Faryal’s Self-Portrait

 

Faryal starts out standing on the left side of the space, holding a folded paper and wearing a chastising frown. She looks down at the paper and scowls, then wags her finger at an invisible character in front of her. She unfolds the paper and inspects it, then shows it to the audience: “MUST FOLLOW TRADITION.”

Faryal crosses to the place where the invisible character was standing before, plants her feet, and dispassionately reads the paper. She relaxes her stance after a few seconds and seems to ponder the words in front of her. With a barely perceptible shake of the head, Faryal suddenly turns the paper and tears it in half, then tears it again, and again. With no hesitation, she lets the pieces fall to the floor; she looks slightly amused as they flutter at her ankles. Faryal steps back, turns away from the pieces with her hands on her hips, and then, in a humble gesture of celebration that makes everyone laugh indulgently, puts her firsts in the air and says softly: “Woohoo!”

Faryal shows us here that she has declared independence from tradition; in fact, she not only demonstrates it in her self-portrait, she shows it in her appearance. Jeans and a T-shirt, studded belt and hair pulled back, she does not look very traditional; she is a modern woman through and through.

Sara Camnasio

I’m Sara, yes Sara without the H. I was born in an anonymous town in the middle of nowhere, in the industrial Northern Italy. I grew up with my fingers sticky from pasta dough and my face powdered with flour, helping my grandmother to make the most loved meals in the world. I was tossed in my grandma’s arms at age 4—when my parents divorced—and I lived a spoon-fed life until I was 8, when I moved with my father and his new wife to what would have become my hometown. Bosisio Parini—a name that barely appears on any map—was the place I spent most of my life in: two-thousand people, three churches, and the lake, puddle of memories. But despite its stunning beauty, that limiting environment granted no future for us. So I had to jump, take the biggest leap of my life: on the 22nd of December 2009 I moved to the Big Apple with my mother and sister, leaving my dad to Italy to support us financially. I was thrown in the illogical world of slang and French fries, but somehow—fantastically—I managed to become part of it without gaining fifty pounds. I may speak with my hands, but I swear one can barely hear my accent. I feel more American than ever, although I’ll never forget my origins; that little village—to me—is that one place where you feel like you left your anchor. I mean—would have been a pretty heavy load to carry overseas, all the way to New York city.

I believe art is anything that serves as a medium to transmit emotions for someone to perceive them through their own filter on the other side. I like art that has strong messages and that challenges the standards, the accepted values and the conventions. When I go to museums I tend to drift away on my own and look for minor pieces–sort of like a treasure hunt… I always imagine there is a hidden piece, a painting everybody passes by, an ignored masterpiece that only I could truly appreciate and decode. I’m not a big fan of paintings with huge lines across them, but I do think that they are art and they are good art too. My favorite painter isAlbert Bierstadt, and I was so excited when we went to the Brooklyn museum and I got to see “A Storm in the Rocky Mountains” again (it was a huge painting that took up the whole wall and had a valley and the sun cutting through the clouds).

I am an Astronomy intern at the Museum of Natural History, I play guitar, sing, play volleyball, model, and I love going to concerts. My biggest dream is to become an astronaut!

Dance Review- “Dido and Aeneas”

“The Dual Powers of Woman, in Muted Force or Frenzied Abandon” is a dance review that was written by Alistar Macaulay and published in the New York Times on August 23rd, 2012. The review was about the choreography of 1989 version of Henry Purcell’s opera “Dido and Aeneas” by Mark Morris.