Student Multimedia Dance Production Explores Emotion, Technology and Transformation

Photo credit: Jada Duffus

By Jada Duffus

Through careful sound design, experimental media and live performance, Lehman students’ production of Woven: Discarded and Reborn combined storytelling and technology to create an immersive experience that explored themes of internal struggle and personal transformation at the Studio Theatre on May 15, 2026.

The title performance, created by Janee Best-Chapman, Shydae Hampton and Krismarie Loague, depicted self-doubt and emotional healing in the face of discouragement. Loague talked about how she brainstormed ideas with Best-Chapman and Hampton, drawing inspiration from the real-life experiences they shared with one another.

“There were many personal experiences that my group and I pulled from for this,” Loague said. “This piece was not only meant to call out those bad experiences but also to highlight the choice we have to be reborn and overcome, especially when we come together and help one another out to reach our full potential.”

Loague tied the message behind “discarded and reborn” to overcoming criticism and finding one’s own self-worth, personal growth, and redemption. “We often find ourselves being tossed to the side and discarded, allowing others' words to count us out,” Loague said. “Similarly, as baptism is seen as this rebirth of the spirit, we can choose to pick ourselves up and become reborn.”

Multimedia Performing Arts students perform the pieces they choreographed.
Photo credit: Jada Duff us

“I felt free in both mind and body in that moment.” – Lehman student and dancer Janee Best-Chapman

For dancer Janee Best-Chapman, one of the biggest challenges was balancing the emotional themes of the production while performing. “The most emotionally challenging part was trying not to be consumed by the negative words we used as our audio,” Best-Chapman said.

“A moment that felt especially personal was my recording. I hear all the negative things you have said about me.’ I wrote that after one person that I thought would always be in my corner went behind my back and said completely different things to other people.”

Monica Duncan, an assistant professor in Lehman College’s Department of Music, Multimedia, Theater and Dance, explained, “the Multimedia Performing Arts Projects is an annual showcase of final capstone projects created by students in the BFA in Multimedia Performing Arts program. Students work in teams to create the overall concept and write, direct, choreograph, and perform original multimedia performances.”

The creative process for the Devised Multimedia Performance class began in the fall semester when students explored collaborative storytelling techniques. In the spring semester, they

finalized the script, sound design, technical elements, and choreography before presenting the finished project on stage. For instance, Duncan explained, “students explored video projection mapping on multiple surfaces and spatial audio.”

The showcase also emphasized the importance of collaboration within multimedia arts. Students blended their own artistic strengths in visual design, sound, choreography, and storytelling to create performances that reflects both universal emotional struggles along with personal experiences such as healing, vulnerability, and connection that many young adults face daily.

Best-Chapman said, “My favorite part was my solo moment because it felt nice to be able to improve my moves without overthinking it too much,” she said. “I felt free in both mind and body in that moment.”

Spring Dance Concert Highlights Identity, Culture, and Transformation

Photo credit: Jayleen Maldonado

By Arlin Rodriguez

On April 22, the Spring Dance Concert at Lehman brought together 16 student choreographers who presented performances that explored identity, cultural pride, and the body in society through a mix of contemporary, street, and Latin dance styles. Developed through a choreography course, the concert featured both new and returning student artists, with performances emphasizing how dance can be used to communicate ideas about culture, identity, and personal transformation beyond words.

“Culture and community were the most important factors in my piece,” said Keany DeLeon, student choreographer and performer. “Growing up in New York, we see all kinds of ethnic groups, and I wanted to highlight the importance of coming together, regardless of where we all come from, because at the end of the day, we come from the same motherland.”

DeLeon also emphasized the importance of connection across differences. “I hope the audience resonated with my piece even if they speak a different language. The whole point is to come together and bring out the joy in each other.”

Other choreographers focused on broad social themes and the state of the world today. Hazel Avila, a student choreographer, described her piece “ThE anthology of uNbounD souls” as a reflection on both brokenness and growth. “This world at times can be bitter and filled with hatred and brokenness,” Avila said. “However, we can take that brokenness and turn it into something new.” She emphasized the importance of unity and collective care, adding that she hopes audiences understand that “if we choose to love each other and stand united…we can break free from all the world imposes upon us.”

Gabriela Moore, a student choreographer, explored personal and spiritual themes in a reflection on transformation and growth. Moore explained that their piece focused on “humans being God’s earthen vessels where Jesus takes us through all the processes of refinement whether through deep waters or blazing fire.” The piece highlighted the idea that individuals go through challenges but come out “filled with life and life more abundantly.”

Moore also hoped audiences would take with them the idea that “each individual on earth has access to something very precious from within,” describing a journey of “transformation, molding, and refinement” that begins with personal surrender.

“The whole point is to come together and bring out the joy in each other.” --Keany Deleon, student choreographer and performer

These ideas connect to the broader conversation about how dancers experience both their physical bodies and societal expectations. According to Dance Data Project, dancers often navigate pressures related to appearance, identity, and representation, which can shape both

performance and opportunity. Several pieces in the concert reflected these tensions by challenging traditional movement styles and presenting diverse perspectives on the body.

The concert also explored how performance elements such as lighting, costuming, and staging contribute to how identity and culture are presented on stage. Mx. Cooper, the artistic director, explained that these elements are carefully considered to reflect real-life experiences.

“While developing elements that support choreography, we spend time considering how cultural values and perspectives are reflected in aesthetics. All of these elements reflect underlying values, and making performances for the stage is a way to highlight those values as living, embodied truths.”

Cooper discussed the value the concert placed on supporting student voices and choreographers’ creative development. “The most important thing for me is supporting each choreographer in discovering what they want to say with their artistic voice and having that intention reflected in their design choices.”

From Para-Professional to Cultural Icon: Kid Mero’s Homecoming at Lehman College

The Kid Mero headlines the 2026 Lehman Lecture. From right, artists Rumarie Denizard, Tasheba Gallimore, and Estephanie Quiroz; Mero; and interviewers Julisha Evans and Molly Varillas

By Jainabou Sakho

The atmosphere in the Lovinger Theatre was electric on March 31 as Lehman College gave a massive welcome to one of its most successful alumni, the Bronx-born and -based Dominican comedian and media powerhouse, the one and only Kid Mero. Taking place in the Speech and Theatre Building, the event was way more than just a celebrity appearance; it was a homecoming for a Lehman graduate who has reached the levels of the New York Times best-seller list and the NAACP Image Awards.

After his entrance to thunderous applause, Mero had an in-depth conversation led by two Lehman students, Julisha Evans, a junior film major and a journalism minor, and Molly Varillas, a senior business administration major. Proceeding straight to the humor that has made him well-known, Mero declared, “Brooklyn is dirtier than the Bronx!” and the audience laughed their lungs out.

He started with Brooklyn gentrification but quickly moved to the pride that he feels for his home borough. “The environment shapes who you are,” Mero told the audience. Being born and raised in the Bronx, he said, made him independent and gave him the hustle necessary to make it in life. He also spoke of the beauty of the borough that mostly gets ignored by the media, highlighting free Bronx Zoo Wednesdays alongside Botanical Gardens serenity. “We always hear about the bad in the Bronx, but there is so much good here.”

“You never do it on your own." -- Bronx-born media powerhouse Kid Mero

Mero’s journey was not always glamorous. He candidly spoke about encounters as a para-professional making only $20,000 annually. He made use of his platform to warn students about the industry: “Know your worth and know who you are.” He also emphasized, “Everyone needs a team to help them be successful. You never do it on your own.”

He advised aspiring creatives such as filmmakers that success is not just about being in front of the camera; the industry needs talented editors and camera operators. He also congratulated Evans, one of his interviewers, on her professionalism, praising her for taking her craft seriously. Furthermore, Mero made it clear that he is not willing to change the way he speaks or dresses so as to impress others. He urged students, “Always stay the same: it doesn't matter who you're next to.”

The conversation touched on a little bit of everything—from his love for the Yankees as he recalled the 1996 Championship, to the Knicks, to his favorite Bronx rappers, like Slick Rick and A Boogie. He threw in a joke about adult life struggles, such as his “horrible” behaviors in managing time and the pain of inflation, recalling how, “One dollar took us far back in the day.”

A collaborative mural accompanying the event also celebrated teamwork and community. Supported by Gina Dominique Hersey, the chair of the Art Department, it was composed by student artists including Tasheba Gallimore, Estephanie Quiroz, and Rumarie Denizard, who worked together to create a collage based on photos taken off campus.

For Danna Carmona, a Lehman student, the entire event was a semester highlight. “I had so much fun,” she said, adding she was genuinely surprised and moved by the people who showed up and showed out for the Bronx legend. By the time Mero left the stage, his message had landed clearly: Be real, be consistent, and do not forget where you came from.

Bronx Artist Reflects on Public Responsibility at Lehman

The artist King Bee with his mural at Lehman College. 
Credit: Kurt Boone

By Arlin Rodriguez

To close out the exhibition “The Painted Word: Text, Gesture, and Expression in Contemporary Art,” Bronx-based artist The Royal Kingbee spoke at the Lehman College Art Gallery about his artistic journey and connection to the Bronx through his Rotunda mural, which anchored the exhibition.

The event, led by street photographer and author Kurt Boone, drew students and Bronx community members, highlighting the role of local artists in shaping public art and cultural identity. The Royal Kingbee’s honeycomb mural, titled The BeeUtiful Bronx, includes neighborhoods such as Kingsbridge, Belmont, Tremont, Baychester, and Marble Hill, connecting various parts of the borough in a honeycomb design. The Royal Kingbee explained that the mural represents places where he has previously created work and described it as a “full circle” moment that reflects both his artistic journey and connection to the Bronx.

The Royal Kingbee said his work has always been rooted in personal expression rather than place. “It wasn’t really the environment,” he said. “I was putting how I felt at the moment onto the walls.” He explained that, early in his career, he used graffiti to express emotions he could not openly share, often embedding personal messages into his work.

Over time, his approach changed and continued to evolve. While his earlier work focused on self-expression, he now considers the impact his art has on others. “What you put out there, especially in public, you have to be responsible for,” he said, noting that viewers interpret and carry meaning from what they see.

“I was putting how I felt at the moment onto the walls.” --Bronx-based artist The Royal Kingbee

Raysa Leon, another audience member, discussed how the topic resonated with her and how public art reflects emotion and identity. “I liked how he explained that graffiti was a way for him to express feelings he couldn’t always say out loud,” she said. Leon explained that hearing the artist describe the meaning behind his work made her view murals and street art differently, especially in the Bronx, where they are part of everyday life.

She also said the honeycomb mural stood out to her because it represents different Bronx neighborhoods coming together through art and shared experiences. “Even if people come from different parts of the borough, everybody can still relate to the message behind it,” she said. Leon added that the talk made her realize how public art can create conversations and help people feel represented in their communities.

Damien Garcia, a Bronx resident who attended the talk, also noted how the artist’s work exists in everyday spaces throughout the borough. “I’ve seen the one next to Rite Aid before,” he said.

Garcia also added that the honeycomb mural brings together various parts of the Bronx, creating a sense of inclusivity and shared identity across communities.

The Bronx has long been recognized as a center of graffiti and street art, where artists use public walls to communicate personal and cultural messages. The Royal Kingbee’s appearance at Lehman College underscores the continued influence of Bronx culture in contemporary art and the importance of local voices in shaping how stories are told through public space.

Queer Performance Artist Uses Performance to Heal

Hana performing a movement piece during a live performance event
Credited by Hana van Der Kolks

By Jada Duffus

On March 17, as part of Lehman College’s Queer Theater and Performance Speaker Series, Hana van der Kolk shared their work as a queer dancer, performance artist, and educator, focusing on community building, embodiment, and ritual. The exhibition and ensuing discussion emphasized both the artist’s creative thought process and performance as a tool to connect and heal.

“Embodiment and community are at the heart of my practice,” van der Kolk said, highlighting the importance of multidisciplinary creative collaboration as well. “I see the body as an incredible site and conduit for remembering, experiencing pleasure, connecting with self, others, and the world.”

The work is not only entertainment, but is also a ritual that helps both the performer and audience go beyond the norm of everyday experience to connect with deeper experiences. Emphasizing the emotional impact their performances can have, audience feedback often shows their work increased people’s awareness and connection. “I think I am most touched when what I offer invites people into intimacy with themselves.”

Van der Kolk also talked about their perspectives as a white, queer, able-bodied individual who also has a history of mental health challenges and chronic illness. Their experiences have made them realize that “difference in the room, hurt, anger, and trauma,” and that “there are a lot of layers and no one fixed story about this.”

“I am most touched when what I offer invites people into intimacy with themselves.” – Hana van der Kolk, a queer dancer, performance artist and educator

Monica Duncan, one of the event organizers, said the goal was to show students contemporary practices and diverse artistic voices and give them interactions with art that connects, challenges, and inspires. “Hana’s interdisciplinary practice, incorporating queer dance, performance, parade, ritual/healing, practices of care, and community-building, inspires me as a fellow queer artist and educator.”

Another goal, Duncan said, was to showcase a broader mission to connect artistic practice alongside social impact. “My hope is for students and members of the Bronx community to learn about Hana’s creative process…and how they engage with local communities in art-making as world-building.” She praised van der Kolk’s work as “improvisational, playful, and collaborative,” inspiring the audience to become one with their bodies, along with a new approach to being relatable with others as well as within the world.

Van der Kolk affirmed this goal, adding that they hope their work will contribute to reunification and healing throughout communities. While recognizing the privilege that allows them to take up space and creatively experiment, they emphasized how important it is to make space for others

and described their work as a part of a larger effort to challenge the systems of domination and disconnection. “Systems of domination hurt us all.”

Arisa Garcia, a student attendee, said that van der Kolk’s movement and meditation techniques demonstrated on Zoom personally influenced her. “I will be using that method for journaling,” she said.

The Lehman Art Gallery’s New Spring Exhibition Opens

The Beeutiful Bronx by The Royal KingBee
Photo by: Monserrate Godinez

By Monserrate Godinez

“The Painted Word: Text, Gesture, and Expression in Contemporary Art” opened on February 11 as the newest exhibition in the Lehman Art Gallery, exploring the deconstruction of language through diverse art forms and inspiring the community with artwork from both famous and emerging artists.

When asked about how he hopes the exhibition speaks to both the Lehman and Bronx community, director of the Lehman Art Gallery, Bartholomew Bland, said, “It works wonders for our design students.” Referencing the playwriting festival held in the gallery in 2024, he added, “I hope we get classes from the English department." He hopes that the exhibit will inspire Lehman students to create and make the general public think about language and the way we use it more deeply.

Maribelle Ceballos, one of the curatorial registrars and researchers, said, “The word fine art isn’t what certain companies and institutions want you to think. As someone from the Bronx, graffiti comes up. I want this to show people that fine art is stuff that comes from low-income places, from people who are not formally trained.”

Both Bland and Ceballos pointed toward the mural on the rotunda as the piece that best encapsulated the theme of the exhibition. “It’s so big, you’re surrounded by the Bronx,” Ceballos said.

The Beeutiful Bronx mural greets guests as they step into the gallery. Painted on the rotunda of the art gallery by a local Bronx artist, The Royal KingBee, the mural displays different neighborhoods of the Bronx and nearby communities inside his iconic honeycomb design. The rotunda makes it so the mural encompasses viewers, with different neighborhoods all highlighted in unique fonts designed by KingBee.

The exhibit features many more graffiti artists and their work that can be considered unconventional. One of these is Voices Carry by Lee Quiñones, a piece done on plywood with enamel, spray paint, ink marker, pencil, and paint markers. It is a collaborative piece that is a collection of messages and signatures from many different artists.

“Like the title implies, both in letter form and in human form on the 
surface, this work is the mark of my studio practice,” said Lee Quiñones about the piece on his Instagram. He refers to the voices that carry etched on the plywood and the voices that carry physically, in collaboration, in connection. 

The exhibition runs from February 11 until May 2.

The Infiltrators Shines a Beacon of Hope in Dire Times

Protesters in Times Square gather to demonstrate against ICE and deportations. The sign reads: Stop the deportations: Immigrants are not criminals!
Shot by SWinxy.

By Eli Kowar

On Tuesday, Oct. 21, 2025, Hostos Community College in the Bronx screened the Sundance Award-winning film The Infiltrators and featured a discussion with Marco Saavedra, the man centered in the film.

Using a mix of real footage shot by the National Immigrant Youth Alliance, or NIYA, and re-enactments of what happened behind detention center walls, the docudrama follows Saavedra and NIYA member Viridiana “Viri” Martinez, who turned themselves in to Border Patrol to infiltrate the Broward Detention Center in Florida in order to expose its practices. Many NIYA members fell under the criteria for Deferred Action for Childhood Arrivals, better known as DACA, yet they were still at risk of being deported.

Why put themselves in this situation? NIYA’s leader, Mohammad Abdollahi, explained, “The one thing that every undocumented kid is told: ‘If you see a police officer, run and hide, because you could get turned over to immigration.’ What we learned is that to actually have power as an immigrant, you have to do the exact opposite. Once we had the safety of knowing that we could not be deported, we had infinite possibilities.”

The Infiltrators gives insight into what it is like to be treated as a criminal for simply existing. The detainees are, more often than not, people who don’t understand the system and don’t have the financial means to afford experienced lawyers who do. 

Many of them spend years behind bars for no crime at all, awaiting their turn to be escorted onto a plane and deported back home — a warzone for some, a death sentence for others. With support from NIYA, Saavedra and Martinez were able to free up to 70 other undocumented immigrants.

In a time when anti-immigrant sentiment has run rampant, and the current administration is openly targeting undocumented immigrants and allegedly kidnapping them off the streets in broad daylight, the film offers a ray of hope. Christina Torres, a recent BCC graduate, former secretary of anti-racism club Common Ground, and one of the event’s organizers, said, “This film [is] so relevant for today’s political climate as immigrants are under attack with little to no legal protections. ... Immigrant hate has always been prevalent in American history. However, I do think that the underlying theme of organizing, specifically student organizing, should be discussed more. Many people, young and old, often feel helpless in regard to the wrongdoings of our governments. Marco and Viri were fearless and selfless when they infiltrated the detention center, and it is that fearlessness we all need to follow and aspire to.”

Torres encouraged students to take “Know Your Rights” cards o share amongst their peers, and her passion and vocal courage embodied what The Infiltrators represents. “I believe racist immigration policy is not new — it’s part of the history of this country and capitalist exploitation,” said Joan Beckerman, adjunct lecturer at Hostos, faculty advisor of Common Ground and member of the Hostos BX Action Committee who also helped make the event possible. “But the movement to defend immigrants and stand up against ICE is so necessary!”

During a post-film discussion, Saavedra, who now runs his family’s restaurant La Morada in the Bronx, said, “I think that when you are detained, the temptation is depression and to just shut down, and I think also we were trying to leverage the fact that you tried everyone. You tried the pro-bono attorneys ... you tried to be nice to your ICE agent; you tried to talk to the judge. What do you have to lose if you believe in organizing? It’s a big jump, but the choice is there. It’s also just to restore that agency to the individual, to say there is still something you can do.”

“What do you have to lose if you believe in organizing?” - MARCO SAAVEDRA, ONE OF THE INFILTRATORS’ PROTAGONISTS

Smart Cities Opens the Next Chapter of Creative Expression

Time of Red seven channel video installation
Photo by: Danielle Rodriguez

By Danielle Rodriguez 

Walking into the Smart Cities exhibit felt like stepping into a sensory vortex, an electrifying collision of light, sound and digital architecture that left me both overwhelmed and intrigued. Initially, the idea of AI-enhanced art made me uneasy: Was this the beginning of art’s dehumanization? Would machines replace the soul of creation with soulless algorithms?

But Smart Cities doesn’t erase the human, it reframes it. It invites us to reconsider the role of technology not as a threat, but as a tool. The exhibit doesn’t glorify AI; it integrates it, challenges it and ultimately reclaims it for the artist.

Bartholomew Bland, Lehman College’s art director, empathized with this tension. “Smart Cities encompasses the urban experience and the technology that is taking over the art space,” Bland said. “AI poses a great challenge to artists of our time as they have to now struggle with how to respond to AI when it devalues their skills. It brings to question why would you need a person to create anything for you when all you need is a good enough prompt to generate anything you want.”

One particularly provocative piece highlighted this conflict through the repurposing of photographs taken in the aftermath of the Chernobyl disaster. “These images,” Bland explained, “have since been scrubbed and reconfigured by AI to generate maps for video games and other digital media. When AI reuses such emotionally and historically charged material, does it diminish the lived experience it was meant to preserve?” Bland’s commentary invites reflection on how AI’s capacity to remix existing works may challenge not only artistic integrity but also the ethical boundaries of intellectual property.

Curator Naivy Perez offered a more tempered perspective. “There’s a lot of spectacle around AI,” she said, “but at the end of the day, it is just a tool.” For Perez, technology is no different than oil paint or charcoal — it’s a medium, not a menace. “I’d love to see more shows like Smart Cities in contemporary spaces,” she added, “but without the sensationalism. I want it to be more meaningful and less like a gimmick.”

That openness to innovation was especially evident in younger viewers like Lismar, a Lehman student who embraced the exhibit’s fusion of art and technology. “I felt that the show was really interesting. It defied my expectations on what an art show would be,” she said. “It was a lot more interactive than I was expecting and I learned a lot about architecture and the new age of technical art.” For Lismar, Smart Cities wasn’t a threat to traditional art; it was a gateway to deeper engagement that made her want “to see more digital shows in contemporary museums. These kinds of shows have so many more elements to them and give artists more tools to work with than traditional still mediums.”

Fellow attendee Saralinda Lichtblau approached the exhibit with curiosity and reflection. “With AI we have to learn how to identify it so that we can learn from it and so that it can learn from us,” she explained. “Artists must maintain their skills and craft so that they can better integrate AI in their creative process and enhance their creative visions.”

Camille Eskell, art curator, raised critical questions about the nature of AI and art. “I find AI art as a double-edged sword,” she said. “It can be so realistic that it is difficult to tell what is real and what is fake, but as a tool it can be a great way for artists to enhance their vision. But it can never replace the heart and soul of an actual human artist. It can be mesmerizing, but it is almost like entertainment and begs the question of is it art or is it entertainment? Is the future of art to be both art and entertainment?”

Smart Cities doesn’t offer easy answers. It neither pretends AI is harmless nor demonizes it. Instead, it presents a landscape in flux, one where artists must adapt, evolve and assert their humanity in the face of technological transformation

What struck me most was how the exhibit reframed my own skepticism. I entered fearing that AI would strip art of its soul. I left believing that, in the right hands, it could amplify it. Anyone can type a prompt, but only an artist can push the boundaries of creation. Smart Cities proves that when AI is wielded as a medium, not an entity, it can become a canvas for human ingenuity.

“AI…can never replace the heart and soul of an actual human artist.” - CAMILLE ESKELL, ART CURATOR

The Artist Becomes the Tool: The Impact of AI in the Art World

Machine Hallucinations by Refik Anadol, an art installation that ran from September 5th, 2019 to February 5th  2020 at Artechouse NYC, that utilized A.I. algorithms in a form of 'data painting.'

By Eli Kowar

Two new galleries, Offline and Heft, launched in April on the Lower East Side and specialize in digital art, or “NFTs, non-fungible tokens,” and AI art. However, AI is divisive in the art world. While some believe it is a tool that will open a world of possibilities for artists, others believe that the use of AI in creative fields devalues human talent and lacks the depth and complexity that human-made art has, and maintain the position that NFTs pose a 
danger to the average digital artist’s livelihood.

Quite a few artists have claimed that their own art has been stolen and is being minted as an NFT by 
someone else and sold on platforms like OpenSea and Twinci, which are notorious for being loosely regulated and plagued with scams, according to Jacklin Kwan in Wired magazine. The NFT marketplace is unregulated, and some artists have reported fraudulent sales, forcing these platforms to take the art down, only for scammers to reupload the stolen work elsewhere. These artists make nothing from these sales and instead are forced to keep an 
eye out for their own work on unauthorized marketplaces to prevent future theft, which is not realistic in the long term, as these artists often lack the time and resources to pursue legal action.

Another common critique of wholly AI-generated art is that although the work may look aesthetically pleasing, upon 
closer inspection it tends to be shallow, relying on patterns and repetition, making many generated pieces imitations of more complex art. David Schwittek, an associate professor of art at Lehman College, said, “AI only repackages the human creativity in its training data — it has no integrity, no lived experience, no conscience. Human artists also synthesize influences, but we do so through intuition, error, emotion, and often from places even we can’t fully explain. AI’s process is purely programmatic. While the outputs may look creative, they lack the depth and meaning that comes from being made by a living, feeling person.

In short, AI only outputs what it is fed and what it is trained on. As AI art generators grow in popularity, artists face a new form of theft: theft of art to be scanned to train these tools to mimic their styles.

But how can artists opposed to AI generators being trained on their work without their permission protect themselves?

Jonah Brucker-Cohen, an award-winning artist and associate professor at Lehman College, said: “Artists have a few ways to keep AI from training on their art. They can use tech tricks, legal options, and team up with others. Adding copyright info or Do Not Train tags to files tells everyone who owns it and what they want. Also, tools like Glaze and Nightshade can mess with images just enough to confuse AI. Putting work on sites that block scrapers is a good idea, and sending takedown notices if someone uses your work without asking also helps. Joining groups that push for clear rules about how AI datasets are made can make a difference too. It’s about owning your work, deciding where it goes, and making sure AI needs your permission to use it.

“It’s about owning your work, deciding where it goes, and making sure AI needs your permission to use it.” - JONAH BRUCKER-COHEN, AWARD-WINNING ARTIST AND ASSOCIATE PROFESSOR AT LEHMAN COLLEGE

When asked if he thought that AI would devalue the time and skill of a human artist, Bartholemew Bland, executive director of the Lehman College Art Gallery, responded, “There is still the desire for the artist’s hand in work. So, whether it’s a print or a lithograph ... or whether it’s a photograph or poster of something, there’s always this sort of distancing from the hand and the desire to see the hand sort of make ... somewhat sort of religious desire to make the object precious. And that’s very powerful, I think ... I don’t know that AI necessarily undercuts that.”

Simply put, the need to create is human. No AI can take that away from us.

Lalisa’s Alter Ego

LISA attending Bulgari Studio in March 2024Cares

By Weidy Sosa

Full of hype beat songs and confidence, Alter Ego (RCA Records) is the debut hip-hop/pop solo album by Thai singer and rapper Lalisa Manoban, whose stage name is LISA. Primarily known as a member of the K-pop group BLACKPINK, LISA—like the other band members—has embarked on a solo career despite the group not officially disbanding. A blend of hip-hop and electropop, with some trap influences, Alter Ego celebrates LISA’s newfound freedom, reflects on her influence on K-pop industry, and her identity as an independent “new woman.” While Alter Ego is where LISA declares her independence from the K-pop industry, it heavily relies on its featured artists- -Doja Cat, RAYE, Future, Megan Thee Stallion, and Tyla-- as most of her solo tracks are forgettable.

For example, the leading track in the album, “Born Again” featuring Doja Cat and RAYE, reflects on leaving an old relationship due to her partner’s lack of effort. The song’s intro opens with a single piano key playing accompanied by LISA’s vocals, effectively introducing the religious and sexual themes that are explored, with lyrics such as: “I could've made you pray to / Jesus / Would've showed you to the / light (To the light) / Every single night,” which promises her partner they will nd enlightenment in intimacy with LISA. Overall, the instrumentals of the song are on the simple side, and its upbeat nature complements the empowering tone of the song. However, the excellence of the song is largely due to RAYE, whose vocal performance significantly elevates the piece. While primarily serving as a background singer, her distinctive tonal quality and emotional delivery added depth and resonance, which allowed for the vocals of the three artists to fuse seamlessly, giving the song a heavenly melody. These attributes set this song apart from others in the album and set unrealistic expectations for the rest of the album, as the following songs are not as unique.

The second track on the album, “Rockstar,” follows her signature style— fast-paced, with loud bass--and features her rapping. It is one of the five songs on the album that explores her alter egos, each of which is represented by a different musical style. These personae include a sweet romantic, a Y2K aesthetic and internet obsession, and a “baddie” with a villainous persona. “Rockstar” fits the album’s theme of confidence and empowerment with lyrics like “It's not hype, hype, baby, I'm a rockstar” and the “Every city that I go is my city,” all complemented by the prominent bass. LISA also references key moments that led to her fame, like saying, “Make your favorite singer wanna rap.” Alluding to a 2019 Coachella BLACKPINK performance of the song “WHISTLE,” where many referred to her as “the ponytail rapper,” which made the group skyrocket in fame. She also references her association with luxury brands, saying “Tight dress, LV sent it” meaning Louis Vuitton, a brand she is frequently seen wearing.

A handful of the songs follow a similar recipe, like “Elastigirl,” referencing Pixar’s fictional superhero from the film The Incredibles. In this track, LISA highlights her aesthetic flexibility accompanied by a beat that consists of –once again– a strong bass and drum combo, some percussion aspects, background vocals, and special effects. Continuing the energy, “Lifestyle” is a song about being free, unapologetically yourself, and LISA flaunting her success. With a repeating fast beat the song is reminiscent of trap. “FXCK UP THE WORLD” ft. Future also follows a similar theme, where LISA tells off her haters in what is arguably the most ‘hip-hop’ track in the album, full of special effects, and a jumpy melody.

Alter Ego was LISA’s chance to redefineher identity but instead she keeps performing the tough girl persona that she played in BLACKPINK. Many of the songs in the album are generic Hip-hop songs filled with cliché mottos said by renowned hip-hop artists like, “They want the old LISA, then listen to my old shit” as she sings in “FXCK UP THE WORLD.” Statements like this are usually made by artists with extensive discographies, but she doesn’t have one. One could argue that her BLACKPINK days count, but that keeps her tethered to the group she’s clearly trying to build a persona away from.

“STATEMENTS LIKE THIS ARE USUALLY MADE BY ARTISTS WITH EXTENSIVE DISCOGRAPHIES, BUT SHE DOESN’T HAVE ONE.”

Wrapping in and as Art – A Review of the Exhibition at Lehman’s Art Gallery

Antonio Santín’s painting Annus Mirabilis (2015), Lehman College Art Gallery

PHOTO CREDIT: TABEA WECZEREK

Audio

By Tabea Weczerek

The word “wrapping” usually evokes gifts. But the art exhibition “Surprises Unknown: The Art of Wrapping,” at the Lehman College Art Gallery, invited viewers to think far beyond decorative paper, ribbons, and shiny bows. Featuring the work of 35 artists, the group show displayed a mixture of different art forms: paintings, photography, lithographs, figures, and objects made of materials such as marble or wood — all explored the concept of wrapping as both a physical act and a metaphor. What is wrapped? How is it wrapped? And what materials were used for wrapping? Also, what is concealed and unveiled? These were just a few of the questions the exhibition unpacked through the art. The gallery director and curator of the show, Bartholomew Bland, was inspired by the still-life artwork of American painter Wayne Thiebaud. “I thought it would be so interesting to do a show on wrapped packages, still life, and that gradually merged over time into the wrapped object itself,” said Bland on a gallery tour. According to him, the art show’s theme is the tension between expectation and anticipation — and a dread of that. While some of the wrappings were more straightforward, such as the paintings of meticulously wrapped presents by Ray Kleinlein and Sarah Hobbs, other artworks were more multifaceted and contrasting. They demonstrated the emotions a certain concealment may elicit. One of these extraordinary and fascinating works was Antonio Santín’s painting Annus Mirabilis (2015). From afar, it looked like an embroidered rug, but up close, it became clear that it was a trompe l’oeil painting made by layering thick oil. The technique creates a three-dimensional eff ect that suggests a fi gure is concealed underneath the painting.

Humaira Abid’s carved wood objects titled Zaad-e-raah (2020) and Fragments of Home Left Behind II No. 3 (2019-20), Lehman College Art Gallery

Similarly, two differing artworks composed of bundles offered different meanings and emotions: one evokes excitement and pride, while the other elicits sorrow and melancholy. Humaira Abid’s Zaad-e-raah (2020), meaning “Provisions for a Journey,” presents a sack meticulously carved from pine wood. A wooden rearview mirror accompanies this detailed and beautiful object. In the mirror, three figures — one carrying the sack — make their way through the water, evoking displacement and survival. The simplicity and necessity of this sack was contrasted by Leeah Joo’s nearby oil on canvas titled Pojagi Throne (2017). The attention in her piece is on the colorful, printed fabric used for wrapping rather than its contents. Joo’s realistic painting captures the luminous, fabric-wrapped pojagi, a traditional Korean wrapping cloth, in bright, saturated colors. While Abid’s piece is grounded in necessity and survival, Joo’s work is celebratory, honoring the aesthetics and traditions of her culture. The transition of a concealed object from a source of curiosity to one of anxiety reveals the fine line between astonishment and threat. Among the renowned artists featured in the exhibition is Christo, who is internationally recognized for his public wrapping of buildings and landmarks. His contributions to the exhibition include sketches, photographs, and photomontages of his plans for wrapping trees, monuments, and buildings. In the show, his lackluster work is overshadowed by the other artists and holds less prominence in comparison. His drawings offer insights into his visions for large-scale projects, but ultimately, his work impresses more outside of the art gallery.

When does a concealed object turn from mysterious and amusing, as with Christo’s work, to something that produces anxiety and fear? The thought-provoking artwork by Robert Attanasio shows two photographs, each titled Suspicious Package (2005 and 2006). One photo depicts a paper bag with contents, seemingly abandoned at a public transport station. The other shows a box-shaped object wrapped in dark plastic and left on the side of the street. In these settings and contexts, wrapped objects no longer evoke curiosity but trigger discomfort. The tension arises not from the objects themselves but from their placement, revealing how context changes perception.

The exhibition was wrapped up with a dance performance choreographed by Cordelia Voghnout and Tae G. Kim, and a post-show discussion by the Herbert H. Dance Company. In a lively performance filled with unexpected and surprising movements, dancers Caroline Roque Barreira, Kimberly Garcia, Wilson Hernandez, Sky Mercado, and Cordelia Vohnout embodied different emotions evoked by concealment and revelation. From the big Rotunda site-specific installation at the entrance to small objects and large paintings on canvases, “wrapping” is a versatile, meaningful, and emotive theme explored in and through an intriguing group show.

“WRAPPING IS A VERSATILE, MEANINGFUL, AND EMOTIVE THEME.”

Images of Faith in the City

At the Fordham University’s Susan Lipani Gallery. Photos by Tabea Weczerek

Audio

By Tabea Weczerek

For Bronx-born David González, faith and religion in a place like New York can have very different manifestations. They can be found in a colorful mural honoring the dead in Castle Hill, in the compassionate work of a catholic worker in the East Village, or on a bold storefront sign in the Bronx.

His first solo show, “Urban Devotions: Images of Faith in the City,” held at Fordham University’s Susan Lipani Gallery from January 21 to February 17, 2025, showcased forms of urban spirituality through the many lenses he’s used in his career spanning over four decades as a photographer and journalist.

His interest in covering expressions of faith in the city dates to his early years at The New York Times, where he worked as a journalist covering New York, especially the Bronx. He is also part of the Seis del Sur, a collective of Nuyorican photographers that capture the South Bronx.

“They looked out not just for the spiritual health of the community but also for their social and economic wellbeing.” -- David González, Former New York Times Bronx Bureau Chief and Latin American and Caribbean Bureau Chief

González has always been fascinated by how religion plays out in people’s lives, particularly in their day-to-day lives. His inspiration came from growing up as a Latino Catholic in the South Bronx and his work as a journalist covering the city. “I realized in some of my old neighborhoods that the church has really done a significant job of organizing its congregation to demand proper treatment for residents from city officials,” said González. “They looked out not just for the spiritual health of the community but also for their social and economic wellbeing.”

One photo that captured this spirit is taken from over the shoulder of a Catholic worker as he extends his hand through a window, giving bread to a man outside. The angle of the shot focuses the viewer’s attention on the act of giving and receiving in a warm moment of kindness. The small statue of a saint holding baby Jesus on the right side of the picture echoes this expression of caregiving.

Another particularly remarkable image was a raw portrait of Father John Grange, a Bronx priest who, as González mentioned, did much for the community until his passing. Taken at the Calvary Hospital near the end of his life, the picture captures him with a subtle smile, his gaze directed slightly off-camera, his shirtless torso contrasting with the blurred dark background.

Eileen Markey, associate professor of journalism at Lehman College who moderated an artist talk with González, praised how he revealed the ineffable in his photographs. “I’m a big fan of David’s work. He’s capturing what makes the community in the Bronx very special,” said Markey. For her, his work reveals an alternative source of strength and community, illustrating a more tender image of the Bronx. “For the Fordham Center on Religion and Culture, it was important to create a space to reflect on these matters,” said Markey. “To think about the roles religion, belief, and faith play in the lives of New Yorkers.”

The exhibition featured images that reinterpreted secularism in the buzzing New York cityscape and highlighted spaces and signs that are often overlooked and unacknowledged. The photos included shots of streetside altars, murals, statues, portraits, religious signs on storefronts and sidewalks, and snapshots of individuals in moments of prayer. Compiled over a decade of work and composed of color and black-

and-white images, it ultimately serves as a documentary record of lived religion in the 21st century.

“I hope people come away from it with an appreciation for all these little signs that are all around us if you know how to look,” said González on the intention behind his project. “To realize that there are all these details around us and to give us some approximation where we’re at right now and perhaps where we’re going to.” Through the images, he hoped to encourage people to reflect on their relationship to faith or the city and approach things with open eyes.

Bronx Native Makes Award-Winning Hip-Hop Film

(From Graffiti Nation by Handal Abdelrahim)

Audio

By Genesis Stanley

Bronx, New York, 1983. Sixteen-year-old Handal Gomez Abdelrahim was walking up the block in his neighborhood on 231st St, playing hip-hop music on his small radio to meet up with his friends when a grown man confronted him, cursed him and his music with a racial slur, and broke his radio. While another adult stepped in to defend Abdelrahim verbally, Abdelrahim decided to outsmart his assailant. He went back to his house, brought out his bigger radio, and walked past the man with a smile, playing his music even louder.

Now an Audiovisual Technician and IT Specialist in the Multimedia Center at Lehman College, Abdelrahim said he learned that day that he could’ve easily gone to jail if he used violence, but instead he chose peace. “Hip-hop won,” Abdelrahim said. “We won by not using violence.” As an adult, his love for hip-hop culture led him to make the film Graffiti Nation about the evolution of hip-hop, which screened at Lehman College on Feb. 20.

Born and raised in the Bronx to a Colombian mother and Palestinian father, Abdelrahim grew up along with hip-hop. But he didn’t have an easy childhood. “[It] was rough being both Hispanic and Palestinian in NYC”, said Abdelrahim. He said his mixed heritage put a target on his back because some people viewed and treated him differently. Despite these struggles, his mother always took him to the movie theater to watch movies together. These visits were how his love for filming started to blossom.

“Film was like my therapy, my escape zone. I used to pack packages when I was a child at a supermarket by Dyckman, and whatever I made, I just went over [and spent it at] the movie theaters two or three blocks away called the Alpine Theater. I sat there all day watching films,” Abdelrahim reflected.

Growing up, he idolized icons such as Muhammad Ali and Bruce Lee, known for their strength, heart, and skill that they showed through their artistic form of boxing, martial arts, and acting. Movies like Jaws, Star Wars, Rocky, and The Warriors are what gave him his light bulb moment about the power of film. “The Warriors movie showed the streets and I saw the art in the streets.”

His life also changed when he went from a Catholic elementary school that was “all about homework and religion” to a public school where the doors of hip-hop were opened to him. “Graffiti, breakdancing, hip-hop was a norm. You were cool if you were doing it”, said Abdelrahim. He started to cut class and make beats and mixtapes with his friends. From there, Handal and his peers became part of the hip-hop movement.

“My boy Howie, who was also a graffiti writer and DJ, we grew up together in the Bronx. We used to make beats, we would take any record and try to combine it”, Abdelrahim recalled.

Mixtapes and DJing were popular back in the 80s when hip-hop took off and became so popular that it spread to other boroughs.

“Graffiti, rapping, DJing, breaking—these quickly became and remain powerful modes of expression for youth around the world. But it all started here in the Boogie Down.” - Dr. Steven Payne, director of the Bronx County Historical Society.

As an adult, Abdelrahim became a filmmaker himself, and created Graffiti Nation, a film that traces how hip-hop has changed over the years and influenced many artistic styles. The movie shows images of graffiti murals from back then and now, movie clips of all kinds of dance styles, from movies like You Got Served, Honey, The Wiz, House Party, Beatstreet, and many more, along with breakdancing videos, set to an old-school hip-hop soundtrack. It won two New York City Film Festival awards in 2010 for editing. On Thursday, Feb. 20, the movie was screened at Lehman in the Music Building.

“I wanted to show the background and how it started. How you can have Fred Astaire do the footwork and kids today and break dances today are doing the same type of footwork that Fred Astaire did", said Abdelrahim. He explained that his loved ones played a big part in his drive to make the film. After two of his cousins passed away, he continued making the movie so that everyone could learn what life was like back then.

“I didn’t want to include me and Howie in the film because it wasn’t about us,” Abdelrahim said. “It was about the people and how [hip-hop] transcended through time.”

As an adult, Abdelrahim became a filmmaker himself, and created Graffiti Nation, a film that traces how hip-hop has changed over the years and influenced many artistic styles. The movie shows images of graffiti murals from back then and now, movie clips of all kinds of dance styles, from movies like You Got Served, Honey, The Wiz, House Party, Beatstreet, and many more, along with breakdancing videos, set to an old-school hip-hop soundtrack. It won two New York City Film Festival awards in 2010 for editing. On Thursday, February 20, 2025, the movie was screened at Lehman in the Music Building.

“I wanted to show the background and how it started. How you can have Fred Astaire do the footwork and kids today and break dances today are doing the same type of footwork that Fred Astaire did", said Abdelrahim. He explained that his loved ones played a big part in his drive to make the film. After two of his cousins passed away, he continued making the movie so that everyone could learn what life was like back then.

“I didn’t want to include me and Howie in the film because it wasn’t about us,” Abdelrahim said. “It was about the people and how [hip-hop] transcended through time.”

Existing in The Context

Audio

By: Steevens Remelus

Suchness:

The piece begins slowly, with controlled movements and silence, and stays this way with the audio sprinkled in. Bits came in and fled, initially confusing me about what was occurring. However, this contributed to the message I took from it later on, acknowledging these slow moments needed to be cherished. When the tape recorder comes in and starts playing audio with the static effect (like a VHS player), it starts to feel like a memory and not so much like interpretive art – moments of childhood, moments of joy.

Eventually, all the movements of slowness and quickness start to combine beautifully. The moment that stood out to me the most was the sunset. Every character and their beautifully done makeup stared into the orange light and, one by one, left, each at a different pace. I’m not sure why, but I guess it’s the feeling of moving at your own pace and not being able to forever enjoy the moments of relaxation or beauty. Reflecting on it now helps me better understand why I felt like crying and wish I had gone to see it again.

This is why I think this piece gets the name “Suchness”. All the changes in pace, the incomplete and partial elements in everything, the movement, and the atmosphere create all the dialogue. Chanel, who worked backstage with wardrobe, gave her interpretation, “Their dance movements were ethereally soft, carrying the audience to fascinating and contemplative thought processes. This improvisation added a touch of surprise to make every movement different and unique.”

Pendulum:

There’s one reason why we go to the club: to distract ourselves from the reality of our lives. We want to get pumped, hang out with our friends, or become less aware of existence. Some of us head to the club and drink or take substances so that the outside world doesn’t feel as real and the joyous effects take over. What’s done well in this performance is how the club culture is fully transported to us; we’re tossed into the high energy, music blasting, dancing, and movement of dancers.

While it's easy to focus on the excitement and energy of the crowd, it's easy to overlook the people around you and their stories, often unnoticed, brought into light by a performance like this.

When creating Pendulum, Xavier wanted to highlight different stories. “Even if they were of the generic type or brand, I still wanted it to be kind of relatable because these are things that, even though they're generic, people understand and relate to. ” 

There’s fantasy and realism put into the narrative to shed positive light on the community, some of the stories being personal. Yes, even with the effects of the hype and stimulation in the club, the problems still find their way to creep in. 

With TJ’s scene in the red room, Xavier recalled from his own experiences. “I wanted to make sure that people, with lighting and music, feel like they’re high. I really wanted people to have this like, ‘ooph,’ like a weight was lifted off your shoulders… sometimes when people are rolling, people feel amazing beautiful and just want to have fun and let go. And then sometimes when you’re mixing and drinking on top of things and other stuff, it’s not that great and not that fun.” 

The dopamine spikes could be temporary, and the doubts fill your mind, just to be washed away again. Promiscuous risks taken in this jungle test your willingness to be vulnerable. Romantic challenges test your loyalty and understanding of one another. While everything feels fast initially, it slows down in these moments and puts you back in perspective: you’re still in reality and going to face it once it's all over, but should cherish these moments while you can. However, accepting who and where you are makes reality all the more possible. 

We end the performance off with a drag show, a beautiful display of queerness, along with some comedy. It makes the statement that this is who we are while showing comfort in ourselves. Although raunchy, it’s real. “I know some of it probably was a little raunchy, a little uncomfortable. That’s part of the reason why I’m very big on making it uncomfortable for people, a lot of it is making people think,” Xavier explained.

Making people think helps with confronting the reality of queer life. When asked about how more explicitness would change the story, Xavier replied, “In nightlife, depending where you go, there are nights where it’s meant just for sex only… so I wanted to make sure that it was as tame as possible where the point still got across… If everything was explicit, then everything would be a whole different ball game.” It can get crazy, and it can be sexual, but the actions are normal and done in an effort to feel free.

So why is the piece called Pendulum? Aside from the allusion to Climax, the story's narratives and nightlife dynamic match the definition and symbolism of a pendulum. Pendulums are weights hung from a point that lets them swing freely forward and back, but they can also be used to refer to the tendency of a situation to oscillate between one extreme and another. “Basically the same thing as Pendulum where it just feels like there’s so many things happening at once, and it’s only a matter of time until we hit a point in the night where it’s about time to go.”

Despite how hectic and nerve-wracking putting it together and seeing the vision might have been, the group chemistry and Xavier and Madelyn’s descriptiveness made it all come together. The creator and dancers' relationship with one another – trusting in him with their cues and artistic speech, trusting in allowing the dancers to do their own thing and help with the creative process, and pushing one another – completed it all. 

"Herbert H. Dance Company Returns: Exploring the Anthology of Fabled Kingdoms" (Copy)

Herbert H. Dance Company, The Anthology of Fabled Kingdoms. Photo by Ashley Vasquez 

Audio

By Ashley Vasquez 

Edited by Professor Eileen Markey 

After a six-year hiatus, the Herbert H. Dance Company (HERBIE) returned to Lehman Stages on Wednesday, September 18, at 4 PM with “The Anthology of Fabled Kingdoms,” choreographed by Lehman alumnae Cordelia Vohnout and Tae G. Kim. 

 This contemporary dance piece explores the power of myths from different cultures, featuring bold and energetic movements. The dancers’ powerful facial expressions and smooth transitions between expressive solos and intricate group formations bring iconic characters such as the fierce warriors and a noble queen to life. Each act focuses on themes of bravery, love, and sacrifice, showing how these stories connect people across cultures. Jessica Maldonado, whose daughter Jaylene is a dancer in the show, was enchanted. "I loved it," she said after the performance. "It was beautiful, and the audience loved it."

Through body movement, dance, and emotions, the dancers created clean lines, and the choreography was designed to highlight their techniques during individual moments. Lehman Stages managed music, atmospheric sounds, and lighting design. “All funds collected from ticket sales, concessions, and merchandise support the company, which includes Lehman students and alumni. These funds help bridge the gap between academic pursuits and careers under the Lehman Stage umbrella,” said director Dante Albertie.

The dancers’ elegant and flowing costumes, which ranged in color from bold reds to soft pastels and stunning metallic greens embellished with feathers, played a vital role in the storytelling. “I love seeing the storytelling, and the costumes are really nice,” said Nadia Schroud, a Lehman alumna who returned for the show. The production ran from September 18 through September 22 in The Speech and Theater building. Dancers rehearsed together at the APEX building in Lehman College from July until September's performance, meeting four times a week. “Being a part of HERBIE dance company is like a sense of community,” said dancer  Wilson Hernandez.

Herbert H. Dance Company, The Anthology of Fabled Kingdoms. Photo by Ashley Vasquez 

As the dancers portray the story of renewal, vibrant colors and dramatic music signal the arrival of the phoenix, capturing the audience's attention. The choreographers selected ‘’The Anthology of Fabled Kingdoms’’ as their comeback performance because of its vital elements of “fantasy and storytelling.” The phoenix symbolizes rebirth, marking a new beginning for the HERBIE Company. After a six-year break, HERBIE's return energized the audience, and the faces of the children in attendance appeared inspired. 

Acting a Fool: A Review of Love’s Labour’s Lost

Audio

By Steevens Salomon Remelus

BronxShakes’ recent Shakespeare performance ‘’Love’s Labour’s Lost’’  transports the audience into the Roaring Twenties, an era where we moved to the rhythm of jazz and flaunted our newly obtained wealth. This performance has a more lighthearted tone than "Romeo and Juliet," offering a comedy instead of a tragedy.

The production’s standout elements are the costume design by Anthony Paul-Cavaretta, singing by Mariah Eskoh, and the musical score and direction by Alyssa Van Gorder, co-directed by Anthony Paul-Cavaretta. Dresses manipulate the light to their favor, drawing attention with the complex bedazzled patterns, while the casual suits reek of sophistication, with a hint of fun.

The interplay between the two main groups – the King of Navarre and his lords, and the Princess of France and her ladies – creates a delightful contrast. The men struggle to renounce their love, alternating between shame and cooperation, while the women are giddy about their efforts and tease them a bit.   The natural environment of the Amphitheater enhanced the general intimacy of the event by engaging the crowd with the characters. Audience members were brought into the schemes, by reading notes or aiding in quests. According to Dante Albertie, the decision to encourage participatory theater was instinctually made by Alyssa Gorder to boost engagement and anticipation, taking away from the chasm of just sitting and watching and drawing in the whole audience (not just the first two rows).

There was such a childish realism to the performance. The characters mirror the first experiences of love – or rather a crush. It is something we are disgusted by and might try to rebuke. Love makes us do stupid things: act a fool, mock our lovers, try to do some grand gestures. But when love is true, there is no denying how we feel and how far we'd go—or rather, how far it'd take us.

As comedic as the play is, it leaves us with many questions about our lives. Are you interested in them and do you intend on putting your best foot forward? When a loved one passes away it leads us to many questions: Will we be able to continue to move forward so easily? Would that missing piece of us ever be filled again? Would we be able to stick by someone’s side, even if we feel alone?

For anyone considering future shows at Lehman, I'd highly recommend attending the ones closer to the night for the best immersion. Love's Labour's Lost is a beautiful comedy that highlights what love should be about, something that somewhat gets lost today.  This is what makes love so important: we never feel lonely, and we forever feel as if someone cares about us.

The Skin I'm In Book Review

Audio

By Amy Thompson 

The Skin I’m In is a young adult fiction novel by Sharon G. Flake. The main character, Maleeka, is a thirteen-year-old Black girl who faces relatable challenges: living in a low-income, single-parent household, experiencing bullying, and struggling with low self-esteem. This story follows Maleeka’s journey to self-acceptance. 

Flake’s vivid portrayal of Maleeka’s struggles deeply reflects the character’s insecurities: “It’s bad enough that I’m the darkest, worst-dressed thing in school. I’m also the tallest, skinniest thing you ever seen.” (Flake 4). This depiction does not shy away from the harsh reality of bullying and its impact on many young people.  

The author details Maleeka’s journey from trying to fit in to eventually realizing her self-worth. For example, Maleeka befriends a popular girl at school, Charlese, and goes to great lengths to fit in, even if it is destructive. The anxiety of going against whatever Charlese told her to do controls Maleeka. The author did a good job of representing the feeling of being trapped in an undesirable relationship due to fear. 

Miss Saunders Maleeka’s middle school teacher sets an example for Maleeka and the reader. Miss Saunders was aware of the ridicule and learned to accept her appearance: “It takes a long time to accept yourself for who you are. To see the poetry in your walk,” (Flake 19). Despite being treated like a spectacle her whole life, her character shows a level of self-acceptance that many people struggle to adopt. 

The Skin I’m In is multi-faceted and nevertheless relatable. When I read it, I could not put it down. It touches on important topics and keeps you on the edge of your seat. It can be inspiring and sometimes heartbreaking. The story has helped me realize that how you see yourself is more important than anyone else’s idea of who you are. 

This story is spectacular and empowering for anyone who can resonate with Maleeka’s character. It can even provide insight for those seeking a different perspective. I related to Maleeka’s character and was comforted by the feeling of not being alone. Flake stated in an interview with Pitt Magazine, “I get kids from all over seeing themselves in my novel because they know what it’s like to be different.” In conclusion, The Skin I’m In delivers the inspiring message that there is nothing wrong with being unique. 

Amira Mustapha: Renaissance Woman

Amira Mustapha 

(Photo Credit: Michael Martinez) 

Audio

By Ja-el-Lucina Dozier 

When searching for your artistic voice, studying the work of other artists can inspire, new ideas and broaden your perspective. Amira Mustapha, a Ghanaian-American, Bronx-based artist, producer, writer, Founder, and Executive Director of Art Defined Productions, Inc., is a renaissance woman whose magic seems to be everywhere, producing art across multiple genres and supporting her community. Ms. Mustapha was gracious enough to sit down with the Meridian to chat about her artistic journey and give aspiring entrepreneurs some insights on starting their journies.  

Can you tell us a bit about your origin story as an artist? 

I’ve always been interested in the arts whether it was writing, singing, acting, all those things. But growing up, as a first-generation student, I was told, “That’s not something you do. You go to school to become a doctor, a nurse, something more solid.” But then I started taking theatre classes here and fell in love with it. Realizing that this was something you could do for a living and make money from it was something I didn’t know was possible before college. 

Did you get both your BA & MA from Lehman?  

Yes! The Bachelor is in Theatre with a minor in Psychology. And when I first graduated from undergrad, I said I’d never go back to school. But then my boss Henry Ovalles (Associate Director of Lehman Stages) mentioned a new one-year Master’s program in Organizational Leadership. Having that as a Master’s gives me the tools to step back, look at things objectively, make revisions, and strengthen my company. To this day, I still go back to those notes, especially when I’m feeling stuck.  

You’re also the Director of Production Services at Lehman Stages. What are some of the other things you’ve been known to do?  

So backstage, I do lighting design, stage management, and tech for live shows. I’ve also recently acted in a play that I wrote for the Framing the Female Gaze exhibition at the Lehman Art Gallery. My play, Adulting, was based on when my father passed. It was kind of therapeutic because it was a way to deconstruct the world around me and put those thoughts out there so that they wouldn’t overwhelm me. And then we did the web series #30theseries. I wrote that with my best friend Cristy Reynoso and it was a lot of learning. It was crazy but it was fun. 

Because you had to wear a ton of hats for the web series?  

Yes! We were producing, writing, directing, doing our camera work, lighting, postproduction, and promotion.  It was hard, but it was a great experience. That’s what I love about art. 

How long had you been working on the concept before you were able to finally get into shooting the principal photography?  

Even before we got into the arts, me and Cristy were always able to write ourselves as characters in a story. In 2019, we decided to produce a story based on ghetto adulting. Shooting started in Spring 2022. And we were done in three months. 

Poetic Affair	

      (Photo Credits: Gabriela Garcia)		

#30sTheSeries 

(Photo Credit: Richard Acevedo, Jr) 

Circling back to your non-profit company, Art Defined Productions, Inc., what was your inspiration for founding your organization?  

I needed it to exist. When I was a student here, we had so many ideas and dreams. But then we graduate, and it’s so easy to get lost in the hustle and bustle of New York. I saw a lot of people start to slowly move away from the arts. And I was like, “No! We went to school for this!” So I started Art Defined as a way to bring people together. Not just friends of mine but also people who were like us, who needed support and a space to continue dreaming.  

You founded Art Defined in 2010. What was it like getting started; finding founding members, trying to get funding, and getting it registered as a non-profit?  

It was difficult and it took some time. I wanted to have everything set before I did my first show. Starting, I did a lot of research on books that gave me step-by-step guidelines on the company paperwork. And I wanted to figure it out myself so that I wouldn’t have to worry about being taken advantage of by an umbrella company. Umbrella companies usually take ten percent of everything a startup earns. After we got our incorporated status, we did our first Poetic Affair as an open mic showcase and fundraiser for the 501c3 application. Once we got our non-profit status in 2013, that made us eligible to get grants. But the paperwork is a lot simpler now than it was back then when you had to mail in hard copies to Albany.  

How has Art Defined evolved from the first production to now?  

Art Defined needed to pause in 2015 so that I could figure out its direction. Then when I graduated from the master's program three years later, I revived the company, gave it a new life, and strengthened its conviction. Then when the pandemic happened, we were able to have access to a lot more people, foundations, and opportunities virtually. Even though it’s based in the Bronx, the goal is for it to grow and go into other underserved communities around the world. And I was able to start that over the pandemic. Because we did our workshops online, we were getting people from the UK, Africa, Australia, etc. And many of the people who connected with us over the shutdown still come to our workshops now. It’s a space for artists to grow, have community, thrive, and make connections.  

How do you choose your team?  

It varies from year to year. When it began, I did a lot of the work on my own. But I’m surrounded by creatives at Lehman, and I would go to specific people for specific things based on the project. I would go to people and ask them, “How can we bring your dream to life.?” Then I started partnering with other organizations to get interns. Now I find that I’ve been doing a lot more networking through the events that I host. 

How do you start to look for grants? Were you doing that before your 501c3 status?  

A friend suggested that I apply for a grant through The Bronx Council of the Arts. They aim to support organizations in the Bronx. But I didn’t start to get huge grants until the pandemic actually, like the Rockefeller Fund.  

Tell us a bit more about the programming over at Art Defined and how that’s evolved through the years.  

The base has always been literary and performing arts. Even though performing arts was my first love, the writing workshops were always a part of the plan. Writing feeds that creative side of me more than just journaling. So in the beginning was Poetic Affair, our most consistent program. Next, we did a few plays. Then our writing workshops started in 2018 at the library. When we moved online, we expanded to poetry, playwriting, and screenwriting. Last year, we got our DOE (Department of Education) license so that we could work on school programming to encourage the younger students. 

What has been the most challenging thing about the Poetic Affair productions?  

Consistency. We started once a year. Then it became quarterly. Now it’s monthly.   

So what’s next?  

Sustainability through fundraising! I need Art Defined to outlive me. Poetic Affair is our poetry night that happens every third Wednesday of the month.  Except this month it will be on May 22nd. And we have our workshops every Sunday from 2 pm - 4 pm. We promote everything on our Instagram. www.instagram.com/artdefinedinc/  

Poetic Affair features a versatile casting process. In addition to spoken word, featured artists can also sing, dance, perform magic, etc. Visit their website for more information about upcoming events. https://www.artdefined.org 

Follow Amira Mustapha: 

https://www.instagram.com/aquarianmuse19/ 

https://www.linkedin.com/in/amira-mustapha 

https://amiramustapha1.wixsite.com/my-site 

Checkout Amira’s Web Series:  

https://www.youtube.com/@30stheseries 

Presenting: The 2nd Annual CUNY Beat Battle

Audio

By Jamal Weekes and Brian Cortes 

On Tuesday, April 15th we met with the Lehman College Audio Club to learn more about the upcoming Beat Battle on May 7th. The Beat Battle is a yearly event produced by Lehman College, The Multi-Media Center, Hostos Community College, and Laguardia Community College all broadcasted by the BronxNet. The event kicks off with an introduction from the judges and all competitors from the schools involved. Students from each CUNY school then present their team of 6 as they make their way to the Multi-Media Center’s audio room.    

Competing students from both schools have 45 minutes to create a beat using the several samples provided. Sampling is a music technique that incorporates pieces of existing recordings into a new creation. This method has been used since the 70s and is widely renowned in Hip Hop for the countless records and songs that have utilized it.   

This year the Lehman College Audio Club went up against both Hostos Community College and LaGuardia Community College to see who can produce the best beat in the time given. This year, each team is granted 45 minutes to create a beat while deriving inspiration from the ten samples given. In the end, winners receive prizes for first, second, and third place with the first-place winner receiving a special grand prize by SweetWater.  

Before the event,  Giancarlo Esposito, the Vice President of The Lehman College Audio Club, expressed what goals he had in mind for the event, “[I want] to showcase our skills and what we can provide as an exercise to help us network with other artists.” 

Giancarlo went on to explain the future of the Audio Club, “We want to collaborate with other clubs to bring back more on-campus events [for our club] to boost engagement and fun for everyone.” In hosting the Beat Battle Lehman’s Audio Club seeks to gain new members and hopes it will open the door for future collaborations with other clubs for the fall semester. New members are welcome to join with no experience required and will be able to participate in the event next year! 

When discussing the Beat Battle event, Oliver, a senior majoring in Media Communications, along with other members explained their reasons for being involved in the Audio Club. 

“I have a lot of interest in playing digital music and in music production, it's something that I'm very passionate about and I want to be able to collaborate with people who have that same interest.” 

The Lehman Audio Club has worked their craft for a while, practicing and honing their production skills. This Beat Battle event serves as a platform where they can demonstrate what they’ve learned over time and all the experiences they’ve shared. 

When asked what the best takeaway was from being a participant in the event, Oliver responded, “You could say working under pressure [...]  there are so many things going on in your mind. It’s the amount a lot of pressure put on a person to make the best beat possible under a time crunch” 

Finally, while speaking on what a spectator should take away from the experience of attending, Oliver continued, “It's a vibe in a sense. You get to hear different sounds and beats from different genres that you might be interested in and get a behind-the-scenes look at how your favorite songs on the radio are made.” 

The CUNY Beat Battle was an outrageous success. With Lehman College as the winner in the end. An exciting competition from start to finish, with appearances from Hip-Hop legends Melly Mel and Denzil Porter. 

The Audio Club is welcoming anyone with any interest in music or audio production. Even if you aren’t a music major or minor, they create a space where you can communicate, and work with other individuals who share the same enthusiasm for the process. You can support Oliver, who participated in the CUNY beat battle @Ollie050502. Additionally, you can show your support for the other Lehman contestants by following them on their social media @lehman_audioclub. 

On Fire Johnny Pacheco Latin Music & Jazz at Lehman College

Audio

By Jamal Weekes 

The Johnny Pacheco Latin Music & Jazz Festival occurred on Wednesday, March 13th, at Lehman College's studio theater. The festival is a beautiful celebration of Latin Jazz, featuring dancing and outstanding musical performances that has been going strong for fourteen years. Johnny Pacheco, the originator of salsa and the founder of the Pachanga dance, spearheaded the festival for years until his passing in 2021. His first studio album with Alegre Records sold 100,000 copies.  

In recent years, the event has been live streamed for viewers to enjoy from the comfort of their homes. This year, many musicians gathered at the Lehman College studio theater to enjoy a night of music. The performances are given by middle school and college student musicians, who get the opportunity to gain experience with professional musicians from the city and beyond. News of the event was promoted on the Lehman College Facebook page, attracting a large audience. Many people from the Bronx and the greater New York City area attended via livestream.    

I had a chance to speak with some of the attendees before the performances began. Paul Rivera, a member of the Latin jazz group the Afrolatineers, learned about the event through the Facebook page. He became interested in Latin Jazz after taking some classes on the topic, and thanks to social media and his love of music, he traveled to Lehman College for a night of Latin Jazz. 

At exactly 7:30 pm, the ensemble started playing, and the studio was filled with the sounds of guitars, pianos, trumpets, and drums. They played songs from Puerto Rico and Cuba, including "Chucy Frito Man." I could also hear popular Latin rhythms like the clave, a commonly used instrument in Latin music. This rhythm pattern can also be found in many pop songs like Ed Sheeran's "Shape of You," "Treat You Better" by Shawn Mendes, and "All of Me" by John Legend. This shows the importance of Latin music not just within Latin America but also in the United States. After the initial performance, the Lehman College Jazz Ensemble made their way onto the stage. They performed multiple songs, captivating the audience's attention with sheer focus and dedication toward their instruments. During the performance, ​​Moises Cruz and Ronald Martinez, Lehman’s guitarists, played with an enthusiasm that electrified the crowd. The audience’s excited applause during the solos added to the energy in the room. “To perform with musicians like these is an experience,” says Ronald after the festival. To him, the festival felt like a different atmosphere altogether.  

The Lehman College Jazz Ensemble set the spark that would stay aflame the entire night of performances. Victor Rendón, the organizer of the event, conducted the ensembles and even took to the drums himself to play ‘’Funky Frijoles’’, a song that took inspiration from​​ Moacir Santos’ Amphibious. Santos was a Brazilian jazz composer as well as an educator. He produced music for Brazilian films and taught many young musicians who went on to expand the genre. A Lehman professor, Victor calls Lehman his home base as the festival continues to attract visitors from the Bronx and New York City. Students get to see and even experience a live musical performance which is often inaccessible due to high prices and other factors.