Author: Gabe Rosenberg

  • Students Advocate Healthcare Reform in Guatemala

    Middletown, Connecticut and Sayaxche, Guatemala are 3,249 miles apart. Driving between them would take two days and six hours, nonstop. And yet a partnership thrives between Middlesex Hospital and Sayaxche Hospital, and a student group helps traverse the distance.

    Students for Sayaxche partners with both hospitals to bring information and supplies to medical professionals working to improve healthcare in the Peten region of northern Guatemala. After the group’s yearlong hiatus, leader Ty Kelly ’14 hopes it can make a difference for both sides of the collaboration.

    “It’s our first real reboot,” said Kelly. “Our most recent meeting had 14 or 15 kids who are interested. It’s gone beyond my wildest dreams.”

    Kelly is a Neuroscience and Science in Society double major who will take the Medical College Admission Test (MCAT) later this year, which is the only reason he won’t travel down to Guatemala as part of the annual pilgrimage of Middlesex clinicians. With this background, he hopes to pursue a future in global public health and medicine, a dream that was confirmed by his time studying abroad in South Africa.

    “Cape Town is a wildly fascinating city,” Kelly said. “One side of a road will be in total poverty, and the other side will have so much wealth. South Africa was the public health ground zero, essentially.”

    There is certainly a need for public health advocacy in Sayaxche. Kelly explained that much of the student

    group’s work involves making instructional videos for healthcare providers in Guatemala. Information about treating trauma patients is especially crucial.

    “There’s a need for better techniques to support trauma patients over long distances,” Kelly said. “The Sayaxche hospital is much different than what we might imagine. When [the hospital is] too busy, there are women in labor on cots or on the ground. Small things like mattresses, breathing tubes, and blood pressure pumps make a huge difference.”

    Although many Students for Sayaxche members are interested in medicine, some are not. Kelly stressed that the group’s scope goes beyond the medical.

    “We want to help on a grander scale than medical supplies,” he said. “As far as traveling goes, we think it’s important to bear witness and treat it as a cultural immersion to see how other cultures perceive hospitals, medicine, health, illness, and sickness.”

    Steffani Campbell ’12, who led the group during her time at the University and will attend medical school next year, is interested in both medicine and cultural immersion. She spent seven months after graduation in Guatemala working alongside Middlesex and Sayaxche doctors in clinics and community hospitals.

    “I was so appreciative that they were all willing to take me in and let me be involved,” Campbell said. “I had some experience shadowing doctors before, but there I got to be more involved in caring for patients and saw what the scope of practice is for different kinds of doctors.”

    However, being a foreigner came with its own challenges, and Campbell was careful not to overstep her cultural bounds.

    “The first thing I did was to find out what the lowest level nurse was, buy that uniform, and wear it,” she said. “There’s an assumption that, being from northern America, you know more, but that’s not true—the nurses there knew infinitely more than I did.”

    According to Kelly, Students for Sayaxche is centered on learning and action; consequently, fundraising has not been a priority.

    “We try to stay away from the group model type,” Kelly said. “Fundraising is important because we need money to ship and buy supplies, but we’re focused on not being an organization of just fundraisers or documentary-showers. We’re an organization of doers, where students who are involved in the partnership learn what it actually means to be a public health advocate instead of just sending a check.”

    However, one of the group’s central projects does require money: the spring trip to Guatemala, which Kelly hopes will be a mainstay of the program in years to come. Currently, students must finance their own trips. For those unable to go, Kelly says he feels it is possible to take direct action even thousands of miles away.

    “My favorite part has been the doing,” he said. “I’ve been in other groups before where it’s easy to get lost in the woodwork, where you’re not an important part of what you’re doing. Work goes unnoticed. It’s been great for me and others to sink our teeth into a project and tackle it head-on.”

    Campbell stressed that learning can and should be its own goal.

    “It’s okay that this isn’t Habitat for Humanity, where you have this product being created,” she said. “It’s valuable to gain an understanding of the way other people practice healthcare, especially as someone who’s aspiring to be in that field.”

    Moreover, Campbell explained, deep understanding takes time.

    “One of the things I realized in Guatemala is that when you go into another culture for less than a year or two, you’re going to be a learner first,” she said. “You need to embrace that. I felt guilty that they were investing all of this money in me, and I wasn’t producing anything. There’s the idea of volunteering as appearing in a third-world country and being helpful because you’re from the United States. I had to own the fact that I am the product—it’s not the hospital that gets built, or the 20 babies that are born. I can be an educator now, help in a more mindful way, and be able to contribute in the future.”

    In the immediate future, Kelly’s hopes for Students for Sayaxche are modest, but his long-term vision is one of enduring progress.

    “I would love it if our work could result in lasting changes for the hospital and the community,” he said. “That would be exciting.”

    For Campbell, the future holds other trips to Guatemala.

    “I want to go back there before medical school,” she said. “It’s kind of addicting. Medicine there is still about caring for people—so much more than we’re able to do here. Here, it’s a lot of paperwork and watching your back. But there, it’s so much more about the patients. Their model is going to be what keeps me interested in practicing medicine.”

  • WesCeleb: Tennessee Mowrey ’14

    Between sheet mulching gardens with WILD Wes and playing “shock punk” with one of his many bands, Tennessee Mowrey ’14 keeps himself busy. Perhaps that’s why his music performance thesis attempts to go beyond a linear model of time. To find out how he does it, The Argus sat down with Mowrey to talk about zen and the art of garden maintenance.

     

    The Argus: Why do you think you’re a WesCeleb?

    Tennessee Mowrey: I think part of it has to do with the fact that I have a large personality and a weird name; you know, people can remember me. I play in a number of bands on campus, in the Beatles cover band, in the Weezer cover band, in a couple of bands of my own, and various theses and things. I perform in the Rocky Horror Picture Show and I lead WILD Wes, so I’m visible in certain ways around campus.

     

    A: What instruments do you play?

    TM: I play a lot of instruments. I started out on piano, and then bass, guitar, mandolin, ukulele, drum set, hand drums, vocals, songwriting—the whole shtick. Most of the things you hear in a rock band.

     

    A: How did you get into music? And did you teach yourself or take classes?

    TM: Before I got to college, I had taken some music classes in high school; my school had a good music program. But I was mostly self-taught on all of my instruments. I had taken classical piano for a while, but it was just very musical around my house. My father and my step-mother especially played a lot of instruments, so I would watch them and listen, and that’s really the best way to do it, and I would try it myself, and all of a sudden, here I am. But definitely as long as I’ve been at Wesleyan, I’m a music major and I’ve taken a lot of music classes, so it definitely has informed my playing.

     

    A: What made you want to get involved with all these bands, and how does that tie in to your work as a music major?

    TM: A big goal of mine would be to make money through music somehow after I graduate. Performing and having technical skill and being able to perform under pressure, under lights, with a crowd, where you can’t really hear the singer: being able to operate under those conditions is essential to being a gigging musician. So it’s good to have practice, but that’s not really why I do it. Why I do it is more twofold: first, the thrill of performance, which I’m sure a lot of non-musician performers can relate to; and second, the sound. I love it. I have a little bit of synesthesia.

     

    A: Why did you get involved in so many cover bands?

    TM: I’d say the cover bands are more secondary. I just learn the stuff kind of fast, and if everyone knows it, you can just come together and play it. But I play with a number of groups that play their own music, including Borneo, which is a group I write for, and Molly Rocket; obviously Molly [Balsam ’14] writes for that. We’re called Kroox now. Also, Sodomized By Angels is a shock-punk band that I write for, which is a lot of fun. There’s going to be an underwear-panty-punk-at-Earth-House show next weekend.

     

    A: What is shock punk?

    TM: It means I’m trying to shock you with what I’m saying. It’s definitely punk, but the lyrics are very obscene. I’m not going to say them here now. That’s a time for the concert. You should come listen for yourself.

     

    A: You said that besides music, you’re involved with WILD Wes. How did you get involved with that?

    TM: I’ve been involved with it since my days as WestCo president, when they came to WestCo and asked us if they could start this first project. And I liked the idea a lot and I was working on it, did a lot of sheet mulching for them, a lot of other stuff, and subsequently took the student forum when I came back from being abroad. Then I ended up here working this summer for them, when I built the stairs in the Butts. I’ve been around not since the very beginning, but close.

     

    A: What about that interests you? What about sustainable landscaping made you want to get your hands dirty?

    TM: I definitely don’t only have a single-minded focus. Even though I’ve studied music, I’m also an East Asian Studies major, and I have a lot of other interests. I’ve always had an environmental bent to me, and the WestCo thing was happening in my backyard. Not only was I helping create food and a sustainable, good-for-the-earth ecosystem here, on the Wesleyan campus, instead of using these lawns that are eating up a bunch of resources and not giving anything back except for this “aesthetic” value— why are we buying into that?—I also just had to roll out of bed in the morning and go out there and sheet mulch. I think the two things together made it very easy for me to get involved.

     

    A: Are you still involved with WILD Wes during the year?

    TM: It’s been a little bit harder for me to do as much as I did this summer—obviously, I was working eight hours a day—this year, because I’m working on a thesis and it’s taking up more time than I thought it would. Ha, I bet you’ve never heard anyone say that before. Every weekend or every other weekend, I’ve definitely been putting in some hours, except with the snow here, there’s not a whole lot that we can do. But we’re having a meeting, so I’ll be there.

     

    A: What’s your thesis on?

    TM: It’s a joint East Asian Studies and Music thesis about the Zen, specifically the Sōtō Zen: conceptions of time as actualized through musical performance.

     

    A: So what does that mean?

    TM: I could literally talk about this for hours. Real concise: We see past-present-future as, like, maybe a caterpillar through time: You could maybe jump around through it if you have the right devices. Dōgen thinks that’s not true. He thinks, and I’m now tending to agree with him, that reality is a changed state, just in its fundamental nature, and that changed state is actualized in a process we call time, but that is just the result of what it has to be, the result of the laws of causality. We used the regular laws of causality–the sun going up, us going around the sun, the moon going around us, the spinning of the Earth–in this way to mark time, but it’s really just different.

    I took that idea, and I wanted to try and represent that musically, and I actually, as silly as it sounds, had to invent a new musical notation system to do it. It involves wheels and Mobius strips and it’s pretty cool. If you’re interested, you can come check out the performance of it in April.

     

    A: How does one perform that?

    TM: With short, open-ended improvisation within a specific set of frameworks. A circle represents one time through a cycle, and there’s different x’s on the circle that tell you when you should blow a note or pick a string or whatever. So it’s supposed to remove the idea of beginning and end, and maybe of direct time scale; maybe that’s a quarter note, maybe that’s a half note, maybe that’s a whole note. Then, everyone is using the same score and doing different things all the time. The score looks like a mandala.

     

    A: What goes into organizing circular improvisation into a performance?

    TM: It’s been a process, certainly. My band has been very accepting of the radical new ideas I’ve been throwing at them. I can’t appreciate them enough. And basically, I don’t know, you just get it started. People are going on the same pulse, and you try things, and some things work and some things don’t; you come back to the things that work, and you don’t come back to the things that don’t.

    After we play for a while, I speak for a bit, and I say, ‘That was cool. Let’s try something more like that in the future.’ But also, zen is very much about letting everyone act as themselves in every moment, so I feel very weird prescribing the actions my performers have to take in any given moment.

     

    A: Is there anything else you’ve been trying out in your last semester at Wesleyan?

    TM: There are so many things I want to try. If I started over, I bet I could do a hundred things differently and still be very happy. But I just don’t know if I have time. My life is kind of busy now. Come April, I hope to be outside more. I want to go to Wadsworth a couple more times before I graduate, out to the pond. Mostly I just hope to strengthen the friendships I’ve made in the last bit of time I have here. I have opportunities to do other physical things, learn to canoe or whatever, but the people I’m around here really make it special for me, and that’s what I want to cherish.

  • Argus Abroad: Discovering Utopenhagen

    I’ve come to an unhappy conclusion about the lessons we can learn from Denmark, the world’s empirically happiest country. In short, America just can’t do it.

    I shouldn’t put that so pessimistically. Americans could definitely do what the Danes do that makes them so happy if they just changed their attitude toward life and work. And their size and demographic makeup. And their historical and current relationship with the government. Simple.

    There are several explanations I’ve heard thrown around about why the Danes are so happy, and most, if not all of them, would be extremely hard, if not impossible, to put into practice in the United States.

    The most obvious thing people point to when explaining the phenomenon of the happy Danes is the welfare state. People here get free (and generally good) health care, free university education, 5 paid vacation weeks a year with an extra 11 paid holidays, a 20-dollar-an-hour effective minimum wage, and generous unemployment policies. It’s said that if you were born an average citizen, the best place to be would be the Nordic region.

    But as the heated debate over Obamacare shows, people in America aren’t willing to go in that direction. Yes, the taxes here are high, but the citizens don’t mind because they are so well provided for. In the United States, people fight over proposed small tax increases, so the fact that members of the top tax bracket in Denmark pay 60.2 percent of their income in taxes (as of 2012) would blow many Americans’ minds.

    As I take my clean bus to school or walk on litter-free and well-salted roads here, it does seem like you get what you pay for. With the security that the welfare state provides to people who actually live and work and get sick here, I’d be pretty happy, too.

    Another part of the reason the welfare state could never work in America is the fact that people in the United States often distrust and resent our government. In Denmark, by contrast, people pay their taxes and follow the rules. They love their figurehead queen and wait until the walk light turns green at the crosswalk, even if it’s the middle of the night and there are no cars to be seen. More than 50 percent of Danes reported that they “tend to trust” public institutions, according to a 2012 poll.

    This trust can be seen on a much smaller level as well. The other day, while walking around, my friends and I saw a baby left alone in a stroller outside a store. A baby. We’d never seen anything like that. Aside from the media hullabaloo and the allegations of child abuse that would arise if anything like this happened in the United States, it just seems unthinkable that a parent would be able to leave a kid unattended without a babynapper coming along, but I guess that’s my American suspicion talking.

    The Danes also manage to keep their society running smoothly because they’re culturally homogenous. A country with a population smaller than that of Massachusetts, Denmark is sometimes described as a tribe rather than a country. This is very apparent when I walk down the street and look at the people who surround me. Of course, everyone is different, and Denmark has experienced an influx of immigrants, but generally people here come from the same cultural background and share the same values. In a melting pot like America, it’s a lot harder to reach a consensus.

    I’ve heard that Danish happiness stems from low expectations, which seems very antithetical to American views. In America, people seem more driven and work-oriented than people here seem. Danes consider family to be very important, and their policies governing parental leave and vacation reflect this. In the United States, the frenetic, materialistic culture makes it easy to feel like work and money are the be-all and end-all. I can understand that these differences in values could account for the difference in happiness levels, but I see no easy way America could fix this.

    Even if we can’t adopt the ways of the Danes, however, it has been fascinating to see how a whole new set of values and laws can shape a society.  For the next few months, I can just slow down, immerse myself in people who understand the important things in life, and marvel at the un-kidnapped babies.

  • Student Forums Combine Theory and Practice for Immersive Learning

    Students searching for intriguing topics and new perspectives should look no further than this semester’s student forums. For these forums, student leaders teach and lead discussions with their peers about topics they’re passionate about. Among the 11 offerings this spring, you’re sure to find something that captures your imagination.

    Grant Morrison: Comic Book Writer/Rock Star/Wizard
    Student Leader: Matthew Amylon ’14
    Faculty Sponsor: Professor of English Sean McCann

    When Matthew Amylon ’14 heard about “The Graphic Novel,” an advanced course offered by the English Department (in which he is a major), he was aggravated by its narrow view of the medium.

    “They came at it with such an outsider perspective,” Amylon said. “Comics are an entire medium. Calling that class ‘The Graphic Novel’ is like naming a class ‘The Book’ or ‘The Movie.’”

    Inspired partially by frustration and partially by his passion for the comic author Grant Morrison, Amylon decided to create his own forum that abides by his own standards and is structured like an English class. “It’ll be discussion-based, with a lot of reading and talking,” Amylon said. “My favorite classes in the English major are ones that focus on one or two authors and are very basic and specific.”

    Amylon, who has admired Grant Morrison’s work for years, is devoting the course to six of his works spanning from 1988 to the present.

    “We’ll be reading the first half of this series called ‘The Invisibles,’ which is what he was writing when he was taking a lot of drugs,” Amylon said. “It’s a really complicated and dense cosmological spy story, but it turns out to be much more about Eastern mysticism, the nature of the universe, and theoretical physics.”

    Radio Storytelling: Crafting a Narrative Through Sound

    Student Leaders: Rebecca Seidel ’15 and Aviva Hirsch ’16

    Faculty Sponsor: Associate Professor of American Studies and Anthropology J. Kehaulani Kauanui

     

    Seidel and Hirsch were members of WESU when they became involved with the formation of the Documentary Trolls, a radio storytelling collective affiliated with the University radio station. Soon, Seidel and Hirsch were both hooked on audio journalism. This semester, they will explore radio storytelling in a forum designed to look closely at sound and stories.

    Hirsch explained that contemporary radio has become increasingly popular in the past couple of decades with such transformative figures as This American Life’s Ira Glass. Radio Storytelling will study both the growth of radio and its unique effects on audiences.

    “We have some really great readings from accomplished producers, and in class we’ll be listening to a lot of people that [Seidel and I] listen to,” Hirsch said, who spent this past semester working on a series of radio stories in Fairbanks, Alaska.

    Seidel added that Radio Storytelling will serve as an introduction to all aspects of audio journalism.

    “We’re going to work on interviewing skills, production skills, ways to incorporate music into radio stories, and ways to get stories across,” she said.

    Seidel and Hirsch said they are also eager to use their forum as a means for community involvement.

    “We’ll be working with WESU, but we’ll also potentially collaborate with the College of the Environment, which is working on a podcast series that incorporates science into elementary education,” Hirsch said.

    Moreover, Seidel explained that she and Hirsch hope to engage the larger University community in addition to the students enrolled in their class.

    “We’re trying to get radio producers from the real world to come speak to our class and anybody else who’s interested,” she said.

     

    Alan Watts

    Student Leader: Bryan Garrett-Farb [Trinity College ’15]

    Faculty Sponsor: Professor of Philosophy and East Asian Studies Stephen Angle

     

    “The central piece of the philosopher Alan Watts is a basic confusion between who we think we are and who we actually are,” Garrett-Farb said. “A lot of his philosophy — really his presentation of Daoism, Hinduism, and Zen Buddhism — hinges on the notion of the self.”

    To that end, Garrett-Farb is leading a forum largely about the self; the class aims to explore the work of Alan Watts, a mid-century philosopher responsible for bringing Eastern philosophy to the West.

    “His work is fascinating and has an enormous array of consequences for personal daily life and the entire way we think about the world,” Garrett-Farb said.

    Along with reading Watts’ work, the class will be expected to practice meditation three times per week. The class will also practice together.

    “We’ll explore a few different iterations of meditation, like chanting ‘ohm,’ or listening to a gong,” Garrett-Farb said. “Watts also recorded a few guided meditations, and we’re looking into bringing in other spiritual teachers.”

    The class will consist of three major assignments: a journal that students will later turn into a reflection paper; an analytical paper applying Watts’ philosophy to a modern phenomenon; and a presentation of work not read in class.

    “I hope it’ll become a personal class as well as an academic engagement,” Garrett-Farb said. “Talking about the self changes everything. Watts challenges all our assumptions. I don’t want it to be abstract. I want it to be something lived.”

     

    Memoirs of Crisis: Writing Through Trauma

    Student Leaders: Cade Leebron ’14 and Jenessa Duncombe ’14

    Faculty Sponsor: Visiting Writer Clifford Chase

     

    This semester, Leebron and Duncombe will revisit the forum that they taught in Fall 2012. Memoirs of Crisis is a writing class offered to students regardless of their writing or life experiences.

    “We use a working definition of trauma as something that shakes foundation,” Leebron said. “Most people have had that.”

    Leebron and Duncombe plan to alter the original syllabus slightly, adding readings not taught in 2012.

    “We have many readings that aren’t very long; it’s 20 to 40 pages of reading per week,” Leebron said. “They’re very diverse in subject matter, tone, and style. [Duncombe and I] are very familiar with the readings, so we have a lot to say about them, but the students discuss them as much as we do.”

    The class is structured as a workshop, so all students read and comment on each other’s writing. Because stories of trauma are intensely personal, Duncombe said she and Leebron take extra consideration for students’ comfort.

    Leebron added that the nature of the assigned readings, as well as the fact that she and Duncombe share their own work, contributes to a spirit of sharing.

    “Students feel more comfortable sharing because all the readings contain such personal material,” Leebron said. “[Duncombe and I] also write. They get to critique us; we’re not experts.”

     

    Food Justice, Sustainability, and Sovereignty at Wesleyan and Beyond

    Student Leaders: Noelle Hiam ’15 and Rachel Lindy ’15

    Faculty Sponsor: Director of the College of the Environment and Chair of the Environmental Studies Program Barry Chernoff

     

    Building upon Food Justice & Sustainability at Wesleyan and Beyond, taught last semester by Jennifer Roach ’14, Rachel Weisberg ’15, and Kathryn Hardt ’15, new leaders Hiam and Lindy plan to examine international factors as well as domestic ones as they relate to food justice, sustainability, and sovereignty.

    “We’re trying to look at what’s currently wrong with our food system and how it impacts environmental, social justice, and animal rights issues,” Lindy said.

    The pair plans to draw upon their recent study abroad experiences in Vietnam, Morocco, and Bolivia. Hiam and Lindy were part of a program last semester that focused on food and energy in these locations, and they hope to lend a more international focus to the forum. The food sovereignty component is also new to the course.

    “Food sovereignty is the right of people to choose how the food that they consume is produced, and it aims to connect producers and consumers in a more ecologically sustainable way,” Lindy said.

    The forum will have both discussion and hands-on components, which might take the form of a guest lecture, foraging around campus for food, watching a TED talk, or working with on-campus groups such as Long Lane Farm or Middletown Urban Gardens. Hiam explained that students will be expected to get involved with a project related to food issues on campus or in Middletown.

    “A critique from last semester’s leaders was that the students had a lot of knowledge, but didn’t change anything on campus; the class didn’t practice what it preached,” Hiam said. “We’re going to encourage people to do something that will have a lasting impact.”

     

    Cantonese

    Student Leaders: Vanessa Chen ’16 and Alecia Ng ’14

    Faculty Sponsor: Adjunct Associate Professor of Asian Languages and Literatures and East Asian Studies Xiaomiao Zhu

     

    Chen and Ng  taught Cantonese for Beginners last semester, and the course offered this semester is largely the same in terms of material covered. Chen and Ng will, however, use feedback from last semester to adjust their teaching style.

    “The class will basically be more interactive and student-oriented,” Chen wrote in an email to the Argus. “It’s going to be similar to last semester but not exactly the same, since [Alecia and I] know what worked and what didn’t work from last semester.”

     

    Unlearning Prejudice and Practicing Self-Love

    Student Leaders: Alma Sanchez-Eppler ’14 and Mimi Goldstein ’17

    Faculty Sponsor: Chair of American Studies Department and Olin Professor of English Joel Pfister

     

    Discussions surrounding social justice are common at Wesleyan, but Unlearning Prejudice and Practicing Self-Love intends to facilitate discussions around themes like white privilege in a classroom setting. In turn, students will feel comfortable openly discussing such issues in more casual environments.

    Sanchez-Eppler said that the mission of the course is simply to discuss and ponder social justice issues that are not easily solved, considering issues through film and other cultural content.

    “We’re trying to pull from all over the spectrum of different writers and theorists around this work, so that hopefully people with different sensibilities coming from very different places can grab onto it and feel like they connect with it,” Sanchez-Eppler said.

    Throughout the course, students will practice reflective writing on the personal nature of these issues and also participate in workshops where they can share and learn from others’ writing.

    “The hope really is that people will be moved to be agents of change in their daily lives. I think it’s something that a lot of people want, but are unsure of how to go about it,” Sanchez-Eppler said.

    Goldstein feels that these conversations are vital for understanding and for attempting to make a difference.

    The pair hopes that the course will culminate with the students attending the White Privilege Conference in Madison, Wis., in mid-March, where students can attend workshops that will teach them skills to discuss themes of harassment and repression and find solutions to combat them in daily situations.

     

    Modern Feminism. Period.

    Student Leaders: Lily Myers ’15 and Kate Weiner ’15

    Faculty Sponsor: Chair of Sociology and Professor of Feminist, Gender, and Sexuality Studies Mary Ann Clawson

     

    After spending last semester abroad in Chile and Argentina, respectively, Myers and Weiner experienced firsthand some of the institutionalized sexism that occurs in countries around the world. The pair hopes to create a space in which students can talk about feminist issues that are both universal and local, particularly those present on campus.

    “Feminism is something for everyone, and women’s issues are everyone’s issues,” Weiner said. “The course will remind students that feminism is not solely women’s domain.”

    The pair plans to incorporate art, music, poetry, and spoken word poetry into their forum. One of their favorite books, “How to Be a Woman” by Caitlin Moran, will be prominently featured in the course, as well as poetry by slam poet Caroline Rothstein, a leading anti-body shaming activist. Some topics covered will include body hair, body shaming, and race and representation within feminism, radical homemaking, portrayals of women in the media, and the correlation between environmental awareness and feminism.

    The mission for the course is mainly to open a dialogue about feminist issues, and to provide a space in which people can become comfortable discussing such matters.

    “It would be really fun to have the forum culminate in this collective action that gets everyone on campus involved,” Weiner said.

     

    WesDEF Training: Breaking Barriers through Facilitation

    Student Leaders: Jessica Katzen ’16 and Alexandra Ricks ’16

    Faculty Sponsor: Associate Professor of Sociology Jonathan Cutler

     

    This course is taught every spring by WesDEFs (Wesleyan Diversity Education Facilitators), who lead discussions about social justice, diversity and anti-oppression issues throughout the school year. Katzen and Ricks took the course last spring and this semester will lead the forum to train new members to be facilitators.

    The course begins with basic facilitation skills, such as how to structure the workshops that WesDEF leads, how to engage with students, and how to respond to discussions.

    Prior to spring break, the forum will occur in a usual classroom setting, but after spring break, the forum will instead expect the students to attend and become active participants at WesDEF meetings.

    “We want to educate [the students] on different social justice issues and different forms of oppression, because we feel that [the goal of] WesDEF itself is to create safe spaces to discuss these issues,” Katzen said. “We hope that they become more informed members of society and ready to take action.”

    Some issues that the course will cover include race, gender, sexuality, and ability.

    “We mostly found readings from various social justice websites that we like, such as Sociological Images, Upworthy, and Buzzfeed,” Ricks said.

    The final project of the forum is to run a campus-wide event with the help of another group and lead a discussion centered on topics like rape culture in Greek life.

    Art and Science of Chemical Demonstrations

    Student Leaders: Stuart Pasch ’14 and Caitlin Bray ’15

    Faculty Sponsor: Associate Professor of Chemistry David Westmoreland

     

    Every year during WesFest, a group of chemistry majors puts on a 45-minute demo presentation to excite prospective students about studying science at Wesleyan.

    “It’s always been kind of semi-chaotic,” Pasch said.

    Last spring, two students created the forum “Art and Science of Chemical Demonstrations” to not only explore how to teach science through demonstrations but also use that time and space to prepare for the presentations in April. As a result, last WesFest saw more numerous, organized, and smoother demos.

    Pasch and Bray revived the forum this semester, gearing it towards current and prospective majors who have completed at least two years of chemistry classes. Despite the flashy, performance-heavy aspect of the demonstrations, Pasch said the projects require real scientific knowledge.

    “This isn’t something you say, ‘Oh, I’ll just pick this up and do this,’” Pasch said. “It’s not like anything you’ve done. It’s not just teaching. It’s multitasking.”

    Demonstrations include producing “gun cotton,” which results from changing the chemical composition of regular cotton into something explosive; where regular cotton burns slowly, gun cotton is set off by a mere match. Pasch said that demonstrations involving thermite, liquid nitrogen, and liquid oxygen are always well received.

    The demonstrations hearken back to the demos that teachers use in high school classes, but which tend to disappear once students advance to college. Scientific demonstrations take theoretical knowledge one step further, putting them into practical use.

    “It’s not lab work,” Bray said. “That’s the art component of it.”

     

    Building Resilient Landscape Systems: The Intersection of Deep Ecology and Landscape Design

    Student Leaders: Manon Lefevre ’14 and Will Wiebe ’14

    Faculty Sponsor: Associate Professor of Environmental Studies and Earth and Environmental Sciences Dana Royer

     

    Almost as long as WILD Wes (Working for Intelligent Landscape Design at Wesleyan) has existed as a group, members have taught student forums on the issues and techniques that WILD Wes practices. Lefevre  and Wiebe, both of whom have been involved with the group, are teaching Building Resilient Landscape Systems through the lens of landscape ecology, landscape architecture, permaculture, and other perspectives.

    “Landscape design is very interdisciplinary, so we draw a variety of students from a variety of disciplines,” Lefevre said. “It’s a combination of design, science, and theory.”

    Lefevre said they plan to bring in designers, biologists, ecologists, and other professors and professionals to lecture on specific topics including soil ecology, forest ecology, and even local flora of New England.

    The forum features an intensive hands-on design aspect, which will require working on continuing design of the WestCo courtyard and social space, as well as planting and designing the Butterfields terrace garden.

    “It’s rare that you have a student forum where you’re actually doing a hands-on project, which is what we’re offering: something more visible,” Lefevre said.

  • Rob Rosenthal Discusses Life and Legacy of Pete Seeger

    Pete Seeger, the preeminent American folk singer and political activist, passed away on Monday at 94 years old. Beyond his impact and continued involvement in the folk music world, Seeger was a persistent, positive presence in social movements from the 1940s onward.

    John E. Andrus Professor of Sociology Rob Rosenthal became personally familiar with Seeger when writing two books, Playing for Change: Music and Musicians in the Service of Social Movements (2011) and Pete Seeger: In His Own Words (2012). The Argus spoke with Rosenthal about his experience with Seeger, the musician’s life, and his influence on the world.

     

    The Argus: How did you come to know Pete Seeger?

    Rob Rosenthal: I had met him when I interviewed him for a book I had done on how music is used in social movements called Playing for Change.  And the publisher who published Playing for Change, Dean Birkenkamp, had talked to Seeger about coming out with a book that was just Seeger’s own words. He’s never written a strict autobiography, although there are autobiographical pieces in some of his books. The idea was that it was known, it was whispered, that he had incredible files on all the writings he had done over the years, in his house and barn, and this publisher asked him if there could be a book there, just his own words. He was interested, although he probably forgot about it 10 minutes after their conversation. Dean recruited me to go do it, and I recruited my son Sam to do it with me.

    For two years, we went to Seeger’s house maybe twice a month and would spend all day going through the unbelievable amount of files he had, looking for stuff, and spent a year figuring out which stuff we wanted to use in the book, putting it together, and running it by him.

     

    A: How did you shape the book from what you found?

    RR: He’s very arguably the most important figure in folk music in the 20th century, and we knew we were interested in what he has to say. He’s written tons. He had a column, Johnny Appleseed, writing regularly. He’s written liner notes to many albums, written albums, a couple of books. He’s produced quite a bit of written material. And there were all these things that were not published, like his letters and lists that he had made and drafts of things and ideas, and we read everything. We figured out what’s interesting, what’s important historically, and we wanted to tell his life. The book is somewhat chronological; there’s a part on his early life and becoming Seeger, and parts on different movements, because he was involved in almost all of the major social movements of the 20th century in the United States. There’s a part on his thinking, because he was a very sophisticated thinker on music and the political use of music and questions of commercialization and authenticity, things that political musicians have to think about.

    Once we had those categories, then we figured out, within each one, what was the most important thing to show people. We wanted to show how his thinking had evolved over the years as well.

     

    A: Can you expand more on how Seeger’s thinking changed?

    RR: To state the obvious, at one point he was a member of the Communist Party, and over the years he became less interested, not just in the Communist Party, but in mass parties in general. He described himself as a small-sea communist—he believed in people sharing things and didn’t think of capitalism as a good system—but he really moved into a much greater faith in small organizations and small groups. He had been involved in very large movements…but he tended to place much more faith in small groups in part because of the problems that developed with large groups. Large groups tend to get bureaucratic. I think he felt that had been a problem of the Communist Party; it was so large, it was hard for people to have a real say in what was going on after a while. And large groups tend to get out of touch with what’s going on on the ground. He was really a democrat, a [lower-case] “d” democrat, really interested in everyday people running their own lives and having more understanding of their lives. He shifted to a belief in small groups because they were closer to the ground level.

    He was very involved in, for instance, the Clearwater, a boat that sails up and down the Hudson River. It’s very arguable that Pete did more to clean up the Hudson than anyone. I don’t even think it’s arguable; he did. When he first noticed the condition of the Hudson, it was just atrocious, and he and a couple of people got together and created this organization Clearwater, and what they did was they built this giant ship and sailed up and down the river and had festivals at different ports and educated people about what happened to the Hudson and what could be done in the Hudson. And that was tremendously successful. Those were the sorts of things he became more and more interested in.

    A: How did he apply his music to the movements he was involved in over his life?

    RR: I think it would be a mistake to think he was only important musically in the Civil Rights movement.  He was important in the labor movement, the anti-war, anti-Vietnam movement, in the environmental movement. He used his music in three major ways: he did it in songs he wrote and performed; he did it most prominently through appearing in benefits for different groups, raising money and raising awareness; and he did it by serving as a model for other musicians. He told them, “The most important thing you can do is not become a star but work with others in movements and groups to make the world better.”

    In that way, he mightily influenced the generation right after him: Bob Dylan and Joan Baez and Phil Ochs. And that’s echoed down in the generations after that. There are people who don’t even know the name Pete Seeger who think of themselves as activists, progressive musicians who are following the model of the activist musician that he was developing. That was a crucial legacy of his.

     

    A: How do you think Seeger influenced the culture and community at Wesleyan?

    RR: I don’t know if it’s that direct. Certainly, there are a lot of people who grew up listening to Seeger’s music. It’s sort of interesting; some people don’t even know that it was Pete’s music. He’s written some songs or popularized them, but people don’t know there’s an author to them. They think it’s old folk, like “Where Have All the Flowers Gone?” or “If I Had a Hammer.” I think Wesleyan’s notions of engagement and civil responsibility and engaged arts. We have a lot of bands that have that ethos about them. Someone like Dar Williams ’89, who was a friend of Seeger’s, she carries on that tradition of engaged musicianship.

     

    A: What about Seeger’s legacy do you hope people should most remember?

    RR: I think his life is pretty well known, especially in the last couple of days. We spent a lot of time in his home looking through all these files, and the most striking thing was there were thousands and thousands of letters from people all over the world saying all sorts of things, but one message was the dominant message: “I’m off, wherever I am, I’m struggling in this political movement, I’m in jail, I’m fleeing my country, and your music is keeping me going.” And that’s an incredible legacy to have. “One of the reasons I can keep up my strength and do what I do is because of your music.” That’s as good of a legacy as I can imagine.

  • “Looking for Palestine”: Memoir Explores Politics of the Mind

    Before Najla Said’s memoir “Looking for Palestine: Growing Up Confused in an Arab-American Family” was a book, it was a one-woman play called “Palestine.” The memoir reads as though it were being acted: Said’s voice is rich, evocative and cadent, and so are the voices of the many characters that have built her childhood.

    But Said’s memoir begins with only her, as a New York City fourth-grader who is terrified of Jews.

    Manhattan is not an ideal place in which to be afraid of Jews. Said’s anxiety leaves her paralyzed with fear at a friend’s apartment, and, ironically, close to tears during a meeting with her (Jewish) school psychologist, to whom she has been sent because of her anxiety. Walking by synagogues leaves Said with the vague desire to apologize; for what, she has no idea.

    It isn’t that she is scared of Jews, per se. Rather, she is scared of their finding out that she is an Arab. Said is the daughter of a polished Lebanese mother and an absent-minded, intellectual Palestinian father.

    For the first decade of her life, Najla Said is embarrassed by her father, Edward Said, an esteemed scholar and author who coined the term “orientalism,” which is also the title of his famous 1978 book.

    (“You know,” Najla quips, “like ‘Aladdin.’”)

    But as a child, Said doesn’t mind the “Aladdin” designation. She will take anything that allows her to fit in at the Chapin School, a bastion of willowy blonde girls who spend their summers in the Hamptons and do not venture west of Central Park.

    Najla Said is not willowy, or blonde, or Upper-East-Side. Because her father teaches comparative literature at Columbia University, Said lives on Manhattan’s Upper West Side among professors from around the world and their families. At one point, young Said eats peanuts in her apartment with the famous philosopher Dr. Cornel West. Many of Said’s Chapin friends are forbidden from visiting her apartment; those who do visit come accompanied by drivers.

    Najla Said is growing up in the late 1980s and the early 1990s, the height of conflict in the Middle East, in a city far removed from the fighting but in a family very much invested in it. Dr. Said is vocal about his criticism of Israel’s occupation, fueling Najla Said’s Jewish anxiety. On her mother’s side of the family there is Beirut, the paradise-turned-warzone. When Said is still in Chapin’s Lower School, Beirut is already synonymous with instability and violence. Said is left to reconcile her happier childhood memories with the civil war that has taken over Lebanon.

    At home in New York City, the ground does not shake with bombs, but Said’s legs shake with fear of ostracism. In third grade, Said is summoned for height and weight checks, in which a cheerful nurse calls out the girls’ heights and weights for all to hear. Said’s classmates take this opportunity to bond over common statistics (“You’re 94 pounds? So am I! We’re twins!!!!”), but Said is taller, heavier, and darker than her classmates. The height and weight checks only amplify her differences.

    In high school, her father speaks at an assembly. Said’s friends, many of them Jews, gush over her father’s brilliance. Said’s friends are doubly wowed by her father’s ability to “diss” an obnoxious teacher who asks an inane question after the talk. As students swarm her father after the assembly, Said begins to realize that her father is actually sort of cool.

    Though she’s slowly coming to terms with her identity, she is still standing with one foot in New York and the other one in Palestine. One evening, Said and her brother, Wade, are in the backseat of Dr. Said’s car, cruising the streets of New York around Christmastime, when the song “The First Noel” comes on the radio. Najla sings at the top of her lungs, “Born is the king of IIIIISSSSRRRAAAEEELLL.”

    She receives a sharp jab in the ribs from Wade. “You’re supposed to say, ‘Born is the king of Occupied Palestine,’” he instructs her.

    Wade Said is the activist, rejecting stereotypes left and right, but Najla Said, at the Trinity School, embraces her “exoticism.” Yes, she capitalizes on the very thing her father is famous for denouncing, and no, he doesn’t know. Her name means “big black eyes like a cow”; she learns in an advanced Latin class that this is high praise, especially in ancient times.

    And the boys at Trinity, too, are enthusiastic about her foreign look. Jokes are made that the Palestinian-Israeli conflict is resolved each time her lips meet those of a Jewish boy.

    At this point, Najla Said is no longer afraid of Jews. She is, however, afraid of something else: her father’s imminent death. He has been diagnosed with leukemia that will kill him, and before he dies, he wants to see Palestine, the home from which he fled in the 1940s.

    In the wake of her parents’ announcement of her father’s illness and the Palestine trip, Said makes what she calls “the brilliant decision to stop eating.” She acknowledges that this decision is linked to her father’s diagnosis. Said posits, too, that her anorexia is partly a quest to distinguish herself in a way that she can control: being really skinny is a less sticky identity than being really Palestinian.

    Dr. Edward Said’s official birth certificate reads “Jerusalem,” changed from the nonexistent “Palestine,” because he cannot bear to have it read “Israel.” As soon as their plane touches down, the Saids discover that the Palestine of 1992 is nothing like the Palestine that Dr. Said left as a young man. Dr. Said meets with prominent Palestinian leaders in smoky rooms while Najla and Mrs. Said make small talk with their wives.

    Said has found Palestine, but she does not know where she fits into it. She feels like a wealthy New Yorker when she visits the unimaginable squalor of Gaza, but in New York she feels “exotic,” a role she is growing increasingly less comfortable playing. As the car glides through Palestine’s destitute streets, Said is gutted, at home nowhere.

    “Looking for Palestine” is not about global politics: Said does not take sides or resolve her feelings about international conflict, nor does she dwell on it. Debates such as the current boycott against Israeli universities by the American Studies Association (a subject upon which President Roth and Professor of East Asian Studies Vera Schwartz have opined for the Huffington Post and The Argus) do not interest her. Said is not an intellectual like her father. Rather, she tells stories: most notably, her own, distilling enormous conflict into personal experience.

    “I don’t do [my father’s] work,” Said told the Princeton Alumni Weekly (Said graduated from Princeton in 1996). “I’m an actress, I’m not an activist. I hate going to protests….I’m a storyteller.”

    And that story is enough.

  • WesCeleb: Ella Dawson ’14

    You can thank Ella Dawson ’14 for her part in keeping Wesleyan weird. The editor-in-chief of Unlocked, Wesleyan’s sex and sexuality magazine, Dawson has made it her job and joy to promote schoolwide conversations about sex positivity and feminism. The Argus sat down to talk to Dawson about Unlocked, sexual health issues, porn, and hookup culture.

     

    The Argus: Why do you think you’re a WesCeleb?

    Ella Dawson: I am fairly well known around campus for working with Unlocked, the sex magazine. I think most people’s first impression of me is either the girl yelling at them to join at the Student Activities Fair by saying, ‘No, sex is good! Come here! Don’t be scared,’ or from being that person really loudly talking at parties about how women like sex too. I think I make an interesting first impression. That’s probably the biggest reason, I would say.

     

    A: How did you get involved in Unlocked?

    ED: I joined my freshman year. They put out an advertisement on Wesleying for a new assistant writing editor and I applied, and I think I was only one of two or three people. So I got the job! I launched right in, because most of the editing staff were seniors about to graduate, and I was the one fresh-blood member they’d found. And then they all graduated, and I was left running a magazine by myself with no experience. That’s how that started, and I’ve loved it from the beginning. It’s a really awesome, quirky presence on Wesleyan’s campus, and it’s one of those few remaining things that keeps Wesleyan weird, so I’m very loyal to it and proud of it. And now we have a huge team of six or seven sophomores and freshmen on staff, so it’s grown, and I’m really proud of it.

     

    A: Were you interested in writing about sex before you came to Wesleyan?

    ED: I’ve always been a writer, and I’ve always been interested in feminism and sexuality. And for a long time, I didn’t see those things as overlapping. I always wrote about my relationships and my life when I was in high school. I started writing fan fiction in middle school and in high school started writing real fiction, and by nature of writing about my life I started writing about sex and relationships. I didn’t understand it as ‘sex writing;’ it was just what I was writing about.

    Then I got to Wesleyan and started taking FGSS classes and started hearing ‘the personal is political’ and ‘reclaim your experience,’ and I started to put the pieces together. Unlocked was the intersection of the two parts of my life that I always cared about. I’d always been a feminist, always been interested in sex-positive politics because I’d been working for Planned Parenthood for so long. I was despised at my high school—and worshiped at my high school—for attempting to give out condoms during our abstinence-only sex education my senior year. So they’re two passions I’ve always had, and I learned how much they overlapped when I was at Wesleyan and through Unlocked.

     

    A: Once you became the editor-in-chief of Unlocked, what were your goals for the magazine?

    ED: I believe I was the first female editor-in-chief, which surprises some people. There were definitely women on staff, but I’m the first leader, I suppose. A priority of mine was representing more female perspectives on sexuality. The editors before me were amazing and they definitely pushed the envelope, but the magazine could be somewhat intimidating to strangers. I remember when I wanted to join Unlocked my freshman year at the Student Activities Fair, and they were wearing leather chaps and had dildos all over the table. I wanted to make Unlocked less scary to people who wouldn’t necessarily want to pick it up or work for it. I was actually a virgin when I joined staff, which I was deadly afraid they would find out. So I wanted to open up Unlocked; I wanted it to have a bigger presence on campus but also be more approachable. I also wanted more women on staff, more representation of queer sexuality, more people of color.

    Those were my goals, and I wouldn’t necessarily say I met all of them, but I definitely tried. I just wanted it to be funnier, because sex is really weird and funny and awkward, especially in college when everyone thinks that everyone is having so much sex and that everyone must know everything. I just wanted to expose the fact that most of us have absolutely no idea what’s going on, and have Unlocked be weird and awkward as well. Our sex horoscopes in the last issue are a really good example of that, of being completely off the wall and silly.

     

    A: You’ve been running Unlocked for three years. Since then, how has not only Unlocked, but also the campus in general changed in terms of its representations and views on sex and sexuality?

    ED: When I was joining staff, people were starting to have really serious conversations about sexual assault on campus and consent. I believe my first year as editor-in-chief, or maybe the year before when I was a freshman, there were all of the sexual assault scandals in the fraternities and a lot of really important conversations started about how the campus and the administration responds to those issues. Sadly, I think some of those conversations died away without many actual practical solutions, but that’s definitely been very much a topic that people are aware of and engaging with. I wound up spending a lot of time with different fraternity members in the past year or so; one of my closest friends runs the social justice department [of AEPi], I think it’s a committee. And my friend at AEPi is talking a lot about how fraternities can be a positive influence. I know that conversation has been going on, and that’s something that Unlocked has been trying to represent as well.

    But I think in general, Wesleyan considers itself very good at [discussing] sexuality and communication and consent and actually is not as ready to admit its various shortcomings: we do talk about consent, but we don’t talk about the underside of sexual health on campus, and how heteronormative a lot of the conversations are about sexual health, especially. I hear a lot in my FGSS classes about how frustrated people get, especially queer women on campus, when they keep getting the same condoms in their mailboxes from WesWell: ‘Well, what am I going to do with this?’ There are definitely ways in which Wesleyan’s view on sexuality has evolved and yet run stagnant at the same time.

     

    A: Beyond Unlocked, what else are you involved in on campus?

    ED: Where to start? People are really intrigued by my thesis that I’m working on at the moment. I’m doing an FGSS thesis that is an anthology of short fiction and also an academic look at the genre of feminist erotica, which raises so many eyebrows. I just spent winter break working for my dad at a trade show, and all these adults were asking me what I was working on. ‘Well, I’m writing porn. And it’s a feminist act, so don’t look scandalized!’ So that’s something I’m working on, how female sexuality can be better represented in porn and erotica, and how women’s erotica can be a very limiting category as well as an empowering one.

     

    A: You said you were doing a creative part of your thesis as well. What form has that taken?

    ED: I’m writing five or six different short stories of varying lengths about what female sexuality looks like on a college campus. I’m staying very true to the source material that I have and the experiences of myself and my friends and common problems I see on campus. My thesis is very loyal to my experiences; I’m trying to write what I know, basically. Some of the stories are about hookup culture and how positive as well as negative of an experience that can be for women as well as men. Some of my stories are about how sex can be meaningless and yet meaningful, how it can change you, how a one-night stand can be very intimate whereas sex in a relationship, not as much, and that’s not necessarily a bad thing either. I’m just trying to play with and undo the classic examples of how people view hookup culture and female sexuality in our age group. I’m doing that through fiction, thinly veiled fiction at times. But it’s been very fun.

     

    A: Especially now at the beginning of your last semester, are there any new things you’re taking on, trying out, or want to work on?

    ED: The clock is definitely running out for me. I’m very loyal to making sure Unlocked continues and thrives once I’m gone. We’re about to put out our new calendar for 2014, which looks beautiful. I used to do a lot of work for WESU; I had a radio show for a couple of semesters, and I took a step back from that, but I still do some subbing down at the station. I’m mainly trying to appreciate the time I have left at Wesleyan. I’ve loved this school in all of its flaws, and I’ll be very sad to go. I want to finish my Wesleyan bucket list—some of which is probably not appropriate for the Argus.

     

    A: What stuff is?

    ED: I dunno, it’s all kind of sketchy. Don’t arrest me! Something that I do want to research and write about in my last few months at Wesleyan is the presence of sexually transmitted infections on campus, because that’s something that very few people want to talk about and admit is a very serious reality here. I want to write a feature for Unlocked and possibly a Wespeak about how people with STIs are very invisible on campus, and how there’s an incredible STI stigma on campus, which is strange for a school that claims to be—and understands itself as—so sex positive. I’m going to talk to some of the PHAs and WesWell and someone at ASHA, just to see what’s going on and why it’s such a glaring lack in the conversation about sexuality we have here at Wesleyan.

  • How I Met My Major

    c/o weswatcheshimym.tumblr.com

    Kids, this is the story of how I met my major. It wasn’t easy. I wasn’t one of those guys who walked into college knowing exactly what I wanted with my life. It took some time to figure out. Three semesters, actually.

    Sure, you’ve heard the short version of how I earned my Bachelor’s degree. But this is the long version. Once upon a time, before I was a “dad” or even a “graduate,” I had this whole other life. It was way back in 2012. I was a freshman at Wesleyan University.

    I was living in the Butterfields with my first roommate, excited about exploring the full breadth of the liberal arts experience, but then course registration screwed the whole thing up.

    Some of my friends already knew where they were headed in life. My roommate that first year had it all planned out: he met his major the second week of school, when he realized how much he loved his FGSS and Economics cross-listed class. I just had no idea. Normally, people tell you to just take what classes might help you with your career, but liberal arts is so go-with-the-flow. Barely anyone has a career path laid out, they tell you. But all the students you meet have something in mind. I swear, everyone I met seemed to be just flaunting their perfect internships and perfect theses and perfect lives.

    When it came time for me to apply for an advisor, I just listed all of my interests, everything from anthropology to psychology to, well, anything with –ology at the end. They gave me someone from the English department. Go figure. She told me to get my GenEds out of the way and go from there, but I’m not really into one-semester stands. I was looking for some meaning, and I just couldn’t find it in “The Universe.”

    But I figured that four months wasn’t too much of a commitment, even if I wasn’t totally devoted to the classes I was taking. I tried out a humanities class, but there’s only so much poetry you can read before it stops being romantic. Not to mention that the conversations got so convoluted, I wasn’t even sure we were still speaking the same language. SBS didn’t work for me, either. It was too political, and the patriarchy just bums me out. Oh, and there was a brief fling with “Intro to Programming,” but that didn’t last long at all. After the first problem set, BDNSM just hurts too much.

    There I was, nearing the end of my first semester, and I still had no idea what type of major I was after. I felt like I couldn’t just keep taking intros and survey courses, and my advisor was beginning to get nervous. “You never call, you never email,” she said. “When will you finally just settle for a nice Jewish and Israeli Studies certificate and write me a thesis?”

    So we made an appointment to sit down one afternoon with WesMaps. And that’s where I found her.

    I didn’t know her last name at the time, but her first name was “Temporality.” And it was the most beautiful thing I ever heard. She was interdisciplinary, and that was new and exciting. I ranked her at number one and left the rest to fate.

    But fate is a cruel mistress. My course registration results came back a week later, and she was nowhere around. I was devastated. I had seen my future with her. After her, how could I settle with “International Politics” and “Intro to Experimental Music”? Everything else just felt so shallow. And I was only given one day of adjustment before the school threw me back into the field. What I wanted was a period of mourning, but you can’t cry over filled classes.

    I got myself together. I tried to make the best of Drop/Add. I sat in class after class to see if it was right for me, but how do you figure out if a subject is the one after only an hour and a half? Let me tell you, kids, it’s an impossible task.

    I reached a new low. After a week of shifting my schedule around, considering a reduced course load, and flirting with pass/fail, I found myself sitting at my desk, alone, on a Friday night. My friends were all happy with their four selections. My roommate had even added a fifth on top of it all, just so he could fulfill his requirements sooner. And there I was, refreshing WesMaps every other minute. I don’t know what I expected: the perfect class to be created out of thin air? I almost accepted that I might spend another semester with no focus, no passion, no true academic love.

    Out of sheer despair, I clicked on “Temporality” one last time. That’s when I saw it: an open spot.

    I couldn’t believe it at first, but I gathered myself together and clicked “add.” I emailed my advisor. I emailed the professor. I went to the very next class. And I fell in love all over again.

    Over the next two semesters, all I knew is that I wanted to spend the rest of my college life with “Temporality.” I devoted myself to every class in which she appeared. My friends all found her fascinating. Even my advisor approved.

    The spring of my sophomore year, I finally declared. I would build my academics around her in the way nobody had ever done before. I proposed to be a University Major.

    The next two years were a whirlwind. I shaped my major without even caring about how I would use it after graduation. I wrote my thesis and submitted it for honors. I even taught a student forum. We were so happy together, “Temporality” and I. We still are.

    And that, kids, is how I met my major.

  • Argus Abroad: Making a Dent

    Millie Dent ’15 is a participant in this fall’s Cities in the 21st Century program, part of the International Honors Program within the School For International Training (SIT). The program’s goal is to examine the natural and intentional forces affecting city development across the world, focusing on issues of urban identity, ecological sustainability, and political action.

     

    c/o Millie Dent

    I have learned to thrive on the uncomfortable, the awkward, the embarrassing, and the unforgettable experiences I have each day while abroad. I accept the day as it comes with no expectations, and I am usually blown away by the results.

    The program is multi-country: we started out in New Orleans for two weeks, spent five weeks in São Paulo, and then headed to Cape Town for a month. We split our time there, spending two weeks in a Muslim community and then two weeks in a township.

    I have had many awkward experiences, especially since we are living with homestay families in each city we visit. The second day of our homestay in São Paulo, I managed to flood the bathroom. I did not realize the drain was closed during my shower. I stepped out into about an inch of water. I ran and woke up my host mom, who unfortunately spoke little English, so I just said, “Baniero! Baniero!” Luckily she understood. After we had mopped the bathroom, I tried to mime how I had managed to do so much damage. She just stared at me. Stupid Americans. I still cringe at the memory.

    Although I could tell embarrassing story after embarrassing story, I have also had my world turned upside down. Seeing a favela first-hand, I first felt embarrassment. I have read about informal settlements, studied them, and learned about NGOs working in them, but part of me never accepted their existence. I felt utterly stupid walking around, wearing a pair of TOMs, Urban Outfitters jeans, and carrying my green Orvis backpack. Kids stared at us. I stared at the ground, watching untreated sewage flow down an open sewer in the street.

    After the initial shock, I became more comfortable on site visits to the favelas. By the end of our month in São Paulo, four classmates and I had come up with a project to improve sewage, electricity, and water in a favela about an hour outside of the city center called CB12. We shared the project with city officials who were planning changes in the community.

    One of my best experiences in the city was meeting Djan, a leader in the pixadore movement. By day, pixadores live regular lives with typical jobs, but at night they scale buildings and sign their names at the top of each one they climb. Each has hir own written language that ze uses on each building, so nobody, including other pixadores, knows who has marked a particular building.

    They do not sign for glory or fame. Their main purpose is to draw attention to the problems of non-upper-class areas that the government is ignoring. Their painting would not be considered pretty, and they do not want their designs to be associated with those of graffiti artists. Pixadores paint only in black and will not stop until the government begins to address unemployment, lack of formal housing, food insecurity, sanitation, and the rest of the major issues plaguing the city.

    Living in the Bo Kaap, a Muslim community in Cape Town, I experienced major culture shock. I would wake up to the call to prayer every day at 4 a.m. and hear my host family leave the house to pray at the mosque.

    We did not have classes on Eid, the Muslim New Year, so my homestay brother took me to see the annual sheep slaughter. I was a little panicked, but once I learned the tradition behind it and that the meat was delivered to poor communities around the city, I recognized the benevolence of the community and its attitude toward those in need.

    Our second homestay was in Langa, a township about a 25-minute taxi ride from the city center. Some days we had breakfast; other days we had fiber bars. We rotated between hot and cold showers, never knowing when the hot water might work. We were not allowed to leave the house after dark due to safety issues. As much of a change as it was, it has been my favorite homestay so far. Members of the family I lived with always invited me on walks around the neighborhood or to a weekend braai (barbecue), constantly asking me questions and making me feel welcome in their home. I became football buddies with my six-year-old brother, Kanyeso. He taught me how to finish a pack of gum in just one morning, and I taught him how to play Hacky Sack. He would creep into my room while I was doing homework, pleading to play because he was bored. I taught him some boxing moves and he would practice while I wrote my papers.

    Although Apartheid officially ended in 1994, it is still very prevalent today. Racism runs rampant throughout the city, and the inequality was clear once I stepped outside of the city center. We walked through cardboard shack communities and saw the public bathrooms that the government is supposed to maintain looted of the actual toilets, which thieves sell. Doors are ripped off of the restrooms, making it dangerous for people to use them at night, so people have to keep buckets in their homes.

    The major issue facing the city is housing. The government is slowly working to provide 800,000 people with houses, but they only have the funding to aid 8,000 a year. Housing is a right guaranteed in the South African Constitution, but the government is failing the people. Food security is also promised in the Constitution, but many people are starving and others lack the funds for healthy food, causing an obesity epidemic around the country. Furthermore, South Africa has the highest rate of HIV/AIDS in the world. Once you dig deeper into Cape Town, past the usual tourist attractions of wine tours and Table Mountain, you discover the heartbreaking reality of the city.

    Currently we are en route to Hanoi, where we will spend our five final weeks of the program. Nobody knows what to expect, but if it’s anything like Brazil or South Africa, we are in for another wild ride. This program has pushed me to my physical and emotional limits, opening my eyes to a world of issues I had given little thought to before.

    c/o Millie Dent

    One thing I know for sure is that I am only getting a surface view of urban issues facing these cities, and that there is a wealth of information I still have yet to understand or come in contact with. I came into the program expecting answers, but I am going to come away with even more questions, as well as the drive and passion to pursue these issues in the future.

  • WesCeleb: Jess Best

    c/o Jess Best

    Jess Best ’14 is an unstoppable forces of music at the University. A music major and constant performer, she can be seen in any number of bands at a single time. Her current projects include Sky Bar, a soul band; and King At Bay, an indie folk collaboration with Mel Hsu ’13.

    Now that she’s a senior, however, Best’s ambitions are greater than ever. She sat down to talk to The Argus about recording music, the issue of diversity in the Wesleyan music scene, her upcoming thesis performance, and her search for new collaborators in the Class of 2017.

     

    The Argus: Why do you think you’re a WesCeleb?

    Jess Best: Why am I a WesCeleb? That’s funny. Initially when I was asked to be a WesCeleb, I asked myself that same question. I think it’s mainly music, just because I will play as much as I can around campus, and so I think that is the biggest contribution I’ve made to Wesleyan.

    A: I know you’re in a few bands—I can’t keep track of them because they keep changing their names and adding and subtracting members. The last I heard, you were in King At Bay with Mel Hsu ’13, and you used to be in a band called Blackbird and the Cherry Tree. What draws you to music, and why are you in so many bands?

    JB: I can’t say “No.” That’s something I’ve learned about myself. If someone’s approaching music in a way that feels open and real then I can’t say no to them, which is why I’ve been kind of oversubscribed for a while. Also, one of my goals at Wesleyan was to try out every kind of music I could possibly try, and I think that kind of translated into being in a lot of different bands because they all have different sounds.

    A: You sing, but what other things do you add to a band?

    JB: I play piano, and I write.

    A: How long have you been involved in music?

    JB: Since I could think, I think. It all started with dance. I was obsessed with dancing when I was little, and that brought me into the arts. Then I started singing, I did a lot of musical theater, and then I started writing. And that, I think, is what brought me to music rather than theater, because I love singing, but I really enjoy writing and singing things that I write, or writing things for other people.

    A: How did you get started in the Wesleyan music scene?

    JB: Honestly I feel like I have so many people to thank for that, because I came to Wesleyan and it really felt like the people who were here were just interested in creating a collaborative environment and welcoming you with open arms. I put myself out there a little bit, which is scary, and then people were right there for me.

    A: Are there any particular instances you can think of when that collaborative attitude really stood out?

    JB: I’m in a band [called] Sky Bars also—it’s more like a funk/soul/R&B band—and I would say that the evolution of our band is pretty amazing to me, just because it started out [with] a lot of covers, and then I brought a bunch of my songs in and we were doing those, but then it just opened up. We wanted everyone to be involved in that process, so literally everyone in the band was writing and coming up with ideas and contributing, and I feel like that’s just been a really cool evolution of a band.

    A: Are you still together as a band?

    JB: Yeah, we’re performing and recording soon.

    A: What are you recording, and what’s that process like?

    JB: We’re going to record over Fall Break at my house. I don’t have a recording studio, but Jared Paul [’11] set us up. We haven’t been together this summer, so we still have to figure out what kind of a set we want for the recording, but we’re just going to try to do as many originals [as we can] and just shack up in my house for a few days.

    A: What’s the intended output?

    JB: To be honest, we haven’t really talked about it, but I assume we want an album.

    A: You’ve had previous experience with recording with King At Bay. You guys put out an album at the very end of last year. What was that like?

    JB: That was probably the smoothest recording process I’ve ever experienced. Mel and I both had recording experiences that we really learned from. Mark Bennett [’13] and Sam Friedman [’13] are also in the band. Mel and I met up prior to the actual recording process and just nailed down form, nailed down the different parts, and just really had our shit together. And also thanks to Sam and Mark for being troopers and amazing musicians. I think also we had developed our sound enough that we knew what we wanted. And Jared just brought the magic.

    A: What’s it going to be like this year, now that you’re the senior and a lot of your past collaborators are not at Wesleyan anymore?

    JB: It’s funny, because I met up with King At Bay the day before I came here, and it just kind of hit me that a bunch of my strong musician friends aren’t coming back with me. At first I felt pretty sad about it, but I’m actually really psyched to give back in a way. I’ve had the blessing of being brought into so many projects, so I’m really excited to take on that role.

    A: Looking for new collaborators in the Class of 2017?

    JB: I would love to meet underclassmen. I feel like it’s pretty hard to meet underclassmen, and it’s funny you say that, because, coming to Wes this year, that was probably my number one goal. Just to at least meet one person who I can collaborate with or just help in any way, who’s into music, because that was so special for me, and to be honest, I don’t really feel like I’ve taken on that role yet.

    A: There was a big controversy at the end of last year, where a lot of people were concerned about the lack of leadership or visibility of female musicians and female band leaders, especially in the Wesleyan community. As someone who not only leads bands but works in other people’s bands and writes your own music, playing an instrument as well as singing, what do you think is the best thing Wesleyan can do to support more people like you?

    JB: It’s definitely not a non-problem; it exists. I’m a music major, and the ratio is insane. I’m probably one of a handful of girls in every one of my music classes. I just think it’s a really hard issue to tackle because there’s been some effort to create all-female bands who have a mission to tackle that. But then, I think, the point becomes the issue, not the music. For me, as a female musician, I just try to work hard all the time and bring out my strengths through my passion and working really hard.

    I think that there are a lot of underlying tensions in the music scene here at Wesleyan, just because I think that a lot of females, first of all, feel intimidated by the fact that it’s male-dominated. I think that Wesleyan needs to provide more spaces for jamming. It’s insane that Wesleyan prides itself on being so filled with music, yet there’s one band rehearsal space, and it’s booked dawn until dusk, all the time. I think that Wesleyan really needs to invest in creating music spaces where people could just happen upon each other and meet people they wouldn’t normally collaborate with so that it makes the entire music scene just more malleable and open and porous.

    A: If it were easier to enter the Wesleyan music scene, then would the issues of diversity within it be a lot easier to overcome?

    JB: I think if there were creative spaces that were open and accessible, then it would be really different. I have a lot of friends who love to sing but say, “I don’t have any musicians who will play with me. That seems like a big issue. Even if it were a facilitated space, if students volunteered to facilitate different pairings of people, that would be so cool. [The] Mash is amazing; I think that’s a good step. I understand why there are different bands playing, but I remember last year, it was so cool when the stages weren’t booked because people would just get up and do their thing and it wasn’t planned—it was impromptu and natural. That seemed like it worked really well.

    A: Is it returning this year?

    JB: Yeah, it’s Friday, on [Sept.] 6. Sky Bar is playing.

    A: Will you be having impromptu performances as well?

    JB: I hope so! I can’t say because hopefully it will be unplanned.

    A: As a senior, what else are you doing in your last year here? Are you doing any theses or overall projects or anything to wrap up your time here?

    JB: I am doing a recital, actually, this semester, on Nov. 22.. I’m really excited about it, because I have never had this time set to create something for the stage, and it can be whatever I want. It’s really challenging me in a way that I’m really excited about.

    A: Do you have a plan for how you’re going to organize it?

    JB: Yeah…I mean, no. I am learning a lot about myself. It’s interesting, because a big part of the process has been figuring out my approach to the process, and at first I was thinking about how I wanted a theme, it needed to be cohesive, I needed to think of what kind of sound I wanted. And then I realized that I just need to start writing, and thinking about things I have never done before but I have always wanted to do, and then whatever thematic ideas or cohesion will come from that, because that’s just how I always work. I’m not the kind of person that can be like, “I’m writing a song now, and then write a song that I really like. A lot of times, it’s that same flow where it’ll come out and then I think about it. I think that a lot of times, your first idea is the best idea.

    A: If your final performance is at the end of this semester, what’s after that?

    JB: Well, I am not positive, but I’m thinking of graduating this semester but then maybe living in Middletown. I would love to keep recording with different bands, but King At Bay is definitely going to pick up after my recital. We definitely want to do a show at Wesleyan soon, and we are trying to spend this time of not performing just building up our set and writing a lot more material and kind of developing our sound a little more. I would love to get into maybe music production a little more. I brought a little home studio setup to my senior house, and I am excited to dive into that. And just play as much as possible. I think, more than ever, I’m realizing what an amazing musical community we have here, and it’s just so rich. I want to take advantage of that.