sugar” and “Let’s Go Fly a Kite.”

Her counterpart Bert, played by Henry Cargill ’26, also provided a standout performance. Cargill’s authentic Cockney accent and commendable dance prowess added a dynamic layer to the production. Lewis and Cargill’s chemistry and joy onstage was contagious.  

Sanjana Khurana ’26 was also notable in her role as Winifred Banks, bringing depth and warmth to the maternal character. The clarity and emotional range in Khurana’s phenomenal vocal performance also captivated the audience.

Members of the ensemble also deserve high praise for seamless transitions between roles: from spoons to toys to chimney sweeps. This versatile group of performers adeptly navigated the choreography and scene changes, ensuring a smooth and cohesive narrative flow that tied long show together.

The production’s lighthearted yet polished execution, coupled with standout vocal performances, created an engaging experience. The scenic design and lighting, particularly during “Step in Time,” created a visual spectacle that complemented the performances. This production of “Mary Poppins” was not merely a show, but an immersive journey into a world where whimsy and childlike wonder reign supreme.

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Dining halls dish out special holiday menus https://stanforddaily.com/2024/02/25/dining-halls-dish-out-holiday-menus/ https://stanforddaily.com/2024/02/25/dining-halls-dish-out-holiday-menus/#respond Mon, 26 Feb 2024 06:54:10 +0000 https://stanforddaily.com/?p=1243460 Stanford R&DE surprised students with exclusive holiday menus for MLK Jr. Day, Mardi Gras and Lunar New Year. R&DE used the holidays to be more festive and creative with its dining hall options.

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Over the past two months, Residential & Dining Enterprises (R&DE) cooked up a variety of special holiday menus in celebration of Martin Luther King Jr. Day, Mardi Gras and Lunar New Year. All three events were widely popular among students for their festive options. 

“[Holiday menus] are a fun way to eat something new and draw your attention to a specific event,” said Ann Vu ’27, who tried the Martin Luther King Jr. Day menu. “It’s a special day.” 

Martin Luther King Jr. Day

A photo of the dining hall options served on MLK Jr. Day, including sandwiches and meat.
Some of the entrée offerings from the Martin Luther King Jr. Day menu. (Photo: ALANA BELLE M. TIRADO/The Stanford Daily)

The Martin Luther King Jr. Day menu was served campus-wide on Jan. 15 and featured popular soul food dishes, ranging from BBQ chicken to sweet iced tea. 

Kass Cargile ’27, hailing from Tennessee, tried the entire menu. She particularly enjoyed the pork in the BBQ pork slider. “It’s really good, but Californians can’t make coleslaw like the South can,” she said.

“The BBQ chicken for sure is a hit, and the mac and cheese,” Emmy Echevarria Muniz ’27 added in between bites. 

Though students generally enjoyed the menu’s offerings, they also offered critiques of certain dishes, including the collard greens.

“Collard greens give you the vibe of an old person, because they’re so shriveled and wrinkled,” Cargile joked. “These are more like middle aged greens. They’re not quite there yet.” 

Echevarria Muniz, who was most excited about the desserts, said that they were the most disappointing part of the menu. “The peach cobbler is pre-made pie crust, canned peaches, and then breadcrumbs on top,” Echevarria Muniz said. 

R&DE recreated some of their Martin Luther King Jr. Day menu for Mardi Gras, including the mac and cheese and the braised collard greens. 

Mardi Gras

Dining halls dish out special holiday menus
Dessert offerings from the Lakeside Mardi Gras menu. (Photo: HELEN KATZ/The Stanford Daily)

The Mardi Gras menu, served at Lakeside on Feb. 13, featured several Creole entrées, including crab andouille gumbo, po’boys and etouffee. Leading up to the event, shimmering gold, green and purple metallic decorations — as well as elaborately decorated masks and jesters — adorned Lakeside in honor of Mardi Gras. 

The event’s menu was the brainchild of chef, cookbook author and Brown Sugar Kitchen owner Tanya Holland, who has partnered with R&DE for the past eight years to incorporate elements of Southern comfort food into its menus. 

“It’s really fun to get the reaction from the students, especially those who are from the South who know this holiday and who know this cuisine. It makes them feel at home,” said Holland, whose family roots in Louisiana have inspired her passion for its culinary traditions. 

“I’m a Louisiana native, so this is my favorite day in Lakeside,” said Liand Ozoemelam ’25. “They changed it up a little bit the past couple years, but there’s always delicious food and amazing vibes.” 

Holland said she also enjoys sharing the unique flavor profiles of Creole cuisine with students who are not familiar with it.

“It’s great gaining exposure to different types of food. I haven’t had most of this cuisine before, so it’s wonderful having these new experiences,” said Jesse Juduhbaram ’27. 

Although many students said that dinner was hard to top, the smorgasbord of dessert options was their favorite part of the event. The confections included beignets with salted caramel sauce, caramelized banana foster a la mode, sweet potato pie and king cake — a staple of any Mardi Gras celebration. 

“The beignets were so delicious, but I was blown away by the king cake,” said Creagh Factor ’27. “There’s nothing quite as satisfying as biting into a thick, fluffy slice of king cake, with icing and colorful sugar dusting.” 

Lunar New Year

Dining halls dish out special holiday menus
Students line up to try the Lunar New Year menu. (Photo: ALANA BELLE M. TIRADO/The Stanford Daily)

The most popular of the three menus was the Lunar New Year menu served at Wilbur on Feb. 8. Wilbur, which opens at 5 p.m., was swarmed by early birds trying to beat the long lines. 

“My roommate lined up at 4 p.m., and I thought she was exaggerating but she was not,” said Taylor Torres ’27. 

For many students, the food was well worth the long wait. 

“I really liked the dumplings,” J.B. Lim ’24 said. He highlighted the fried rice, saying “we usually have it at Wilbur but today it tastes different […] I hope they do this more often.”

“I had the ube ice cream, and it was really good,” Yoonah Lee ’23 said. “Overall, I like the diversity of the food.”

Wrapping up another year of festivities with an abundant turn-out, Holland emphasized the events’ aim in bringing students together over shared meals. 

“When you try food from a different place, it’s like traveling there. And maybe one day, if anyone here has an event in New Orleans, they can say ‘Oh my god, remember that Mardi Gras at Stanford?’” Holland said. “I just think it’s great exposure for the students and everyone.”

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‘A Garden After Dark’ creates space for hidden heroes https://stanforddaily.com/2024/02/22/chocolate-heads-spotlights-heroes/ https://stanforddaily.com/2024/02/22/chocolate-heads-spotlights-heroes/#respond Fri, 23 Feb 2024 05:58:20 +0000 https://stanforddaily.com/?p=1243200 "A Garden After Dark," a live performance by the Chocolate Heads Movement Band, incorporates the talents of students with all levels of experience.

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The Chocolate Heads Movement Band, an interdisciplinary dance and performance troupe, will be performing their first winter quarter show this Thursday at the Cantor Arts Center.  

The performance piece, titled “A Garden After Dark,” invites audience members to “perceive the magic hiding in plain sight” around them by creating an “imaginary garden” through dance and art installations. Chocolate Heads developed and first performed the piece last quarter as part of the project-based performance course DANCE 30: “Contemporary Choreography,” taught by Senior Lecturer in Theater and Performance Studies Aleta Hayes.  

'A Garden After Dark' creates space for hidden heroes
Courtesy of Julien Broussard.

Through a collaborative style of teaching, the Chocolate Heads Movement Band — which is open to students with any level of performing arts experience — works together to create choreography, writing, music and installations. Although most of the performers don’t have prior experience, Hayes said she helps them undergo a “transformation” by helping them reconnect to their breath and discover their natural style of movement. 

“I’m amazed at how the use of breath brings the dancers together physically,” said Chocolate Heads General Design Divisor Ryan Yu. He added that the troupe members are “very driven and committed to each other in an ensemble way” that Yu finds “beautiful.” 

'A Garden After Dark' creates space for hidden heroes
Courtesy of Julien Broussard.

“A Garden After Dark” was created in collaboration with Stanford’s head of groundskeepers Mary Nolan and horticulturist Gahl Shottan. Hayes said the piece is a revitalization of an “ongoing initiative of doing things with people who are working with space or with their bodies, and us being in collaboration with them.” Chocolate Heads dancers learned about Stanford’s natural landscape from Nolan and Shottan and incorporated aspects of it into their final piece.

For the troupe’s fall quarter performance, an installation with large and intricate replicas of trees and bushes lined the stage while being illuminated by bright colors. Three groundskeepers were included in the piece, where they delicately moved branches and shoveled the stage. Hayes said this draws attention to the “beauty of everyday movement and labor.”

Hayes said that “performance is endless” and that she wanted students to be in conversation with the sixteen acres of campus that are invisible to us by developing a “new world” in collaboration with her performers. “A Garden After Dark” is not just about performing, she added, but “participating in ongoing knowledge creation in collaboration with community members.” 

“[It is] heartening to see people engaging with a landscape you take care of on a daily basis,” Shottan said. 

'A Garden After Dark' creates space for hidden heroes
Courtesy of Julien Broussard.

 “A Garden After Dark” is part of a larger conversation about how to honor the beauty of work and heroes that are often hidden. Yu shared that the performance is “not just [about] artists, academics, professionals, or amateurs, but people who make this campus what it is.” While “A Garden After Dark” is performed on a set designed by students, he highlighted how Stanford’s campus is also a “set” that we don’t attribute to someone putting effort into. Whereas students tend to overlook laborers on campus, Yu said this performance places them in a spotlight where they can shine, blurring the boundary between “dancers” and “laborers” by portraying both as performers in a newly imagined world. 

According to Hayes, another key aspect of Chocolate Heads performances involves building a sense of community with audience members.“One of the most important things about Chocolate Heads is when we get out and do it together with the audience,” Hayes said. “Something else happens that is magic […] something about the nonverbal world where before anything is said, it’s already happening.”

This winter, Chocolate Heads is working in collaboration with visiting guest artist JoAnna Mendl Shaw, who is offering workshops that help students explore their choreography through an interspecies lens and seeks to “enhance our human capacity for multi-sensory awareness.” The troupe also invites students interested in performing or choreographing pieces to join the Chocolate Heads community and participate in the inaugural Young Choreographers Festival taking place next spring on April 19th and 20th.

'A Garden After Dark' creates space for hidden heroes
Courtesy of Julien Broussard.

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Cardinal Canvas: Mourning home in Muriente’s ‘Celaje’ https://stanforddaily.com/2024/02/22/cardinal-canvas-murientes-celaje/ https://stanforddaily.com/2024/02/22/cardinal-canvas-murientes-celaje/#respond Thu, 22 Feb 2024 09:11:15 +0000 https://stanforddaily.com/?p=1243042 Columnist Adam Golomb reflects upon Muriente’s “Celaje,” a video art piece at Cantor that mourns the loss of Costa Rican culture and prosperity to colonialism and Hurricane Maria.

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In “Cardinal Canvas,” Adam Golomb spotlights art on and around the University, exploring and reviewing artwork that students may otherwise miss.

Editor’s Note: This article is a review and contains subjective opinions, thoughts and critiques.

“This is a film about impermanence,” Sofía Gallisá Muriente declares halfway into her forty-one minute video artwork “Celaje (Cloudscape).”

Throughout the film, Muriente invites her audience to an elegy for her homeland of Puerto Rico and the devastation caused by Hurricane Maria in 2017, which killed nearly 3,000 Puerto Ricans.

In somber reflection of Puerto Rico’s once-held beauty contrasted with its current state, the piece questions how one learns to grieve their home and reclaim their cultural legacy.

“Inevitably, the day comes, be it decades, centuries or millenniums later, when all that is left of the rock is some grains of sand,” the subtitles read while Muriente’s late grandmother speaks in Spanish. On the screen: black and white waves crashing, enacting the slow process of erosion alongside the cliffside. 

Muriente ruminates on nature’s relentless course; the footage, purposely distorted and degraded, representing the ravaging of her land. The scene is mesmerizing in its scale as every tiny rock along the beach is swallowed by the vast ocean. 

“Testing, testing, uno, dos, tres, uno, dos, tres,” a male voice recites while old home videos play. Lowly saturated scenes of women cooking and laughing at a barbecue paint a picture of the happiness and beauty of Puerto Rico. A little boy runs around with the flag, giddy. 

Muriente gives the audience a peek into the wonders of her heritage so we can understand what we’re mourning. Watching this, I smiled to myself at the pride Muriente clearly has for her home, but behind that smile was an anxiety, an anticipation of catastrophe. 

“Something is happening, the lightbulb is failing,” the same man suddenly says, with urgency and fear. The music, previously simple background noise behind the old footage, starts overlapping on itself and escalates into a loud crescendo. 

Then, a cut to black. Silence. Emerging from this, a scene of a funeral as a coffin with the Puerto Rican flag is lowered into the ground, a family inaudibly saying their goodbyes. 

“Celaje” depicts the deep sadness of losing one’s love, one’s home. The sense of unpreparedness Muriente crafts is overwhelming, and gives the piece’s audience the experience of watching one’s site of life implode rather than gradually fade away. I can’t help but question which is worse: an abrupt departure or creeping disintegration. Muriente herself doesn’t decide, but masterfully presents the reality of the first. I ache with her.

“Without debt, there is no paradise,” the subtitles read on scenes of abandoned buildings pre-hurricane. Muriente then dives into Puerto Rico’s history as a colony, drawing parallels between its violent past and the present harm caused by Hurricane Maria. “Celaje” depicts the literal looming presence of imperialism in Puerto Rico throughout the film, panning up to a “General Motors,” “Ford” or “Sinclair” logo during scenes of everyday life. 

Muriente compares history to natural disasters; both have consumed buildings and lives, the material evidence of her culture. She depicts colonialism and the hurricane alike as destroyers of heritage and creators of ruins.

“The blank film I had been keeping in my freezer started rotting when the hurricane took the power out,” Murriente discloses. The screen shows the jungle during the darkest of nights, impossible to navigate. “Celaje” brings the audience into a similarly frightening unknown of disaster – the death of one’s home.

In her potent examination of devastation and mourning, Muriente explores a land of collapse and the dissolution of history. The film poses the following question: What does one do when the tools of documentation literally rot? 

Again, Muriente allows her audience to decide for itself, but I view “Celaje” as her way of rectifying these casualties of memory. I see “Celaje” as a declaration of history and heritage. Muriente’s answer to the above question: Start documenting again, with love and care.

Muriente’s “Celaje” is simply beautiful. Disorienting at times, deeply moving and compellingly thought-provoking, I implore everyone to run to the Cantor to see this piece before May 19.

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A latté of love for ‘Love, On Call’ https://stanforddaily.com/2024/02/20/a-latte-of-love-for-love-on-call/ https://stanforddaily.com/2024/02/20/a-latte-of-love-for-love-on-call/#respond Wed, 21 Feb 2024 07:12:40 +0000 https://stanforddaily.com/?p=1243039 The student-run late night café put on a Valentine's themed pop-up at its new location last week, in anticipation of the café's permanent opening in the spring.

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Last Monday and Tuesday night, student-run On Call Café hosted its second pop-up series of the school year. The series, named “Love, On Call” in honor of Valentine’s Day, brought 1,295 students into the café’s new, soon-to-be permanent location on the first floor of Old Union. 

Starting Wednesday, the café will be open serving hot drinks on Monday and Wednesday nights through the end of winter quarter. According to On Call director Peyton Klein ’25, the team hopes to begin full operations at the beginning of spring quarter, meaning the café will be open four nights a week and serve food in addition to drinks. 

Framed as an open love letter to the Stanford community, “Love, On Call” highlighted unique elements of Stanford student life with menu items such as the “12 Units,” the “Full Moon” and the “Week One.” The suggested donations ranged from $3 to $4 for drinks and $5 to $6 for toasts. 

The line was long, with some students waiting over 20 minutes. On Call staff members handed out sample cookies to students in line and asked trivia questions about the café.

“Selfishly, I hope to see fewer people,” Ph.D. candidate David Zhang said jokingly about attending future On Call events. “But, given how good the food is, I doubt that’ll be the case.”

When Meimei Liu ’27 arrived at On Call’s previous pop-up in fall quarter, the café had run out of food. At “Love, On Call,” she was able to try one of the toasts and a drink, both of which she said she enjoyed.

For the past few weeks, students have noticed a growing collection of eclectic paintings and wall decorations in Old Union in advance of the café’s opening.

“I was doing work in this area while they were setting stuff up,” said Kaylee Chan ’27, who attended Monday’s pop-up event. “I saw them put up all the pictures, and it was exciting. They really came through with everything and it looks great.”

Zhang was similarly impressed with the ambiance. “I’m amazed at what they’ve done with the space,” Zhang said. “The string lights, the portraits — it’s really something.”

“I feel warm,” Liu said, calling On Call a “place to chill” in contrast to Late Night at Lakeside, where students are often found working.

In early December, following the original pop-up at the Haas Center, the Undergraduate Senate granted On Call ASSU Service Organization status. As a Service Organization, On Call has been able to secure funding from the University provost and president.

According to Klein, the café plans on charging for their toasts and drinks when they open permanently, instead of the current suggested donations. Student employees, who previously worked as volunteers, will now be paid. Klein said the suggested donations on the recent pop-up menu reflect the pricing that the team is considering for next quarter.

“We want to make sure that we pay [our employees] fair wages, cover the cost of food and make this sustainable,” said Klein.

While On Call’s status as a permanent café will make it somewhat different, the team hopes to retain a sense of spontaneity by collaborating with other student groups and hosting events.

“It’s not going to be the same adrenaline rush and energy of a two night pop-up, but there are other benefits,” Klein said. “It’ll be less like going to an amusement park and more like coming home.”

“I really like the idea of working at a cozy cafe,” Chan said. “I really hope they can provide that space for people to just hang out and vibe.”

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Do Valentine’s Day dessert specials deserve the love? https://stanforddaily.com/2024/02/16/do-valentines-day-dessert-specials-deserve-the-love/ https://stanforddaily.com/2024/02/16/do-valentines-day-dessert-specials-deserve-the-love/#respond Fri, 16 Feb 2024 08:20:34 +0000 https://stanforddaily.com/?p=1242802 Stanford's on-campus restaurants offered a variety of sweet treats this Valentine's Day — which desserts are worth a bite?

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Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques.

Being the sentimental person that I am, I love Valentine’s Day. I love the relationship launches. I love people’s big shows of affection for their special person. I love the opportunity that it presents me to sit down and reflect on what love itself means to me. I am also one to enjoy the sweet treats of the holiday, which is what sent me on a trip to try and review some of the Valentine’s Day dessert specials from The Axe and Palm (TAP) and Decadence.

Red velvet milkshake (TAP)

Rating: 8.5/10

The milkshake specials at TAP are a highlight of the food and drink scene on campus. I recall my Filipino tastebuds feeling right at home with the ube milkshake that was offered last May, and this month’s peach cobbler milkshake has been hitting the spot. Speaking as a self-declared TAP connoisseur, I hope to offer my take on the Valentine’s Day special: the red velvet milkshake.

The red and pink heart sprinkles atop the whipped cream made a great first (visual) impression. As for the taste, the shake delivered on red velvet flavor. It has a rich kind of sweetness, striking a perfect balance between the cocoa and cream cheese-like flavors. The main area for improvement would have to be getting rid of the heart-shaped sprinkles, which had an unpleasant texture to chew on whenever I drank one up. Syrup drawn in the shape of a heart on top of the whipped cream might go better.

Red velvet white chocolate chip cookie (Decadence)

Rating: 7/10

Decadence’s red velvet white chocolate chip cookie did not disappoint (at least, not too much). I cannot say that I tasted the red velvet flavor as much as I did with the TAP milkshake, but I think this cookie would taste great fresh out of the oven with gooey white chocolate chips. While there was definitely room for improvement on this, it was still an enjoyable treat. I certainly would have it on occasion, admittedly not as my go-to cookie selection.

Chocolate-covered strawberry (Decadence)

Rating: 9/10

I cannot imagine a more quintessentially Valentine’s Day treat than strawberries covered in chocolate, and these did not disappoint. The juicy, vibrant sweetness of the strawberry matched very well with the chocolate that crumbled after each bite. I’d certainly order again as a post-midterm reward. 

Heart-shaped macaron (Decadence)

Rating: 6/10 (strawberry), 6.5/10 (vanilla)

This was my first time eating a macaron, so I may not have the refined pallet that it would take to truly judge the French confection. Decadence offers two heart-shaped macarons during Valentine’s season, one strawberry-flavored and one vanilla. I did not taste much of anything from the exterior shell, which ended up being more crumbly than I expected. The filling for the strawberry-flavored macaron featured, interestingly enough, a chemically powerful sweet aftertaste — the kind one would expect from artificial strawberry flavoring. I personally found this to be strong on the sweetness with little else to offer.

The vanilla-flavored macaron, however, was a moderate improvement upon its strawberry counterpart. It was also strong, but less offensive in its sweetness. Going without the strawberry flavoring and accomplishing a more subtly sweet flavor made it less of a disappointment. Between the two, I slightly prefer the vanilla flavor, but neither would be a go-to. Rather than with love, I would label my experience with these desserts as an “acquaintanceship” of sorts.

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NYC piano bar brings Broadway to Bing https://stanforddaily.com/2024/02/15/nyc-piano-bar-brings-broadway-to-bing/ https://stanforddaily.com/2024/02/15/nyc-piano-bar-brings-broadway-to-bing/#respond Fri, 16 Feb 2024 04:53:20 +0000 https://stanforddaily.com/?p=1242713 Brandon James Gwinn brought the atmosphere and spontaneity of a New York City piano bar to campus, Wei writes.

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Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques.

This past Saturday, The Studio at Bing Concert Hall was transformed. The space was flooded with dim, red lighting and Mondrian-esque shadows of rectangles were imprinted against the walls. In the center of the room was a topless Steinway piano; a few patrons sat drinking at the tables scattered across the space, but most audience members stood and milled about, chitchatting and filling the room with a soft buzz until pianist Brandon James Gwinn began to play.

Gwinn works at the legendary piano bar Marie’s Crisis in New York City’s West Village. Both industry insiders and fans flock to Marie’s Crisis, known for its boisterous sing-alongs to Broadway show tunes. Following performances on campus in 2020 and 2023, Gwinn returned Saturday to bring the experience back to Stanford.

Gwinn performed a variety of show tunes, including songs from hit shows such as “Chicago,” “Guys and Dolls” and “Rent.” His fingers raced across the piano and he often improvised bits as he sang, looping a melody within the piece to create a pause in which he added ad libs and small comments. 

“A fermata is a pause,” Gwinn said, explaining a piece of musical terminology to the audience. “And what does a fermata mean? It means we drink!” 

Gwinn took advantage of the small, intimate space to playfully rib audience members. At one point, Gwinn made an obscure reference, to which someone in the audience responded, “I caught that — I’m from New Jersey.” The two briefly bonded over their shared home state, and for the rest of the night, Gwinn referred to her affectionately as “Jersey.” 

Other audience members also caught Gwinn’s teasing, getting interrogated on their favorite musicals and whether or not anyone still wears a hat. 

“It’s like SeaWorld,” Gwinn cautioned midway through the show. “If you sit in the front, you might get splashed.”

One of the highlights of the night was listening to the guest performers Gwinn welcomed onstage. At Marie’s Crisis, everyone — from bartenders to servers — can sing, and staff members are often ushered onstage to belt out a quick solo. Gwinn brought this tradition to Bing, inviting a host of Stanford students to perform.

The student performances were remarkable. There were many standouts: Vivian Leilani Shay ’24 performed a sultry rendition of “Roxie” from “Chicago,” and Moira O’Bryan ’25 belted out “What Baking Can Do” from “Waitress.” 

Corrie Branche ’25 sang “Vanilla Ice Cream” from “She Loves Me” in a perfect comic soprano. Her voice soared through the room as she played up the exaggerated expressions of a suddenly smitten woman, batting her eyelashes and clasping her hands together. Theater and performing arts Ph.D. student Westley Montgomery leaned into dark drama and faux French accents in a performance of “Noel’s Lament” from “Ride the Cyclone.”

To conclude, Gwinn performed “Defying Gravity” from “Wicked,” a perennial crowd-pleaser. It was the perfect piece to close the night. Even at the most difficult parts, everyone kept singing along, belting as if they were Broadway stars, voices melting together and filling the small room with warmth.

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Palo Alto extends outdoor dining until July 2026 https://stanforddaily.com/2024/02/14/palo-alto-extends-outdoor-dining-until-july-2026/ https://stanforddaily.com/2024/02/14/palo-alto-extends-outdoor-dining-until-july-2026/#respond Thu, 15 Feb 2024 07:42:41 +0000 https://stanforddaily.com/?p=1242374 Owners of downtown Palo Alto restaurants support outdoor dining spaces, but some cast doubt on the City of Palo Alto's new compliance requirements.

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Many local regulations allowed restaurants to build outdoor dining spaces at the start of the COVID-19 pandemic. A new California law AB-1217, effective this year, would allow outdoor dining spaces until July 1, 2026. But the requirements for parklets — outdoor dining in car parking spaces — drew mixed reactions from local restaurateurs.

Due to social distancing regulations introduced in 2020, many restaurants complied with room capacity limits by extending dining services outdoors. In 2020, the City of Palo Alto issued Resolution No. 9987, which allowed restaurants to apply for permits to utilize outdoor spaces for additional dining options. These permits were originally set to expire this July, before they were extended by AB-1217.

Downtown Palo Alto is home to boutique stores, entertainment venues and unique cafes. Four years into the pandemic, outdoor dining has become a vibrant part of downtown’s culture. 

Many restaurant owners voiced support for AB-1217.

According to Marcus Belardes, vice president of operations at Oren’s Hummus, outdoor dining “created a different environment” for customers, who clearly preferred the outdoors.

Oren’s Hummus’ outdoor dining consists of parklets made of wood with a corrugated metal roof, matching the restaurant’s interior design. The restaurant specializes in Middle Eastern and Mediterranean food and has six locations scattered across the San Francisco Peninsula.

Belardes is less satisfied with other local requests from the City of Palo Alto. In 2020, the city’s Public Works Department started a pilot that allowed restaurants to use public parking spaces for outdoor dining with no additional fees.

In November 2023, the department established a Permanent Parklet Program that would allow restaurants to permanently use those spaces after applying for a Parklet Encroachment Permit, which would require a fee.

Belardes said the timeline that the Public Works Departments give restaurants to comply with local regulations is challenging. The department requires businesses to remove parklets without permits by Mar. 31.

The Public Works Department wrote to The Daily that the city gave all restaurants the same timeline.

A window with "Zola" written on it in gold text.
Zola + BarZola has parklets that take up three parking spots and house roughly 30 guests. (Photo: CAYDEN GU/The Stanford Daily)

Guillaume Bienaime, owner of Zola + BarZola, said he and many customers are “strongly in favor” of outdoor dining extensions. The restaurant has parklets that take up three parking spots and house roughly 30 guests.

According to Bienaime, the city’s new requirements for parklets are too complex.

“We’re going to have to rebuild our existing parklets, resubmit building permits, rebuild the parklets and then have them for a longer period of time,” Bienaime said.

Saint Michael’s Alley, a restaurant on Homer Avenue, has had a patio since the start of COVID. With the high demand for outdoor dining, the restaurant has decided to add parklets for additional outdoor dining options.

Michael Sabina ’91, owner of Saint Michael’s Alley, said he already designed the parklets and is seeking approval from the city for construction. The parklets will have heaters in them and will only take up two parking spaces. 

“I’m very happy that we live in a place where the weather is beautiful,” Sabina wrote. “Finally people are sitting outside and taking advantage” of the weather.

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Is Stanford’s on-campus boba worth it? https://stanforddaily.com/2024/02/13/chun-yang-is-stanfords-on-campus-boba-worth-the-hype/ https://stanforddaily.com/2024/02/13/chun-yang-is-stanfords-on-campus-boba-worth-the-hype/#respond Wed, 14 Feb 2024 05:39:35 +0000 https://stanforddaily.com/?p=1242485 In the first installment of "Boba Buddies," Judy Liu reviews the passion fruit green tea, guava mango orange smoothie and a taro drink from Chun Yang, Stanford's on-campus boba shop.

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In Boba Buddies, columnist Judy Liu ’26 sits down with Stanford students to review offerings of different boba shops near campus. Each installation will feature different Stanford students taking Liu to their favorite spot and talking about what the drink means to them.

Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques.

Chun Yang, the hotly-anticipated boba shop in Forbes Family Cafe, opened on Nov. 3. Ever since, it has been frequented by students from all corners of campus — but is it worth the hype?

I decided to go with a group of “boba buddies” to try out some of their drinks and find out.

Chun Yang offers about 22 drinks, including both simple fruit and milk teas, and also more elaborate flavors like cheese and chocolate. Customers can modify their drinks using standard options such as sweetness and toppings. The price range is also typical of Bay Area boba shops, varying from $5 to $8. The shop is open from 11 a.m. to 6 p.m. on weekdays.

Chun Yang’s biggest perk is its location. Located in Huang Engineering Center, students now have a convenient way to get a beverage for their study session without paying for an online delivery service. Unfortunately, the drinks themselves are not as amazing as the prime location. 

Alexandra Breschini ’26 got a large peach freeze. She said that although the drink tempts with a taste of peach, she ultimately felt it was really watered down. She thought the aiyu jelly was average, but the drink itself felt boring.

“It makes me sad. I would not come back to this,” Breschini said. “It just tastes like a poorly made snow cone.”

The first drink that I tasted was a medium-sized passion fruit green tea with lychee jelly, 70% sugar and a stronger tea flavor. The drink had passion fruit seeds, which is usually a good sign because it means that actual jam was used instead of a syrup. The lychee jelly tasted standard, and the drink wasn’t too sweet. But despite ordering a stronger tea flavor, it was hard to taste the tea. This drink was definitely above one from T4 or KungFu Tea, but not quite as good as a passion fruit green tea from Wanpo. Overall, I would rate this a 3/5 — there’s nothing really special about it. 

The cosmo guava mango orange smoothie, which comes with aiyu jelly, was something that I personally looked forward to. I had really high hopes for this drink because I normally love guava, orange and mango. Unfortunately, I was disappointed. Although the aiyu jelly has a good tea flavor, the drink itself tasted a lot like orange juice, and the guava and mango flavors were lacking. I’d rate this a 2/5.

The other drink I tasted was the taro with fresh milk drink, which I got with pudding and regular milk. The pudding had a good texture, but the taste of the pudding wasn’t great. I’d get it again, but only because of convenience. A side note — regular ice was a lot more ice than expected. This drink gets a 3/5.

But Chun Yang’s drink offerings were not a disappointment for everyone. 

Andrew Zeng ’26 got the cold cocoa latte with regular ice and red beans. According to Zeng, the chocolate flavor was very rich and meshed well with the red bean.

“It’s quite nice. I think it’s a great treat to brighten your day,” Zeng said. 

He said he’d be willing to come again. However, since he lives on east campus and Chun Yang is a bit of a trek for him, he’d only come back if he went with friends. Overall, he really liked his drink — but factoring in the distance, he rated it a 3.8/5.

Sylvain Paul ’26 got a large roasted oolong tea latte with boba. Paul said he really enjoyed the drink. 

“I think it’s a little bit more tea forward than what some people are expecting, but I like tea,” Paul said. “Also, if you get it with a little bit more sugar, it sort of evens out.”

Paul wished the boba pearls had a little bit more flavor. However, the tea itself had an earthy flavor that he really enjoyed, and experimenting with the sweetness level helped him find balance in the drink. He would rate this as a 4/5.

Overall, Chun Yang’s convenience is unbeatable. The drinks are drinkable. The prices are definitely high, but still comparable to most boba places close by. They don’t take meal plan dollars, but because of convenience, you might catch me there again in the future.

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‘Let my word take action’: Transformative feminist narratives at TAPS https://stanforddaily.com/2024/02/13/let-my-word-take-action-transformative-feminist-narratives-at-taps/ https://stanforddaily.com/2024/02/13/let-my-word-take-action-transformative-feminist-narratives-at-taps/#respond Tue, 13 Feb 2024 09:24:08 +0000 https://stanforddaily.com/?p=1242399 Charlotte Kearns reviews Stanford TAPS graduate repertory shows "Foundations of Feminism" and "Women of Sand."

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Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques.

This year’s Theater and Performance Studies (TAPS) Graduate Repertory season consisted of three works directed by second-year Ph.D. students Yutsha Dahal, Connor Lifson and María Zurita Ontiveros. 

I attended the Feb. 9 performance at the Nitery Theater, which featured Dahal’s and Ontiveros’ plays, and was immersed in a world of feminism, activism and solidarity. Lifson’s production, “Omelas,” had been performed at the Nitery the week prior. 

The evening began with “Foundations of Feminism: The Poetics of Curiopathy As A Manifestation of the Sisterhood Zeitgeist In Feministological Nepali Archivism,” written and directed by Dahal.

With its long-winded title and witty script, “Foundations of Feminism” served as a playful satire about the esoteric and sometimes ostentatious nature of feminist academia.

The performance followed Sahana (Giovanna F Jiang ‘26) and Parijat (Margarita Jamero ‘24), two young Nepalese women, as they explored their feminist identity and its various manifestations throughout the history of Nepal. 

Jiang and Jamero shined as they transformed from friends to academics to protestors, weaving their various roles into an homage to the lost identities and stories of the women they embodied. I was impressed by the versatility that the actors displayed, as well as their ability to transition between scenes and vignettes in a fluid and engaging manner.

In an interview with third-year Ph.D. student Marina Johnson, Dahal discussed how she drew inspiration for her production from the “Feminist Memory Project” collection at the Nepal Picture Library, a digital photo archive that explores the feminist movement in Nepal. By incorporating photos from Nepalese women’s personal albums, the play weaves together a rich tapestry of history and individuality.

The play’s conclusion was marked by a poignant moment when Jiang and Jamero, out-of-character, shared how their own personal feminist identities were shaped through the stories and photographs of their inspirational mothers.

On the back of the production’s program, there was a QR code that audience members could use to submit their own photos to a Google Drive, fostering continued dialogue on solidarity and increased representation.

The actors connected advocacy in the past and present, in nearby homes and distant regions, as they mentioned the hundreds of students who had defended the pro-Palestine sit-in in White Plaza the night prior, following the University’s ban on protest encampments. 

Dahal’s piece on activism and thoughtful dialogue seamlessly transitioned into the second play of the night, “Women of Sand: Testimonies of Women in Ciudad Juárez.” The play, which was directed by Ontiveros and written by Humberto Robles, discussed equally heavy topics and encouraged audience members to take action. 

This documentary theater piece, originally written in 2000, explored the femicide crisis in Mexico through testimonials from family members, journalists and activists. The cast of five used poetry, music, prayer, vignettes and shadow-puppetry to passionately advocate for social justice and the women of Juárez.

“Women of Sand” is not for the faint of heart. Actors described the harsh realities of femicide, sexual assaults and mutilation with raw authenticity and explicit language. At the play’s climax, Chetanya Pandey ’27 delivered a gut-wrenching and nauseating monologue that depicted the torture of a woman in a linear progression, from beginning to end.

The costumes and set were equally powerful, with actors wearing purple bandanas in support of “The Purple Revolution,” a movement against Mexico’s nationwide femicide epidemic. Posters of missing women were displayed at the back of the stage, emphasizing an alarming statistic. Today, 10 women are murdered in Mexico every day. When the play was written in 2000, that number was two.

Despite varying executions and text, both “Foundations of Feminism” and “Women of Sand” served as valuable educational tools for audiences, offering a window to the past while navigating contemporary complexities. These productions encouraged dialogue about frequently glossed over topics regarding feminism in an international context, providing hope and strength to persevere in times of grief and adversity.

In light of current global circumstances, I thank Dahal and Ontiveros for staging these impactful productions and highlighting the intersections between activism on campus and the narratives presented in these plays.

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‘Shifting Fields’: A colorful escape through Chinese painting https://stanforddaily.com/2024/02/08/shifting-fields-chinese-painting-colorful-escape/ https://stanforddaily.com/2024/02/08/shifting-fields-chinese-painting-colorful-escape/#respond Fri, 09 Feb 2024 03:18:54 +0000 https://stanforddaily.com/?p=1242121 Stanford Art Gallery is now host to dozens of paintings by rising young artists. The eye-catching works deserve a closer look, writes Cate Burtner.

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Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques.

Visiting Stanford Art Gallery’s new exhibition “Shifting Fields: Contemporary Chinese Painting” could take you either 10 minutes, or it could take you two hours. A single room featuring 49 works by young up-and-coming artists from mainland China, Hong Kong and Taiwan, the calm space allows the intricate and dazzling artworks to come alive.

Exhibit curator and art practice professor Xiaoze Xie’s exhibit description included a helpful instruction for appreciating the exhibit’s works, which vary in style, subject matter and mood. “I hope the audience will look closely at these works … the points of connection and striking contrasts,” he wrote in the description’s final line. 

What stood out most to me was the works’ intricate use of color. For example, Wu Jian’an’s “Scorching Sun No. 2,” which is featured on the exhibit’s poster, includes vibrant neon colors against a white backdrop. This abstract piece somehow manages to represent the exhibit as a whole while also setting itself apart through its electric brightness and distinctive mark making. Around the canvas’s border, there are line forms gesturing inward to what looks like an abstract ball of dynamic energy. When looking at the piece from afar, viewers can take a big-picture perspective on the piece. By zooming in a bit more, however, onlookers can absorb the piece’s intricate details that exist within the larger shapes and figures.

Zhang Ke’s series of four paintings consisting of muted but true-to-life colors are also displayed. These paintings depict lush aspects of nature interwoven with man-made objects including vinyl records, forks and plates. This juxtaposition between the natural and the artificial creates a liveliness within the paintings’ still life form. 

In starker contrast to neon abstractions and authentic still lifes, Yan Heng’s sepia-toned series of paintings border on Gothic. I found these paintings to be the most alarming in the collection, in no small part because they depict birds of prey and limbs without bodies, among other things, with a deadened hue. According to the museum label for Yan Heng’s artwork, his pieces “suggest a different time and space removed from reality, and a psychological distance.”

When I say these artworks lend themselves to spending time in observation, I mean it. Though the works range from sizable canvases with bold forms to very small sheets of paper with minimalistic intricacy, each benefits from a closer look. The more time viewers spend with the piece, the more that visual details and different opportunities for interpretation slowly reveal themselves.

The exhibit was introduced as contemporary Chinese painting that draws on Chinese and Western painting traditions. Several works combine traditional techniques with “processes rooted in contemporary social practice” to convey meaning and make social commentary about the “changing reality” of life in China. A striking example is Deng Dafei’s series of portraits made with traditional methods. To find subjects, Deng Dafei stood on street corners, struck up conversations with strangers, photographed them and rendered them using found fragments from demolition sites and millenia-old printmaking techniques. When we step into “Shifting Fields,” we see time-honored techniques used to represent present-day Chinese people and objects; we see artistic forms rooted in tradition encased in a contemporary display.

The painting’s descriptions make clear that they draw on literary influences as well. Hao Liang’s work heavily references “classical themes and motifs in Chinese art and literature,” such as an allusion to the Song Dynasty writer Su Shi’s famous poem, which includes a beautiful landscape and represents nature in flux. Similarly, Cheng Po-Tsung’s miniature painting series “could be interpreted as phrases or lines from a poem.” 

“Shifting Fields: Contemporary Chinese Painting” spans time and traditions, and it rewards close observation. Open until March 15, this exhibition offers a conveniently-located way to escape from your busy week and enjoy some unique artwork.

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Student art flourishes at ‘Good Mother Studio’ pop-up https://stanforddaily.com/2024/02/07/student-art-flourishes-at-good-mother-studio-pop-up/ https://stanforddaily.com/2024/02/07/student-art-flourishes-at-good-mother-studio-pop-up/#respond Thu, 08 Feb 2024 06:54:33 +0000 https://stanforddaily.com/?p=1242026 The Oakland art studio displayed dozens of student works in a show hosted in collaboration with ArtX last weekend. The show provided an opportunity for student artists to get to know each other and take part in the Bay Area arts scene, writes Miriam Awan.

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Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques.

Amid the sounds of vibrant live music and winter evening rain, crowds of Bay Area art enthusiasts and students mingled at Oakland’s Good Mother Studio this weekend. In a partnership with student organization ArtX, the works of over 35 student artists were exhibited at the gallery in one of the largest ever off-campus shows exclusively featuring artwork by Stanford students. 

The pop-up, titled “One More Time,” featured a dazzling array of paintings, sculptures and live performance art. The show was the brainchild of L. Song Wu ’24, a prolific Stanford student artist and financial officer for ArtX who met the Good Mother Studio’s owners last fall at the Oakland venue’s inaugural show, “Hopelessly Devoted.” Wu pitched the idea of a Stanford student art show to the gallery’s owners, and together they brought the event to life. 

Wu said her goal with the pop-up was to “bring Stanford students into the context of the larger Bay Area,” helping them connect with an artistic community beyond the “Stanford bubble.”  

“When I was a freshman, I knew that I wanted to be an artist and that I always wanted a space like this,” Wu said. “I didn’t realize that making it happen wasn’t actually that hard.” 

The show’s opening reception, which took place on Saturday, started on an energetic note with two spoken word performances. In her poem “Tables,” Ariana Lee ’27 delivered a thoughtful meditation on womanhood and female solidarity through clever wordplay. 

“Someone once told me that women of color are more likely to use diminutive words / Such as just and sorry and might,” Lee narrated. “But for a more just world women taught me to not say sorry / When using my might.” 

Kylan Denney ’27 similarly explored the boundaries of language in her spoken word piece “Who Brings a Poem to a Gun Fight?” In the piece, Denney questioned the power of words to remedy social injustices, captivating the venue with a voice that alternated between passionate conviction and heart-rending vulnerability. 

The visual arts pieces on display also used their respective mediums in inventive ways to explore ideas of artistic voice and cultural identity. I was particularly struck by pieces like Lily Thai’s ‘27 “Áo Dài in Seven Parts,” which used a deconstructed piece of Vietnamese traditional dress as a canvas for a series of intimate family portraits. 

Victoria Lin’s ’27 acrylic painting “Black Friday” tackled the subject of family from an entirely different angle, depicting the artist and her family engaged in a frantic shopping expedition with comically bright hues and an infectious sense of energy.  

Displaying such a wide variety of art pieces next to each other, from pen-and-ink drawings to wall projections of short films, could have risked looking chaotic — but the show’s curators did an impressive job ensuring the placement of each work flowed cohesively to the next. A large cut-out of a vivid pink rabbit hung above the exhibit, tying the scene together with a whimsical, Wonderland-esque feel. 

Wu said she did not choose a central theme for the pieces featured in “One More Time” in order to avoid stifling the creative expression of Stanford artists. 

“I just think that people should submit the best work that they possibly can,” Wu said. “My hope is that when the artwork is good, [the pieces] will have a conversation with each other.” 

When I first arrived at the studio, I was confused about why none of the pieces displayed had signs with the artists’ names or the titles of their work. However, I soon noticed lively conversations picking up around me as students excitedly approached each other to ask questions about one another’s art pieces. Whether intended or not, the lack of descriptive signs served as an invitation for artists and gallery visitors to talk to one another to learn about the inspiration behind each piece. 

This proved to be a rewarding experience for student artists like Lin. “Being a part of the gallery opened up opportunities to connect with other artists and performers who I wouldn’t have been likely to meet on campus,” Lin wrote. 

The enthusiasm that Stanford students brought to the show was also a pleasant surprise for gallery co-owner Jared Jethmal. “It was exciting for us to see the work that’s coming out of Stanford, and it was really kind of an honor for us to house it,” Jethmal said.

If there is any overarching theme that I left the Good Mother Studio with, it was that “One More Time” was as much a celebration of the passion and versatility of Stanford’s artistic community as it was a showcase of the works themselves. This was especially poignant for Wu, who will soon be graduating from Stanford and leaving the on-campus art scene. 

“The Stanford art community is really strong, and it’s important for us to show up for one another and venture out into the larger arts culture,” Wu said.

Stanford’s artists certainly showed up for each other at “One More Time.” Based on the overwhelming talent and sense of community I saw at the Good Mother Studio, it hopefully won’t be the last. 

This article has been updated to reflect the correct title of Ariana Lee’s ’27 spoken word piece, “Tables.” The Daily regrets this error.

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Falling out of love in ‘Juliet and Romeo’ https://stanforddaily.com/2024/02/05/falling-out-of-love-in-juliet-and-romeo/ https://stanforddaily.com/2024/02/05/falling-out-of-love-in-juliet-and-romeo/#respond Tue, 06 Feb 2024 06:13:19 +0000 https://stanforddaily.com/?p=1241826 What if the two star-crossed lovers hadn't died? A dance-theater piece performed at Bing last weekend portrayed the couple enduring the everyday struggles of a long-term relationship with raw honesty and mesmerizing physicality, writes Lydia Wei.

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Everyone is familiar with “Romeo and Juliet,” Shakespeare’s tale of two star-crossed lovers who die beside each other. But what if the two lovers hadn’t died and had instead successfully escaped the vault together, run away to Paris, started a relationship and soon found themselves so lost and disillusioned that they decided to try a couple’s-therapy-cum-performance experiment that involved Juliet asking Romeo if he’d ever dreamed about having sex with an animal?

This is the conceit that Ben Duke and Lost Dog’s dance-theater piece “Juliet and Romeo” begins with. The piece, which played at Stanford’s Bing Concert Hall Studio this past weekend, imagines a world where Romeo (Kip Johnson) and Juliet (Solène Weinachter) had never died. Instead, they remain by each other’s sides, their lives soon becoming marred by the problems that ordinary partners face. By the time they step on stage, Lost Dog’s Romeo and Juliet are no longer passionate young lovers but bitter adults haunted by parenthood, infidelity and the mythological status of their younger selves.

Both actors bring strong performances to the piece. Johnson’s Romeo excels at a slapstick comedy that perfectly illustrates his frustration with the pressures placed on their relationship. When Juliet asks that Romeo display the correct amount of ardor when he reenacts killing himself while also making sure that he doesn’t die right next to her, Romeo performs his “death” with an exaggerated army crawl, dragging his limp body across the stage as he moans and pretends to gasp for breath.

Weinachter, in contrast, delivers a striking performance by uncovering the magnetic ball of nerves and energy that is at the core of Juliet’s being. Juliet is a perfectionist, haunted by the couple’s mythologized glory; her desperation to believe that their love was truly as beautiful as she wants it to be becomes its own all-consuming obsession.

When Juliet describes her reunion with Romeo in the vault, for example, her eyes shoot open as she recalls how they were “kissing passionately.” The tiny hand figures she makes to illustrate their joyous kissing look more like they are furiously cannibalizing each other. 

At other times, Juliet’s exacting voice pierces through the stage, either telling Romeo that his memory of their romance is wrong or demanding that he try again, try harder to relive the scenes of their youth with the vigor that they surely once had. When Juliet feels that Romeo isn’t reenacting the moment he discovers her dead body passionately enough, she rises again and again to tell him to do it over. Each time afterward, she plays dead again, her body thumping comically against the floor.

Weinachter’s Juliet is simply mesmerizing: so critical and exacting, yet absolutely hypnotic. She demands relentless perfection from those around her and is fixated on a fantasy of her and Romeo’s love, yet the strength of her belief makes you want to root for her. Weinachter does an amazing job capturing all of Juliet’s contradictions and rough edges, as well as the ferocity of her obsession. Through Weinachter, we glimpse that Juliet is just too large of a character to contain.

The piece shines most, though, in its dance sequences. When words fail for Romeo and Juliet, they express all that is raw about a relationship — its emotions, its quotidian rhythms, its physicality — through different genres of dance. 

For Romeo and Juliet, it seems that words can only approximate their sentiments toward each other. Their desperation to bridge the gap between what they feel and what they are capable of saying becomes all the more apparent as they try to borrow Shakespeare’s lines to speak to each other. But for the pair, what cannot be conveyed through speech comes alive through dance.

According to director Ben Duke, the production team looked to put choreography in the “cracks” that allowed them “to kind of suspend a moment, or to fall inside a moment.”

“It’s like, what if you drop underneath this conversation … what’s the physicality of the emotions, the internal space of it?” Duke said. 

When Romeo recalls first meeting Juliet, for example, he illustrates his sheer, overwhelming lust through a comic dance. In it, he is essentially guided by his thrusting pelvis to Juliet’s side as “I Want You (She’s So Heavy)” by the Beatles plays in the background. He jerks his neck backward and forward like a bird. His legs stretch and leap across the stage in a way that feels at once graceful and gangly. 

In another scene, Juliet returns to the couple’s Parisian apartment after a meeting with her doctor about a recent miscarriage. The mood is somber until “Ain’t No Mountain High Enough” by Marvin Gaye and Tammi Terrell begins playing. Romeo begins swaying to the music and gently prodding at Juliet to join along until she finally does. The two dance in sync, and their movements are loose and fluid as water. The dance perfectly captures a moment of gentle, unspoken encouragement in a relationship, a quiet sense of faith even in the face of difficulty.

The most striking dance comes at the end of the piece. At this point, the couple has laid everything out on the table — infidelity, Juliet’s simmering resentment of Romeo’s inability to care for their daughter, Romeo’s frustrations with Juliet’s expectations of him — and Romeo suddenly imagines a world in which they never met. His body distorts as he appears to travel through layers and layers of time. In one especially vicious cycle, his body seems as if it is being spun through a washing machine. But by the end of the dance, Romeo looks transformed. It’s clear his feelings about Juliet will never be the same.

Ultimately, there is always the truth and then the story we tell about the truth. In “Juliet and Romeo,” the leading couple grapples desperately with the question of whether they ever loved each other — or if, at the end of the day, that was just a story.

Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques.

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‘Now is the Moment’: Enrique Martínez Celaya urges students to create https://stanforddaily.com/2024/02/05/now-is-the-moment-enrique-martinez-celaya-urges-students-to-create/ https://stanforddaily.com/2024/02/05/now-is-the-moment-enrique-martinez-celaya-urges-students-to-create/#respond Mon, 05 Feb 2024 11:59:26 +0000 https://stanforddaily.com/?p=1241795 The artist's conversation with Nemerov was a cozy, thoughtful refuge from a rainy day, writes Maria Chica.

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Artist Enrique Martínez Celaya joined art and art history professor Alexander Nemerov for a conversation about the intensities and urgencies of art-making last Wednesday. 

The event was held in McMurty’s Oshman Hall and featured discussions of Martínez Celaya’s work as a contemporary artist, author and former physicist. Many members of Stanford’s tight-knit art and art history community were in attendance, creating an intimate and casual atmosphere in the small venue.

Entering Oshman Hall was a “warm welcome on a chilly, rainy day,” said the University’s assistant vice president for the arts Anne Shulock in her introduction to the conversation. 

Nemerov, who is well-known for his popular art history courses, opened by reflecting on the personally transformative experiences he had after seeing Martínez Celaya’s artwork in his studio and shows.

Martínez Celaya’s art creates “something sanctified in the air” and an “atmosphere of urgency,” Nemerov said. 

Images of Martínez Celaya’s pieces – ranging from oil paintings, sculptural work and installations – were projected in a slideshow behind the two speakers, showcasing striking pieces like “Marjorie (The Companion)” and “The Forgotten.” The artist’s emotive subject matters were rich in impact, and Martínez Celaya’s work complemented the conversation’s insights. 

During the conversation, Nemerov took on the role of reflective interviewer: investigating Martínez Celaya’s motivations and approach to practice, while engaging the audience.

Both speakers dove into problematic theatricality in artwork, poetic equations within a painting and the childhood traumas and experiences that can shape someone for the rest of their lives. 

Martínez Celaya described his artistic practice as a matter of “life or death.” The intensity of his work was evident and nuanced, which he connected to his background as a Cuban exile, his current experiences as a father and his inescapable identity as an artist.

“Art is not about numbers,” Martínez Celaya said. He described his experience with art making as being “reoriented and returned to the world with a new vitality.” 

The conversation was not without controversy. During the Q&A, an audience member inquired about potential contradictions within Martínez Celaya’s artistic practice: Being signed to United Talent Agency, a company representing major entertainment talent, Martínez Celaya’s authenticity was implicitly put into question.

Martínez Celaya answered the question by pointing to the “hard line” he draws between the personal and visceral experience of art-making and his involvement within the agency. 

Another audience member asked Martínez Celaya about the ways that everyday people, regardless of traumatic or life-altering circumstances, can access the intensity and urgency of a moment like Martínez Celaya.

Martínez Celaya answered with a question: “What wakes you up? Now is the moment, try everything.”

The conversation flowed and paused with careful thought, free of the rigid formalities that may restrict other academic conversations. It was clear to audience members that Martínez Celaya and Nemerov, who fostered a relatively casual and comfortable dialogue, genuinely cared about the substance behind the conversation.

This care was infectious, as Nemerov and Martínez Celaya urged audience members to live authentically and intensely, as embodied in Martínez Celaya’s life and artworks. 

The talk, which was structured as a personal conversation, was enriching in its exploration of Martínez Celaya’s art practice and Nemerov’s experience of it. Inspirational and stimulating, it reflected the potential in genuine artistic dialogue on campus.

Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques.

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‘Impulse Response’ reverberates at the nexus of music, technology and visual art https://stanforddaily.com/2024/01/30/impulse-response-reverberates-at-the-nexus-of-music-technology-and-visual-art/ https://stanforddaily.com/2024/01/30/impulse-response-reverberates-at-the-nexus-of-music-technology-and-visual-art/#respond Tue, 30 Jan 2024 09:34:10 +0000 https://stanforddaily.com/?p=1241352 Members of the San Francisco-based computational arts collective fused artistic mediums to bring innovative performances to CCRMA, writes Blum.

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The regal, eerie mansion nestled on Lomita Court is not what meets the eye. Home to Stanford’s Center for Computer Research in Music and Acoustics (CCRMA), the building transformed into a pulsing, visionary stage last Thursday during AV Club’s audiovisual show “Impulse Response.” The San Francisco-based computational arts collective presented three live-coded performances on the occasion of CCRMA’s 50th anniversary. 

Audio artists Entropic, Nathan Ho and R Tyler curated thrilling sets full of the high-BPM music one might expect to hear at a rave — but they didn’t take the stage alone. Each set was equally dependent on the striking digital visuals that were created through computer code and displayed on large screens.

“Impulse response” is a music production term describing the way electronic sound systems respond to a given impulse (e.g. a short burst of sound), creating a unique pattern of reverberations and reflections. The performers brought this principle to life by exhibiting the lines of code creating the dynamic visual exhibits on screen. The stage’s transparency welcomed the audience into the creative process, which I felt pushed the experience beyond a mere spectacle or consumption of entertainment. 

The night opened with a set by Entropic (also known as Ritwik Deshpande), who punctuated an ambient, electronic sound with lines of the artist’s own prose. Guests sat facing a screen where Entropic’s music translated to computer-generated visuals ranging from glowing laser beams collapsing into a network of lines, to montages of more fluid, elemental forms. 

As the imagery behind him mellowed into a subtle pink, Entropic took the microphone, stating, in poetic intonation, “the creation of new machines is not enough to save you, the creation of new machines is not enough to set you free.” Guests offered cheers of affirmation. A striking break from conceptual imagery was the appearance of the word “DISSOLVE” in red lettering, a fitting word to sum up the ethos of Entropic’s set.

Nathan Ho introduced a more abstract, aggressive sound to CCRMA’s stage. Working with a completely live sound setup, Ho strung together a hypermodern soundscape, using everything from what sounded like blaring alarms, to electronic beats, to arcade game jingles. His music was mirrored by Polina Powers’s visuals. 

Coding commands for Powers’s images appeared on the screen: She used beautiful yet strange elements of nature to match Ho’s sound, such as ferns, feathers and roots. The artist utilized stable diffusion, a generative artificial intelligence (AI) model that translates text to image. Powers live coded these grotesque images, multiplying them into grids according to Ho’s musical lead. The duo’s unpredictable sound and offbeat natural motifs heightened the intensity within the space. 

After tie-dyed earplugs were passed around during the break after Ho and Powers’s set, the evening concluded with the upbeat dance music and bright shapes of R Tyler and Lukas Hermann. R Tyler, an “algorave” — or algorithm rave artist — entered over 1000 lines of code to create the sound, which was projected onto the screen in live time. Guests jived to the electronic sound, oscillating back and forth between reading code and looking at the imagery, the sound present throughout.

To match R Tyler’s sound, Hermann generated colorful, kaleidoscopic imagery. Though initially contained to colorful shapes, the visuals became increasingly psychedelic as the set progressed. R Tyler hid notes of gratitude in the code for those who were paying close attention. Whenever a guest noticed, they exchanged a smile with the musician, reaffirming the performance as a collective space of humanity. 

Tucked away in Stanford’s center for sonic innovation, AV Club made clear how technology and digital visuals can powerfully redefine our relationship to sound. Beyond the show, I left CCRMA on Thursday reflecting on the communal experience of music and the infinite possibilities of art.

Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques.

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Q&A: Visiting Artist Sabelo Mlangeni on photographing South African communities and identities https://stanforddaily.com/2024/01/09/qa-visiting-artist-sabelo-mlangeni-on-photographing-south-african-communities-and-identities/ https://stanforddaily.com/2024/01/09/qa-visiting-artist-sabelo-mlangeni-on-photographing-south-african-communities-and-identities/#respond Wed, 10 Jan 2024 06:35:07 +0000 https://stanforddaily.com/?p=1239933 "Wherever you go, you can't leave yourself behind," Mlangeni reflected.

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Room 210 of the Cantor Arts Center is currently home to a collection of neatly-framed black and white photos, plus one oversized full-color sports team poster. This may seem like an eclectic assortment of images, but artist Sabelo Mlangeni chose each of them intentionally, seeking to capture the multifaceted identity of his community.

Mlangeni, a visiting artist in the history department this past fall, is a South African photographer whose art focuses on the oppressed and underrepresented communities around Johannesburg. His work “Imvuselelo: The revival,” which focuses on the members of the African Zionist community, is on display at the Cantor Arts Center until Jan. 21. Mlangeni spoke to The Daily about his exhibition and his time at Stanford.

This interview has been lightly edited and condensed for clarity.

The Stanford Daily (TSD): “Imvuselelo” revolves around the African Zionist movement. What inspired you to create it, and why is this important to you?

Sabelo Mlangeni (SB): Through the years, I’ve been disconnecting and reconnecting with the church. “Imvuselelo” started not as the kind of a work to be shown in an exhibition, but as me making photographs for the church community. In 2014, I went back to this work when I was thinking about healing and spirituality and the whole concept of being a born again.

TSD: How has your South African identity shaped your career and the way you view the world?

SB: I grew up in a country that totally excluded the natives in all spaces — education, work, everything. All those things shaped South Africa’s history and therefore shaped me and my identity. This was made clear when I moved around the world: Wherever you go, you can’t leave yourself behind. You always work with yourself. As a South African, I’m always reminded of where I’m coming from.

TSD: You’ve had many exhibitions throughout your career, including some on queer culture in Africa and daily life of rural South Africa. How has your previous work influenced this exhibition?

SB: I think something amazing with my work over time is that many of my collections overlap with each other. In “Imvuselelo,” you find that the community displayed here is my friends, who also appear in my other works. All my work is somehow connected because the subjects find a way of meeting each other in different projects.

TSD: How do your photos challenge the status quo?

SB: It depends on the body of work. Some are stronger than other works. Works like “Country Girlsand works that look at the LGBT community in rural Mpumalanga and the surrounding towns are really pushing the envelope. They focus on being able to openly live with your sexuality and be who you want to be in a small village. We are in a society that tells us, “You can’t do this. You can’t dress like that. You can’t say that,” even today. 

TSD: What are your plans for the future?

SB: My plans for the future are to see where things go. It’s already been amazing to see how my images change over time. I started working in photography in 1997, and, at that time, I was young and I wasn’t aware of much. But the work that I made at that time still has the same impact it had back then, even when I show it today. I want to have this same impact in future years. That comes with the work being seen and being shown to people.

TSD: How do you like the Bay Area and its arts scene?

SB: I’m trying to see as much as possible and also to meet people. The people I have met are very kind and help direct me to places where I can meet other members of the arts community. I’m trying to take all my experiences here with me when I leave. I’m also thinking about creating something during my time in the Bay, and all this sort of engagement is helping me with that. 

It is also amazing to be able to access museums. Most of the time, we engage with art through magazines, books or the screen, and to be able to experience the work of different artists in archives, collections and galleries is amazing.

TSD: Why did you choose to come to Stanford? How was your experience as a visiting artist?

SB: I’m still a student. I attended Market Photo Workshop, which started as a vocational school and later became a school for photography. Because of that, I’ve been very curious about residential academia. I wanted to experience living and learning in more academic spaces in order to close the gap in my curiosity.

Since 2010, I’ve been moving to different places. I like to learn and share what I’m doing as a photographer and, at the same time, see how different academic residences are structured differently. In these academic residences, I can have a community of people to engage more deeply with, and I have a different audience all the time.

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IDA fellows reflect on social justice-oriented arts program https://stanforddaily.com/2023/12/06/ida-fellows-reflect-on-social-justice-oriented-arts-program/ https://stanforddaily.com/2023/12/06/ida-fellows-reflect-on-social-justice-oriented-arts-program/#respond Wed, 06 Dec 2023 09:02:15 +0000 https://stanforddaily.com/?p=1239126 The IDA Undergraduate Fellowship supports students pursuing social justice-related art projects. Fellows say the program also provides a rich community for people of marginalized identities and political activism.

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For students in the Institute for Diversity in the Arts (IDA) Undergraduate Fellowship program, art is more than a means of expression: it is an instrument of change, a tool to uplift the voices of underrepresented communities and fight for social justice.

A mainstay of IDA’s offerings, the year-long program provides a $4,500 stipend and mentorship to undergraduates who are pursuing art projects relating to social justice. Each fall, IDA accepts 10 to 15 students from diverse backgrounds based on a project proposal and interview. 

IDA was founded in 2000 by Charles Lyons ’55 M.A. ’56 Ph.D. ’64, Stanford’s Drama Department chair from 1981 to 1999, in collaboration with a local arts group known as the Committee on Black Performing Arts. Aiming to foster a more diverse arts scene on campus, IDA has since offered arts and activism classes taught by various visiting artists and has even developed a concentration underneath the African & African American Studies and Comparative Studies in Race & Ethnicity programs.

IDA’s longstanding commitment to social justice is reflected in the diverse projects and artistic aspirations of its fellows. Despite this shared thread, however, the art mediums used to accomplish these pieces vary widely, from short films to photography to choreographed dance to ritual practice. 

“I think that hot sauce was the only way that I was able to grapple with this trans[national] Asian American experience,” said 2022-23 fellow Chloe Chow ’23 M.S. ’24. Chow chose her grandparents’ hot sauce business as the creative theme for her site-specific multimedia installation.

The choice reflects the overall importance of food in Asian American families and communities, Chow said. However, the sauce is also representative of the unique experiences of Chow’s grandparents, influenced by their Vietnamese and Indonesian backgrounds and later immigration to Guatemala and Canada. 

“The flavors [of the hot sauce] were the memories of the places that my family has been,” Chow said. “So I think in terms of social justice, it pushed the definition of what it means to be Asian and what it means to be American, because it looks at this cross-global transnational identity beyond what we are spoon-fed in some of our classes and some of our books.”

Walker, a Black woman wearing white, closes her eyes while stretching her arms up.
Walker’s family history with activism during the Civil Rights Movement inspired her project. (Photo courtesy of Vanessa Joy Onuoha)

Sky Walker ’24, a 2022-23 fellow from Atlanta, used her specialization in paper collage to commemorate her grandfather’s experience as a civil rights activist in Birmingham, Alabama. For the final exhibition, she created collage pieces and hand-casted sculptures with Black Panther Party newspapers she found in her grandfather’s garage. 

“I feel like the activism is inherent in IDA because it’s an artistic space and a space for marginalized and diverse identities,” Walker said. 

Though each artist works alone to create their own piece, weekly seminars and group creative practices bring everyone in the cohort together. As a result, a deep-seated sense of community emerges from within the fellowship program.

“A lot of these people aren’t art practice majors, and I don’t know if I ever would have met them if not for this,” Walker said. “In this cohort, we all had a common denominator, that being art and caring about art and expressing ourselves through art. It was so beautiful seeing the ways that other people do [art] and getting to know them a lot more and seeing them every Tuesday for the entire school year.”

Unlike some other art programs, the IDA fellowship encourages artists of different mediums to interact, which in turn encourages interdisciplinary thought. IDA co-chair and 2022-23 fellow Bhumikorn “Bhu” Kongtaveelert ’25 said that his interactions with other artists in the cohort pushed him to consider the correlation between form and function and question which artistic mediums are best for engaging with political topics.

While applications for the 2023-24 cohort have closed, those who are interested in applying next year are encouraged to take an IDA class in preparation and to come into the application process with the knowledge that their identity as “artist” is not dependent upon their acceptance into the program.

“You already have projects you want to do. IDA is like one of the stepping stones or an incubator for you to foster this idea and have space to experiment and fail and recover and pivot,” Kongtaveelert said, regarding prospective applicants. “So, just pursue things that are meaningful to you and meaningful to your community. And make time because like anything, you get out what you put in.” 

Bhumikorn “Bhu” Kongtaveelert is a staff development director at The Daily.

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Raising the curtain: Unveiling the 130-year history of ‘Gaieties’ https://stanforddaily.com/2023/12/06/raising-the-curtain-unveiling-the-130-year-history-of-gaieties/ https://stanforddaily.com/2023/12/06/raising-the-curtain-unveiling-the-130-year-history-of-gaieties/#respond Wed, 06 Dec 2023 08:53:44 +0000 https://stanforddaily.com/?p=1239095 Past and current “Gaieties” members dive into the tradition's colorful past, from the construction of Memorial Auditorium to the origins of naked run.

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Did you know that “Gaieties” used to be completely male-run? Or that the political climate during the Vietnam War led to a cancellation of the show? Or that balcony tickets used to cost a mere 15 cents? 

Gaieties’ is the student-written comedy musical performed every year during Big Game week. Known for highlighting wacky Stanford spirit, the show is produced by Ram’s Head Theatrical Society, the oldest and largest theatrical organization at Stanford.

The 130-year-long evolution of “Gaieties” and Ram’s Head has been detailed by Vince Foecke ’82, the historian and archivist of Ram’s Head. He previously served as the organization’s executive producer from 1982-83 and participated in dozens of shows during his undergraduate education at Stanford.

“It’s become an obsession, but I love knowing the history,” Foecke said in an interview with The Daily.

black and white photo of two male Stanford students at a light board
Bob Brand ’55 (left) and Bob Levin ’53 M.S. ’54 ENG ’57 Ph.D. ’60 (right) at the light board at the 1954 “Gaieties” show. Foecke performed similar roles when he participated as a techie for countless Ram’s Head shows. (Courtesy of Vince Foecke)

It’s commonly said that Gaieties has been a tradition since 1911, but the history actually dates back to 1893.

Since neither Stanford nor Berkeley had their own stadium at the time, the football game took place at a stadium in San Francisco. The Stanford football team and fans made it a tradition to attend a theatrical show, which they called the Football Show, in San Francisco on the night of the game.

Students first performed their own show for the Big Game celebration in 1905. The production of “Beauty Shop,” which they modified for Stanford relevance, “was vaudeville and considered risqué at the time,” Foecke said.

“When the women of the chorus quit due to the show’s lack of ‘honorability,’ the men took over all the roles to avoid canceling the production.”

Students alternated between performing their own all-male show and attending a show in San Francisco — until 1911, when Ram’s Head Theatrical Society was founded as an exclusively male drama society consisting of a humble seven or eight students.

With the mission of promoting original student work, Ram’s Head started putting on Big Game shows consisting of student-written skits, songs, comedy and variety acts with no overarching narrative.

two people onstage in handmake-looking white rabbit costumes
Two performers dressed in rabbit costumes at a “Gaieties” show from the 1950s. (Photo courtesy of Vince Foecke)

Ticket prices varied depending on seat location and old-fashioned social hierarchies of the time. Foecke explained that so-called “roughs,” male students who “wore corduroys instead of tuxedos,” sat in the 15-cent balcony seats “because they couldn’t be trusted to intermix with the ‘lords’ and ‘ladies’ who had paid an extra 10 cents for floor seats.”

Black and white photo of Memorial Auditorium's entryway packed with students in formal attire
Students mingling in Memorial Auditorium during the 1954 “Gaieties” intermission. Men wore tuxedos, while women wore formal dresses. (Photo courtesy of Vince Foecke)

The football show was referred to as “Gaieties” for the first time in 1925. Early “Gaieties” shows included an array of 15 musical numbers, generally halfway split between solo or duet acts and large chorus numbers. Real scripted “Gaieties” productions didn’t become the norm until later, beginning with the 1962 show titled “Once Around the Quad.”

A program titled "1929 Big Game Gaieties" with stylized illustrations of football players and women dancing
The football-centric 1929 Gaieties poster. (Photo courtesy of Vince Foecke)

“Gaieties” history is also intimately interwoven with the numerous military events of the 20th century.

Memorial Auditorium — where “Gaieties” is still performed today — was constructed in 1937 after theater students and Daily staff campaigned to utilize a $250,000 World War I memorial fund. Students voted to make up the remaining cost with a $1 increase in tuition each quarter.

Prior to this location, Gaieties was performed in Assembly Hall (now Building 120, or McClatchy Hall).

An old photo of Memorial Auditorium surrounded by greenery
The newly built Memorial Auditorium in 1937. (Photo courtesy of Vince Foecke)

The first show in the newly-built Memorial Auditorium was attended by Hollywood talent scouts. Two former “Gaieties” stars, Lloyd Nolan and Winstead “Doodles” Weaver ’35 were already under Hollywood contracts from their “Gaieties” performances. Both went on to have successful careers in Hollywood as actors, with Nolan even winning an Emmy for best actor. While at Stanford, Nolan flunked out for not attending any classes except his dramatics class, and Weaver was suspended for pulling a prank on the train home from the Rose Bowl. 

The University eventually released a statement disallowing men from impersonating women in theater, so Ram’s Head made the major shift from all-male to co-ed.

Dozens of Gaieties performers onstage, dressed as football players, Native Americans, and cheerleaders. A woman in an angel costume is suspended from the ceiling.
An extravagant moment from the 1954 “Gaieties” show. The Indigenous costuming in past “Gaieties” shows stemmed from Stanford’s mascot being an “Indian” from 1930 to 1970. (Photo courtesy of Vince Foecke)

The women of Stanford overtook the historically-male positions of “Gaieties” assistant director, technical director, director and executive producer in 1944, when World War II changed the gender makeup of campus. Many male students left to fight, while other U.S. men were instead sent to Stanford to study engineering for the war effort. Thus, although there were still men in the cast, most were G.I.’s who didn’t have the time to take on leadership positions.

Program reading "Gaieties Stanford Goes G.I." with a spray painted illustration of a soldier
The 1943 Gaieties program highlighted the G.I. presence on campus. (Photo courtesy of Vince Foecke)

War reared its head yet again at the height of U.S. involvement in the Vietnam War, when students were engaging in campus protests and sit-ins. A disagreement between staff and the writer about the vision for “Gaieties” in light of the war led to the show being canceled in 1968. 

Just three years later, Ram’s Head went into bankruptcy. The drama department at Stanford was growing, and Ram’s Head was starting to get squeezed out of the auditorium because of the increased competition. In 1970, Ram’s Head had to perform “Gaieties” in Little Theatre (now Pigott Theater), which only had 200 seats in comparison to the 1700 seats in Memorial Auditorium. The 1971 show had to be performed in Dinkelspiel Auditorium, which was built as a symphony hall rather than a theater; this show was deemed a flop and culminated in the group’s financial troubles. 

In 1977, a handful of students from an experimental theater community resuscitated Ram’s Head from its six-year intermission, bringing it to the form we know it today.

“What’s a Gaieties?” was the first “Gaieties” show since Ram’s Head’s bankruptcy and reintroduced the tradition to Stanford students. The show was a combination of original and Broadway songs that were tweaked for Stanford relevance. Even without a script, the show sold out, and Ram’s Head even added a third night to accommodate the high volume of interest.

“Gaieties” has largely retained its profitability and popularity ever since, even surviving through the COVID-19 pandemic with a 2020 online show titled “Unprecedented Times.”

The naked run — which involves naked student volunteers quickly running across the stage with the lights of the theater dimmed — evolved into a notable tradition over the years. 

“We are very aware of the potential dangers, and we try to be super intentional in the way we explain it to make sure it’s safe and fun for everyone,” said Liam Smith ’25, the current executive producer of Ram’s Head.

This year, there were 25 sign ups for the naked run on Wednesday and Thursday, and almost 40 on Friday.

Four men smiling doing a kickline
A group of “Gaieties” members rehearsing for the 1954 show. (Photo courtesy of Vince Foecke)

Despite being a comedic show, “Gaieties” is not only for laughs. To Kiki Hood ’23, the former executive producer of Ram’s Head, the show is a conduit to voice grievances against authorities while also prompting introspection among its members.

According to Smith, Ram’s Head leadership “prioritize[s] talent over skill” while casting, “because training in musical theater is not accessible to most people.” Last year, two of the leads had no theater experience.

As a community connected by a shared goal, Smith says, “Gaieties” has been a place to find lifelong friendships. The show also serves as a bridge to connect the student body audience in an unconventional way.

“Many Stanford students can identify with aspects of their freshman selves or experiences portrayed on the stage, providing an opportunity to connect with depicted flaws, missteps and insecurities. This allows them to feel seen and engage in a cathartic laughter at their own expense,” Hood said.

As for the future of “Gaieties,” Hood hopes for even more audience participation, such as establishing a well-known sing-along song that students can look forward to each year.

Smith underscored the enduring legacy of “Gaieties” as he recounted an eye-opening experience with a 102-year-old woman at an alumni reunion who had participated with Ram’s Head back in the 1930s.

“‘Gaieties’ is so fundamentally ‘Stanford,’” Smith said. “Meeting that 102-year-old woman is when I realized how much this tradition needs to be protected.”

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Branching out but rooted in tradition: Trees through the decades https://stanforddaily.com/2023/12/04/branching-out-but-rooted-in-tradition-trees-through-the-decades/ https://stanforddaily.com/2023/12/04/branching-out-but-rooted-in-tradition-trees-through-the-decades/#respond Tue, 05 Dec 2023 07:05:51 +0000 https://stanforddaily.com/?p=1238945 From the first ever Stanford Tree in 1975 to the current Tree #45, the mascot has been a campus fashion icon with quirky elements that unabashedly stand alone.

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No mascot has as unique a personality as the Stanford Tree. For nearly five decades, each Tree has made their costume distinctively, and fashionably, their own. 

In 1975, Chris Hutson ’76, the first ever Tree, donned an entirely red and tree-shaped costume with a typed “Stanford” logo attached to the leaves. Continuing the monochromatic trend, Tree #6, Pat Leigh Leckman ’85, accessorized an all-green costume with a white hat and striking yellow sunglasses. 

Playful statement pieces stayed in fashion until Tree #10, Paul Brendan Kelly III ’89, took over. He crafted a trunk-dominated tree with a cartoonish style, featuring a cropped jacket, shaggy leaf-hair and big eyes.

Creative possibilities of the Tree costume are nearly unlimited. A particularly notable costume can be found in Tree #42, Caroline “Kush” Kushel ’21 M.A. ’22, who crafted an entirely rainbow tree with patterned leaves, red swirly eyes and a tongue sticking out. 

“I had just found out about Jimmy Hendrix and Janis Joplin,” Kushel said, referring to the 1960s counterculture movement as inspiration for the rainbow color. “I got really into the movement after writing a paper for a PWR class.”

A timeline of the eight Stanford Trees mentioned in the article.
Throughout history, the costumes of Stanford Trees have built upon each other, and each Tree also added elements that were uniquely themselves. (Graphic: MICHELLE FU/The Stanford Daily)

Jordan Zietz ’24, Tree #44 who recently retired this May, created a similarly memorable costume covered entirely in red, black and white.

“My whole tree had a bit of a spooky vibe because I’m a die-hard horror fan,” Zietz said. “Plus, I wanted people to actually ‘fear the Tree’ for the first time in a while.”

Zietz’s suit was unabashedly himself. It included a note from his ex-girlfriend and leaves signed by celebrities as well as his family members. 

“I was able to show the world, on such a large scale, the intricacies of the person that I am,” Zietz said. “It was almost like a montage of my life, out on display, for everyone to see.”

Emily Rodriguez ’26, the current tree (#45) and the first Central American Tree, used reversible leaves to make a costume inspired by Trees past.

“I wanted to use colors like Caroline, and when Big Game came around, I would flip all of my leaves so it would be a fully black and red Tree, inspired by Jordan’s costume,” Rodriguez said.

Making the costume can be challenging. Rodriguez had never sewn before. Zietz also learned to sew, weld and design his costume while in recovery from surgery.

“Every Tree comes out way more personalized than you’d think,” Rodriguez said, “It is very dependent on your skill sets and your creativity levels.”

Leaning into this imaginative and retrospective spirit, Sam Weyen ’18, Tree #39, drew his inspiration from Stanford lore. Weyen named his costume “Hue” as a nod to its vibrant color and David Hewes, who provided the golden spike that Leland Stanford pounded into the Transcontinental Railroad to mark its completion. Weyen’s costume also featured a gold tooth and monocle, referencing the Gilded Age. 

Weyen lauded the Tree’s quirks: “Every Tree has been some version of nightmare fuel, and I hope that doesn’t stop.”

“If we have a Tree that looks legitimately cute in an athletic style, the way a Clemson Tiger looks, I would be so upset,” Weyen said.

Sarah Young ’17, Tree #38, also did not shy away from innovation. She crafted a vibrantly feminine willow tree for her suit. As the first Tree of color, Young said it was important to her “to have a prominent brown trunk and features that represented a departure from history.”

“I wanted my costume to stand out,” Young said. “I wanted it to visually represent the person that’s inside.” 

According to Young, who remains involved in the Tree selection process, Trees since her are nearly exclusively from underrepresented backgrounds. “We wanted to make sure whatever was inequitable in the selection previously has been addressed and corrected,” Young said.  

While the Tree costume’s future style remains a mystery, past and current Trees are devoted to maintaining its originality. Whether accessorized with a monocle, red lips or rainbow leaves, the Tree stands alone. 

“I will be very proud of whatever my Tree baby comes up with, even if it’s the most hideous thing I’ve ever seen,” Rodriguez said. 

Just as Trees have full freedom in crafting their own garbs, they expressed feeling liberated in the role.

“The Stanford Tree is so different from other mascots because we’re not technically a mascot,” Rodriguez said. “In other schools, being a mascot is portraying a character and comes with very specific rules.”

Being the Tree also felt liberating to Weyen, as it gave him “a license to misbehave.”

“It was my job to break the rules, to mess up, to fail, to be socially awkward and to be so violently myself that other people felt that same agency to be weird and be themselves too,” Weyen said.

“Being Tree is being the version of me that is a little more outgoing, a little more crazy, a little more stupid,” Rodriguez said. “It’s just a way to bring out that inner child, that inner joy, that inner crazy that a lot of people stow away once they get older.”

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Richard Powers’ 31-year waltz on the Farm https://stanforddaily.com/2023/12/04/richard-powers-31-year-waltz-on-the-farm/ https://stanforddaily.com/2023/12/04/richard-powers-31-year-waltz-on-the-farm/#respond Tue, 05 Dec 2023 07:02:35 +0000 https://stanforddaily.com/?p=1238935 Besides teaching social dance with an innovative approach, Powers has worked on a Warner Bros. miniseries and holds patents for eight products, including the tampon inserter.

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Decades have come and gone, but Stanford’s Social Dance classes are as popular as ever. The classes frequently see a 200-person long waitlist, and in the pre-internet era, long lines of students camped outside of Roble Arts Gym to sign up for the classes each quarter. 

Richard Powers M.S. ’70 has taught social dance at Stanford since 1992, after turning down two previous offers from the University. The first offer came when he was working on a miniseries for Warner Bros. The second time, he was working on a large performance at the Smithsonian. But third time’s the charm — he finally agreed to teach in 1992, beginning his 31-year journey. 

Few know that Powers’ history at the University began even before he started teaching. He received his master’s degree in product design at Stanford and went on to work in product and graphic design. Currently, Powers holds patents for eight products, including the leak-proof hand sprayer, the tampon inserter and the childproof cap. 

Powers became interested in dance at 27 years old. At that time, he took an Asian calligraphy class and started to learn tai chi in order to better “understand the breadth and the motion of large calligraphy.”

“It was a revelation to me,” Powers said about tai chi. He sought to learn other styles of movement and dance, like country dance, folk dance and Japanese kendo. 

Studying dance piqued Powers’ interest in history. In 1981, he founded Flying Cloud Academy of Vintage Dance, a group in Cincinnati that recreates historic balls. Powers had also choreographed dance sequences for film and various stage productions, such as Warner Bros. miniseries “North & South,” set during the American Civil War. 

But Powers’ favorite occupation to date has been teaching social dance at Stanford.

“What we have loved, others will love, and we will teach them how,” Powers said, quoting William Wordsworth. “It was my wish for others to discover what was wonderful about dancing. That led me to teach.”

Richard Powers teaching a social dance class.
In his instruction of social dance, Powers focuses on fostering connections between dance partners rather than only teaching the dance rules. (Photo: HANNAH SHU/The Stanford Daily)

According to Monica Shen Knotts ’93, former member of Stanford Vintage Dance Ensemble, Powers’ arrival transformed the social dance scene on campus. 

“He really builds an amazing community on campus,” Knotts said. 

After graduating, Knotts stayed at Stanford to help Powers teach his classes. According to Knotts, Powers had a special approach to teaching: He focused on fostering connections between dance partners rather than only teaching dance rules. 

Powers has made many changes to the curriculum since 1992. As the old cassette tapes of ballroom dance music were replaced by the “music of today,” he tried to restructure the class to make social dance more relevant in the lives of students.

“He’s always looking to improve his teaching, which is really wonderful, especially for someone who’s been doing it for decades,” said Emily Saletan ’24, a teaching partner for Social Dance I. “He’ll come up to me or Annika [Mauro] and he’ll say, ‘I’ve been thinking about how I phrase this, and how saying it slightly differently might be better or might get the concept across to more people.’”

Annika Mauro ’23 M.S. ’24 is the other teaching partner for the course.

“Powers is constantly thinking about new ways to innovate and teach in a more ergonomic way,” Saletan said.

Powers incorporated “half time dance breaks” in classes, where everyone gathers around a screen that usually displays a quote about dancing. During half time, students listen to Powers talk about social dance’s practical relevance.

“To have a dance form where your focus is on other people, your partner, and wanting them to have fun, wanting them to have a good time, when you are dancing with them, when they’re dancing with you … that’s what I’m passionate about,” Powers said.

“He connects social dance to other parts of your life in ways [that are] kind of funny or entertaining; a lot of them tie back to relationships in a way,” said Emily Dickey ’23 M.S. ’25, a current student in Powers’ class.

“He definitely curates a space in class that’s very encouraging of trying new things. It’s okay if you fail, and no one really cares,” Dickey said.

Some students take social dance because they want to learn how to dance, and others take it on friends’ or classmates’ recommendation. 

“Everyone told me it was a class I needed to take,” Dickey said. 

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TAPS’s ‘For Now’: A theatrical respite from toxic productivity https://stanforddaily.com/2023/12/03/tapss-for-now-a-theatrical-respite-from-toxic-productivity/ https://stanforddaily.com/2023/12/03/tapss-for-now-a-theatrical-respite-from-toxic-productivity/#respond Mon, 04 Dec 2023 06:59:33 +0000 https://stanforddaily.com/?p=1238746 Inspired by Jenny Odell's New York Times bestseller "How to Do Nothing," the devised play challenged productivity culture and urged the audience to live in the present, writes Kearns.

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This weekend, the Theater and Performance Studies (TAPS) department delivered an immersive experience with their devised piece, “For Now.” The production was inspired by Jenny Odell’s New York Times bestseller “How to Do Nothing,” a required reading for all first-year students through the COLLEGE program.

Odell’s book serves as a field guide to resisting the attention economy and winning back our lives from capitalist narratives of efficiency. Accordingly, “For Now” encouraged audience members to pause, reflect and reconsider our relationship with intangible moments that often evade measurement.

The performance did not have a continuous plot; rather, it served as a multimedia, gallery-style production unified by themes of productivity, our relationship with time and the pursuit of meaning in an age fixated on constant achievement.

The theatrical journey began as audience members exchanged their tickets for an MP3 player and headphones at the door 20 minutes before the show began. Attendees were invited to wander outside the Harry Elam Theater and perform meditation exercises based on instructions in the MP3. In the courtyard, against the backdrop of violin music, an actor adorned with countless clocks (Baxter Bartlett M.S. ’25) walked around the audience members, already inviting contemplation about time’s relentless march and our struggle to find stillness within it.

Directed by Erika Chong Shuch, a cast of seven actors weaved elements from Odell’s book into the performance, from direct quotes to allusions to Odell’s art practices. One standout moment was “Whatever Will Come,” a poignant song written by performer Rachelle Weiss ’26 and produced by Andrew Shuch. 

Weiss’s musical exploration of her anxieties about the future as an artist within the culture of productivity was both personal and universally resonant. The constant repetition of the phrase “whatever will come” over the three-minute song highlighted the necessity for acceptance of the unknown.

A white panel on a turntable served as a versatile backdrop for the production, enabling the actors to navigate and explore the space in innovative ways. The backdrop was constantly evolving throughout the production: people broke out of hidden doors and windows, the stage lights fell off their hinges and actors even tore off pieces of the set to throw around the stage. 

The actors, primarily dressed in solid black and white jumpsuits, occasionally changed into striking costumes designed by TAPS senior lecturer Becky Bodurtha. This created a fun juxtaposition of uniformity with bursts of vivid visual chaos, such as when actors quite literally embodied beachgoers, flowers and even a snowman.

Some highlights of the night occurred when the cast broke into a chant-like song, repeating “fuck fuck fuck no,” in response to a staged technical glitch. This added an unexpected yet authentic layer to the performance, emphasizing the raw essence of devised theater. 

In a particularly meaningful twist, Margarita Belle Jamero ’24, acting as an influencer on livestream, delivered a tutorial on how to quickly make yourself cry. The tutorial turned into a touching story about her relationship with crying and her mother, adding a tender moment in the fast-paced show. 

Taking place within the context of Stanford’s productivist culture, “For Now” was a compelling narrative that explored the themes of love, space, time and environment. It questioned society’s relentless pursuit of efficiency, urging audiences to value being present in the moment. 

“For Now” was a testament to the power of theater to provoke thought, challenge norms and celebrate the beauty of the creative process. It was a respite from the hustle and a celebration of the essence of a theater artist.

Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques.

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Breaking Ground: A dance party for everyone — or at least those who got tickets https://stanforddaily.com/2023/12/03/breaking-ground-a-dance-party-for-everyone-or-at-least-those-who-got-tickets/ https://stanforddaily.com/2023/12/03/breaking-ground-a-dance-party-for-everyone-or-at-least-those-who-got-tickets/#respond Mon, 04 Dec 2023 06:31:40 +0000 https://stanforddaily.com/?p=1238815 The 2023 dance exhibition featured 16 dance teams, with four being non-audition ones. Stanford JumpRope, Dv8 and Common Origins were among many that enthused the audience.

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I was in awe of the passion and inclusivity in the air last Friday at the highly-anticipated Breaking Ground dance exhibition. The show represented the best of the Stanford experience: try everything, and cheer on others doing the same.

This inclusive spirit was not a coincidence. At least four of the 16 dance teams who performed were non-audition groups — including the show’s host Common Origins — Breaking Ground was a space for dancers of a range of experience levels.

With the event selling out within hours, Dinkelspiel Auditorium was packed with audience members coming to support their friends and acquaintances — and support they sure did. Applause came in waves so thunderous and continuous that it appeared to blend into the song beats. It was as if I was watching a live concert happening in parallel.

Dv8, XTRM, Legacy and Alliance were crowd favorites with fast, hype numbers and flashy moves, keeping the audience on the edges of their seats. 

Dv8’s opening choreography to Beyonce’s “Bow Down” impressed with in-sync hip-hop moves presented with just the right amount of sass. The group brushed off technical difficulties before the performance — which saw no black-out and an ill-timed entrance of the music — a fact that only made the audience scream louder.

Common Origins, Stanford’s largest non-audition dance team, delivered two dance numbers at the end of both acts. Unified by a superhero theme, the group wowed the audience with their formidable size and well-synchronized formations to “Runaway Baby,” “AMERICA HAS A PROBLEM” and more.

Still, I was glad to see this excitement mirrored for non-hip-hop dance styles as well, from Bhangra’s animated kick-jumps to Mua Lac Hong’s adorable parasol dance in couples. Swingtime dancers’ lively Lindy Hop spins and partner lifts likewise enthused the crowd.

I realize that to point out where particular performances fell short would be missing the point. The value of Breaking Ground was its nature as a campus-wide celebration of student artistic endeavors, especially of those probing into new dance forms.

No other number better embodied this spirit than the performance of Stanford JumpRope, which stole the show to the beat of MC Hammer’s “U Can’t Touch This.” 

Seven students lined up on stage, each with a rope in their hands. They slapped the colorful ropes to their left and right before jumping singles and doubles in time with the music.

The performance quickly escalated as members jumped two ropes at once while doing backflips or handstands. Each performer had their time in center stage with acrobatics and unthinkable rope tricks, and the performance was the only act to earn a standing ovation. 

Some of their jumps did not turn out as anticipated — their ropes got tangled, and they had to take a few seconds to catch up with the others. But the occasional flaws did not take away from their overall feat, and the audience cheered them on.

One of the most memorable moments of the night occurred during intermission, when performers and audience members alike were invited to come up to the stage and freestyle to the music. Three dancers hopped across the stage in Bhangra moves to electronic pop beats in Donkeyboy’s “Silver Moon.” Another did a death drop to the delight of the crowd. 

Breaking Ground felt like a party in which everyone was welcomed, included and supported. It was a space where everyone could try and fail free of judgment; attendees and performers simply had fun and celebrated one another.

Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques.

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BLACKstage explores ‘Love and Information’ through situational comedy https://stanforddaily.com/2023/12/03/blackstage-explores-love-and-information-through-situational-comedy/ https://stanforddaily.com/2023/12/03/blackstage-explores-love-and-information-through-situational-comedy/#respond Mon, 04 Dec 2023 06:21:39 +0000 https://stanforddaily.com/?p=1238763 The performance was a fast-paced delight exploring the intersection between love and technology in our ever-progressing society, writes Kearns.

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This weekend, BLACKstage presented a delightful take on British playwright Caryl Churchill’s play “Love and Information.” 

Established in 2007, BLACKstage tells stories of communities not often represented in traditional theater, primarily from the Black perspective.

Navigating Churchill’s intricate text is no easy feat, yet the performers exhibited impressive wit and pacing. The script was particularly challenging; actors frequently had to cut others off mid-sentence, forming moments that were difficult to coordinate. Regardless, under Liyah Ernest’s ’26 clear direction, the company delivered a cohesive and accessible experience.

“Love and Information” comprises seven acts, each featuring scenes ranging from seconds to a few minutes. Ernest skillfully integrated the various vignettes into a cohesive world, exploring how we seek, filter, process, dismiss and question information. We are left pondering its impact on our capacity to love. 

The loose structure of the play and the cast flexibility — the play does not gender any of its characters or specificy racial casting — provided the director with ample creative freedom to shape the narrative, emphasizing specific themes and questions in their production. 

I attended the one-hour performance on Friday night and had a wonderful time. With short scenes and quick costume changes, I was hooked from start to finish.

The cast exhibited a commendable level of talent, showcasing versatility in the roles they portrayed. Standout performances included Nifemi Bankole ’27 seamlessly transitioning from a husband becoming aware of his wife’s affair, to an anxious politician in the heat of a scandal, to a concerned colleague confronting a friend regarding the friend’s virtual lover.

Nia Patton ’25 also delivered compelling performances across a spectrum of characters. A particularly powerful moment was her declaration that she was the mother, not the sister, of her younger “sibling” (Hailey Ramzan ’27), highlighting a relationship that isn’t typically covered in art. 

The show made unique use of recurring sitcom aesthetics. Humorous audio commercials and advertisements played during transitions, and well-placed laugh tracks enhanced the comedic elements. 

Notably, the show’s interspersed voiceover ads contrasted the emotional weight of scenes, offering levity in tense moments. BLACKstage even advertised for applications for their winter musical “Dreamgirls” in one particularly fun ad. 

From the direction, to the acting, to the tech, I was struck by the remarkable levels of expertise, design and quality displayed in “Love and Information.” The performance proved to be a fast-paced delight, offering a wonderful exploration into the intersection between love and technology in our ever-progressing society.

Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques.

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Sword-fighting on Sundays: Meet Stanford’s jugger team https://stanforddaily.com/2023/11/28/sword-fighting-on-sundays-meet-stanfords-jugger-team/ https://stanforddaily.com/2023/11/28/sword-fighting-on-sundays-meet-stanfords-jugger-team/#respond Wed, 29 Nov 2023 07:38:35 +0000 https://stanforddaily.com/?p=1238386 Jugger is a 30-year-old sport combining padded weapons with capture-the-flag-esque objectives. The sci-fi-inspired sport came to Stanford just last year and is turning heads with fun-filled combat.

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Sunday afternoons are typically when Stanford’s campus is at its quietest. That is, unless you happen to walk by Arguello Field and spot a dozen students sparring with handmade longswords, spears and ball-and-chain weapons.

The students belong to Stanford’s jugger team, an unofficial student club that formed during the fall of 2022 and has been meeting for weekly practices ever since. 

“I would describe jugger as a five-versus-five field sport with the objective of rugby, where you try to move a ball to the end of the field,” said Jordan Xiao, fifth-year Ph.D. student in biophysics and co-founder of the team. “But instead of tackling people, you fight with foam-padded sticks.” 

Xiao first discovered jugger as an undergraduate student at the University of California, Berkeley in 2015. According to him, Berkeley’s team was one of the first in California. The sport itself was created in Germany in the 1990s, inspired by the cult classic sci-fi film “The Salute of the Jugger,” which features a similar fictional game.  

Xiao’s love for the niche sport inspired him to start a team of his own at Stanford. The team has been growing steadily since its first appearance at the club fair last year. It is not uncommon for groups of friends passing by an outdoor practice to ask about what is going on, pick up a weapon and join in the game. 

“It looks kind of goofy, but once you play, it’s a lot of fun,” Xiao said. 

Like capture the flag, but with swords

Julia Gershon ’25 was initially one of the curious students who passed by jugger practices on her way to class. She decided to attend after being convinced by a friend on the team. 

“It was a little bit intimidating at first because some of the people on the team are really good and have been doing this for, like, eight years,” Gershon said. 

Once she arrived, however, Gershon was pleasantly surprised by how supportive of newer members the team was. 

“I didn’t do any team sports in high school because it’s a little bit stressful to not want to let your team down,” Gershon said. “But I’ve never felt that here, everyone just wants to help you.”

A typical practice starts with an explanation of the game’s rules and one-versus-one sparring matches, according to Gershon. Players then choose their equipment before they are split up into two teams to engage in a full game of jugger. Weapon choices include foam longswords, dual-wielded shortswords and a long spear with a foam ball and chain attached to it. 

Zinnia Cooperrider ’25, a friend of Gershon’s who also attended a jugger practice on a whim, expected to watch the game from the sidelines during her first practice. When she was immediately invited to take a weapon and start playing, she was surprised by how quickly she was able to pick up the techniques of the sport.

“It’s kind of like riding a bike,” Cooperrider said. “You got to get back on there and keep going.” 

People fighting with foam swords
Jugger team members engage in an animated practice on Arguello Field. The team creates most of its own weapons, or “pompfen,” during “build days” when team members gather and socialize. (Photo: ROBIN HUANG/The Stanford Daily)
Open to everyone

One of the core appeals of Stanford’s jugger team is how accessible it is for players of any skill level, according to Cooperrider. 

“It’s always nice to try new things, but I feel like there’s a really high bar for that at Stanford,” Cooperrider said. “It’s really refreshing to have the opportunity to do something without having to have previous knowledge.” 

According to Xiao, the team has also attracted members of the greater Stanford community, from high school students in summer programs to Wilbur dining hall staff members. Several team members are also alumni from UC Berkeley’s jugger team and serve as mentors to newer players. 

Jacob Szymkowski, a recent Berkeley alum who now works in Mountain View, is a regular at practices. He joined after learning about the team from Xiao. 

“Jugger appealed to me because it’s very friendly, even though it’s competitive,” Szymkowski said. “You just come, you have fun and you make friends.”  

Szymkowski also helps create most of the team’s handmade weapons, or “pompfen.” The team hosts “build days” where players build pompfen together while socializing or watching movies. 

“We like to have that extra connection as a team. It’s nice to have when you’re a college student,” Szymkowski said.

The future of the team

The team’s welcoming community has not held it back from competitive success. 

This October, Stanford’s jugger team faced off against seven different teams from across the west coast in an annual tournament known as “Juggerlandia.” Stanford won the tournament, defeating UC Berkeley. 

I have been very impressed with [our players’] dedication and maturity about the sport,” Xiao said. “They’re all coming in with a very growth-oriented mindset, which I think is wonderful.” 

Compared to European countries, jugger remains a “very small community” in the United States, according to Xiao. Nevertheless, Xiao is eager to see Stanford’s team grow and achieve official voluntary student organization status while still retaining an inclusive community. 

“I think jugger is an opportunity for anyone to get a chance to let off after a long week and meet some really cool new people,” Gershon said. “I mean, there’s nothing more iconic than getting sword-fighting tips at 4 p.m. on a Sunday.” 

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AATP’s ‘410[GONE]’: Authentic Asian American experience or misused mythology? https://stanforddaily.com/2023/11/27/aatps-410gone-authentic-asian-american-experience-or-misused-mythology/ https://stanforddaily.com/2023/11/27/aatps-410gone-authentic-asian-american-experience-or-misused-mythology/#respond Mon, 27 Nov 2023 09:58:46 +0000 https://stanforddaily.com/?p=1238197 The beauty of a complex magical-realist theater production is in the eye of the beholder. Kubota and Liu present their different impressions of the show's mental health and cultural themes.

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Content warning: This article references suicide.

From Nov. 16 to 18, the Asian American Theater Project (AATP) delivered their fall main stage production “410[GONE],” written by Frances Ya-Chu Cowhig and directed by Matthew Canlas ’24, in the Nitery Theater.

The play — a fantastical, semi-autobiographical retelling of a sister’s struggle to reconcile with her brother’s suicide — interweaves two narrative threads.

One narrative follows the brother, called 17 (Phong Nguyen ’25), as he is thrust into the Chinese “land of the dead.” He meets the playful, immature Monkey King (Brianna Virabouth ’25) and the pragmatic, commanding Goddess of Mercy (Aarushi Patil ’24), who both help guide recently deceased human spirits. Disoriented, he stumbles upon remnants from his past, including pickles (part of his last meal) and a fingernail clipping from his sister. He uses these clues to piece together the puzzle that was his past life. 

Meanwhile, his sister 21 (Hallie Xu ’27) is clawing at air trying to make sense of her brother’s suicide. She finds more bits of information as to what led to it as she frantically digs through his materials and methodically attempts to relieve the pain of his death. 

The two narratives converge when the siblings are reunited in the land of the dead through a mock game show. Here, they must confront uncomfortable truths in order to let each other go and be free of their respective endless, fruitless searches.

Just as the play itself is narrated from both 17 and 21’s perspective, we review the AATP production through two perspectives.

“At a complete loss for words” — Dan Kubota

I cannot recall the last time I sat in my seat at the closing of a production at a complete loss for words. AATP’s production of “410[GONE]” artfully interrogated themes of mental health, Asian culture and relationships through a story brimming with magical realism.

The play is apt at addressing suicide and grief through the Asian American lens. Rather than using the common portrayal of the grieving process as a period of intense sadness followed by a return to normal, the play framed grief as a “wake of sadness,” like the ripples left behind by a boat as it passes through the calm waters of a lake. 

The siblings are largely nameless in the program and script, their real names only being revealed for a brief period of time — Patrick and Jamie. Identified only by numbers, presumably their ages at the time of 17’s death, these two characters have the potential to be anyone and take up anyone’s name. This ambiguity is meant to encourage the audience to wrestle with the ideas these characters represent in our own life; the narrator starts off the show by requesting that audience members imagine a loved one they “will soon forget.”

Starting this pre-show monologue with the standard, concrete emergency exit protocol and ending with such an open-ended, abstract statement really laid the foundation for the thought-provoking nature of the show and created room for emotional vulnerability. 

Protagonist 21 is stuck constantly “reliving” her brother’s death; every day, she goes into the closet where he took his life, trapped in an endless cycle of pain. This cycle is finally broken when the two come together in the land of the dead. The mock game show reveals that she grieves the person her brother used to be, not who he had become before his death.

As the Goddess of Mercy and Monkey King push 21 to see this reality, they deliver dialogue in a paradoxically lighthearted manner. Their game show-like narration comes as a pointed contrast to the topic of grief, further emphasizing the gravity of the situation. She cannot seem to voice a deep truth: she is relieved to be able to stop futilely pursuing a relationship with her emotionally closed-off brother.

As an older sibling myself, this scene hit home. At times, I too feel that I am chasing after the relationship I feel we have had for fear that the gap between us is growing.

The transitions between the two storylines were shown without set changes. Instead, spotlights illuminated different parts of the stage at different times (lighting was designed by Sidra Xu ’25, Tae Kyu Kim ’25 and Xiyuan Wu ’26). The land of the living, marked by 17’s closet, only makes up a fraction of the stage in comparison to the realm the Goddess of Mercy and the Monkey King dwell in. This staging choice highlights the overwhelming presence of death in the characters’ lives. For 17, it is because he himself has died; for 21, it is because her status quo has died, as she continues to relive the circumstances of her brother’s death. 

A creative and simple set design really contributed to creating the world of the play, allowing the audience to focus on the performers themselves. The play’s innovative use of mixed media, including slides, videos and DDR (Dance Dance Revolution), engaged all of my senses and provided me with a slight sense of disorientation that felt as though it was supposed to mirror that of the characters. 

Additionally, the more serious moments toward the end of the play were broken up with comedy (from the Monkey King in particular), magnifying the seriousness of those scenes while also giving the audience an emotional break to then laugh through their tears and sniffle less. 

Overall, the play really resonated with me — watching its portrayal of mental health, sibling relationships and culture loss helped me to realize what I need to actively think about and address in my own life. For an hour and a half on a Saturday evening (Big Game evening, no less), I really felt like I was transported into another world.

a person wearing a flannel shakes hands with a person wearing a white button-up shirt
Characters 21 (left) and 17 (right) reconcile in the fever dream-esque afterworld game show. Their converging narrative arcs were emotionally compelling, writes Kubota. (Photo courtesy of Paulo Makalinao and AATP)

“Mixed feelings” — Linda Liu

I walked out of Nitery Theater on Saturday night with mixed feelings. I found AATP’s “410[GONE]” to be a confusing performance by a talented company.

Much of my criticism pertains to the script itself. Having grown up with Chinese traditions, I was troubled by the play’s misplaced use of disjointed Chinese mythological elements.

Monkey King is a fictional character in “Journey to the West,” a 16th-century Chinese novel on a Tang dynasty Buddhist monk’s pilgrimage; the Goddess of Mercy, or Guanyin, is a universal divinity in East Asian Buddhist traditions. Neither figures are associated with the underworld, and Monkey King does not play a part in the reincarnation for the dead, as takes place in “410[GONE].”

I asked myself if Cowhig tried to make some kind of a point in the out-of-place juxtaposition. Perhaps she wanted to capture how Chinese-Americans perceived Chinese culture: as a set of disjointed, inherited symbols. Even if this was what Cowhig wanted to convey, it went unaddressed in other moments of the play.

Besides, Saturday’s production presented these mythology figures in unrecognizable ways, whose artistic intentions I struggled to decipher. Monkey King and Goddess of Mercy frequently resorted to emotional outbursts and angry cries in their interactions. Their interactions constituted almost half of the play itself, and I did not find these episodes relevant to the play’s theme of grief and loss as a whole.

Costume choices for these characters also added to my confusion. Monkey King, who is supposed to be a monkey, donned strange rabbit ears. The Goddess of Mercy wore a leather jacket, which the program claimed to represent the sexualization of Asian American women, but this idea appeared an isolated thought in the context of the larger production.

Regardless, many aspects of the production were notable. Xu and Nguyen delivered touching, nuanced performances. Xu poignantly embodied 21 on her quest to find a mathematical “solution” to her brother’s suicide. Her monologues and weighty movements made the character’s trauma evident. 

Nguyen impressed me with a stellar performance in the closing scene. After drinking the soup of oblivion, which wiped out his memories before he embarked towards death, Nguyen performed a series of spectacular dance moves (choreographed by Nguyen and Eli Shi ’24) as if in a Dance Dance Revolution game.

The choreography was nothing short of genius. Nguyen appeared to be stumbling freely and lifelessly under the bright strobe lights, which illuminated his white shirt rhythmically. This dazzling visual, highlighting the strange and fantastical process of death, was surely a spectacular end to the show.

Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques.

This article was updated to reflect that Phong Nguyen ’25 was a co-choreographer of the closing dance.

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2023 ‘Gaieties’ pokes fun at Stanford controversies, student experiences https://stanforddaily.com/2023/11/20/2023-gaieties-pokes-fun-at-stanford-controversies-student-experiences/ https://stanforddaily.com/2023/11/20/2023-gaieties-pokes-fun-at-stanford-controversies-student-experiences/#respond Mon, 20 Nov 2023 09:46:09 +0000 https://stanforddaily.com/?p=1237827 Ram’s Head Theatrical Society's 2023 production of “Gaieties” featured a talented student cast, appearances by computer science lecturers and parodies of Sam Bankman-Fried and William Curry.

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Back with a “BONK!” and a “POW!,” cast and crew of “Gaieties: The Adventures of Fresh Man and Super Senior” delivered a rousing opening performance on Wednesday. In true Stanford spirit, the company outdid itself with niche Stanford jokes, over-the-top physical comedy and just the right amount of theatrical flair.

A Stanford tradition from as early as the 1920s, “Gaieties” is a completely student-run musical comedy centered around the Stanford-Berkeley rivalry performed for three nights leading up to Big Game. 

In this year’s play, directed by Jaden Southern ’25, protagonist Peter, better known by his superhero alter-ego Fresh-Man (Ryder Thompson ’27), joins forces with Super-Senior (Mandla Msipa ’26) to save Stanford from the chaos that has arisen after former Stanford president Marc Tessier-Lavigne resigned. Berkeley spy Callie McBerkeley (Susanna Newsom ’26) has been inaugurated as the new president, and while most students accept the new authority, the two heroes are skeptical of McBerkeley’s intentions. 

Fresh-Man and Super-Senior recruit the hopeless romantic legacy student Dollie (Charlotte Kearns ’27) and the pragmatic, sassy Fresh-Woman (Wolf Baker ’27) to help them on their mission. Together, they discover McBerkeley’s secret plot to take over Stanford and orchestrate Berkeley’s Big Game victory. Along the way, the heroes are met with resistance from Sam Bankman 3 (Joshua Delgadillo ’26), Lizardbeth Holmes (Ulaina Ahn ’26) and Currymeleon (George Porteous ’27), a few of McBerkeley’s minions.

McBerkeley’s posse parodied three controversial Stanford-affiliated figures that were recently in the news: Sam Bankman-Fried, Elizabeth Holmes and William Curry. This clever artistic choice by the playwrights (Brandon Rupp ’25, Nathan Bhak ’23 M.S. ’24, Helena Vasconcelos ’24 and Skye Lyles ’25) shows that Stanford students are able to poke fun at the University’s history and controversies. 

Racing against time to save Stanford from the clutches of McBerkeley, Super-Senior and his crew walk into a party hosted at fraternity Kappa Sigma, when students protesting the fraternity break out into a saucy rendition of “Cell Block Tango” from the musical “Chicago” and later encounter a group of writers from the fictional Daily Bugle — a parody of our very own Stanford Daily — tied up by McBerkeley’s minions. 

The Daily Bugle appeared several times in the performance and was even featured in one of the opening numbers. These scenes made fun of The Daily’s at-times intense workload, among other tropes about journalism. As a writer for The Daily myself, I greatly enjoyed and related to these comical moments.

Computer science lecturers also made guest appearances during each of the shows in a lecture skit that featured Nick Parlante on Wednesday and Thursday, and Nick Troccoli ’18 M.S. ’18 as well as Julie Zelenski on Friday. During Wednesday’s performance, Parlante bowed down to the famous CS106A “Bit” robot as if praying to a deity, eliciting uproarious laughter from the audience.

Among the student cast, Newsom had incredible stage presence as McBerkeley. She commanded the stage with her powerful voice and hit impressive high notes while kicklining. Kearns also delighted the audience with her infectious energy, big smiles and exaggerated tone in which she delivered her lines, bringing Dollie to life. The ensemble also shone with their passion and versatility, switching between a variety of roles like Daily Bugle reporters, brainwashed students and frat party attendees with ease. 

The set was also refreshing. Inspired by a comic, the stage was filled with bright set pieces with panels of color separated by striking white lines for contrast, just like a comic book. Fight scenes were accompanied by an exclamation point prop held up by ensemble members. The lights accentuated the intensity to make them “jump off the page.” 

At the end of the production, Fresh-Man embarks on his own journey of self-discovery. Initially insecure about his own contributions to the team, he reaches peace with himself and becomes good friends with each member of the team (and in one case, even more than friends). After subtly flirting throughout the show, Fresh-Man and Fresh-Woman confess their feelings for each other in a love ballad and share a passionate kiss, accompanied by excited cheers from the audience. 

All in all, the performance, a whimsical take on the Stanford experience, felt very well done. Throughout the two-hour performance, I remained engaged by all the moving parts. The quirky nature of characters — like Dollie with her socialist commentary and Fresh-Man with his naive optimism — contributed to the creative, comical nature of this longtime tradition.

Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques.

This article quotes several current and former Daily staffers, Ryder Thompson, Susanna Newsom, Charlotte Kearns, George Porteous and Brandon Rupp.

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Whistles, flags and staring contests: Axe Committee keeps school spirit alive https://stanforddaily.com/2023/11/16/whistles-flags-and-staring-contests-axe-committee-keeps-school-spirit-alive/ https://stanforddaily.com/2023/11/16/whistles-flags-and-staring-contests-axe-committee-keeps-school-spirit-alive/#respond Fri, 17 Nov 2023 05:42:30 +0000 https://stanforddaily.com/?p=1237482 White Plaza, cover your ears! The Axe Committee and its iconic train whistles have been at the heart of Stanford's Big Game traditions for almost a century.

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If you’ve begun to believe that Stanford’s train schedule has picked up in the last week, you can thank the Axe Committee.

As Big Game approaches, the committee embraces its many duties to rally up campus energy. Among them is a staring contest with UC Berkeley’s Rally Committee during the final quarter of the game. 

The committee commits itself to nurturing school spirit. At its core, the committee serves as the guardian and champion of the Axe, a symbol of victory in the annual Big Game against UC Berkeley that dates back over 120 years.

In 1930, Axe Comm’s founding members, the “Immortal 21,” recaptured the Axe from Cal. Over the ensuing decades, the committee underwent various transformations. The contemporary iteration of the Axe Committee has been active since 1982.

Today’s committee members actively participate in various athletic events, bringing excitement to the sidelines during football season. Members wave flags, launch t-shirts and blast their iconic train whistle each time Stanford scores.

Hayden Henry ’25 serves as chair of the Axe Committee. He joined the committee as a frosh, drawn to its lively atmosphere and the opportunity to immerse himself in its spirited world.

A photo of a fountain with its water stained red.
Axe Committee members dye fountains red across Stanford prior to Big Game. (Photo: HANNAH SHU/The Stanford Daily)

One of Henry’s standout moments was his role as the Big Game Week coordinator in 2022. This position involves organizing events during the week, including camping out at the Birdcage at White Plaza 126 hours before kick-off to celebrate the 126th game and blasting the train whistle hourly leading up to the game.  

To add fun to the countdown, the Axe Committee invites campus celebrities to come blow the whistle at various hours. These individuals include administrators, professors, coaches, players and fellow students. Committee members also dye fountains into the vibrant Stanford color.

A Stanford faculty member blowing the whistle in White Plaza.
As part of the countdown to Big Game, Axe Committee members invite Stanford professors and students to blow the thunderous whistle in White Plaza every hour. (Photo: HANNAH SHU/The Stanford Daily)

“We submit work orders to the University to request temporary deactivation of filters in the fountains,” said Henry. “This enables the red dye we place in them to remain vibrant throughout the entire week.”

“This year’s Big Game Rally is a memorable event, featuring football seniors, a freshmen banner kick-off and a nod to the Axe tradition’s history,” Henry said. According to Henry, the committee has been preparing for Big Game since the summer.

Members of the Axe Committee voluntarily undergo comprehensive training sessions, from understanding safety measures during games to running Stanford flags on the sidelines, blowing the train whistle and raising and lowering goal post nets. 

Apart from safeguarding the Axe and attending football games, the Axe Committee hosts various social events that foster camaraderie. Whether it’s Axe-frosh rollouts, game watch parties with pizza or a special dinner coined “Special D,” the committee wants to create lasting connections among its members. This year’s “Special D,” themed “RIP Pac-12,” took place in Valerio’s row house and tried to bring members together before the Big Game.

The Axe Committee’s close ties to the Stanford football team are unmistakable. Members get to go on the field and interact with the players. They also have a secret lair known as the “Axe House.”

Fabian Valerio ’24 serves as the committee’s recruiting and social chair. He discovered the committee during a sophomore year activities fair and was immediately drawn to the infectious energy and vibrant spirit radiated by its members. 

“There are no downsides to joining Axe Comm!” Valerio said. Amid Big Game week and throughout the year, committee members are committed to embodying the essence of “Buck Ferkeley.”

An earlier version of this article included quotes from Axe Committee members who did not agree to speak on the record. Their quotes have been removed. The Daily regrets this error.

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What’s in a name? Philanthropic histories bridge buildings across the Bay https://stanforddaily.com/2023/11/16/whats-in-a-name-philanthropic-histories-bridge-buildings-across-the-bay/ https://stanforddaily.com/2023/11/16/whats-in-a-name-philanthropic-histories-bridge-buildings-across-the-bay/#respond Thu, 16 Nov 2023 09:36:42 +0000 https://stanforddaily.com/?p=1237383 Several buildings across the rival campuses share a name. Upon closer inspection, these parallels call back to some of the big movers and shakers of Bay Area history.

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Walking through the University of California, Berkeley campus, a Stanford student may be struck by déjà vu. Some of the building names on the two campuses are identical — but does it boil down to mere coincidence? Looking closely, the stories behind these building names are a reminder of the decades-long history that bonds us to our neighbors (and rivals) across the Bay.

1. Li Ka Shing

Each school has its own medically-focused Li Ka Shing building, named after the business magnate and philanthropist Li Ka-shing.

Berkeley named the Li Ka Shing Center for Biomedical and Health Sciences after Li donated $40 million for its construction in 2005. The 200,000-square foot building is currently home to research that investigates the root causes of diseases such as Alzheimers, cancer and tuberculosis. Li was awarded the Berkeley Medal for his financial contribution. 

Stanford’s five-story Li Ka Shing Center for Learning and Knowledge is the pedagogic heart of the School of Medicine. In use since 2010, the $90.2 million building houses classrooms, lecture halls and an immersive learning center with simulated examination and operating rooms. Li, whose eldest son studied at Stanford, has donated more than $37 million to the School of Medicine for a variety of projects through his Li Ka Shing Foundation charity.

2. Haas

Stanford students familiar with the Haas Center for Public Service may be surprised to find not one, but two Haas buildings on Berkeley’s campus.

The Bears’ business school and arena are named for a father and son pair. Berkeley’s Walter A. Haas School of Business is named in honor of the 1910 graduate and former president of Levi Strauss & Co. The school’s Walter A. Haas Jr. Pavilion, home to the school’s basketball, volleyball and gymnastics teams since 1999, was named for his second son. A graduate of the Berkeley class of 1937, Haas Jr. succeeded his father as president of Levi Strauss & Co. He and his wife Evelyn made a $11 million lead donation for the sports pavilion. 

Stanford’s Haas Center, formerly the Stanford Public Service Center, was renamed as such in 1989 after the Haas family made a $5 million donation to its endowment. 

These contributions have extended into recent years. Haas Sr.’s first son and daughter-in-law Peter and Miriam “Mimi” Haas contributed to the endowment for the Peter E. Haas Faculty Directorship in 2004, a position currently held by Juliet Brodie. Peter E. Haas graduated from Berkeley and served on Stanford’s Board of Trustees.

3. Bechtel

Each campus also has a building named for Stephen Bechtel.

Berkeley’s Bechtel Engineering Center, built in 1980, was named for the former president of the Bechtel Corporation. Bechtel attended Berkeley for a year before taking over the engineering and construction company, which was founded in San Francisco in the late 1800s by his father. The center houses Berkeley’s Engineering Library and an auditorium.

Stanford’s Bechtel International Center was similarly named for Bechtel, whose 1963 donation helped fund the remodeling of the former Zeta Psi fraternity house. “From experience overseas I have found that friendship and mutual understanding flourish in just such surroundings as the new center will provide,” Bechtel wrote.

Bechtel’s son, Stephen Bechtel Jr., received his MBA from Stanford’s Graduate School of Business in 1948 and succeeded his father as president of the Bechtel Corporation. 

4. Stern

Both rival schools host a residential Stern Hall. Each is named for a different woman of the Stern family, which owns Levi Strauss & Co. 

Stanford’s Stern Hall is named for Lucie Stern, nicknamed “Aunt Lucie” for her decades of friendship and charity to Stanford students. Stern’s estate donated $400,000 toward the construction of the dorm in 1947, a year after her death, with an additional $200,000 gifted in 1948. Stern gained her fortune after marrying one of the heirs to the Levi Strauss & Co., and “the wealthy Mrs. Louis Stern decided to use her fortune in making others happy” upon the death of her husband, according to a 1952 Daily article

Alongside providing student loan funds, scholarships and $600,000 in donations to build the residence hall bearing her name, Stern hosted weekly dinners at her home and provided a “gift closet” of free clothing. In 1941, Stern was named an Honorary Stanford Fellow and designated a lifetime member of the student body by the ASSU.

Berkeley’s Stern Hall is an all-female dorm named for Rosalie Stern, who funded its construction in 1942. Stern was involved in many public service endeavors. She opened up her house to the Red Cross after the 1906 earthquake and fires, and provided aid throughout World War I. Stern’s husband, Sigmund Stern, was the son of Levi Strauss & Co. co-founder Dan Stern.

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Stanford vs. Berkeley: Which campus has better public art? https://stanforddaily.com/2023/11/16/stanford-vs-berkeley-which-campus-has-better-public-art/ https://stanforddaily.com/2023/11/16/stanford-vs-berkeley-which-campus-has-better-public-art/#respond Thu, 16 Nov 2023 08:14:02 +0000 https://stanforddaily.com/?p=1237301 Four categories of artworks on each campus go head to head in this artsy precursor to the Big Game.

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Among many aspects of Stanford and the University of California, Berkeley’s historic rivalry, none has stood the test of time better than that between the two school’s iconic public artworks. I will review well-known sculptures, statues and mosaics on the two campuses, presenting them in their glory.

Battle of 19th-century figure sculptures: “The Football Players” vs. “The Burghers of Calais”

Two football players in bronze with one on his knees and the other with an arm wrapped around him.
The Football Players. (Photo: Wikimedia Commons)

Berkeley alum and deaf sculptor Douglas Tilden’s “The Football Players” (1893) is an interesting part of the lore around Stanford vs. Cal rivalry. A cast and recreation of the sculpture was promised to the winner of back-to-back Big Games, and Cal managed to take “The Football Players” home after winning the games in 1898 and 1899. The sculpture now resides near Berkeley’s first athletic field. The sculpture has rusted and eroded with time, and the inconspicuous faces contain little visual intrigue. 

A group of sculptures of figures in motion.
The Burghers of Calais. (Photo: Wikimedia Commons)

Auguste Rodin’s “The Burghers of Calais” (1884-1895), situated in Stanford’s Memorial Court, commemorated the Hundred Years’ War, which took place in the 14th and 15th centuries. The allure of The Burghers of Calais comes from the expressive composition of each modeled sculpture, all emoting despair and suffering. The body language and facial expressions engage observers in an interactive, face-to-face experience. These figures remain a stunning campus icon in the photo ops of students and visitors alike. 

Abstract sculpture wars: “Sieve of Eratosthenes” vs. “Outgrown Pyramid #1”

A red sculpture with an arrow at the top wrapped around a protruding arm.
The Sieve of Eratosthenes. (Photo: SAM GIRVIN/The Stanford Daily)

No sculpture better embodies abstraction than Stanford’s own “Sieve of Eratosthenes” (1999) by Mark di Suvero, located between Stern Dining and Crothers Hall. The massive statue, commonly coined “Clifford,” is named after an ancient model to find prime numbers. The tall steel sculpture has four legs and a vibrant red surface, and its head is a mesh of geometric parts that obtrude outwards. Beyond a rendezvous point and a sight many see on their commute to class, the Sieve is irrelevant to most campus activities. 

A bronze sculpture shaped like a pyramid with windows between the top and bottom.
Outgrown Pyramid #1. (Photo: ROB CORDER/Creative Commons)

The sculpture contender on the Berkeley side is Richard Hunt’s “Outgrown Pyramid #1” (1973), located at North Gate. Adjacent to various greenery, the smaller sculpture appears just like its name would suggest: a rusted steel pyramid with a segment sprouting on its side that resembles a half-arrow. This piece juxtaposes geometric elements and natural growths. Although it feels static, upon closer observation the pyramidal structure is displayed in its full glory, as it becomes an extension of the natural surroundings.

Mosaic madness: Memorial Church vs. “Old Art Gallery Mosaics”

The front facade of memorial church with stained glass windows and painted figures.
Stanford Memorial Church. (Photo: KRISTEL TJANDRA/The Stanford Daily)

The Stanford Memorial Church was commissioned by Jane Stanford to honor her late husband Leland Stanford, founder of the University. The vibrant grand mosaic and stained-glass windows gracing the church’s outer entrance invites an ongoing religious dialogue among passersby and church-goers alike. These different mediums all contribute to the larger-than-life effect of the artistic artifact. The mosaic’s intricate portrayal of figures and landscape add liveliness and character to the Main Quad area.

Contending for Berkeley is the “Old Art Gallery Mosaics” (1936) by Helen Bruton and Florence Swift. Located northeast of Sprout Hall and Strawberry Creek, these pieces were the first public artworks created by women on Berkeley’s campus. The individual tiles forming the mosaic make a textured, geometrical appearance that harmoniously shapes the detailed activities of the dancers and sculptor. Intriguingly, Bruton and Swift present the natural softness of the depicted figures’ face and body in an angular manner. 

Mystical maidens: “The Angel of Grief” vs. “The Last Dryad”

A sculpture of a women with her head in her hands.
The Angel of Grief. (Photo: SAM GIRVIN/The Stanford Daily)

Stanford’s “The Angel of Grief Weeping at the Dismantled Altar of Life” (1894, cast 1900 to 1901) is situated near the Mausoleum in the Stanford Arboretum. This piece, originally designed by William Wetmore Story and carved by the Bernieri Brothers, was commemorated by Jane Stanford to honor her late brother, Henry Clay Lathrop. The white statue depicts an angel, donning classical Roman garb, collapsing atop a funeral altar. Notably, the face of the angel is not visible, so the angel’s sorrow is expressed purely from its body language. The Angel of Grief expresses the anguish and heartache experienced by those left behind.

A sculpture of a female figure perched on a branch.
The Last Dryad. (Photo: Wikimedia Commons)

Stirling Calder’s “The Last Dryad” (1921) found its place on Berkeley campus 20 years after the artist’s death. The dryad, a nymph from Greek mythology, symbolizes the intersection of feminine divinity and the natural world. Due to its perceived explicit nudity, the statue shifted locations on the Berkeley campus until the 1970s, when it finally settled in the Faculty Glade. Positioned against lush greenery and trees, the sculpture blends the female body with surrounding nature, captivating passersby with its beauty.

Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques.

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On Call Café: Answering the call for community https://stanforddaily.com/2023/11/15/on-call-cafe-answering-the-call-for-community/ https://stanforddaily.com/2023/11/15/on-call-cafe-answering-the-call-for-community/#respond Wed, 15 Nov 2023 10:23:59 +0000 https://stanforddaily.com/?p=1237229 From ideation to authorization, On Call is no small feat. Last week's café was a step to create spaces that prioritize socialization and allow student creativity to flourish, according to organizers.

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Three years after the pandemic began, discussions about the effects of COVID-19 have faded into the periphery. Still, the restrictive distancing protocols of times past have left tangible impacts on Stanford’s culture and student life.

In response, a team of undergraduate and coterminal students banded together to create On Call Café, a student-run late-night café that aims to build a sense of community through social gathering spaces. They hope to restore a sense of togetherness and ownership over campus by serving quality food late into the night.

Leo van den Daele ’24 and Matteo Perper ’23 first had the idea of reviving the “hello spirit” of Stanford last year. From their discussions with alumni, they noticed that campus had lost a sense of camaraderie and community over the last several decades — a trend worsened by the pandemic in 2020.

“The length of COVID was just long enough to end the traditions. There wasn’t the generational transfer that would always happen between the seniors and the frosh,” van den Daele said. “We’re back to a blank canvas, and now the question is, ‘What are we going to draw?’”

Van den Daele and Perper met current director of On Call Peyton Klein ’25 at Dinner with Strangers, a project of her own that fostered a similar sense of community building. Van den Daele, Perper and Klein hit it off at that event, bonding over a common desire to create those settings outside of home and work — a campus “third space” focused on interaction and community. 

“After my freshman year, I realized how fragmented campus can be. There’s co-op life, there’s Greek life, there are clubs […] but there isn’t really a gathering or third space where people come together,” Klein said.

The trio tested the waters for On Call in a smaller, one night pop-up cafe in the campus package center. According to van den Daele, that first event attracted around 200 students and served as a fun night, but was not yet set to become a longer-form project.

The late-night café idea stuck with Klein, who spearheaded the On Call initiative over the summer and communicated with University administration in order to make it a reality. 

After months spent searching for locations and funding, the team secured the Haas Center for two nights: Nov. 7 and 8. That gave them a two-week timeline to get every detail into place. 

A campus-wide call for helping hands brought together a team of over 30 students to a fireside information session. Core team member Delali Bruce ’26 said, at that point, she was skeptical that they could organize everything within the two coming weeks. 

“Rapid prototyping and proof of concept — that’s what this was built on, and that’s what student-run is. [It’s] the feeling of ‘do it now,’” she said. “If students didn’t really want this, this wouldn’t have happened in two weeks.”

As Klein explained, the team’s work centered around a value-forward approach to all aspects of the café. Each element was “something that people cared about, and On Call was just a platform for that creativity to manifest,” she said. According to her, such a platform is much needed on campus.

As Bruce and Maclaira Camper ’26 worked to develop a menu of toasts, Camper recalled keeping in mind the questions of “What is cozy to people? What do people enjoy?” In the end, they centered the menu around the idea of elevated childhood favorites.

Camper explained how the team took the relatively simple grilled cheese sandwich concept and altered it: “You have a regular grilled cheese, but you’re throwing in apples and caramelized onions for a little sweet taste to contrast the cheese’s flavor.”

Branding and design was also student-driven, with Lucy Duckworth ’25 taking the charge on developing a logo and color palette for the program. The logo, a loose articulation of a pennant rendered in muted versions of Stanford colors, was intended to be “both collegiate and a nod to the grassroots element of On Call,” Duckworth said.

A similar attention to detail went toward each aspect of the night, from the original postcards to the branded cup sleeves. Student artwork adorned the walls, spotlighting the community’s own talents in painting, digital design and photography. Laura Futamura ’24, who coordinated and curated the student art displayed during the pop-up, said she hopes to create room for student art of all different forms in the future.

The pop-ups themselves were staffed completely by students. They put together and took down the entire operation on both nights and independently took orders, cooked and served guests. Some moments required resourcefulness to pull through: the team of baristas found a last-minute coffee restock and notified patrons by ringing a cowbell. A panini press-operating group of students moved outside in order to keep the presses from overheating.

The result seemingly impressed student and administrative guests alike. The team now has commitments from the University for both space and funding, and they are currently finalizing where that space will be and what the future of On Call will look like. Perper is satisfied that On Call and administration are now “working together to find the best option — instead of whether or not there will be an option.”

Klein, who saw President Saller in attendance on the second night, said she’s “happy that administrators could come and see what students are capable of.”

Moving forward, the main challenge will be making On Call sustainable, not just in its financial viability, but also in its ability to maintain the values that it has spotlighted thus far. Bruce wants the café to keep its “late-night intention” and for students to continue to feel ownership over the space.

“Right now we have that grassroots spirit,” Bruce said. “Walking into a permanent space, I would really like it to feel non-corporate, student-run and gritty — in a good way.”

According to van den Daele, the team hopes that this café is only the beginning of a larger movement toward restoring Stanford’s lost sense of community and tradition.

“I think we’re really hoping that this is just one part of the picture,” van den Daele said. “We really hope that this will be the spark that sets off the student fire again.”

This article has been corrected to reflect that Peyton Klein ’25 served as one of the organizers for the pop-up cafe that preceded On Call Café. The Daily regrets this error.

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Q&A: Comedian Mike Vecchione on stand-up, social media and finding funny in the mundane https://stanforddaily.com/2023/11/13/qa-comedian-mike-vecchione-on-stand-up-social-media-and-finding-funny-in-the-mundane/ https://stanforddaily.com/2023/11/13/qa-comedian-mike-vecchione-on-stand-up-social-media-and-finding-funny-in-the-mundane/#respond Mon, 13 Nov 2023 08:07:47 +0000 https://stanforddaily.com/?p=1236768 The Daily sat down with the stand-up comedian to discuss his journey to the stage, the impact of social media on comedy and his writing process. Vecchione performed at Stanford on Friday.

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Mike Vecchione is a New York City-based stand-up comedian who has been performing for over 20 years. He has made multiple appearances on The Tonight Show, as well as on Netflix, Comedy Central and Hulu. Vecchione’s comedy special “The Attractives,” released in March this year, explores subjects ranging from relationships to running with literal bulls.

On Friday, Vecchione performed at the Bing Concert Hall Studio as part of the Stanford Live 2023–24 Season. Ahead of his show, Vecchione spoke with The Daily to share his reflections on the early days of his comedy career, how social media has reshaped the role of a stand-up comic and how he finds inspiration for his sets.

This interview has been lightly edited and condensed for clarity.

The Stanford Daily (TSD): Tell me about what drew you to stand-up comedy and your early days performing.

Mike Vecchione (MV): I started in Philadelphia, pre-social media, in 2000. Around the end of 2003, I moved to New York to try to really give it a shot. There, I was working the last days of the Boston Comedy Club, which is closed now. The Boston Comedy Club was a legendary comedy club in the West Village that turned into the Comedy Village.

I really got my foothold there, trying to learn who’s who, meet people and hang out. And then I started working the Comedy Cellar in around 2007, then The Comic Strip, Stand Up New York, Broadway Comedy Club, New York Comedy. I started working everywhere after that. As I worked more at the clubs, I would get more television opportunities. So, you know, it all kind of slowly evolved that way.

TSD: What was the comedy scene of New York like in the early 2000s?

MV: At that time, it was a lot of hanging out — I would do an open mic to work on material and then go hang out at the clubs to see if I could get on, because they’ll put on the people that they know. It was a lot of relationships, it was a lot of getting on stage as much as you can and trying to make money during the day and trying just to survive. 

TSD: How do you think comedy has changed between now and when you first started?

MV: When I started, the goal was to get on television. And you had to rely on gatekeepers, basically, people in the industry who would tell you “yes” or, more often, “no.” Now it’s good in the sense that social media allows you to create content and communicate directly with the fans. 

TSD: How has social media changed your stand-up, if at all?

MV: It used to be to get stuff ready for your hour. You didn’t want anyone to see the jokes from your hour because you wanted them to see it when they saw your hour. I think that’s all out the window now because of TikTok, because of Instagram. So it’s just like, your stand-up act is more of a long-term thing that you’re working on. You’re always, always working on it long-term. But you’re also working on content for YouTube, working on content for TikTok, working on content for Instagram Reels and all this stuff because it makes a difference. 

It’s good because it’s like you’re in charge of your own destiny. You can create whatever you want. You don’t need anybody to greenlight you. You don’t need anybody to give you funding. 

TSD: I’m curious about the actual construction of your sets — how you go about observing the world and finding what you’ll craft into jokes.

MV: It changes up. Sometimes I feel like if you do the same thing all the time, it gets stale. 

I was journaling for a while. I used to do it with pen and paper, but now I just do it on my phone. I’ll write the date, I’ll write where I am and then I’ll just go for half an hour.

I’m working on a jury duty set now because I got called to do jury duty. It’s about the struggle of trying to get out of that and not be in a three-week trial because I have road dates. And so I have to hone that experience. If you just journal, then you’re just scratching the surface of every topic. What you really want to do is you want to have a plethora of topics, and then work on them.

So it’s a combination of things, in a short concise answer. It’s free writing. It’s taking topics and then joke writing, throwing jokes at them or honing a story. And then it’s trying it on stage or even trying it into the video or audio recorder and listening to it back to get the beats of the story down.

TSD: When you’re out in the world free-writing and observing, what do you feel like you’re usually looking for?

MV: There’s a thousand funny or potentially funny things that could happen to you every day, from the time that you get up to the time you close your eyes at night.

If you look at it through this lens, everything is either a joke or potentially a joke. There’s so many situations where it’s like, you had an interaction and you start thinking the interaction went fine and it seemed like a normal interaction, nothing out of the ordinary. But this could have gone south. How could this have really gone south? 

TSD: Well, for example, today — if you had to, what would you name as a couple things you noticed?

MV: I went to go get coffee. I was in some town, I don’t know what town, but I think it was Missouri. I go to get coffee at a coffee shop. It’s an artsy coffee shop and I order it and it’s $4 and the guy goes, “$4,” and I go, “Okay,” so I stick my credit card in and he turns the screen around. 

This is happening all the time. He turns the screen around and says, “What would you like your tip to be?” So I hit “$2” and then turn it back. Then he hands me my receipt and the cup. He goes, “It’s over there.” 

So it’s like, what did I tip him for? Not only am I not tipping for waiter service, I’m not tipping for counter service. It’s just, I’m tipping him for what? He gave me the cup to go do it myself and then took my tip. And not only did he not do anything, he told me like, “You go do it.” So I feel like we’re coworkers. And the funny part of it is: how far does this go? The next time I walk in, he’s going to throw coffee grounds at me? He’s going to throw beans at me and be like, “Go figure it out”?

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Need an ‘On Call’? Student-run late-night café serves hundreds in Haas https://stanforddaily.com/2023/11/08/need-an-on-call-student-run-late-night-cafe-serves-hundreds-in-haas/ https://stanforddaily.com/2023/11/08/need-an-on-call-student-run-late-night-cafe-serves-hundreds-in-haas/#respond Thu, 09 Nov 2023 07:14:58 +0000 https://stanforddaily.com/?p=1236311 The pop-up ran from 9 p.m. to 1 a.m. Tuesday, attracting hundreds of students with free food and community. It hopes to provide a late-night venue for students to socialize and meet new people.

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On Tuesday and Wednesday night, the Haas Center for Public Service was transformed into a student-run café with an apt name: On Call Late-Night Café.

According to the initiative’s CEO Peyton Klein ’25, the pop-up’s opening night attracted 524 students over four hours. The café served toasts, sweet treats and drinks for free, with a suggested donation of $5. Klein hopes On Call can become a permanent part of Stanford’s late-night offerings.

The café takes its name from dorm “on calls,” or activities that resident assistants (RAs) host on weekend nights. These events often include food and drinks for dorm residents to enjoy.

“On calls are fun. They are spontaneous. They are silly,” Klein said. “We are trying to reclaim this concept.”

Klein explains that she was inspired to launch On Call after she noticed a lack of “third spaces” in Stanford’s community. 

“Where do you go between the library and your dorm? Where do you make spontaneous friendships that aren’t in a pre-professional setting or in a class?” Klein said. 

Students came from all sides of campus, tipped off by friends, email lists or social media advertisements. A long line formed around the block before the doors even opened.

Vibrant conversations, ranging from debates about class readings to discussions of On Call’s potential to become a campus staple, were audible over the mix of indie music in the space.

“They were able to cultivate a really cool ambiance here. I love the lights, I love the music, I like that they have outdoor seating,” said Charlotte Cao ’27. “I feel like it’s a very cozy environment, and it’s definitely a place I’d like to come back to.”

Klein and her team began toying with the idea of a night café over the summer, inspired by existing organizations like the Princeton Coffee Club. As the idea began to take shape, the group opened a campus-wide call for students interested in getting involved in the project. The café currently consists of a team of 25 student baristas working to serve drinks and toasts named after Stanford’s neighborhoods. 

A person wearing blue gloves makes a sandwich.
An On Call Café employee makes a sandwich to serve at the pop-up. Food and drinks were offered with a suggested donation of $5. (Photo: HANNAH SHU/The Stanford Daily)

Delali Bruce ’26, who developed the café’s menu, explains that the toasts were inspired by plays on childhood favorites, including an elevated version of grilled cheese and peanut butter and jelly (PB&J) sandwich.

Stella Masuda ’27, who got the PB&J-inspired “Magnolia” toast, said it was “actually really good,” and Dyllan Han ’27 and Garret Molloy ’27 said the food was the “highest quality” they’d had at Stanford thus far. 

While the reviews on the toasts were largely positive, reactions to the drinks were mixed. While the “Gingko” pumpkin spice latte was well received by Aaryan Shaah ’26, Nick Harvey ’26 found the hōjicha flavors lacking. Aaron Chang ’27 likened the Wisteria tea to “hot water with a touch of lavender.”

Anusha Nadkarni ’27 was excited to see a break from the work-centric culture prevalent on campus. 

“There are so few explicitly social spaces on campus. I’ve noticed that everywhere we go, we’re like, ‘We’re going to go and study,’” Nadkarni said. “It’s nice to be in a place where work doesn’t feel like the main purpose of the space.” Nadkarni is also a Grind columnist at The Daily.

First-year law student Parker Grove ’23 felt that this type of event was absent during her own experience as an undergrad. “There really wasn’t this kind of nightlife on campus,” Grove said. “There’s something different about it. Being student-run, it feels more community-oriented.”

While the On Call team has found a more permanent space for future quarters, they are still working on long-term plans for the café.

“I think tonight is just the beginning, which is really exciting,” Klein said. “Stanford lacks legacy institutions, and we want this to be one.”

A previous version of this article misspelled Cao’s and Nadkarni’s last names. The Daily regrets this error.

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