F RI DAY, NO VEMB ER 15, 2019
Dining on a Dime Affordable Food in Georgetown
ILLUSTRATION BY: ROSY LIN/THE HOYA
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FRIDAY, NOVEMBER 15, 2019
THE HOYA
Students, Restaurants Push for More Affordable Food SARA ROBERTS AND GRACE VAINISI Specials to The Hoya
From the silky angel hair pasta and rich Alfredo sauce at Flavio on 31st Street to the daily brunch and historical fare at Martin’s Tavern on Wisconsin Avenue, Georgetown is known for its food. But these restaurants can sometimes cost exorbitant amounts of money, limiting student access. In recent years, a crop of affordable, fast casual restaurants has sprouted up in the neighborhood, bringing more variety and flavor to Georgetown University students’ diets. Even as these restaurants continue to emerge, questions remain on the accessibility and affordability of the neighborhood’s dining scene. As food insecurity continues to pose a problem across the United States, more college students are becoming cautious of their food costs. In response, student groups across campus and restaurants in the neighborhood are attempting to tackle the issues of price and access that many Georgetown students face.
CULINARY CAMPUS
Though food student groups aim to bridge the food accessibility gap in Washington, D.C., they often fail due to other mitigating factors. From small member bases to an inability to lower prices further, these groups struggle with reckoning accessibility and affordability. GU Eating Society was founded in 2016 with the aim of exploring other cultures through their cuisine by collaborating with different cultural groups on campus and by going to restaurants in and around D.C. While the student group is notoriously elite in its membership, it is one of the few clubs on campus connecting students to local cuisine in D.C. GUES works to make some of the more expensive restaurants in the area accessible to its members and fit a college budget. Some otherwise expensive restaurants offer specific deals, like Farmers Fishers Bakers’ popular breakfast option, according to GUES Co-President Hilary Rizzo (SFS ’20). “One of my favorites is First Bake at Farmers Fishers Bakers,” Rizzo said in an interview with The Hoya. “It’s weekday mornings, and they have a really cheap breakfast that you can go and order at the counter and sit down. It’s really nice.” Due to a rising demand, many inexpensive restaurants have opened in Georgetown in the last decade. Some storefronts that opened recently include Lebanese restaurant Muncheez in 2010, local taco spot Chaia Tacos in 2015 and two build-your-own pizza places, &pizza in 2016 and 90 Second Pizza in 2018. Though these more inexpensive restaurants have sprouted up in Georgetown recently, affordable food options are still scarce. D.C. is hardly a cheap city for food, and most of the cheaper options, which include spots like food trucks, are located in downtown. These restaurants aim to serve
tourists and federal workers in the area, leaving Georgetown students on the periphery. Nevertheless, groups like GUES and the Georgetown University Farmers’ Market aim to combat this scarcity by promoting accessibility without the financial burden that accompanies eating out and bringing these restaurants closer to students. The Farmers’ Market was established in 2011 to bring fresh, locally sourced and healthy food to the Hilltop. The Farmers’ Market grew out of a class in the School of Nursing and Health Studies and now operates as a student group on campus, according to Milan Dolezal (COL ’21), director of the Farmers’ Market. The market showcases vendors from a variety of local restaurants including bagel restaurant Call Your Mother and several Latin American food options including DMV Empanadas and Grandma Vera’s Bakery, among others. These locally sourced vendors may offer more expensive items, but some of them cannot feasibly afford to lower their prices, according to Dolezal. “One of my vendors came up and said, ‘I’ve had students complaining about the price of this one dish, but let me tell you why I literally can’t make it any cheaper,’” Dolezal said in an interview with The Hoya. “She walked me through: ‘This is how much I pay my staff. This is how much the individual ingredients cost because they’re locally sourced because I make it all from scratch,’ which are things that we have told her that we value. She’s like, ‘I’m sorry, I can’t make this any cheaper.’” While these student groups aim to offer a wide variety of options to campus, questions of affordability and accessibility still limit the ability of many facing food insecurity to fully indulge in these offerings.
TOP: YICHU HUANG FOR THE HOYA, BOTTOM: NATALIE REGAN FOR THE HOYA
Restaurants like Falafel Inc have become staples in the Georgetown neighborhood thanks to their proximity and relatively inexpensive menu. A cheaper menu ends up attracting more customers, which in turn allows for a higher social impact.
FRIDAY, NOVEMBER 15, 2019
THE HOYA TACKLING INACCESSIBILITY
While affordable food options have become popular across Georgetown, questions of food insecurity still pervade campus life. Through initiatives to increase accessibility, the Farmers’ Market and the Hoya Hub, Georgetown’s free food pantry, helps to make a wider variety of food more accessible for those who need it most. New student groups have cropped up around campus aiming to alleviate food insecurity in recent years. The Hoya Hub, founded last fall and operating under the Georgetown University Student Association, is a food pantry offering free food to people on campus experiencing food insecurity. The Hoya Hub offers both perishable and nonperishable food items in its on-campus pantry and has also organized meal swipe drives and, with the assistance of Students of Georgetown, Inc., commonly referred to as The Corp, collected unused Flex dollars to further stock the pantry. The group does not intend to limit its efforts to only the pantry; its goal is to root out food insecurity on campus, and it sees the pantry as the first step in achieving this goal, according to the website. The Farmers’ Market has concentrated its efforts in combating food inaccessibility by offering discounts for students in the Georgetown Scholars Program, according to Dolezal. “We’ve been doing a couple of things to make it a little bit more accessible,” Dolezal said. “One of those is, you know, discounts for members of GSP every week. So we ask the vendors ‘Can you do 15% to 50% off?’ I’’s kind of a wide range and then they can decide how much they want to give.” While prices can remain steep for this locally sourced, high quality food, the Farmers’ Market plans to further address the issue of accessibility with future leadership, according to Dolezal.
TOP: HOYA HUB/FACEBOOK, BOTTOM: YICHU HUANG FOR THE HOYA
Even bringing fresh food and new vendors to campus can still pose a burdensome financial barrier, but efforts have been made to make these staples of Georgetown food culture more accessible to students from all socioeconomic statuses.
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“We’ve made some strides in the right direction,” Dolezal said. “We’re also going to be accepting a bunch of new people onto the board this semester, and the application’s open now. Every time we get new board members, people bring their really cool ideas.” Nevertheless, a lack of affordability for many dining options in the Georgetown area pushes issues of food inaccessibility to the forefront. As students groups are founded to combat these issues, other restaurants in the area have been founded with an explicit message of affordability and accessibility.
MAKING CHANGE
Affordable food options exist off campus, even if they can be harder to find. Being able to break the bubble of campus and explore the surrounding neighborhood can be an easy way to experience new cultures and support good causes. Falafel Inc, a small Middle Eastern restaurant located on Potomac Street, opened in 2017 and has become immensely popular, with lines going out the door. The restaurant offers healthy food at affordable prices: $3 for a sandwich and $4 for a bowl. Both local and affordable, Falafel Inc offers not just mouthwatering falafel, but also social impact: For every $10 made, Falafel Inc donates the cost of one day’s worth of food for a refugee, or about 50 cents. The intersection between affordability and social justice has created a particular brand and focus for Falafel Inc, according to founder Ahmad Ashkar. “We’re a healthy vegetarian program, but that also is key to serve for a greater purpose,” Ashkar said in an interview with The Hoya. “That greater purpose is both feeding refugees, as well as providing hungry college students affordable, healthy, delicious food.” Doing good for the world and doing well in business are not mutually exclusive ideas, according to Ashkar; rather, this mix is the future of business. “The future of entrepreneurship revolves around delivering socially sound and environmentally sound products, where every dollar revenue you make has a net impact on the world,” Ashkar said. Despite his restaurant’s increased popularity, Ashkar keeps his products affordable. Though the restaurant could charge more, building a relationship with customers and striving to keep prices low creates a stronger brand, according to Ashkar. “My customers get it. They’re just like, ‘You know what, this is a badass owner, this is a badass brand, because we know they can charge more, but they don’t,’” Ashkar said. “I want you to save some money.” Students need to frequent more affordable food options instead of overpriced ones to create a demand for change, according to Ashkar. “You can find more impact-centered, affordable food off campus; you just have to look in the right places. And I think that you’ll create a trend where you’ll see more and more of these options as the years go on,” Ashkar said. “The world is changing and the students right now are the epicenter of change. So, let’s not conform. Let’s innovate.”
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FRIDAY, NOVEMBER 15, 2019
THE HOYA
CONCERT REVIEW
King Princess Shows Authentic Self in Powerhouse Performance SUBUL MALIK Hoya Staff Writer
The “Cheap Queen” tour marks the rise of one of 2019’s biggest breakout artists, 20-year-old LGBTQ indie pop singer King Princess. Her energized and empowered performance last Wednesday at the 9:30 Club confronted questions of identity with forthright honesty and moving musical moments. King Princess first entered the mainstream music scene in 2018 with her debut single, “1950.” The underground song garnered the attention of Harry Styles when he tweeted out one of the lyrics. King Princess followed this massive co-sign with her second single, “Talia” and later with her extended play, “Make My Bed.” Now, she continues to raise her star with appearances at Lollapalooza and Coachella earlier this year, a collaboration with star DJ Mark Ronson on “Pieces of Us” and the launch of her debut album, “Cheap Queen” on Oct. 25. King Princess’ music is defined by the power and emotion present within her voice. Her vocal range and musical ability, which shines through clearly in her songs, puts her in a special class among other up-and-coming artists. Her mixture of indie pop with elements of
rock and folk gives her music a distinct sound and style that has contributed to her breakout. She emerged loud and proud on stage at the 9:30 club on Nov. 6 to an exhilarated sold-out audience. Clad in pink tights, a white top, and a black bottom piece that she affectionately called “her diaper”, she kicked off with “Isabel’s Moment” from her critically-acclaimed debut album. She smoothly transitioned into “Tough on Myself,” whipping out her electric guitar solo while the lights illuminated her in the deep. This stage design was the perfect setup for the upcoming songs on the setlist, where she showcased the range in her voice and the spunk in her dance moves throughout, “Prophet,” “Useless Phrases” and “Cheap Queen.” Although she commented on how small the stage was, King Princess still expertly used the entire space throughout her performance, dancing and spinning around and making serious yet playful faces with the audience. This showcase exemplifies King Princess as an artist, never letting things which may be limitations to other artists slow her showmanship. She noted that her album was written during one of the most vulnerable years of her life, opening up the audience to her personal trials and tribulations. Through this, she was able to
further connect her musical message to real world experiences and increase the authentic connection many in the audience feel to her performance. King Princess never faltered from being her authentic LGTBQ self and engaged with the audience in a playful way with a fun question and answer section. She candidly explained to the audience that nothing was allowed to be thrown at her face, which audience members eagerly accepted as a challenge utilizing their bras as projectile. King Princess laughed this incident off as she placed the ones that had landed on stage onto her band members’ drum sets and keyboards. This moment highlighted how comfortable King Princess was on stage and the fun-loving, free spirit environment she created in the venue. The show didn’t solely consist of King Princess’ newer material, as about halfway throughout the set, she shifted towards playing some of her greatest hits off of her first project, “Make My Bed,” inviting the audience to sing along with her. She delivered electrifying performances of “1950,” “Pussy is God,” “Talia,” and “Upper West Side,” cleverly showcasing a mix of her skills on both the piano and the electric guitar. King Princess stood perched on top of the set of pink and white stairs at the beginning of each song, unafraid to
highlight her mighty, iconic self. King Princess concluded her set with what she claimed as the lesbian anthem, especially after hearing multiple requests from the crowd. “Hit the Back” started off slow with pink and purple lighting, and transformed into an array of rainbow colors after she hit the energetic beat of the chorus. The power in the performance was echoed in the crowd and amplified the icon that King Princess was becoming. A gleaming disco ball hung from the top of the ceiling, radiating bright silver lights throughout the venue as King Princess passionately sang this song that she found had surprisingly resonated with so many of her listeners. When the concert appeared to come to an end, the crowd roared and begged for an encore, to which King Princess answered, “One more and you lesbians better rage.” She ended the night with a mashup of “If You Think It’s Love” and “Ohio” and left the stage, beaming beneath her characteristic cheek blush. Though it was her first headlining U.S. tour, King Princess showcased her talent in an authentic and triumphant way on what it means to be LGBTQ. She energized the audience with her understated queer pop ballads, ending the night on a celebratory note that love is love, no matter the form it takes.
SUBUL MALIK/THE HOYA
King Princess’ distinct voice echoed off the walls of the 9:30 Club, where her electrifying songs were enthusiastically received by her audience. With her unwavering and passionate performance in an intimate setting, she embodied the confident queer icon who appreciates and explores both the seriousness and the playfulness of love.
FRIDAY, NOVEMBER 15, 2019
THE HOYA
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EVENT REVIEW
@JENNYSLATE/INSTAGRAM
Jenny Slate began her book tour Nov. 3 at The George Washington University with a lively interaction with her fans, who were welcoming of her talents not only as an actor and comedian, but also as a writer. Her insights on comedy, the workplace and her own identity are sharp and witty, not unlike her own presence during the event.
Jenny Slate Reflects, Evokes Laughter on ‘Little Weirds’ Tour ARDEN FITZPATRICK Hoya Staff Writer
Comedian and actress Jenny Slate kicked off her “Little Weirds” book tour Nov. 3 to a well-attended and enthusiastic crowd in The George Washington University’s Lisner Auditorium. The event was hosted by NPR and moderated by “All Things Considered” co-host Audie Cornish, with plans to be produced for broadcast on the NPR radio program. At the reading, Slate shared the ups and downs of adulthood and comedy with an engrossing honesty and a razor-sharp wit that made for a night to remember. The event was part of the show’s special series “She’s Funny,” which focuses on women in comedy, like previous guests Julia Louis-Dreyfus and Hannah Gadsby. Slate had plenty to celebrate and discuss, as her book “Little Weirds,” a collection of short stories, was published Nov. 5 and her first Netflix comedy special “Stage Fright,” arrived on the streaming platform Oct. 22. After a brief introduction from Cornish on “All Things Considered,” Slate walked out to eager applause. She blew kisses in every direction of the room and waved excitedly, then straightened herself, cleared her throat and stepped to the microphone situated on the far right of the stage to read an excerpt
from her book. What was overwhelmingly evident throughout Slate’s time on stage was that she has been on a journey. While the particular details of it might not all be known, given what she revealed through her statements and the stories in her book, the journey has been fraught with confusion, sadness and a sense of being lost. The short story she chose was titled “Treat,” which at first appeared to focus on her comical wish to be perceived as French, before transforming into a deeper reflection on wanting to be desired and her need to satisfy others. While the audience initially rippled with laughter, it soon gave way to a silence replete with reflection, seemingly in awe of Slate’s words. After finishing the reading, she walked over to the center of the stage and sat across from Cornish to begin their discussion. The conversation meandered in a variety of directions, ranging from Slate’s interest in writing, to her unpleasant experience on “Saturday Night Live,” to her animated work in films such as “Zootopia” and “The Secret Life of Pets.” Slate shared musings about the beginnings of her sense of humor, providing context to her comedy and providing a meaningful basis for her entire career. She described herself as
an “animal human,” clarifying that, for her, the turn of phrase translated to deriving happiness from the ability to immediately spark joy in the faces of the people around her. Reflecting on early displays of her humor, to the audience’s delight, she fondly recalled prank calling her grandparents and pretending to be various Jewish organizations to get a laugh out of them. Her love of making people smile has not waned, which is especially evident in her new Netflix comedy special “Stage Fright.” Slate’s answers to Cornish were full of authenticity, which elicited newfound admiration and respect for her particular brand of comedy that puts honesty at the forefront and embraces the organic flaws and improvisation inherent in being funny. In addition, Slate spoke candidly about her time on “Saturday Night Live” from 2009-10, a job that was cut short by her firing. Slate described a culture of fear, intimidation and misogyny that left her feeling dressed down. Despite her experience, which she said made her afraid to try new opportunities, she still held that working on the show was an extraordinary accomplishment, highlighting Slate’s characteristic ability to find light even in dark situations. However, it is safe to say that through her reflection, creation and fierce empathy for
herself, Slate has come to a place where she can more clearly see the path she is on and what she needs and wants out of life — a refreshing and empowering take, especially in the cutthroat and patriarchal world of comedy. While there was plenty of laughter throughout the night, it was typically coupled with her profound, sincere and self-aware commentary. The audience traveled through a range of emotions as it reconciled Slate’s funny girl persona with the contemplative side she revealed both in conversation with Cornish and within the pages of her book. She ended the evening by reading another excerpt titled “To Norway” from her book, which, with equal parts humor and somber introspection, chronicled observations from a trip to Norway that moved from the airport, to time in a boat, to the return flight home. While reading the last line of the story, Slate’s voice audibly cracked as she seemed overcome with emotion. With that final moment — a tangible depiction of the layers of feeling and thought that Slate had welling up in her — the night was over, and the audience roared with applause. Slate found the happy medium between vulnerability and humor, illustrating the empathy that makes her comedy undeniably human.
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FRIDAY, NOVEMBER 15, 2019
THE HOYA
MANAGING READS
‘Wrecked’ Tackles Sexual Assault on College Campuses Catriona Kendall This column discusses sexual assault. Please refer to the end of the article for on- and off-campus resources. Most college students today aren’t strangers to the topics of sexual assault and misconduct. Maybe you are personally acquainted with people dealing with such trauma, or maybe you read the anonymous opinion pieces The Hoya published last year highlighting the voices of survivors. Maybe you are among the 31.6% of women and 11.6% of men who filled out Georgetown University’s 2019 climate survey and reported experiencing nonconsensual sexual contact at some point in college. Whatever your experience, the subject is not one we can shy away from, and the novel “Wrecked” by Maria Padian certainly does not try to, as it examines the effects of rape on a college campus. The story unfolds through the perspectives of two narrators, who are neither the survivor nor alleged perpetrator, but rather bystanders, offering a surprisingly effective way to challenge how we understand cases of sexual assault.
Haley is a freshman soccer obsessive who’s been benched following her third concussion, while Richard is an often clueless romantic in his sophomore year left pining when cool senior Carrie breaks up with him. After a party at a rowdy campus house, Haley’s shy roommate Jenny grows increasingly more distant; Richard’s housemate Jordan, meanwhile, returns bragging about his hookup with a freshman. Jenny then asks Carrie, who works as a volunteer for the school’s sexual assault response team, to confide in Haley that Jenny was raped at that party by Jordan and needs Haley’s support more than ever. The story operates on two levels, with a romantic connection building between Haley and Richard even as they are pulled to opposite sides of the conflict between Jenny and Jordan. Jenny, who maintains that she was far too drunk to consent to sex, asks Haley to be her adviser when she files a case with the university. On the other side of it, Richard is the only person Jordan told about the encounter, which he insists was consensual; in the hopes of preventing his housemate from being asked any questions in the investigation, Jordan ropes in a reluctant Richard to be his adviser. As they navigate their feelings and other personal concerns, Haley and Richard are painted as flawed but relatable characters: Haley does not always feel terribly sympathetic toward Jenny, and Richard is at times ignorant and insensitive, but they grow in their
understanding of sexual assault as bystanders over the course of “Wrecked,” and the romance that blossoms is natural and charming. Rather than feeling tasteless amid such a serious topic, the love story between Haley and Richard represents them realistically as college students with more than one thing on their minds at any given time. Whereas Jenny’s life has been altered irreparably and Jordan’s constant focus is the case proceedings, the same is not true for those around them, even as Haley and Richard struggle with being good friends — and good people. Interwoven between Haley’s and Richard’s narration are snippets of flashbacks from the party, contributing to the confusing jumble of information about that night. As the school investigates what happened, every aspect of Jenny’s story is continually placed under scrutiny, which becomes especially harrowing given her lack of sobriety that night. I’ve experienced firsthand the effects alcohol can have on both consent and memory, so what I found truly surprising was the moment when I felt doubt creep in about Jenny’s story, as details are repeatedly inspected under a microscope and used against her. I wasn’t prepared to feel that way, and that moment exposed what a crucial story “Wrecked” presents. This book tactfully demonstrates certain realities of sexual assault cases: how a survivor can be telling the truth even if they get some minor details wrong, especially if alcohol is involved; how difficult and dissatisfying
university proceedings can be; how vital it is to rigorously teach college students — people of any age, really — what consent is and what it’s not. By making the reader a bystander too, Padian is able to explore the ways we may fall short. Perhaps we have a tendency to victim-blame, to be frustrated with how the survivor’s trauma inconveniences our own lives, or to not really listen. This perspective, so familiar to many of us, realistically portrays the struggle to piece together an instance of sexual assault and the need to grow to better understand such situations. Throughout “Wrecked,” we witness the toll this experience takes on Jenny’s life, throughout all the pressure, scrutiny and suspicion. Padian expertly depicts many of the difficulties survivors of sexual assault and misconduct face, all the while weaving a compelling story with well-developed characters. As sexual assault remains a widespread yet stigmatized topic, “Wrecked” impressively provokes greater awareness and empathy — something we can all use a little more of. A full list of resrouces can be found in the online version of this column. For more resources and information, visit tinyurl.com/GUselfcare. CATRIONA KENDALL is a graduate of the School of Foreign Service. She formerly served as managing editor at The Hoya. This is the final installment of MANAGING READS.
FOOD FOR THOUGHT
Fall Ball Connects Food With Asian Community Tyler Chan Last weekend,Iattended theAsianAmerican Student Association’s Fall Ball. Themed after last year’s popular film “Crazy Rich Asians,” the event took place at the ornately decorated Chinese and Mongolian restaurant Tony Cheng’s in Chinatown. Although the food blew most other restaurants I’ve dined at out of the park, the sense of community the Fall Ball created made me realize how my connection to the Asian community on campus had been missing at Georgetown. Tickets for Fall Ball were quick to sell out, with a waitlist starting to run a few days before the event. The point of Fall Ball is to bring not only students from AASA together, but also students from other Asian-cultural organizations on campus. What’s interesting about this event, though, is that each club sends a representative to get auctioned off for a date. These auctions
are entirely made in jest, and usually involve some form of warming up the crowd. When asked, “What’s your favorite pick-up line?” one auctionee replied, “Are you Vietnamese? Because I’d love to pho you!” The Asian dishes at Tony Cheng’s have served celebrities from all walks of life, such as the Clintons, the Bushes, and even Bradley Cooper, as evidenced by the numerous photos adorning the walls. The restaurant is split into two floors: the first focusing on Mongolian cuisine and the second catering to a more Chinese palate. The process of waiting in the cold for an Uber, navigating through traffic, sitting at a table with my friends and enjoying good food transformed the night from just another club event to a night full of community and friendship. The Fall Ball makes for a great opportunity to escape the Hilltop, to take a break from Leo’s food and to reconnect with my culture. Even the simple conversations in my brief Uber ride about our favorite restaurants and hobbies allowed me to feel more at home and offered a brief respite from the academic and high-stress culture of Georgetown. In many Asian cultures, food is used as
a connection among people; whether it’s acquaintances or close friends, everyone is automatically brought closer together as soon as the dishes are brought out. I attended this event with my proverbial “family,” which is a group of students from AASA who are paired up in order to provide mentorship and friendship. It was relaxing to speak with my “littles” so casually, talking about topics ranging from schoolwork to different transportation systems throughout the United States, while bonding over our shared cultural food. By attending this event, I realized what I had been missing in my day-to-day Georgetown experience — the first being decent Chinese food. I know I’ve written previously about oncampus dining, but it just doesn’t compare to Tony Cheng’s. The dishes feature actual flavor in every single bite, and unlike 5Spice, each bite wasn’t drenched in oil or felt like I was eating a spoonful of salt. This authentic cuisine brought back memories of days when the majority of my Asian food options weren’t mere imitations of what I loved. The second thing I realized I had been lacking at Georgetown is a sense of community. It was my first time during my two years at the Hilltop where I was in a room with a densely-
populated Asian American demographic. Most of the time, I’m surrounded by people of ethnic backgrounds different from mine. But being in this environment, from the people to the Asian decorations in the restaurant, I felt as if the Hilltop and the world around me wasn’t as lonely as I thought and that I could speak to people who shared similar backgrounds as me. The three-hour dinner was not only a great chance for me to catch up with my littles, but also a great chance for me to catch up with myself. I was debating whether I wanted to go because of the price — which was $20 — but I decided that this would be a good chance for me to experience something I never had before, to go out and be in a large room full of Asians. At the venue, we ate together, poured tea for one another, joked together and enjoyed each other’s company. At the end of the day, I’m glad that I embarked on this journey and hope to continue more of these adventures in the future; the Fall Ball helped me make community in a way I hadn’t yet experienced on campus and experience more authentic Asian cuisine than offered on campus. TYLER CHAN is a junior in the College. This is the final installment of FOOD FOR THOUGHT.
FRIDAY, NOVEMBER 15, 2019
THE HOYA
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DANCE PREVIEW
BMDT Pays Homage to Influential Artists, Activists NOELLE WHITMAN Hoya Staff Writer
Founded 35 years ago, Black Movements Dance Theatre sought to celebrate the black experience at Georgetown University through dance. Now, in its 2019 season, BMDT will present a fall showcase Dec. 7 at the Devine Theatre in the Davis Center of Performing Arts, displaying a diverse repertoire of modern, jazz, ballet, African and lyrical dance. This showcase, titled “Legends, Leaders, and Warriors,” is dedicated to the figures who have wielded great influence and inspiration in their lifetimes in the artistic community, political sphere and beyond. Artistic Director and Georgetown faculty member Alfreda Davis leads this talented company of 17 dancers, alongside Student Director Aliyah Williams (SFS ’20) and Assistant Co-Directors Mariah Johnson (COL ’21) and Kiara Finlay (COL ’22). The concept of legendary individuals has shaped the creative process of the showcase. Since the beginning, the company engaged in conversations on how legends even form, according to Williams. “Legends aren’t necessarily big name people,” Williams said. “But those who do good for themselves and for others.”
Guided by this sentiment, this showcase pays tribute to legends both admired worldwide as well as those whose lesserknown legacy remains recognized within their community and relationships. Individual members of the company began choreographing pieces that showcased their chosen legends, while guest choreographers also contributed their own interpretations of the theme. The largest challenge a dancer faces is achieving the balance of seeing a choreographer’s vision while maintaining one’s individuality, according to Johnson. While individual dancers shape the performance, it is the seamless integration of the music, choreography and synergy among the company that produces this balance of individuality and unity. Last Thursday, the company came together for their three-hour rehearsal to review each dance. Dancers dedicate nine to 12 hours per week for rehearsals with an increased time commitment in the days leading up to a performance. Professor Davis stopped dances intermittently, correcting movements and offering revisions and other refinements throughout the rehearsal. She called for the company to command the audience while connecting with their fellow dancers. Her meticulous analysis of the pieces allowed for mo-
ments in each dance to take on new life. One of the revised dances included a duet piece, presenting a stylistic portrayal of love within romantic relationships. The lyrical, sensual nature of the choreography allowed the dancers to occupy the space with an intense passion. The fluidity of the movement conveyed the fluctuating dynamism of relationships as the dancers shifted from entwined positions to separating themselves onstage. This intimate dance contrasted starkly with a group piece composed of eight dancers. The choreography included sharper movements that fostered a more energized mood within the dance. Incorporating whistles and horns, the music resembled a festive pep band performance that mirrored the dance’s animated nature. The wide range of dances and stylistic choices help to convey the diversity of the legends celebrated in this performance. While this showcase offers a polished presentation of the work accomplished by the company during this semester, the fall performance is still a work in progress. Dances will continue to evolve throughout the spring to culminate in a final recital that fully encapsulates the growth and collective efforts
of the company. The recital takes place in February to celebrate Black History Month, connecting back to BMDT’s original mission of expressing the black experience at Georgetown through the art form of dance. The showcase will highlight stories that otherwise may not have equal levels of representation and offer a viewpoint for marginalized identities, according to Williams. “We hope that audience members can see a reflection of themselves in the dances and stories shared in this showcase,” Williams said. The show is also meant to serve as a space for contemplation and adoration of these iconic individuals in the arts, according to Johnson. “We want them to be transported to a space of love and joy as we recognize the legends we are paying tribute to,” Johnson said. BMDT’s fall showcase promises an array of stylistically diverse dances that celebrate the lives of influential figures whose legacy provides inspiration and hope for all. Through meticulously practiced routines and powerful performances, the student performers putting on the show aim to highlight the importance of the black message.
@GU_BMDT/INSTAGRAM
Black Movements Dance Theatre has prepared a performance that will serve as a tribute to the legendary artists who have done good in their communities and for the world at large; this creative vision allows the dancers to forge a joyful, celebratory space with their choreography. By getting the show ready now, BMDT members have time to further perfect their dances.
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FRIDAY, NOVEMBER 15, 2019
THE HOYA
What to Do in DC
MUSIC
New Releases
YU YOUNG LEE Hoya Staff Writer
ZAIN SANDHU
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Hoya Staff Writer
METROCOOKING DC NOV. 16 TO NOV. 17, $4 TO $21.50
An exuberant culinary and food event, the 14th-annual Metrocooking D.C. festival will be happening at the Washington Convention Center starting this Saturday. With 200+ food speciality vendors, opportunities to taste samples from restaurants all over D.C., cooking classes and workshops, and demonstrations from celebrity chefs Wolfgang Puck and Martha Stewart, event-goers are in for a fulfilling weekend.
BLONDED.CO
@DOJACAT/TWITTER
FRANK OCEAN ‘IN MY ROOM’
DOJA CAT FT. SMINO ‘WON’T BITE’
Just 12 days after the release of his first single in over two years, “DHL,” R&B singer and rapper Frank Ocean has released yet another track, drumming up even more anticipation for a potential album release in the near future. “In My Room,” much like “DHL,” is a far cry from Ocean’s work on “Blonde” featuring a spacey and repetitive instrumental, as well as a performance that leans heavily on the side of rapping. However, towards the end of the track, Frank changes course, delivering a few lines sung in the gentle voice many fans might have missed.
“Won’t Bite” is a track on Los Angelesbased rapper Doja Cat’s second studiolength album, “Hot Pink.” Doja Cat first started to gain traction as an artist after going viral in early 2018 for her song “Mooo!” and its accompanying music video. Since then, she has proven to have an ear for engaging beats and inventive flows. “Won’t Bite” is no exception; Doja’s dynamic background vocals on the song’s chorus and a well-placed feature from St. Louis rapper Smino make it a rather exciting listen.
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@COLDPLAY/TWITTER
ROSALÍA ‘A PALÉ’
COLDPLAY ‘ORPHANS’
Catalan singer and songwriter ROSALÍA, known for her distinctive voice and modern interpretation of flamenco music, has released a new single, independent of her album released earlier this year. “A Palé” represents a sonic shift for the singer; with its trap-influenced beat, hard-hitting bass, and distorted vocals, the song charts new, more contemporary territory within ROSALÍA’s discography. The change in sound suits ROSALÍA well, and she matches the energy and momentum of the instrumental with ease.
Coldplay has come out with their first single, “Orphans” since their 2017 “Kaleidoscope EP.” The track unfortunately follows in the trend of most of the British rock band’s recent music, lacking energy and purpose. Throughout the track’s three-minute runtime, lead singer Chris Martin shouts unintelligibly about wanting to get drunk with his friends and delivers two rather forgettable verses. Overall, when compared to the band’s earlier work, “Orphans” is a generally unengaging listen.
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SNKRMANIA DC/DMV NOV. 16 FROM 12 P.M. TO 6 P.M. $25
On Saturday, Nov. 16, DC/DMV’s sneaker event will kick off at noon, where sneaker enthusiasts can indulge in buying, selling and trading their coveted kicks with over 100 vendors and 1,000 attendees at the Walter E. Convention Center near Logan Circle. A free legitimacy-check station will be available to ensure the quality of the shoes for the protection of the buyers and foster a more honest environment.
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@SNKRMANIAAPP/TWITTER
SWEATGIVING NOV. 17 FROM 11 A.M. TO 1:30 P.M., FREE
At Dock 5 at Union Market, SWEATgiving is offering free workouts to sweat out the calories before actual Thanksgiving weekend. The event includes a various array of exercises: SWEAT’s hybrid high-intensity interval training and sports conditioning session, HIP HOP YOGA and a live DJ exercise. Although the event is free, all of the proceeds from food, beverages and games will be donated to the nonprofit organization ONE COMMON UNITY.
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BUTTERFLY PAVILION
Next week, the National Museum of Natural History is opening the Butterfly Pavilion which will showcase hundreds of living butterflies and plants from diverse regions worldwide such as Africa, South America and Southeast Asia. The exhibition allows for observers to walk around the Pavilion at their own leisure, observing the beautiful butterflies that also fly around freely.
NOV. 24 FROM 10:15 A.M. TO 5 P.M., ADULTS $7.50, CHILDREN $6.50
THE NATIONAL MUSEUM OF NATURAL HISTORY
FRIDAY, NOVEMBER 15, 2019
CONCERT REVIEW
THE HOYA
B9
THEATER PREVIEW
Pond Mesmerizes With Theatrical Dreamscape
COURTESY LESLIE E. KOSSOFF/GEORGETOWN UNIVERSITY
The Georgetown University theater and performance studies program’s “On the Lawn” is an abstract musical production that uses lawns and yard decor to explore human relationships with nature. The show encourages discussion of the suburban American experience and climate change, with students serving as contributors and performers for the complex discourse.
‘On the Lawn’ Brings Story of American Lawn to Stage ABIGAIL CORRAO Special to The Hoya
“On the Lawn,” a production put on by the Georgetown University theater and performance studies program, inventively highlights issues of climate change, ecological conquest and land transformation through contemporary musical theater. The show is an artistic, experimental 90-minute examination of the physical presence of the lawn in American culture and its role in our relationship to the Earth. “On the Lawn,” which is running from November 14 to the 16th, was cocreated and co-directed by two members of the New York-based LubDub Theatre Co., Geoff Kanick and Caitlin Nasema Cassidy (COL ’11), in collaboration with Georgetown’s theater and performance studies program. “On the Lawn” was brought to the Davis Performing Arts Center by Maya Roth, artistic director of the center, as part of the 2019-20 season of student-focused productions, which incorporates students from all walks of life and passions. In May 2019, Georgetown students began working with LubDub Theatre Co. and brought the play to Georgetown in August 2019, directly incorporating the voices of students, faculty and local
designers in each aspect of the production. The co-creators have remained at Georgetown since rehearsals began on October, constantly working with the community to craft this theatrical experiment. The students provided distinct views on their perception of grass and backyards in the writing of the play, which created a platform for the entire Georgetown community to reimagine its relationship with lawns. The play highlights students’ individuality throughout every scene while connecting viewers through the lens of climate activism. The production’s cast and crew include Georgetown students of all ages, backgrounds and academic paths and not necessarily actors, united by a common interest in this innovative call for awareness, according to Cassidy. “Students are rolling up from baseball practice and football games and coming from the School of Nursing,” Cassidy said in an interview with The Hoya. “And that is how we want to make the work: that kind of collaboration and with people coming from lots of different angles and places and practices.” “On the Lawn” was developed as an urgent response to the climate crisis. In an effort to integrate climate change issues into daily lives, the directors wanted to
explore backyards. Eventually, the creators focused on the tangibility of lawns and their potential as a spark for widespread personal connection, according to Cassidy. “People were bursting at the seams to talk to us about their lawns,” Cassidy said. “It was like everyone had a story, and even if they didn’t have a lawn they had grown up by a park or a forest.” The ubiquity of lawns in the imagery of Americana made the random topic an ideal space to spark a societal discussion, according to Cassidy. “The most exciting thing about lawns for me is because they are everywhere in this country, they are a site for major potential change,” Cassidy said. The power of “On the Lawn” resides in its ability to transform an object as simple as grass into a medium for complex issues. The minimalist set, focused solely on grass, acts as a canvas for the cast’s forceful display of music and dance. The artistic elements transport the audience into the life of the lawn, examining its transformation throughout history and establishment as a landmark feature of suburbia. The actor’s movements on the stage create a sense of dynamism and drive the play, while emphasizing the remodeling of the tra-
ditional depiction of a lawn, from a facet of American culture into a model for activism. In these performances, the audience witnesses the human desire to possess land, often in excess, and the history of the exploitation of nature. The production’s intensity promotes critical thinking and encourages an emotional response deeply rooted in awareness and perspective. “On the Lawn” proves that an examination of the physicality of grass, particularly its simplistic nature, can lead humans to inspect their own roles as passive witnesses to anthropogenic issues, even if the premise seems outlandish. The presentation at the Davis Center is a draft, as the directors plan to expand “On the Lawn” outside of Georgetown. In spring 2021, the play will have its offBroadway debut, allowing an even larger community to unearth their connection to the planet by redefining the concept of lawns. “On the Lawn” showcases the fluidity and collaboration of the modern theatrical process, as the play’s constant evolution will mirror societal responses to current and future ecological issues, especially in relation to climate change in the backyard, the aspect of society most clearly seen by everyday Americans.
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FRIDAY, NOVEMBER 15, 2019
THE HOYA
ALBUM REVIEW
FKA twigs Finds Strength in Vulnerability on Sophomore Release
‘MAGDALENE’
FKA twigs TIMOTHY MCNULTY Hoya Staff Writer
On FKA twigs’ sophomore release “MAGDALENE,” the artist takes the best of her past work and delivers a project that shows the London-based electronic pop artist at her strongest. By seamlessly blending her natural vulnerability with a rich, fully-fleshed sonic landscape, FKA twigs creates an immersive, emotional and cathartic portrait of her personal and spiritual journeys. “MAGDALENE” is FKA twigs’ first release in four years since her 2015 EP “M3LL155X,” but the singer and dancer has remained active in the interim with various artistic projects such as ROOMS, a 12-room dance installation in London that took inspiration from zodiac signs, and the Baltimore Dance Project, which was a free workshop offered to dancers working to hone their craft. Despite her recent absence from music, on “MAGDALENE,” FKA twigs is at her most artistically developed and emotionally complex. The electronic artist continues to be the primary writer of each song as she was in her prior work, and the tracks still detail the intricacies of her inner thoughts.
Since the quiet yet forceful longing found on her debut project, “EP1,” FKA twigs continues to make her feelings sound bigger than any one person. She constructs labyrinths out of her songs, keeping her musings from sounding repetitive. Detailing the experience of all-consuming depression on “daybed,” the lyrics capture how FKA twigs makes presence out of absence: “Tired of my resistance / Smothered is my distance, yeah / Careful are my footsteps / Possessive is my daybed.” For FKA twigs, the intimate has always been given a certain distance and reverence by nature of a singing voice that wavers between a whisper and a plea, but on “MAGDALENE,” this reverence for human connection transitions into something sacred. This godliness is most present on opener “thousand eyes,” a song that starts out with a melodic rhythm and, once backed by the vaulting percussion, turns into a full-on chant; lyrics repeat and melt into each other, giving them a mantra-like quality only intensified by her sparse vocals. By turning longing into something divine, FKA twigs manages to create a feeling that at once envelops her listeners while simultaneously keeping them at
arm’s length, making for a wholly engrossing music experience. “MAGDALENE,” essentially, is a break-up album surrounding her split from Robert Pattinson, but FKA twigs defies any of the usual tropes that come with that label with music that is so undeniably hers. The choice to intertwine otherworldly strength with intensely vulnerable moments is a conscientious choice and stems from an unorthodox way of understanding strength itself, FKA twigs said in an interview with Pitchfork. “I mean, I am powerful and independent — and incredibly vulnerable and sensitive,” FKA twigs said. “I do find it problematic to always feel like your icons are always strong and always OK. If that is somebody’s idea of slaying in this time, it’s wildly off the mark.” The production throughout the album remains undeniably influenced by her electronic roots, but FKA twigs embraces a wider array of sounds that help the album defy genre and transcend comparison among her contemporaries. Departing from her usual trend of working closely with a select few producers, like Venezuelan musician Arca, whose contributions gave “LP1” its distinct visceral and warped sound, “MAGDALENE”
sees FKA twigs open the studio to a larger, more mainstream team including Skrillex, Jack Antonoff and Cashmere Cat. On “home with you,” warped and hushed verses contrast against the lofty, longing chorus, and the interplay between the two keeps its listeners on their toes, culminating in a flourishing symphonic accompaniment that lifts FKA twigs’ voice to new heights. Likewise, the lead single, “cellophane,” sees FKA twigs deliver one of her careerbest tracks. Undulating, persistent piano provides a foundation upon which her voice follows a crescendo with each statement of desire. When the verse ends with “All wrapped in cellophane, the feelings that we had,” the production bubbles around her words. At that moment, each part of the song comes together in a singular moment that showcases the meticulous interplay between presence and absence, desire and isolation, and vulnerability and power that drive her artistry. “MAGDALENE” is heart-wrenching, but it is heart-wrenching in a way that is distinctly the work of FKA twigs. On “MAGDALENE,” FKA twigs takes sadness and breathes life and beauty into the ubiquitous emotion.
@FKATWIGS/TWITTER
On “MAGDALENE,” FKA twigs maintains the perfect balance between vulnerability and power, showcasing both her stellar vocal control and meticulous attention to thematic detail. The electronic artist develops her art organically; “MAGDALENE” is not a reinvention, but rather a promising new direction that builds off the best parts of her art so far.
FRIDAY, NOVEMBER 15, 2019
CONCERT REVIEW
THE HOYA
B11
ART REVIEW
Pond Mesmerizes With Theatrical Dreamscape
ALEXANDRA BRUNJES FOR THE HOYA
The new exhibit, “Marcel Duchamp: The Barbara and Aaron Levine Collection,” details the many directions that conceptual modern artist Marcel Duchamp took and explores the effect of his work on contemporary art. Though the exhibit struggles to fill the gallery space, it still makes his art accessible to a new generation.
Hirshhorn Shares Duchamp’s Complex, Conceptual Art ALEXANDRA BRUNJES Hoya Staff Writer
Contemporary art always brings out visceral feelings about the definition of art — to some people, a wheel sitting on a stool could never be considered art. As a foil to this belief, Marcel Duchamp (1887-1968) was a French artist who played a pivotal role in pushing the conceptual nature of modern art. Duchamp’s artistic contributions and influence can be explored in a new exhibit at the Smithsonian’s Hirshhorn Museum and Sculpture Garden that thoroughly covers his whole career without making his artistry inaccessible and appear as an artifact of the past. “Marcel Duchamp: The Barbara and Aaron Levine Collection,” on display until Oct. 15, 2020, presents over 50 works by and relating to Duchamp and catalogs the progression of his career, from simple sketches to the readymade works that cemented his legacy. The exhibit, promised to the museum by Barbara and Aaron Levine, art collectors and avid Duchamp fans, walks visitors through Duchamp’s career and explores the ways in which he impacted and questioned modern art. Upon entering the exhibit, the first piece is a black and white film of Duchamp shot by Andy Warhol. Duchamp
is smoking a cigar and mischievously glancing around and engaging with people off camera. This filmed portrait confronts museum visitors with Duchamp’s personality — self-assured, humorous and unbothered by the outside gaze — before viewing his work. These characteristics fueled his artistic practice and his tendency to use his art as commentary or mockery. The first room of the exhibit holds only this video and a timeline of Duchamp’s life, and some rooms feel slightly empty as a way to spread the collection out through the entire exhibit space. The first full room of Duchamp’s work focuses on Dada, an artistic movement that questioned common assumptions about art, like the notion that art must be beautiful to be art. Duchamp is considered a pioneer of the Dada movement, specifically because of his conception of readymade art, an art form that manipulates pre-made objects rather than creating something new. By creating readymade art, artists can pull objects out of their ordinary contexts and elevate them to a conceptual level. The Hirshhorn exhibit notably features Duchamp’s “Hat Rack,” which dangles from the ceiling, rendering it practically useless but thought-provoking. This sort of work is representative of Duchamp’s focus on the mind rather
than the eye. As he has famously said — and as is projected onto the wall of this exhibit — “I don’t believe in art. I believe in the artist.” Duchamp believed that ideas themselves were paramount and inspired people to question intention rather than technical skills when evaluating artwork, according to the placards around the room. Another compelling facet of Duchamp’s work is his exploration with optical experiments. Duchamp cared more about the concept of art than the look of it — he disliked retinal, or simply visual, art, according to the exhibit — and used optical artwork to try to alter the way that viewers saw his work. Several of these pieces line the halls and some of the optical illusions he created play on a projected loop so that visitors can visualize his intentions; the projections fill the at times bare exhibit and transform the exhibit space into a fully immersive experience. The final room of the exhibit brings the story of Duchamp’s growth full circle by presenting works done about or inspired by Duchamp, allowing viewers to interact with his ideas. Duchamp was obsessed with chess, particularly during the later years of his life, so visitors are encouraged to sit at one of two chess sets and play with one another. The exhibit also boasts a station where visitors can
sketch their portraits in profile and hang it up as a means of contributing to the notion of Duchamp’s continued legacy. If visitors are attuned to the nuances of this exhibit — read the plaques, process the changes in expression across Duchamp’s career — the exhibit provides a fascinating and intimate look into the artist’s growth and impact on modern art. However, if they simply stroll through the rooms, they likely will not glean as much; despite Duchamp’s contrarian, controversial artistic tendencies, the exhibit is simple, almost bare. Unless you care to pay attention, this layout does not do Duchamp justice, particularly considering his focus on stimulating the mind and shirking usual forms of tradition. Duchamp’s beliefs and his work have defined our impression of contemporary art and a careful exploration of “Marcel Duchamp: The Barbara and Aaron Levine Collection” will allow viewers an intimate, unprecedented look into his growth and influence. His work spans a broad range that can at times seem hard to fully digest or evaluate, but its status as art remains undisputable, according to Duchamp himself. “Art may be bad, good or indifferent, but, whatever adjective is used, we must call it art,” Duchamp said.
ILLUSTRATION BY: JANIS PARK/THE HOYA