Tag: naya samuel

  • WesCeleb: Sadichchha Adhikari

    c/o Sadichchha Adhikari

    Even though her thesis on Chinese humanitarian aid is keeping her busy these days, Sadichchha Adhikari ’16 finds the time to interview prospective applicants, write for WesStuffed (of which she’s co-editor-in-chief), and maintain her killer eyebrows. Adhikari sat down with The Argus to talk about New England fall, the magic of curry powder, and learning Japanese.

     

    The Argus: Why are you a WesCeleb?

    Sadichchha Adhikari: That’s a really hard question to answer. I don’t really know. I think very recently I’ve been exposed to people I hadn’t really met before, and if I had met them, I wasn’t really close with them. As a senior interviewer, I’ve been exposed to so many new people and new things, so my social group has expanded significantly. Maybe that’s one reason. Other than that, I’m also involved in a wide range of activities, I think, and I’ve dabbled in a lot of things over the past three years.

    A: What are some of the things you’ve dabbled in?

    SA: I used to play ultimate Frisbee here, and I had to stop this year because I’m writing a thesis. I also run WesStuffed with Amanda Roosa [’16], another senior interviewer. I used to do Model UN here, too—I was the president for the past two years, and I gave up the throne this year for my thesis. I’m also in the College of East Asian Studies majors committee. I think, also, having taken a wide range of classes in a liberal arts school…has allowed me to expose myself to different people.

    A: What’s this thesis that’s taking up all of your time?

    SA: I’m writing about Chinese aid and what that says about the politics of South Asia. I’m originally from Nepal, and I wanted to write about humanitarian aid, specifically in relation to the earthquake on April 25, [2015].

    A: How have you changed since coming to Wesleyan?

    SA: Tremendously. I went to a very small high school that was very into specialized fields. So it was a high school for math, science, and engineering. It was very rigidly structured. I didn’t have a lot of room in my schedule to take other classes. So I think being comfortable with exposing myself to new things is something that I’ve learned through my time at Wesleyan. Also learning to be more tolerant of people. I would have never thought that I’d be a Government major or study abroad in Japan or anything like that. Learning what it’s like to enjoy the things I’m learning about and writing about in class is something valuable that I’ve learned here.

    A: Tell me about something you think is underrated.

    SA: I feel like everything I think is correctly rated for most people. I think New England fall is underrated. Most people tend to overlook the beauty of a New England fall because it gets so cold, and it’s an indication that a harsh Wesleyan winter is coming. But I went apple picking a few weeks ago, and it was amazing. I live in New York, where there aren’t a lot of trees and not a lot of fall foliage. And in my time in Japan, I was in one of the places where it has the most beautiful falls, because it’s known for the red maple trees. I’ve come to appreciate it a lot more over the past few years, and if I am to move back to New York after I graduate, I think that’s something I’ll miss.

    A: Would you want to be famous? For what?

    SA: I don’t think I’d want to be famous. I think I’d want to make a big impact, especially for women in developing countries. I think that’s something I’d want to be known for if I were to ever be known for something, just because I’ve grown up with the privilege of my parents being O.K. with me playing sports, and being O.K. with me not being into things that girls are usually into in my country. But other people don’t have that privilege. I would really want to be a voice for people like that, and who are otherwise disadvantaged.

    A: So that’s the field you want to go into after graduation?

    SA: I definitely want to go into the nonprofit field. I don’t know if I want to work with women specifically, or for Nepal specifically, but definitely something that’s known to have made an impact, I want to be involved with.

    A: What’s a skill or talent you want to get better at?

    SA: Definitely cooking. I started cooking my junior year at Wesleyan, just because I had access to my own kitchen, and it was the easiest option available. It’s only been a semester since I’ve been doing it, and it’s definitely something I want to improve on, because it’s such an important skill, just in life.

    A: What do you like to cook?

    SA: Curry powder is my go-to ingredient. I put that in almost everything. The recipes I’ve written about for WesStuffed so far have all been related to co-op food, because I think that’s something everyone can relate to, like having to throw out co-op food because it goes to waste. So it originally started as a way for me to not waste food, but then I started coming up with my own recipes and posting them on WesStuffed.

    A: What do you do to relax?

    SA: I used to knit a lot. But that’s when I had access to my parents’ money, and now I can’t afford yarn. It’s really, really expensive. But I think just watching TV and not moving for a few hours is my way of relaxing. I know other people are like, “I go to the gym,” and “I go running,” and things like that, but I’m just like, “No. I like to watch Netflix in bed.”

    A: What shows?
    SA: Recently I finished watching “Breaking Bad” for the second time, because it is so good and really addicting—I mean, for every other reason that everyone else likes “Breaking Bad.” And I’ve started watching “Last Man on Earth,” which is a new show with January Jones and other people I’ve seen before on TV and don’t know their names. So definitely sitcoms and comedy shows in general are my go-to, I think.

    A: When someone was nominating you to be a WesCeleb, this person wrote, “The first thing you’ll notice about Sadichchha is her killer eye-liner and on-point eyebrows.” What’s your secret?

    SA: [Laughing] Oh my God, I love that. I’ve been doing makeup since I was 13 years old, so I think practice. As for my eyebrows, I think that’s the thing I’m most conscious of because my mom owns a salon in Manhattan and does eyebrows for a living. And so I guess for that reason I do a good job of maintaining them.

    A: Where do you go around here to get them done?

    SA: I go to a place in Middletown—I actually took a friend there, Eury German [’16]. It’s called Sangita’s [Threading Parlor]. She’s a really nice person. It’s a quaint store.

    A: Where do you see yourself living in five to 10 years?

    SA: I don’t really know where I want to live, because I want to be moving around all the time. I don’t think I can stay in one place for more than a few months. So ideally I’d find a job where I get to do a lot of traveling. My ideal job would allow me to live in Japan for a few months, and then back to New York, or somewhere on the East Coast, for the rest of the year.

    A: How long have you been speaking Japanese?

    SA: It’s funny, actually. When I was a kid—my dad is fluent in Japanese—I would be saying random gibberish things, and he would say, “You’re speaking Japanese! You’re doing it!” And ever since then I’ve thought, “Wow, I really have to learn Japanese.” I took in my freshman year, on a whim, and ended up loving it. So I’ve been taking it for three years and went abroad.

    A: What’s your weirdest Wesleyan story?

    SA: I feel like I haven’t been adventurous enough to have weird stories…. Okay. I used to be a tour guide for the Office of Admissions, and once I was giving a tour and a bird pooped on one of our guests. She started freaking out and didn’t know what to do, because she also had an interview after that. I didn’t really know how to handle it, because they don’t prepare you for such a specific event. So I was like, “There’s a bathroom—you can go and wash up.” But she was freaking out, her dad was freaking out, and it was a weird situation that I never expected to happen.

  • WesCeleb: Daniel Wittenberg

    c/o wesleyan.edu

    Whether you recognize him from his job at the Usdan help desk, as the former President of Psi U and WestCo, or, if you’re a first year, from the We Speak We Stand presentation during orientation, you’ve definitely seen Daniel Wittenberg ’16 around campus. Our first WesCeleb of the 2015-2016 school year, Wittenberg sat down with The Argus to discuss his summer internship at a nonprofit, the power of summer camp, and the future of Psi U.

     

    The Argus: Why do you think you were nominated as a WesCeleb?

    Daniel Wittenberg: I think that’s a tough question, but I would say that I’ve been really lucky with the communities I’ve been involved with at Wesleyan, as well as where I’ve just ended up on campus. So I lived in WestCo my freshman year and really loved the community there. I ended up being WestCo president, so that’s kind of a whole community that, although I lived in Psi U my sophomore year, I have always been connected to. And then I work at Usdan, the student center, and I was working at the front desk the past two years. I feel like it’s a pretty visible place and a really easy place to interact with people. Also, I think that my involvement with Psi U and, most recently, WesWell and We Speak We Stand, have just been ways to meet really different faces of campus, and it’s just been really fun.

     

    A: What’s it been like being involved with We Speak We Stand?

    DW: I’ve really loved it. I got involved in the spring as a facilitator for bystander intervention. That’s something I actually got involved with through Psi U, because we were working with WesWell to try and get our house safer and keep members educated. So I got involved and got trained as a facilitator and did a few bystander interventions, and then Tanya [Purdy] sent out an email to everyone that was involved in that to ask if we wanted to come early for orientation and do the performance. And it was something that I’d really started to care about a lot, and something that I really enjoyed. I enjoyed the people that I was doing that with, and it was a really rewarding experience.

     

    A: Can you tell me about how you reacted to the recent news about Psi U being closed for the upcoming academic year?

    DW: Yeah, it was really devastating. I was president last fall, and throughout the course [of the year], Psi U changed in so many ways, most notably in co-educating in the spring. And after all of this work, to kind of hear at the end of the summer, not even when the incident happened in the spring, that we would no longer be allowed in the house this year—also through emails that were not really clear about what had happened and were kind of just working off assumptions—it was just really sad to see all the work that I and so many others had put in get set back. And I don’t think it’s been erased. It certainly hasn’t, because we’re going to be really active this year—but it’s tough, just because it wasn’t something Psi U was involved with as an organization, and nobody really knows what happened…. I think the administration really jumped to conclusions.

     

    A: You said the organization’s going to be really active this year. Do you all have any specific ideas lined up?

    DW: So, we’re still working out exactly how we want to organize this year. I’m no longer directly in a leadership role, but I’m still really involved. We need to work with the University to see exactly what we can do as an organization without a house. Our hope is to still engage with the campus, still host events, still try to get our message as Psi U and where we’re headed out there for the freshmen who might not really know. Especially because we’re not going have a space, we want to make sure we still engage in conversations with the freshmen and see if they’re interested, and really figure out after this year where we’re going to be headed, because we were really in a transitional phase and it’s important to keep that going.

     

    A: What other activities are you involved with on campus?

    DW: I was a student manager at Usdan my sophomore and junior year, and this year I’ve actually been hired as a programming and marketing intern, so I’m going to be working with UCAB as well as Usdan staff to organize weekly Thursday and Friday night events in Usdan, and to market those to the campus. There are some really exciting things coming up. I encourage you to come, and everyone else. It’s essentially going to make use of the Usdan facilities to, one, provide a safe and fun engaging social space for students on the weekend if they don’t feel like going out to other places on campus or if there’s nothing else going on, and two, to help show students how they can use Usdan throughout the year, and use those facilities in different ways that they might not know about.

    I think coming in as a freshman you might not know everything that Usdan has to offer, there’s actually a lot of stuff there that students can take advantage of. But I don’t think everyone knows that, so I’m really excited about that. I really love working at Usdan. One, the people I work with are really amazing, and it’s a great group of people that really have different perspectives on campus, because I would say that they’re all really interested and into different things. And two, just being in the student center you see so many students and kind of get to see people interacting with one another a lot.

     

    A: How was your summer?

    DW: It was great. I was interning at the F.B. Heron Foundation, which is in New York. It’s actually kind of a long story, but I’m going to go into it. They’re engaging in impact investing, rather than operating like a traditional foundation, where they have an endowment. And then they give grants, and those two departments are separate. The endowment invests money and uses the money they make to give money to organizations that work towards their mission. F.B. Heron is fighting poverty, so that’s an example. But what they’ve found a few years ago now, as financial portfolios are becoming more transparent, is that a lot of the money they were investing with their endowment was actually investing in things that kind of run counter to mission, like privatized prisons, which you could say actually are really bad for impoverished communities, and fossil fuels, again which disproportionately affect low income communities. So they’re transitioning to invest their grants and any debt in equity into mission organizations or portfolios. It’s hard to explain without going into some nonprofit or finance lingo, but it’s actually really exciting, and I’m hoping to write my senior essay about that, too.

     

    A: Has it impacted what you want to do after Wes?

    DW: Yes, to the extent that it’s shown me that I don’t actually want to go into nonprofits. I really enjoyed working there, but I’m not sure if it’s the environment I want to go into right after college. I might try to get some experience in a more entrepreneurial environment and hopefully move forward from there.

     

    A: How has the CSS major impacted you?

    DW: I loved the CSS major. Although a lot of people view it as very restrictive because you’re assigned courses you take every semester, I think the way that it’s taught really lets you form your own ideas about what you’re reading. You write essays about content before discussing that content in class, and I think that’s really cool, because it allows you to kind of take your own approach. And then when you get to class, it gives you the chance to kind of adapt and kind of defend that approach, and your interpretation of what you were reading, and I’ve really enjoyed that. I felt like I had a lot of freedom with what I learned.

     

    A: Do you have any favorite memories at Wesleyan?

    DW: I have so many varied Wesleyan memories that it’s kind of hard to really pin down. I would say that many of my best learning experiences have actually been through Psi U and taking a leadership role in an organization where students really take the lead. I was president of WestCo and worked with ResLife a lot, but didn’t ever get that level of decision making and autonomy that I got in Psi U. Going through the process of coeducation when that was announced in the fall when I was president, working with the organization to make that transition, and working with the rest of students on campus to figure out what our role would be on campus after that transition was made was a huge learning process and, although a very difficult memory, a really rewarding one that I learned a lot from.

    I’ll try to think of some fun memories. I have so many different ones that it’s really hard to say. I’d say that also—this is another Psi U one—when our first coed class was initiated last spring was absolutely one of my favorite memories, because there had been so much work that went into it and, you know, the way that our house had transformed that year was really inspiring. And seeing that all culminate in a new class of both men and women was really amazing.

     

    A: What’s the meaning behind that ankle tattoo?

    DW: Yeah, so this is a really important part of my life, too. I have attended and worked at the same camp for the past 11 summers, and this past summer was actually the first one I didn’t return there. I started when I was 11, and I was a camper for a few years. I did an international exchange program through them and have worked there as a counselor ever since. I would say that that place in terms of shaping me as a person is probably the one place that I’d say has shaped me the most. It’s… in Becket, Massachusetts. It’s in the Berkshires. It’s beautiful. It’s one of the most caring communities I’ve ever been a part of, and I try to make it back every summer even if I’m not working there anymore.

     

    A: Where’d you go internationally?

    DW: I went to Chile. It was an amazing experience. So that was actually going into my sophomore year of high school, so it was a while back, but it was a really great experience, good for my Spanish speaking, as well as the first time I had traveled in a group of people my age and had a lot of independence in the people I was interacting with. I would say it was really my first really cultural experience, because traveling before that was really not the same.

     

    This interview has been edited for length.

  • WesCeleb: Ethan Tischler

    Being in the spotlight is second nature for Ethan Tischler ’14, who has years of musical experience under his belt. So it was no surprise that the Wesleyan Spirits singer was game to be interviewed despite having just returned from a trip to Vassar, where he performed with the a cappella group. Energetic and friendly even after a sleepless night, the religion major chatted with The Argus about secret tunnels, South Indian drumming, and the subjectivity of truth.

     

    The Argus: What are you involved in on campus?

    Ethan Tischler: This semester, way too many classes, but most of my time outside of class goes to Slavei (the Georgian a cappella group) and the Wesleyan Spirits. I feel like there’s something else, but it might just be those two right now.

     

    A: How did you get involved in the singing scene here?

    ET: I came to Wesleyan after singing a whole bunch, like musical theater stuff and chorus in high school. And I just really wanted to keep singing once I got to Wesleyan, so I jumped right into the Spirits first semester of freshman year, and then found Slavei coming back from my semester abroad. It’s just this really, really awesome, quirky musical community. It’s just really fun.

     

    A: What’s the main difference between Slavei and the Spirits for you?

    ET: I mean, the type of music is completely different, and the attitudes of the groups are very different also. The Spirits have this collegiate a cappella tradition and approach the choral music and other music seeking to get into a really high level of musicianship. And not that [in] Slavei, we don’t hold ourselves to also high musical standards, but maybe not quite as high. [Laughs.] And I think that rehearsals are often more relaxed. Slavei gets together once a month to sing songs. Both really hold a place in my heart.

     

    A: What’s your major?

    ET: Religion.

     

    A: How did you decide on that?

    ET: I barely did. I came in pre-med and thought I was gonna be, like, bio and psych and, like, French, and then switched more toward Science and Society, and through Science and Society took a class with [Associate Professor of Religion] Mary-Jane Rubenstein that I thought was the best thing ever. That was my first religion class, and I took another religion class with her, went abroad, studied religion, came back, saw that she was teaching a bunch of classes my senior year, and decided to become a major because of that. It’s really interesting.

     

    A: Where did you go abroad?

    ET: India, on a Buddhist studies program.

     

    A: How was that?

    ET: Awesome and really, really, really challenging. Yeah, extraordinary. It made coming back to Wesleyan really complicated, also. It was a semester, but because it was a Buddhist studies program, we had about three months in a monastery studying and practicing Buddhism really intensively. To come back to Wesleyan straight after that, both for myself and a lot of the other people who were on the program, was just an intense transition.

     

    A: What’s been your favorite class that you’ve taken?

    ET: Right now, I’m in [Visiting Assistant] Professor [of African American Studies Sarah] Mahurin’s Faulkner and Morrison seminar, which is just incredible. It’s just been such an amazing class. Either that, or maybe Philosophy of Religion with [Rubenstein]. One of those two.

     

    A: What have been some of your best memories at Wesleyan?

    ET: So many things just popped up. Let’s see, I think joining the Spirits will always be one, the giant scavenger hunt that lasts 24 hours. As a frosh, you sort of see how big the campus is. That was just so beautiful. And then, so many different things. Evenings on Indian Hill.

    A: Do you have any good stories?

    ET: I want to say yes, but I fear that the answer is no. [Laughs]

     

    A: Is there anything you really want to do before you graduate?

    ET: Mostly, I want to go to Millers Pond, which I haven’t gotten to do all this semester, which is a really boring answer to give. I’d love to see a hell of a lot more tunnels at Wesleyan, but I don’t know how or when that would happen. I am suspicious that there are really sweet [tunnels] under the field next to Olin and Foss, but I’ve never seen them.

     

    A: What advice would you give to your freshman self?

    ET: Don’t let Wesleyan trick you into doing way many more things than you really want to or should do. If my freshman self had known to move slower in the next four years, it could have been better.

     

    A: Were you doing way too much freshman year?

    ET: Second semester freshman year was insane. It was so silly.

     

    A: What sorts of stuff were you involved in then?

    ET: I ended up taking nine classes, not fully [for] credit, but nine classes. After first semester, fall, I was like, “I’m not doing enough. I need to sample all sorts of dance and music and science stuff.” And I was trying to make myself into a perfect pre-med person. It just got way too overwhelming. Ever since that semester, I’ve been working towards doing less and less and less things, which has been wonderful.

     

    A: And do you feel like you’ve been able to commit yourself more to things that you care about?

    ET: Exactly. I get so much more out of doing the things that are really meaningful. I guess I’m really where I want to be rather than where I think I should be.

     

    A: What do you feel like you’ve gotten out of the things you are still involved in?

    ET: So many perspective shifts. I think the Religion Department’s really good at teaching people to not seek final answers and appreciate the idea that depending on what perspective you approach a problem with, there are different right answers. So learning how to think in a context dependent on perspective—this is getting really abstract—has been a huge part of my education here. Especially shifting from coming in and being excited about doing science, sort of science as find[ing] out what’s true about the world, and then going into religion and learning it’s not quite that simple. There are many different ways of producing and going back and finding truth, and there are very different methods and ways of doing that that are equally valid and sometimes incompatible. And also, like, yay music and yay art. That also. Those three things.

     

    A: Are you involved in art at all?

    ET: Yeah, sort of. I always wanted to do poetry and had a really bad experience with it in middle school. I was like, “I’m never doing poetry again!” And then junior year spring, I took Techniques of Poetry and loved it. I decided to take the intermediate workshop with Professor [of English Elizabeth] Willis in the fall of last year and that was great. And then music is the other big thing. Outside of Spirits and Slavei, a few bands have popped up. I got really involved with South Indian singing and percussion and the world music program here. Again, different perspectives on rhythm and melody and how they work together.

     

    A: Do you know what you’re doing after you graduate? Sorry if that’s a stressful question.

    ET: No, not a stressful question. I am, at this point, going back to Martha’s Vineyard to sing for the summer with a group, The Vineyard Sound, that the Spirits helped found in ’92. I’ll be singing there, and then I’ll be going back home to cool off from senior year. And then, if I can save enough money, I might hit the road and try to go back to South Asia again and jump back into the music thing.

     

    A: Do you know what you want to do in the long term?

    ET: No, which is what the hope of spending the summer or next year [is], doing the things that I’ve already started doing later on at Wesleyan that I love. I hope that it’s something that involves all those things that we’ve talked about, so writing, music, and just engaging people. But I’m not entirely sure. It might be academics, it might be something else. Maybe medicine will pop in.

     

    A: It’s all going to come back together.

    ET: I don’t know. We’ll see. Totally unclear. But basically, it’s to not jump into a path I’m not sure of, and, as much as possible, to use the ways of thinking that this year I was introduced to. In Faulkner and Morrison and MJR’s class, [we’re] really critiquing how power and authority basically construct the world and keep themselves in power. Especially, at least for me, as it pertains to environmental issues that are happening right now. I also feel really, really strongly about working against that. Like, you know the ecofeminism music festival that happened on Saturday?

     

    A: Yeah.

    ET: That kind of stuff is so where my heart is at, so if there’s any way to work in those kind of directions also, I would want to.

     

    A: Have you been involved in environmental stuff here too?

    ET: Not really. Mostly just studying it and talking to people through classes and things. But I grew up in Vermont and spent a lot of time outside. I think it’s really good and important for people to get out and for us to renegotiate our relationship with nature. We see ourselves as separate from it rather than participating in it.

     

    A: What do you think you’re going to miss the most about Wesleyan?

    ET: The people. The people here are so good. It was that semester coming back from abroad, I was so weirded out by our campus’s emphasis on individualism and maybe competitiveness. [But] coming out of the transition from abroad just made me really appreciate how freeing and wonderful so many [college experiences] are, and how lucky we are to have a space where we can wake up and learn about things that we’re really excited about and spend time learning about it. I’m just looking over at the [flyer-covered bulletin] board, and I know that that concentration of stuff like that going on, and all of these people and amazing minds and hearts—I think that would be hard to find anywhere else.

  • WesCeleb: Neo Sora ’14

    You might not know Neo Sora ’14, who currently serves as the president of Eclectic, unless you’re a regular there. That’s because Sora, quiet and thoughtful behind wire-framed glasses, doesn’t spread himself too thin. Instead, he commits himself fully to projects about which he is truly passionate. The film and philosophy double major spoke with The Argus about his presidential duties, the Ainu, and a film thesis so complicated it transcends explanation.

     

    The Argus: What stuff are you involved with on campus?

    Neo Sora: I guess I’m involved in a lot of film-related things, and I’m in Eclectic. This year, that’s about it.

     

    A: What about in the past years?

    NS: In the past years, I was involved in some music stuff, a little bit, and that’s about it.

     

    A: Are you a film major?

    NS: Yeah. I’m a film and philosophy major.

     

    A: Cool. How’d you decide on that?

    NS: I don’t know. I sort of came into Wesleyan thinking I was going to be an anthro major, and I took a philosophy class and I really, really enjoyed it freshman year. Then, in freshman year, I also took a film class. I did not expect I would be a film major at all, but I loved it, so I decided to be a film major.

     

    A: What film projects did you work on this year?

    NS: This year, mostly my thesis.

     

    A: What is your thesis?

    NS: It was a black and white 16-millimeter film; it’s hard to describe what it is. I just suggest you come to the screening on May 10. I’m not going to try to explain it to you.

     

    A: What are some film things you’ve worked on in the past?

    NS: Last year, I DP-ed [director of photography] other people’s theses. I was the cinematographer. Last year, I worked on four theses. Aside from that, I’ve been doing this very weird 48-hour festival thing every year. We have to make a movie in 48 hours. And what else? This other personal project on the side.

     

    A: What made you want to be in Eclectic?

    NS: I don’t know. I didn’t really want to be in Eclectic freshman year, but my friend convinced me to, and I joined it. At first, I didn’t really enjoy it. I sort of was around; I didn’t really get myself involved. But then, after my semester off, I came back, and I lived in Eclectic for a semester, and that changed a lot of things. I got to know a lot of my friends now. It just made me like Eclectic a lot.

     

    A: Were you involved in the music scene at Eclectic?

    NS: Not really. It’s hard to say. I’m the president right now, so that’s about it.

    A: What does that entail?

    NS: Meetings. Dealing with the administration, which is a hassle. It’s really annoying.

     

    A: Do you know what you’re going to do after you graduate?

    NS: Kind of. I’m enrolled in a summer course at Columbia. I’m going to Japan for a month right after I graduate. And I’m also going to be an apprentice with a translator, translating from Japanese to English. Hopefully, my future will involve lots of translating jobs, so I can, like, carry my laptop and go anywhere I want and work and feed myself. Nothing’s for sure, but hopefully it all comes together.

     

    A: Do you think you’re going to live in New York after you graduate?

    NS: Definitely not. I mean, maybe for a little bit just to orient myself and figure out what I’m going to do. But I was born in New York, so I’m a little bit tired of it.

     

    A: Where do you think you would want to go?

    NS: Anywhere, anywhere. I’m planning on being in Japan for the entirety of next year to film a documentary with my friends.

     

    A: What’s the documentary about?

    NS: It’s about this indigenous group in Northern Japan called the Ainu, and their culture and art and music, basically everything about them. It’s really fascinating. I’ve also made new friends who are equally fascinated with them, so I guess it will be good.

     

    A: How did you learn about that group of people?

    NS: The Ainu? Just listened to their music on CDs and stuff like that. They make music together. It’s really cool. The women just mostly get into groups and do kind of an a cappella thing but more rhythmic, and they add little taps and a hand-clapping beat to it. It’s actually really funky. I got really, really into that. It’s just really interesting.

     

    A: Are you generally interested in Japanese culture?

    NS: Yeah, to an extent, since I am Japanese, and I lived in Japan for a few years as well, so I’m definitely interested. I love anime and Japanese art and all that stuff. The Japanese art scene in the past is also really cool.

     

    A: You lived there while you were growing up?

    NS: I lived there when I was six to nine, I guess. And I go back every year.

     

    A: How was living in Japan?

    NS: It was fun. I went to an international school, so it wasn’t completely Japanese. It was like, half international students, half Japanese kids. I really, really liked it, but after a certain amount of time, my parents got fed up with being in Japan and we moved back to New York.

     

    A: What’s been your best memory at Wesleyan?

    NS: Every year, Chana has been very fun.

     

    A: How was this year’s?

    NS: Very fun. I had to manage it a little bit more this year since I was organizing it, but still, it was very fun.

     

    A: What’s organizing that like?

    NS: A lot of paperwork, a lot of making sure people aren’t doing dumb shit, just a lot of annoying things.

     

    A: How do you feel like you’ve changed over the course of your time at Wesleyan?

    NS: I feel like I’ve changed a lot, actually. A lot of the philosophy classes I’ve taken have kind of changed the way I look at things. Especially [those taught by] this one professor named Elise Springer. She teaches ethics and other FGSS-related classes. I’ve taken a class per semester [with her].

     

    A: What class of hers did you like the most?

    NS: Most notably, Feminist Philosophy [and Moral Theory] was a big deal. It really changed the way I looked at people around me, society, all those good things. Over the years, I think I’ve become more calm.

     

    A: What advice would you give to your freshman self?

    NS: To stop being annoying. I feel like I was a little annoying and really antisocial. I’m still antisocial, actually, but I was very antisocial freshman year and wasn’t willing to meet new people that often. I was just a hermit in my own room in the Butts. Definitely to meet more people, I suppose.

     

    A: Is there certain stuff that you want to do before you graduate?

    NS: Not much. Just hang out with my friends while I’m up here. I’m a super-senior, so I should have graduated last year, so all my friends graduated last year. All my friends from 2013 graduated last year and I lost the bulk of my friend group. But now, basically all my friends are in Eclectic and I just want to hang out with them a lot before I graduate.

  • WesCeleb: Maeve Russell ’14

    I found Maeve Russell ’14 sitting on Foss with a group of friends who were blowing bubbles and soaking in the sunshine. Nothing could better capture Russell’s sunny personality. Russell is the student coordinator of Wesleyan’s chapter of Shining Hope For Communities (SHOFCO), a non-profit organization working to combat poverty in the Kibera slum of Nairobi, Kenya. The Argus chatted with her about her work with SHOFCO, embarrassing friends at WesWings, and the advice she would give to her freshman self.

     

    The Argus: What are you involved with on campus?

    Maeve Russell: My main involvement is in SHOFCO; I’m the student coordinator. This is my second year as the student coordinator of SHOFCO through the Office of Community Service [OCS], so that basically just means I have office hours in the OCS, which is on the top floor of Allbritton. And I also lead all of the weekly meetings for SHOFCO, and I do all of the behind-the-scenes stuff. And in the scene, actually, as well. Just a lot.

    I’m also a student advisor for the Patricelli Center for Social Entrepreneurship. This is my first year for doing that. I work at WesWings. I was on the WSA for, like, a year. I quit that. Let’s see, what other things…?

     

    A: I mean, that’s a lot.

    MR: I think everyone here at Wesleyan, though, is involved in a lot of things. That’s why I love Wesleyan. Everyone’s very passionate about a number of issues.

     

    A: Tell me more about your work with SHOFCO. How did you get involved?

    MR: Actually, I first applied to Wesleyan thanks to SHOFCO and Kennedy [Odede ’12, co-founder of SHOFCO]. I remember that I got one of those Wesleyan magazines that they start distributing to prefrosh, and it had Kennedy in it and was just talking about his story. I thought it was amazing that a university would then pay for his tuition and have him come here, and then that he would start this amazing organization that’s both Wesleyan-born and Kibera-born. I just really liked that.

    Also, the summer before I was a freshman, Jessica Posner [’09, the other co-founder] won MTV’s Do Something Award. So I learned about SHOFCO before I even applied to Wesleyan, and then once I came to Wesleyan, I just started coming to the meetings and got involved. It’s a really easy organization to become involved in. We’re very much about the idea that every drop in the bucket counts, so you just do what you can: come to meetings, table, get more involved, help with events. We try to make it as non-hierarchical as possible and just have everyone join in to do as much or as little as they want to. It’s really great. I went on the Summer Institute the summer before my junior year.

     

    A: And you traveled to Kibera through SHOFCO to work at the Kibera School for Girls?

    MR: Yes. The Summer Institute is where, for about a month, you’re in Kibera, living in Nairobi but working in Kibera at the school. It’s basically just a really great opportunity for the teachers, because, obviously, we’re not qualified to teach these girls. The teachers are amazing, and we cannot compare to them. But it’s an opportunity for the teachers to have a break to work on curriculum, and it’s just kind of a summer school session, so you teach them whatever you want. It’s also already a Montessori-based school, so it’s all about growing as an individual and becoming fully developed. These girls are amazing in that they have a lot of pride and confidence in themselves and in their answers. You literally will ask a question to a group of 20 to 30 girls, and every single one of them will have at least five answers for you. Without a doubt. And they just say it with such conviction, and I love it. I’ve worked in classrooms here in the U.S., and it’s not the same.

    SHOFCO is [Kibera’s] organization. And that’s what we try to emphasize here at Wesleyan, that we’re just supporting a grassroots local movement that’s happening seven time zones away. They’re doing amazing things, and it’s all created and supported by them. They employ all Kiberans, or at least Kenyans, other than the two American fellows, and they’re slowly getting rid of that as well, which I’m in full support of. Just because it’s very much their organization, and we’re just lucky to have some sort of personal connection to supporting it and learning all about it.

     

    A: Does SHOFCO have any events coming up at Wesleyan?

    MR: We’re going to have a photo exhibit up for WesFest, which will be amazing because it’s going to try to help people visualize what SHOFCO and Kibera look like on site and just give people a better picture of the community that’s there, what a day in the life for a girl there is, just trying to help make it more concrete. That’s why the Summer Institute is great, because we’re always sending people from Wesleyan there, to come back and talk about the girls that they met. Every single meeting, we have a girl of the week: we highlight a first-grader or a second-grader, what her name is, what she wants to be when she grows up—because they all want to be these amazing things. You’ll ask them, and they’ll say, “pilot!” “engineer!” “teacher!” “politician!” “doctor!” The “engineer” and “pilot” really get me, because you do not hear that from any little girl. And it’s awesome.

     

    A: Do you know what you’re doing after graduation? I know that’s a terrible question to ask.

    MR: I’m still figuring that one out. I applied to a fellowship here, so I might be here another year. But I also applied to the Global Health Forum, so I’m waiting to hear back from that. I’m applying to a lot of other positions. I’m basically just putting out a very wide net and seeing who will take pity upon me and employ me. Hopefully one person out there will. That’s the dream.

     

    A: But you have one particular field in mind?

    MR: Nonprofit, social entrepreneurship, for sure. I mean, I do want to have a salary that can support me, and unfortunately sometimes that seems like it’s mutually exclusive, but I want to be part of an organization that’s doing some amount of social change, positive social change, in the world. It might just be a small community—like Kibera—but we live in such an interconnected world that changing one individual’s life means a lot. It’s not even changing it, per se, but empowering them to make the changes that they want to make and to do what they want to do. Actually, yeah, I’m not for going in and telling people how they should live their lives, but I think empowering others to do what they want to do, and giving them the tools to decide how they want live their lives and what they want to do with them, is so important. Because everyone should have those opportunities. In an ideal world, everyone would. I think people at Wesleyan are very good at being culturally and socially sensitive when discussing these things, and I’m just saying that we don’t know what’s best.

     

    A: Shifting gears a bit, what’s your major?

    MR: I am majoring in government and environmental studies.

     

    A: So is that what you did your capstone project on?

    MR: Yeah. So for environmental studies, if you’re doing the linked major, you have to do either a thesis in your primary major or a senior essay in your primary major, or a capstone research project. So I chose the capstone research project. But I wrote 61 pages for that, so it was still an endeavor, I suppose. I would not put it in the thesis realm, though. I one hundred percent do not compare myself to them; they deserve so much credit for doing what they did. But it still added up to a lot of sleep deprivation and some slightly crazy moments.

     

    A: What was the focus of your research?

    MR: I’m really bad at the one-sentence summary that so many thesis people have gotten so good at. But I basically looked at hunger in terms of micronutrient deficiencies instead of calorie deficiency, because a lot of people think of hunger in terms of lack of food supply and lack of calories in one’s diet, instead of lack of vitamin A and iron. The difference between the number of people who are undernourished and the number of people who are malnourished in the world is about 1.5 billion, so it’s a huge population that’s disregarded in policy. So I looked at how that is affecting populations across the world, in both developing and developed nations, and then looked at policies that can affect that, like school lunch programs, breast feedings rates, infection rates, health policies, a myriad of other things. And then I looked at Brazil’s policies, which are really interesting. Brazil is interesting because there’s still a lot of social inequity there, and there are still a lot of issues, but they’ve done some pretty interesting policy work. So you’ve got to hand it to them for at least attempting to make positive change.

     

    A: Now that you’re done with that, how do you see your last month here going?

    MR: A lot of Foss. Honestly, a lot of quality bonding time, I think, is quite necessary. I mean, I’m still doing a lot of job applications, so that’s fun. And I still have schoolwork I need to do, but it’s not that much compared to what I was doing junior year. I’m also in transition from my [SHOFCO] student coordinator position, to an amazing sophomore named Marina King. It’s really fun, actually, just to tell her what I’ve experienced and see what ideas she has for the position. So I’m working on that, trying to make a nice, smooth transition. Graduation’s becoming more real, thanks to that, in a way that I don’t know if I like or not. But yeah, a lot of hanging out.

    And also, honestly, just making more friends. Because that’s what I love about Wesleyan, is that everyone is so approachable, so friendly, so personable, so wonderful. Cannot get enough of it. So I guess just soaking up everything Wesleyan has to offer. I actually have a huge bucket list.

    A: You said you work at WesWings. What’s that like?

    MR: I mean, I joined pretty late in the game, compared to other people. I joined my junior year. It’s awesome…My bosses are really great, and everyone I work with is pretty awesome. Also, it’s just nice to have a job on campus. First of all, it gives you structure, because you have to be somewhere for a certain amount of hours on this day and this day. And also—I’ve had this conversation with so many people—I think everyone should work in the service industry at some point, just because it teaches you to be mindful about things.

     

    A: You must get to know a lot of faces through working at WesWings.

    MR: You do. It’s a great way to embarrass friends over the microphone, write weird nicknames on their tickets. It’s a good way to meet people, or just see people you don’t always see. Because they have to go somewhere to eat, and you just have to be there.

     

    A: Anything you would want to tell your freshman self?

    MR: I think freshmen have a tendency to get involved in too much, and I know I did that as well, and I got involved in things that I wasn’t necessarily as passionate about or interested in. I think it’s just finding those select few things that you really love doing and to do them, and to really enjoy them. And also just not to be afraid to introduce yourself to complete strangers, and to get to know everyone who is sitting by you, and to have conversations with them, because everyone is really open to getting to know people here, and I really love that. And I think I didn’t fully take advantage of that until my sophomore year, when I started to come out of my shell. I think Wesleyan has too much to offer everyone, almost, and people get really bogged down with trying to do everything that’s amazing on this campus, which is honestly impossible.

  • WesCeleb: Molly Balsam ’14

    c/o Molly Balsam

    On the radio, on the bandstand, and on Twitter, Molly Balsam ’14 is making a name for herself. As the frontwoman for the student band Kroox, a music and philosophy double major, and a WESU DJ, Balsam is looking to jump from the Wesleyan music scene straight to Nashville. The Argus sat down with Balsam to talk about women musicians, creating a supportive community, and the emotional draw of rock.

     

    The Argus: You play music, so let’s talk about that!

    Molly Balsam: Let’s talk about that. I have played music in various ways since freshman year. I didn’t really do my own thing until junior year, when I started my band that used to be called Molly Rocket and the Crooks and is now called just Kroox. And yeah, I’m all about music. I came to Wesleyan knowing I wanted to do music, and then this scene is so vibrant and full of opportunities that I decided to take them all. I literally play every show I get offered, and performing is great practice, so I never turn people down.

     

    A: What instruments do you play?

    MB: I play piano, and I sing, and I dabble in drums and guitar. I’ve taken lessons here and there, but piano is my main instrument.

     

    A: What sort of music do you play?

    MB: It comes from everywhere. Right now I’m in music major classes, and I’m playing West African drumming…but the music that I generally play is, for lack of a better word, rock music. That can mean so many things, but because I write for piano, it’s very different from your electric guitar-based and generated rock. Even though there’s guitar in my band, it’s not the forefront of the sound. It adds to the rhythmic texture and that sort of stuff. My tags on Bandcamp are “sultry rock,” which isn’t a genre but should be. I always say it’s poppy and catchy and can transfer well to pop music in a live setting.

     

    A: Why pop music?

    MB: I guess one of the main reasons I love to perform is I love to bring a sort of energy to people and make them move and have a good time, and that’s what’s amazing about the music scene at Wesleyan: it’s at the forefront of the nightlife, it’s very surrounded by live music. I realized that if I wanted to be in a band at Wesleyan that played a lot, it would have to have all that wall of sound and peppiness to get people moving and wanting to come see you play on a Saturday night; you have to adhere to some sort of popular sound.

     

    A: Besides the commercial aspect, what about rock and pop draws you as a musician? And as someone who’s interested in not just picking up a guitar and playing a few chords, but who’s actually studying music?

    MB: I guess the biggest draw for me, there is emotion and what I put into my playing. I mean, I learn a lot in classes that helps me write songs, but ultimately, it comes down to when you sit down at the piano and it just sort of comes out. For me, it comes out as rock and as pop, and I think it reflects on who I am as a person and how I live my day-to-day life, more so than my studies.

     

    A: Last spring, you started this campaign to have a collective of women who play music at Wesleyan, and you were trying to make some changes about the Wesleyan music scene. Can you talk about those?

    MB: Originally, I felt sort of on my own as a woman in the music scene on this campus and in general. What I was trying to do didn’t necessarily pick up as much traction at the beginning as I wanted it to, because I wanted people to recognize the fact that musicians can be either men or women, it doesn’t matter, and what comes first is that you’re a musician. But the problem with that or with any strain of feminism or that sort of attitude and trying to accomplish those sorts of things is you have to pull from both ends of the spectrum. I have to acknowledge the fact that I am a woman to then say, “I’m just a musician, and a woman second.”

    At this point, we stopped having weekly meetings, but I definitely think that the growth in the music scene has shown a lot of what we’re aiming for. There’s Novelty Daughter: Faith [Harding ’14] is killing it right now, she’s playing almost every weekend. There’s Faceplant, which is an all-girl punk band, and they’re doing some really fun things. Then there’s a couple of girls, Lily Myers ’15 and Kate Weiner ’15, who are doing a women’s music festival that I didn’t even have anything to do with planning. They did it on their own, and that actually made me feel better than if I had gone out of my way to plan something, that other people are picking up on this and wanting to bring it into their Wesleyan circles and scenes.

     

    A: You host a radio show, Girl Power Hour, which also plays into that.

    MB: It definitely does. I wanted to find new music and new women musicians, because I realized that my biggest influences are men when it comes to music. Not that that’s a bad thing, but I definitely wanted to open my horizons more. And my co-host, Hanna Bahedry ’14, is also a musician. She doesn’t play in any band but she’s very interested in women musicians as well, and we just came together and were like, “Let’s do this show.” It’s once a week, Mondays at 11 p.m., and we just play whatever female musicians we feel like playing at the moment, and we try and seek out new stuff every week. There’s always a good source of throwbacks, though.

     

    A: Is there something about Wesleyan in particular that makes it difficult for women to start out, or is it a general music problem?

    MB: I think it’s both. I think what I initially found at Wesleyan was that there seemed to be—it hasn’t been as apparent this year as it has been in past years and maybe that’s just because I’m a senior and I’m on top and it doesn’t feel this way—a certain group of people that generate the taste making of the scene and are the gatekeepers of the music scene at Wesleyan. I actually wrote a paper about this for a class last semester, which is funny. I think that there is a certain aspect of playing music on this campus that, if you’re a girl, you have to be stellar. You have to be amazing, and you need to kill it and be perfect. And if you’re a guy, there’s tons of bands with mediocre dudes in them. I’m not saying at all that all men on this campus are mediocre, not at all, and I commend these mediocre dudes for playing music, good for you, but there isn’t the same draw for a woman musician.

    And I don’t think that’s only Wesleyan’s problem; I think that’s a worldly problem. But this is the sort of campus where it’s so insulated that we have this test ground to try and break that open and see what we can do. I am not amazingly technically proficient, I fuck up when I play or perform, and I still get a great crowd. I’m not calling myself mediocre, but like, I’m not one of those guitar gods or something like that. I’m still having fun and playing and doing this, and I want to make a life out of it, and I think I’m very capable. And a lot of it comes from a lack of confidence, and I’m not going to quote “Lean In,” because I feel like it’s quoted all the time, but it’s essentially that as well. You can’t blame men or women, but it’s both needing to work towards this together, and acknowledging that there is a problem is the first step.

     

    A: Now that you are a senior, and other people can take from what you’ve helped initiate, what are you doing with your last semester?

    MB: My last semester is really super-busy for various reasons. I’m doing my own music thesis performance, which is on April 12.  Two and a half weeks, whoa. And I’m in two musicals, one which is my friend’s thesis and one which is Shrak the Musical.

    I guess, looking towards the end of the semester, I’m going to do one last final thing, to just hopefully leave on a note where people would want to continue what I’ve been trying to do. And I definitely think people have been taking my words and my actions and started their own communities around them. Like Faceplant, those girls, they have a bunch of other friends and people they play music with, and that’s a younger thing that’s happening on this campus, and I’m so supportive of that and glad that I’m not even that involved in it, because that means it’s more than just me. And that’s great.

     

    A: What are you doing for your thesis?

    MB: I’m writing something very different than I usually do. It’s very academic and it’s all based around different rhythms and the idea that my mind is unstuck in time. It’s not anything that I would ever get to do other than for writing a thesis for the music major, so it’s fun. I’m having a bunch of musicians that I’ve played with before and some I haven’t to all play with me, so that’ll be fun. Overwhelming.

     

    A: If you’re planning on pursuing music professionally, how are you going to go about doing that? Are you just going to show up in a city and be like, “Book me for gigs?”

    MB: Sort of. I actually spent spring break networking in Nashville. I’m 96 percent sure I’m moving to Nashville after graduating. It’s really cool. People should also move there. I feel like everyone and their mother moves to New York City when they graduate this school, and I grew up in New York City, and I love New York City, and it’s always going to be there, and I just feel like I need to get out. The greatest thing about Nashville, which sort of reminds me of Wesleyan but is even more so, is that music there is a community; it’s completely collaborative and not competitive. I would say this campus has gotten less competitive in the past year or so musically, and it’s been more collaborative, but in Nashville…everyone writes together, everyone plays together, and it’s really awesome. I met a whole bunch of people down there who I’m looking forward to playing with. My drummer, Atticus [Swartwood ’14], might actually move with me as well, we’re not sure. I always can come back and play shows at Wesleyan if you’ll have me.

  • 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.

  • WesCeleb: S. Dylan Zwickel

    S. Dylan Zwickel tends to stay out of the spotlight and let her work speak for itself. The Argus chatted with Zwickel, of Second Stage fame, about her passion for theater and bold fashion choices. The senior who usually stays hidden in the wings took center stage during our interview.

     

    The Argus: How does it feel to be a WesCeleb?

    S. Dylan Zwickel: I’m pretty flattered. I don’t really know if I’m a WesCeleb, actually. I feel like probably everyone in theater knows me because of Second Stage, but I don’t know if anyone outside of theater even has an idea of who I am, so it’s a little weird to be a WesCeleb. But thanks anyway!

     

    A: What are you up to right now?

    SDZ: In life? Basically, I have four things going on. Number one: I’m working on a [senior] thesis. Number two: I’m directing “Hamlet.” Number three: I’m applying to grad school. And number four: I’m running Second Stage as Managing Liaison.

     

    A: And you wonder why you’re a WesCeleb?

    SDZ: But they are all theater things!

     

    A: What made you get started in theater?

    SDZ: I’ve been in theater since I was really little. I guess my mom put me in it.

     

    A: What was the first show you were ever in?

    SDZ: The first show I was ever in…I have a very vague memory that might be a dream, but I’m pretty sure there was a production of “Beauty and the Beast” at my elementary school.

     

    A: But here you are doing mostly playwriting and directing, right?

    SDZ: Correct. Actually, I acted a little bit freshman year here. I knew since junior or senior year in high school that I wanted to direct. But there really weren’t opportunities for that in my high school, so I acted up until then in order to keep doing [theater].

     

    A: What have been the highlights of the shows that you’ve put on here?

    SDZ: I’ve loved everything: all the shows that I’ve directed here, pretty much all the shows I’ve worked on in various capacities. I assistant directed the faculty show last spring. That was probably the most formative experience for me.

     

    A: For those who don’t know, what are the shows that you have either directed or written since you’ve been at Wesleyan?

    SDZ: Sophomore fall I directed “The Last Five Years.” Sophomore spring I directed “Urinetown.” Last spring, so junior year, I workshopped a play that I wrote called “The Cardioluthier” and I was assistant directing “Peony Pavilion.” Last semester I directed “Broadcast,” and this semester I’m directing “Hamlet.” I’ve also written for 24 Hour [Play Festival] and directed for 24 Hour, and I even acted for 24 Hour once freshman year. I’ve written stuff for things outside of Wes but I haven’t really put up any of my work here except for the workshop.

     

    A: What keeps you coming back to the stage after all of these shows?

    SDZ: I don’t even know how to answer that. It’s my life. That’s like asking me why I eat.

     

    A: What do you think is your greatest accomplishment?

    SDZ: I’m hoping that “Hamlet” and my thesis will be my magnum opus. I think that those two are hopefully going to be my greatest achievements at Wes, which is exciting because they are still upcoming.

     

    A: Can you talk a little about your thesis and the premise of it?

    SDZ: Yeah! I’m writing a musical. It is an adaptation of two Greek myths. Ben Zucker [’15] is writing the music.

     

    A: What are you hoping to do once it’s completed?

    SDZ: We are going to do a staged reading later in the semester, but [it will be] very basic, just with music stands, mostly for our own purposes to see what we still need to do. It will be before theses are due, so I’ll still have time to work on it.

     

    A: That would be so awesome.

    SDZ: It would be awesome.

     

    A: To see your name in lights.

    SDZ: Someday.

     

    A: Is that your dream?

    SDZ: I mean, just to be working is my dream, really. And to at some point get invited to an award show [whispers] so I can wear a pretty dress.

     

    A: Well, it’s clear that you have a very distinct style. Where do you get your inspiration?

     

    SDZ: Mostly from other decades, not this one. Pretty much 1910s to 1930s with some influence in the ’50s and occasionally a little ’70s are my main things.

     

    A: What do you love about those decades?

    SDZ: The cuts just fit me better than things today, and I just really like how they look. “Downton Abbey” has influenced me a lot, which is ridiculous.

     

    A: Where do you shop?

    SDZ: Goodwill near Wes. My friends give me [clothing] a lot. They’re like, “Oh I don’t want this thing anymore because it’s kind of ugly, but you might be able to rock it.” Almost everything that I have I am not the first owner of.

     

    A: I see you as a WesCeleb because you are very visible on campus not necessarily in a way that people know you personally but they know your work.

    SDZ: That’s probably true.

     

    A: Does that make you feel accomplished?

    SDZ: This should have been my answer to my biggest accomplishment at Wes. As much as I’ve loved every show I’ve worked on and have gotten something wonderful out of them, Second Stage is the thing that I feel really fulfilled by and feel really good about. I [feel that] I’ve done good on this campus through my work with Second Stage. Even if people don’t know my name, so many people have seen Second Stage shows or worked on Second Stage shows that are only possible because there are twelve of us sitting in that room for hours and hours and hours a week making it possible. I have taken a very active role in that.There are a couple of new things that we provide that were my brainchildren. Last semester, Grace Herman-Holland [’15] and I started having workshops for theater skills, which had never been done before. Now Grace and May Treuhaft-Ali [’17] are continuing that because I’ve moved back to the Managing Liaison position, which is a lot of extra work. They are doing an amazing job with that. Right now I am working on creating a new play development program through Second Stage, which is going to be called Any Stage. I try to make Second Stage present in the community and provide a lot of services. I think I’ve taken an active role in making there be more services that we can provide. So I’m proud of that.

     

    A: How does it feel to be the leader of something that is so prevalent on campus?

    SDZ: I was Managing Liaison sophomore year too, and it felt really weird because everyone I worked with pretty much was older than me.  [As a sophomore] I felt like I was sort of stumbling through. Trying it now, I feel like I have the authority that the position awards me, and that’s what’s appropriate now because I really know how theater on this campus works more than almost anyone else.

     

    A: What is it that you want to “go for” after you graduate?

    SDZ: Well, right now, I’m applying to the graduate musical theater writing program at NYU, so that’s the number one. Hopefully I’ll get into that. But if I don’t get into that, I’ll apply to some directing fellowships in the city and use all of my connections and hopefully find some work. I mean, I’ll probably also be a waitress on top of all that because theater. I worked at a restaurant in high school and I really liked it, so that’s fine; I can do that forever. I’ll be sending out my plays places and hopefully get in some production work, get in some directing work, and probably do a lot of readings in my living room and hoping people come, that sort of thing.

     

    A: The life of an artist.

    SDZ: Yeah, really.

     

    A: Some people have called you crazy for doing “Hamlet.”

    SDZ: I’m about to go out into the real world where I’m not going to have money to direct the crazy project I want to direct. Why on earth would I pass up that opportunity now? Okay, yeah, I’m crazy, and it’s not going to be the definitive “Hamlet,” but it’s going to be my “Hamlet.” If I’m lucky, I’ll do “Hamlet” four more times every 20 years or every 10 years or something and it will be different every time. Why not start now?

     

    A: Is there anything that most people don’t know about you?

    SDZ: I can wiggle my ears. That’s always my go-to in stuff like “Two Truths and a Lie.”

     

    A: One thing that I would think that people don’t know about you is that you seem so legitimate and serious about your work, but you also have this huge heart. You wrote notes to everyone in the “Broadcast” cast.

    SDZ: Aw, that’s so nice! I like to write notes to my cast members. People need to know their work is appreciated. I think it’s a good thing to do. Sometimes people write things back, and it’s super heartwarming. I love everyone in my casts, usually. I always love everyone in their way, at least. Doing theater with people is a very special experience. You have to let people know that you are all in it together and that you appreciate them.

     

    A: What makes theater so magical to you?

    SDZ: Other people. People trying to find truths through other people’s truths. So many things. I could go on and on about how important I think theater is and how magical it can be.

     

    A: Leaving Wesleyan is probably going to be a big step outside of your comfort zone.

    SDZ: Yeah, obviously the real world is scary, but I’ve wanted to move to New York since I was five. I’ll be living with one of my housemates next year and I have a lot of friends in the city. Hopefully I’ll be in this NYU program, and if not I’ll be doing something else that will be great. I don’t know. Obviously, it’s scary sometimes, and for good reason, but mostly I’m just really excited. Maybe I’m delusional because I think that it’s going to be like “Friends” and “Smash” all at the same time, which it won’t be, but for now I’m going to keep pretending that it is.

     

    This interview was edited for length.

  • 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.

  • WesCeleb: Emily Weitzman

    C/O Emily Weizman

    WeSlam is synonymous with Emily Weitzman ’14. A dance and English double major, Weitzman has participated in WeSlam since its founding; not only has she competed as part of the slam poetry team twice, but last year, she also acted as its coach all the way to Nationals. Weitzman talked with The Argus about writing poetry, strategy in slam competitions, and teaching kids in Kenya.

    The Argus: Why do you think you’re a WesCeleb?
    Emily Weitzman: I guess because I’m known for sharing personal thoughts about myself in front of audiences of strangers and organizing the slams at Wesleyan. I do a lot of things on campus, but I’ve been involved with WeSlam for all four years and I run it now. I’ve been on two of Wesleyan’s slam teams and I coached the team last year. And I talked to my grandma on the phone last night, I told her I was doing this interview, and she was like, “They picked well.”

    A: Before we get to talking about WeSlam, what other things do you do on campus?
    EW: I’m involved with Shining Hope for Communities, the organization that was started by Kennedy Odede ’12 and a nonprofit school in Kibera, Kenya. I’ve worked at that school for three summers on a program called the Summer Institute, taught at the Kibera School for Girls. I help run SHOFCO on campus, and I’m also a dance major, so I choreograph. And then I do WesBurlesque, I do WesReads, and a lot of random things.

    A: Can you tell me about the school and how you got involved?
    EW: I met Jessica Posner ’09, the person who co-founded the school with Kennedy, and I met her family on a plane to Kenya in high school, actually. They told me about the school, and it was part of what got me interested in coming to Wesleyan. I got involved with Shining Hope for Communities on campus when I got here freshman year, just helping with fundraising for the school and awareness and other events on campus. Then I applied to go to the Summer Institute my first summer, which is a program where college students work at the school for three weeks. They’re the teachers, while all the Kenyan teachers have three weeks off to work on curriculum and development. They asked me to come back and help lead that program the next summer. I studied abroad in Kenya, in Mombasa on the coast, on a program learning Swahili and Islam cultural studies. While I was abroad there, I went back to Kibera School for Girls again, and then I got the Olin Fellowship for two summers to do writing projects involved with the school.
    I’m writing my senior thesis about a midwife in Mombasa whom I met while I was studying abroad there and my experience with her and other women in Mombasa.

    A: Can you talk a little about what you did at the school and what inspired your idea to write a thesis?
    EW: At the school, for the three-week summer program, I was teaching literacy and dance, writing, telling-your-story workshops, performing stuff. It’s a fun, educational summer camp type thing, so while the students have three weeks off from their normal classes, the college students and also youth from Kibera work together to make more, still educational, but fun, creative imaginative classes. I also helped develop an after-school program. The school had an after-school program, but I worked with the after-school teachers to integrate the arts and poetry and performing and dance into their after-school program.
    In terms of my thesis, while I was abroad on the School for International Training, I did an independent study project about three Kenyan women where I interviewed them about their stories and life histories. I’m an English major with a concentration in creative writing, and mostly, even though I do slam poetry, I really love writing nonfiction, actually the most. I knew I wanted to do a nonfiction thesis, so I applied for the Olin Fellowship to go back and do more research with the midwife I met while I was there. She’s a really incredible person. At the time I wasn’t sure exactly what my topic would be, it sort of shifted over time, but I knew I wanted to write creative nonfiction.
    It’s interesting because I was doing the research for it all summer, and now I have over 50 hours of voice recordings and journals full of stuff, and I have over four thousand pictures. I was really interested in the waiting room in the clinic I was working on and the concept of space, so I would sit in the waiting room with all the women who were waiting to go into the midwife, and I would watch people pass by on the busy street in Mombasa, and then I’d take pictures of that, and I became obsessed with taking pictures of what passed by in the little space of this doorway. That’s something that I’m writing about, describing in my thesis.

    A: How did you get involved in slam poetry?
    EW: I hadn’t heard of slam poetry before I got to Wesleyan, and then when I was here, my freshman year, that was actually the first year WeSlam started, by former WesCeleb Mike Rosen ’11. So I went to the second poetry slam and [watched] everyone up there on that stage just sharing their souls to strangers. The energy in the room was tangible, and it was such a spirited thing that was so exciting that, in that moment, I was like, I want to try this. After that second slam, I went home and tried writing my own poem and then ended up performing it in the third slam, making it to the final slam that first year. Then I was on the first ever WeSlam team. From there, the rest is kind of history. It’s pretty much taken over my life from that time. I feel really lucky that I’m the only person that’s gotten involved with the team every single year since its beginning. It’s really grown and progressed.

    A: What’s it like actually being on the team?
    EW: It’s really a wonderful and intimate experience because writing is something that is often an individual thing, done alone. So having that and putting it in the setting where there are four other people who are invested in your work and are totally engaged in your process, your editing and writing and performing process, that collaboration is really exciting. Also, when you’re on the slam poetry team, you can write group pieces together, which is a different and really fun experience, to write with someone else and to just work together and have a poem that is as much someone else’s as it is your own. Being on the WeSlam team has made me grow as a writer more than anything else. I’m also so close to the people I’ve been part of the team with because you’re in this setting, editing each other’s work about really personal topics, and you know, we travel to all these competitions together and sleep in the beds together and you become a family. We call it Slamily.

    A: What topics do you normally write about? Or do you not have an overarching trend in your work?
    EW: I don’t really think about having an overarching trend, because I just sort of write about what I’m feeling at any given time. I’m known for having a lot of weird poems about objects. A lot of times I see things in weird ways. Relationships in my life as seen by the objects they represent— that’s a theme that comes up a lot. I have this poem about my grandmother talking about this necklace that was really important to her and what it means to her. I have this poem called “Couch” that’s actually about my ex-boyfriend but it’s pretending that he is this couch that was important in our relationship. I write a lot and I don’t always perform all the poems I write.

    A: What was last year’s trip to Nationals like?
    EW: Well, [last year], I was abroad in the fall so I couldn’t try out for the team, so they asked me to coach. It was difficult to coach them, even though I’d been on the team twice before; it was a totally new experience. In some ways it was similar because, when you’re on the team, you’re expected to edit each other’s work and be invested in this process. But as the coach, I wasn’t working on my own writing with them at all. It was all about the team and really overseeing that editing process.

    A: What sort of things do you have to think about as a coach that are different from when you’re on the team?
    EW: It was totally collaborative. I didn’t want it to feel like I had any leadership role in that; it was very much equal. Really, the difference is that in any given competition, it was my role to decide which poem and which poet to do in each spot. Some people don’t realize there’s actually a lot of strategy involved in slam poetry, and basically making the right call for what to do at any given time could make it or break it for you in a certain bout. A bout has four teams, each team does four poems, and that’s what happens at all these competitions. So there’s a lot of pressure involved. At Nationals, there were 60 teams this past year, and we made it to the semifinals, which was pretty good. It was my job to make the strategy calls and to take our arsenal of poems, which was a lot of poems, and figure out how best to go about where to put each poem. And we did this strategy not because we wanted to be competitive about it but because we wanted to be able to share to the most people.

    A: What decisions do you have to make, what strategic moments come up?
    EW: An example is that you pick out of a hat which team goes first, and each team dreads getting the A slot, having to go first, because there’s this thing called “score creep,” which says that as the slam goes on, the scores get pushed higher and higher, and at the beginning the audience and judges aren’t as willing to listen to poetry, I guess. That was always a decision: who to put first, which poem to put first. Last year, for some reason, we thought a lot of their poems would work better later, so it was always a struggle to figure out who was going first and what poem was going first.
    You can have a layout for what poems you want to do, but then if another team does a funny poem right before you were going to do a funny poem, it might not be the best bet.

    A: What are your goals for WeSlam for this year?
    EW: The final slam is this Saturday, November 23, at 9 p.m. in the CFA Hall. There are 10 poets in the final slam, and the top five make the team. So that would be my goal. I do want to be on the team, but…you never know what’s going to happen—having been on the team before doesn’t mean I’m going to be this year, because it’s a new team every year. Even if I don’t make the team, I’ll definitely stay involved with the team. I would be happy to coach them again. I did love that experience last year. And I’m excited to see the new group of five people, because when I was a freshman it was very upperclassmen-heavy, so all those first people who started with me are gone, it’s really new, fresh faces and I feel like it’s transitioning from one generation to the next and I’m sort of stuck there in the middle. It’s been great to see both sides of that transition.
    I was just thinking that I met some of my best friends through WeSlam. The writing community on campus is really big, and there are so many different facets, and that’s been really cool. I think being involved in slam is what made me realize I wanted to be a creative writing major and now that I’m writing my thesis, I feel like it all ties together. And with dance, I even use spoken word in my dances, and in the teaching I’ve done in Kibera, I teach them slam and spoken word. I feel like everything ties together in a weird but nice way. I don’t know what I’m going to do in the future, but I think all of that will definitely have an effect.