Arts – The Quindecim

They Still Insist! Jazz Mastery on Display at Goucher

Published on March 8, 2026 by The Quindecim

Full disclosure: I am not the first person to write about Terri Lyne Carrington and Christie Dashiell’s We Insist 2025! There is no shortage of discussion about it, about their collaboration, intention, and process; it was recently named the NAACP’s outstanding jazz album of the year. Downbeat wrote an excellent feature with an in-depth discussion with the artists and additional context and history. Even the event page on Goucher’s website contains some insights from Carrington and compares and contrasts 2025! to the original We Insist! But all I’ve read still fails to adequately describe the experience of hearing the album live.

Max Roach’s Freedom Now Suite, the most famous recorded version of which is the aforementioned We Insist! was a landmark political jazz composition. It is a chronological suite about Black history and struggle, starting from slavery with “Driva’man” into emancipation with “Freedom Day” and moving into what was Roach’s present, the American civil rights movement and African apartheid. It’s very clear, however, that since the album was released, the fight for racial equality is neither finished nor linear. We Insist 2025! is both a retrospective and active response to Roach’s work, and the acknowledgement of the inequities and pain that still come with being black in today’s world. “We still insist,” Carrington reminds us on “Boom Chick,” one of ten pieces on 2025!

I had a friend condemn me for relistening to Roach’s album a few hours before the show, saying that I was “spoiling” my concertgoing experience. That couldn’t have been farther from the truth. Carrington and Dashiell have transformed the 1960 release into something new, timely and sonically complex, incorporating vocal harmony, mixed meter, poetry, audience echoes, and the influences of modern soul (“Freedom Day [Part 1.]”) If anything, my relistening gave me a greater appreciation of the genius of both albums.

The show went like so: There were six musicians on stage, Carrington behind her kit, and Dashiell on the microphone. The other four were Milena Casado on trumpet, Matthew Stevens on guitar, Morgan Guerin on bass and saxophone, and Warren Wolf, a new addition since the album’s release, on vibraphone. Kraushaar Auditorium’s stage was bathed in pink light, and the performers invited the audience to move closer to them, considering how attendees were scattered about the space. Kraushaar is acoustically a great space, but considering the closeness that compliments live jazz, it leaves something to be desired.

“Driva’man” reimagined the biting, brassy tone of the original with a smoother, calmer vocal and vibraphone entrance. Face-melting guitar and bass solos from Stevens and Guerin almost suck you in completely, before Carrington’s drums snap you out of trance–you realize how all the musicians turn their eyes to her as she sets the flow and guides the entire ensemble.

“Freedom Day (Part 1.)” opened with a sultry, intimate beckon, a far cry from the frenetic horns that underscore the 1960 version. The soaring vocal runs intermingle with the vibraphone, giving the song’s text a heavenly, hazy quality. This was my favorite piece, and as much as I jotted down notes, my written words cannot do the live experience justice.

“All Africa” was a determined, trumpet dominant groove that Christie interspersed with spoken word, and where the drums answered her in their own sharp way. It crescendoed to a moan of pain, each instrument calling out for the other, eventually finding catharsis under a soft vocal ostinato.

“Boom Chick” asked for audience participation in repeating what Carrington explained was Roach’s famous rhythmic motif, instructing them to either clap the beat or speak it. Over this constructed beat, Dashiell recites a poem, a love letter to Max Roach and his legacy, his ideas. Concluding this was another vocal entrance with a closely following vibraphone, weaving in a complex drum jam similar to the one at the album’s start.

The band communicating nonverbally was one of the most exciting parts to experience, especially as they traded off solos, or just facially appreciated the sounds the other band members made. They settled into a mesmerizing, syncopated back and forth, where Christie eventually brought the audience’s claps back in. The crowd kept this rhythm going long after they were cued to do so. The musicians ending in astonishing unison, it became clear that they had utter command of the room.

“Tryptich: Resolve, Resist, Reimagine” took one of the more divisive pieces (see: the screaming section) from the 1960 album and created something entirely new for sixty more years’ worth of Black history. A ringing, somber guitar and voice duet started things, the drums coming in behind them like the soft beat of wings, eventually working up to a playful yet thunderous percussion solo. The saxophone flew in to join her, building to an unbelievable roar as the rest of the band stared in admiration. Dashiell delivered the thesis of resistance, “NO MORE,” over the wall of sound, the brass shrieking in agreement.

After its climax, the band went straight into “Tears for Johannesburg,” where they slowed into a cool, optimistic cruise, kick drum and bass keeping the pulse. The trumpet came in on such a flexible staccato flow that I initially mistook it in my ear for a second guitar. Slowing dramatically to a close, the piece spanned and stretched over itself, garnering murmurs of awe from the crowd.

“Dear Abbey,” the second love letter, this time to We Insist!’s female vocalist Abbey Lincoln, was all spoken word and restrained drums. It is a love letter to Lincoln, yes, a “victim of complicated times,” but also a love letter to Black women, Black musical tradition, and matriarchy. This is part of a longer poetry section, with “Freedom Day (Part 2),” “Freedom Is…” and “Joyful Noise” expanding upon what intersectional freedom in the 2020s looks like, as well as reminding the listener of the exigency and need for this album.

“Freedom is going to elementary school without walking through a metal detector.” “Freedom being black and walking through a white neighborhood with no fear, with Nina Simone in your ears.” Dashiell addresses everything from queer rights, class, food inequality, addiction, to prison reform.

“Freedom is having space to create,” she ensures, and at the end of her manifesto, it’s clear she’s created that space tonight, taking a break from the microphone to take over on vibraphone. Wolf, the vibraphonist, switches to bass. You’re reminded then that you’re not just watching a decade-spanning conversation and cry for social justice, you’re also watching six mind-blowingly talented musicians do what they do best. The horns play in tight unison, before the guitar leads the band into a gentle fade out.

Being at Kraushaar that night reminded me of exactly why I love jazz, and I thought about how much I love the art form several times during the set. I turned to see members of the audience unconsciously rocking in their seats to the sound, or nodding their heads, tapping their feet. Dashiell and Carrington rocked with them, Dashiell accompanying her vocals in the final piece with an unamplified tambourine that crept under the mix like a whisper. With just a quick and sincere goodbye, the musicians left the stage–a long goodbye was not needed. The music said everything that needed to be said.

By Sam Rose ‘26
Featured Image Source: Goucher Events

L’Avare!

Published on March 8, 2026 by The Quindecim

L’Avare, meaning Miser, a wretched person, visited Goucher this weekend. Harpagon, the wretched individual, brought many others with him. His fiance, Marianne, who happened to be in love with his son, Cléante. His daughter, Elise, who has been smooching a servant. Enselme, promised to marry Elise, but also the father of his fiance? The cherry on top: this loop-de-loop of a story was performed entirely in French.

A play of missed-fortune, laughs and love. Put on by the guest theatre troupe, TRAC. Based in Beaumes-de-Venice, a city a few hours away from Paris, TRAC performs all over: France, Italy and Towson, Baltimore. This year was their 10th year performing at Goucher. As many times before, this year, the Goucher community and the theater troupe created a tight-knit team. The cast’s days were filled with classes, exams and work. But at night, they turned into live musicians, actors, stage hands and directors. Together, creating a new world in the black box theatre.

A big thank you to the amazing TRAC team and every participant, whether alum, student or staff, who made this possible!

By Kate Wisneskey ’28

Featured Image and Final Image by Dr. Holly Scheib
Additional Images by Kate Wisneskey

RED: Activism Through Dance

Published on December 12, 2025 by The Quindecim

In the ever-changing history of humanity, art is one thing we always create. At any moment, in any part of the world, art is being created. It is born out of joy and peace as well as pain, devastation, and suffering. It reflects the beliefs and emotions of its creators, and it exposes the thoughts of those around it.

A guttural scream comes from the stage as the piece finishes. A lone dancer kneels, collapsed in the center of the stage after witnessing their fellow dancers fall, sprawled around, unmoving. A beat of silence before the audience erupts into applause. If you had the privilege of witnessing Stop “RED” Before It Stops You at the Goucher Repertory Dance Ensemble Concert, you may know the story behind this piece.

Choreographed by Assistant Professor of Dance at Goucher College Adjetey Klufio in conjunction with the dancers themselves, this piece shook the audience. For myself and many others, this was the first time we had heard of the crisis the piece was created in response to. When asked what her impression of the dance was, audience member Rileigh Ann Raspa said “It was heartbreaking and riveting and I keep replaying it in my mind over and over.” Another viewer said “[I’m] searching for words and can’t find any that truly encompass the way it made me feel as I was watching.”

A drug known as Red has begun circulating throughout multiple countries in West Africa, including Ghana, Nigeria, and Cote D’Ivoire. According to the BBC, two India-based companies, Aveo Pharmaceuticals and Westfin International, are behind the production and distribution of this illegal opioid. Ghana’s government is trying to mitigate the issue through border security and investigations. “More needs to be done… [but] I commend the government initiative.” says Klufio, expressing that although awareness campaigns and reactionary measures are important, the underlying issues of youth hopelessness and a lack of job prospects need to be addressed.

Red is often a combination of drugs, but is primarily tramadol-based. Tramadol is a pain-relieving opiate, and according to Radio France Internationale, when combined with muscle-relaxers or psychoactive stimulants, the result is loss of muscle control, mood disorders, memory problems, and decision-making issues.

When I interviewed Klufio about the dance and how it came about, he explained that he believes himself to be an advocate. Earlier this year, he was thinking of a dance about Red, and a dance about Yaa Asantewaa, a Ghanaian queen mother who led the fight against British colonizers in the 1800s. He had to decide between a story of woman empowerment and a story of addiction. Ultimately, he chose a piece of activism. “Red is something that is going on… it’s right now.” He went on to say, “Bringing it in this moment will serve the purpose… more than bringing something from the past.”

At the beginning of the creation and rehearsal process, Klufio set the expectations of the piece with the students: “The first day I went in, I spoke to them about the drug and what I intend to do and what I need from them….” He had them research the drug and bring back what they learned to share with each other at the following rehearsal. Acknowledging that this is a triggering topic for many, he said “They knew this was going to be a hard road for us all… it was not only about Red, but about addiction.”

One of the dancers, Nina Bouknight, spoke about the impact her research and this process had on how she moved within the given choreography. “I wasn’t aware of the [drug] in Ghana.” She said she “felt honored to embody that through dance… and to bring awareness to it.” She experienced throughout the rehearsal process that the dancers were both supported by their choreographer, and invited to improvise in certain moments and use their own creativity. “[Adjetey is] amazing to work with… I would love to do it again.”

This choreography demonstrates how art is a powerful avenue for activism. Audiences of people who were previously unaware of the opioid crisis in Ghana are now taking the time to think about it, discuss it with each other, and learn about it. If you ever have cause to speak out, art will project your voice beyond those already participating in the conversation.

By Elowyn Ingler ‘28

Featured Image Source: Jayce Taylor

In The Spotlight: Honoring Black Dance at Goucher

Published on February 28, 2025 by The Quindecim

Photo Credits: @jamison_curcio/via Instagram & Fredrick Earl Mosley: Diversity of Dance

The relationship between Black History and dance is rooted in resilience, expression, and
cultural preservation. Black Africans carried their native dances to North, Central, and South
America, as well as the Caribbean, during the Transatlantic slave trade in the 1500s. Dance
became a way to connect with their heritage, preserve traditions, and maintain a sense of
identity. Today, the influence of Black Africans and African Americans in dance continues to
shape and redefine the art form, leaving a lasting impact across genres and generations.
Goucher’s Dance Department is hosting two guest artists: Frederick Earl Mosley and Goucher
College alumni Jamison Curcio ’19. Mosley and Jamison have been working and rehearsing
with Goucher dancers for the upcoming Spring dance concert.

Native to Raleigh, North Carolina, Frederick Earl Mosley began his career in dance at the North
Carolina School of the Arts. He trained at The Ailey School and Martha Graham School of
Contemporary Dance in New York. His profound choreography resumé includes works from the
Dallas Black Theater and Edge Works Dance Theater. With his experience choreographing, he
has taught at some of the most noted institutions such as the University of Oklahoma, the
University of Kansas City, New York University, the Tokyo School of Music, and many more. In
2005, he was named Teacher of the Year by Dance Teacher Magazine and is the artist director
of the Northwest Regional Workforce Investment program, Life Dance Company. He is also the
founder of Diversity of Dance and the Earl Mosley’s Institute of the Arts.

I sat down with Nina Bouknight ’28, who is a part of the cast for Mosley’s piece this semester. I
asked Nina what it was like to work with Mosley and what was she learning in the process as a
Black dancer. “It’s refreshing to see a Black choreographer at such a high level with years of
experience. He’s so great and passionate and pushes you in a good way. As a Black dancer, I
feel represented and able to relate to him. I have more confidence in myself and in my work.”

Jamison Curcio graduated from Goucher in 2019. I attended one of their rehearsals to see how
they were run. I asked about their return to Goucher, and working with new faces: “Everyone is
new to me. I was searching for people who aren’t afraid to ‘play’ or improv with different music.”

The energy of the rehearsals was very collaborative and open. She tells me that she wants to
teach about the meaning of witnessing and holding space for people to be vulnerable which is
also the driving factor of their piece. Growing up listening to jazz, blues, and soul, it has heavily
influenced their teaching and implementing improv. The genres will make up the composition of
the final piece.

For Carter Ayodele-Hinton ’25, working with Jamison was a transformative experience that
fostered creative growth and self-trust. “Working with Jamison was liberating—she fostered a
collaborative space where every dancer is seen and valued, making it easier for me to trust my
own abilities. I appreciated the push to learn new techniques and the exposure to diverse Black
choreographers on campus, which challenged my insecurities and expanded my creative perspective. Ultimately, the experience has empowered me to embrace my creative autonomy,
fueling both my artistic growth and my upcoming capstone project,” Carter says.

Every rehearsal starts with music study and improv. The dancers do not know the music.
Jamison explains that this way of warming up is a way to shed and let go of all of the “baggage”
from earlier classes and responsibilities. They love how this technique is very accessible to anyone outside of dance. “They are able to be more open physically and mentally.”

Jayce Taylor ’28, a dancer who’s also a part of Jamison’s piece, talks about the process: “I feel
internally impacted and connected to myself with the music study, and it makes it easier to get
into my own body. I embedded shedding and incorporated it into my own dance practice.”

During the rehearsal, Jamison keeps the curtains to the dance mirrors closed. She tells me,
“The mirror can be used as a tool but also hinder us.” Without them, it allows the dancers to be
more confident in their bodies and minds. These techniques were constructed and perfected
both by herself in her professional career and at Goucher. “Goucher was a stepping stone in my career. Goucher allowed seeds and tools to be planted, and was very transformative and informative.”

During their time at Goucher, Jamison helped co-found Dancers of Color Coalition which is a club to connect People of Color who are looking for a platform to express themselves and to connect with one another through art and dance. “It had a huge impact on my life and the dance community. Organizing and supporting a community, and being a leader and stepping back for others to be able to take space,” says Jamison.

“I think Jamison is pretty cool. She’s very intentional with instruction and chores. A lot of
momentum [used in the movement] but it’s never too much and the movement is very grounded
and fast. I’m able to see things a lot clearer now with taking up space and clearing my head
space. Be free and move how I choose to. Really allows me to see myself more rather than just
being a dancer. I hope to get to work with her more while in school or in graduate school and to
be able to share the things I’ve learned with other people.” says Jayce.

Celebrating and uplifting Black artists is essential, as it provides a platform to share unspoken
stories, showcase Black excellence, and express resilience. Featuring their work whether on
stage or in any artistic medium empowers Black communities and inspires future generations
while increasing visibility for those who may face systemic barriers in their careers. Goucher
College supports these artists through collaborative teaching, diverse creative opportunities,
and an open, inclusive community. Courses that offer the style of West African dance further
enrich students’ understanding of cultural traditions and movements.

The Spring Dance Concert will highlight works by renowned choreographers Mosley, Jamison,
and George Staib, as well as original student pieces by Nalani Brown and Sam Koseff on April
4th & 5th. Come support your fellow students: Sam Koseff ’25 Phoebe Harrison ’27, Yvonne Nguyen ’27, Nalani Brown ’26, Sophia Trapazzano ’28, Lily Hickey ’26, Jocelyn Odom ’27, Paige Fried ’27, Sarah Hodges ’28, Theo Seibert ’25, Tovah Oslovich ’27, Emma Howerton ’28, Lilly Perron ’28, Nina Bouknight ’28, Jordan Dumas ’25, Jayce Taylor ’28, Carter Ayodele-Hinton ’25, and Lydia Dewitt ’28.

Special thanks to Yvonne Nguyen!

By Joshua Haynes, ’27

Fall Dance Concert Kicks Off the Goucher Performance Season

Published on November 18, 2024 by The Quindecim

The second half of November also marks the start of the performance season for Goucher arts program – including the Studio Arts, Dance, Music, and Theater department. Working alongside faculty members, our community’s artists have consistently brought forth quality performance, and a reflection of their hard work and dedication to their chosen calling. On the nights of November 15th and 16th, the performance season kicks off with the Fall Repertoire Dance Concert in Kraushaar Auditorium, attracting both Goucher community members and the general public.

Presenting four works, choreographed by Prof. Elizabeth Ahearn, Prof. Brit Falcon, Prof. George Staib, and Nalani Brown ‘26, with visual accompaniments by Prof. Rick Dulaney, the concert gave viewers both moments of awe with the ability and range of expression using the dance medium, as well as the space to wonder and ponder upon one’s existence in the world, and the connection we have with everything both around and within us. Experience – or relive!- the beauty of the concert, through these images; and mark your calendars for November 21st, where the Goucher Choral Society will continue the season with their performance at the Haebler Memorial Chapel!

By Jamie Nguyen, ’25

Rooted Shadows and the Expressions of Asian (-American) Identity

Published on November 18, 2024 by The Quindecim

The fall exhibition season at Goucher continues with the opening of Rooted Shadows at the Rosenberg Gallery (Dorsey Center). This exhibition combined the works of six Asian and Asian-American artists: Bao Nguyen, Azumi O E, Lucia Shuyu Li, Setsuhi Shiraishi, Riya Devi-Ashby; and is noted as an interrogation of identity, place, and the self. In the context of Asian(-American) identity, Rooted Shadows actively reimagined the shared space of Maryland, not just as an innate backdrop but rather an active force: Maryland both shaped the works, and simultaneously was shaped through the eyes of the artist.

Being in the midst of the nuanced social, political, and physical backgrounds of Maryland, Asian (and Asian-American) means identities are usually in a state of flux. Expressions of those nuances between the personal and the social definitely differs. It can be seen with the large range of mediums within the exhibition: from the mixed media and the abstract of Riya Devi-Ashby, the display of craftsmanship from the works of Setsuhi Shiraishi, or the provision of a space for constant questioning and re-examining through the work of Bao Nguyen and the borderline between the grotesque and the artistic, as is the case with the work by Lucia Shuyu Li.

Walking through the exhibition, one can see the amount of abstraction and the space for examining and questioning the ideas behind the art throughout. This also translates to the lack of any further context within the exhibition guide – demonstrably do not feature any artist statements. In many ways, the position of Asian identities within Maryland also can be a very nuanced subject–the topic on the importance of Asian identities and preserving it–while definitely have some commonalities, experiences would differ between, say, someone who lived in the Baltimore metro area their entire life (where Asian residents are less than 2% of the population) and the suburbs of Washington D.C. where Asian residents are a sizable demographic.

The nuances can come between the ability to access cultural spaces and expressing your “Asian-ness” depending on where they live. Asian and Asian-American artists also have an additional weight from the “model minority” framework, especially when topics such as contemporary art is on the table: as Asian art within the U.S framework has overwhelmingly featured more traditional understandings of Asian art, the language of contemporary art can very much come as a shock to visitors. The works of Lucia Shuyu Li demonstrated this paradox, with the video component and the sculpture working in tandem to talk about the paradoxical paradigms within the understanding of what it means to be an Asian person in a world where you are simultaneously hyper-visible and invisible.

However, the multitudes in the exploration of Asian identity also can offer a space for constant questioning and realignment. The works that Bao Nguyen brought to this exhibition exemplifies that: while The Center for Questioning and Questioning and Questioning? offered that liminal mental space for interpretation through the medium of photography. I am a tree in your life offered a more interactive space, through the arrangement of wooden logs as both a place to rest and to pause to read the narrative within the laser-cut paper – memories from their performances at the garden of the Ivy Bookstore in Baltimore.

A special commendation should also be given to the curator, Liz Faust, whose Rooted Shadows is the second exhibit presented at the Rosenberg Gallery since her arrival at Goucher: much like My Mother’s Closet, the spirit of spaces for reflection and to accommodate the multitudes of expressions for the personal (which is such a grand part of the language of art) continues to shine within the curation and the artwork presented within the exhibition. Undoubtedly, this is a fitting selection for the second half of Goucher’s fall exhibition season; the season will continue with the opening of Hey, What’s That?: Mysteries in the Collection on November 18th at the 4th Floor Exhibition Space of the Library (note: this will feature work from members of the Visual and Material Culture department!), as well as the opening of Stephanie Mercedes’s I hold you close on the 21st at the Silber Gallery.

The Rosenberg Gallery is open between 9am-5pm on weekdays. For further inquiries, the Goucher Art Galleries can be contacted through the email address art.galleries@goucher.edu.

By Jamie Nguyen, ’25

A Breakup For The Books: BOPA vs. the City of Baltimore

Published on November 4, 2024 by The Quindecim

Over the past month, as the media has been focused on all levels of the election (remember to check your voter registration status and finalize your voting plan!), Baltimore—the city Goucher is proud to be part of, from our admissions brochure to our number of students, staff and faculty that call it home—has been brimming with stories. One story in development is the fate of the 22-year partnership between the City of Baltimore and the Baltimore Office of Promotion and the Arts (BOPA), which was formed under the mayoralty of Martin O’Malley.

[Image: Bromo-Seltzer Tower, Eutaw Street. This architectural centerpiece of the Bromo Arts District is one of the properties under BOPA’s stewardship.]

What Happened?

On September 18th, The Baltimore Banner reported an emergency meeting of the BOPA Board of Directors had been scheduled for the next day regarding the future of the agency. “Discuss Personnel and Business Location – VOTE REQUIRED” was noted on the envelope, according to reports.

Speculation began immediately, with most people pointing towards the financial issues plaguing the organization. Being the city’s art council and film office, a facilities manager for locations such as the Bromo Seltzer Arts Tower in Baltimore and the Cloisters Castle in Timonium, and the organizer for many iconic city cultural events such as Artscape, the Baltimore Book Festival, and the Baltimore Farmers’ Market, the organization has been entrenched in financial difficulties. These were worsened by the COVID-19 pandemic and cancellations of events between 2020 and 2022. The matter on September 18th was a significant blow, but hardly surprising for the quasi-governmental agency which receives more than two-thirds of its funding from the city government.

Following the meeting, it was revealed that BOPA is now financially insolvent, meaning its remaining funds are not enough to cover all of its expenses. Consequently, it asked the Mayor’s Office of the City of Baltimore for $1.8 million in funding to cover immediate expenses and keep the organization afloat. This funding request became the catalyst for a back-and-forth exchange between Rachel Graham, Director of BOPA since March 2024, and Mayor of Baltimore Brandon Scott regarding a $1.5 million grant given to the Mayor’s Office of Arts and Culture in the lead-up to Artscape 2023. The Mayor’s Office insisted that this grant was a restricted grant reserved for use by the city (and that it would not have been majorly impacted BOPA’s financial outlook), however BOPA was adamant that the grant has always been reflected in their financial records as “expected revenues”, meaning it was meant for their use. State Senator Anthony Hayes, the broker for this grant, declared it was meant for use by the city due to the resignation of BOPA’s former CEO, Donna Drew Sawyer, in January 2023.

[Image: photo from night 1 of Artscape 2024. The first night of the festival, scheduled to feature a performance by Chaka Khan, was cut short due to inclement weather. Photo by Jamie Nguyen.]

This request for additional funding, due to mounting disagreements across multiple years—including the resignation and severance of Donna Drew Sawyer, the cancellation of the 2023 MLK Day parade, and the trademark attempt of the name Artscape—was not granted. On October 16th, the Mayor’s Office of the City of Baltimore issued a letter to the CEO and Executive Board of BOPA, noting their intent for the Mayor to terminate the contractual relationship between the city and BOPA effective January 20th, 2025. Marvin James, the Mayor’s Chief of Staff, noted in the letter that this was not a lightly-made decision:

“We recognize and deeply appreciate BOPA’s long-standing contributions to Baltimore’s vibrant arts and cultural scene. For over two decades, BOPA has played a pivotal role in shaping our city’s cultural landscape, organizing beloved events like Artscape, managing vital cultural spaces, and supporting countless local artists and organizations.”

It was further noted that “financial instability has raised serious concerns about BOPA’s ability to continue fulfilling its obligations to the City and its arts community.”

The Talk of the Town

Given BOPA’s position as the heart of Baltimore’s cultural life, this unfolding saga has become the talk of the city’s cultural community. As outlined by the City’s letter, four focuses of the transition process include the organization of BOPA’s key events (especially with the Baltimore Farmers’ Market restarting in April), the stewardship of BOPA-owned properties, the future employment of BOPA staff, and the continuation of the Creative Baltimore Fund, a life-saving grant program for Baltimore-based artists and cultural organizations that is currently under BOPA. The news of the motion to end the partnership has been met with disappointment and concern from the Baltimore art community. Reacting to the news, Ryan Haase, co-owner of Station North’s The Club Car Baltimore, told the Banner that “It’s always easy to pull the plug on the arts. High school politics in the real world. Funding for the arts will always be cut first […] To lose BOPA as a funded entity will only do harm to our city and the artists who year after year rely on the funding from the nonprofit.” Professor Adam David Bencomo of UMBC’s Visual Arts department and a long-time patron of Artscape noted that “[BOPA has enabled] arts to have an opportunity to not only grow but flourish [in a city with little funding] […] Baltimore has a great arts scene, but like all great things, it needs continuous cultivation and care. With organizations like BOPA and Artscape, Baltimore can continue to evolve.”

[Image: *Retrofit,* Alyssa Dennis. AP archival print. Sondheim Art Prize semi-finalist showcase, displayed as part of Artscape 2024.]

However, the community has also acknowledged the missteps that BOPA has taken, such as not renewing the full-time director position at School 33 Art Center in South Baltimore (according to Cara Ober, editor-in-chief and publisher of BMoreArt magazine). In a statement, Emmanuel Williams—known professionally as Dapper Dan Midas—noted that “[There] have been a lot of misfires from BOPA […] In order for Artscape to continue and evolve, changes have to be made. An outside company who specializes in large-scale festivals may be the shot in the arm the city needs to get back on track while BOPA gets its house in order.”

BOPA has also conducted multiple outreach efforts to reassure the community in the wake of the breakup. In a virtual town hall held on October 29th, Rachel Graham herself advocated for the continued existence of BOPA as an essential part of the city’s cultural life. “This is a life-or-death matter. […] While we’re having these conversations, artists across this city are suffering. They are suffering from homelessness [, from inadequate health care, and] are some of the prime sufferers in the opioid addiction crisis. I believe that BOPA has a role that it can play.” An article by the Baltimore Banner quoted an attendance of 100 people for the town hall.

What Now?

Per the letter from the City, BOPA and the Mayor’s Office will continue to fulfill the joint organization of the two events remaining under their contract: the 2024 New Year’s Eve fireworks show and the 2025 MLK Day parade. The exact date of the parade is yet to be confirmed due to the scheduled inauguration of the 47th President of the United States in D.C. on the same day as MLK Day (January 20th, 2025). The final decision on this matter will be made in a meeting of the City of Baltimore’s Board of Estimates scheduled for this Wednesday, November 6th.

The consensus within the city’s transition plan is its timeframe, which has been shortened to 90 days from the initial call for an eight-month transition period at the Board meeting on September 19th. It must be noted that this Interim Board meeting also called for a reassessment of the relationship between BOPA and the City of Baltimore, especially as their current level of work has strained BOPA’s capacity for quality planning and execution of events.

[Image: Picture of the crowd for this year’s Fourth of July fireworks display at Baltimore’s Inner Harbor]

In a statement released October 18th, the Interim Board of BOPA expressed their concerns about the short transition period and the risk it poses to Baltimore’s arts community. “We are concerned by the timing of the City’s notification just hours after our board approved a responsible path forward, [which] was approved by the Mayor’s representatives on our board. This reduces […] a productive and responsible 8-month transition to 90 days without any indication of a plan on how to maintain the services provided by BOPA. This is concerning for our arts ecosystem, [places the arts community at significant risk and impacts the Interim Board’s ability to support a healthy transition in their volunteer capacity.]”, the statement noted. Rachel Graham echoed the commitment of BOPA to the city’s art community in her October 31st appearance on WYPR’s Midday; she noted the commitment of BOPA to continue its role as an art advocacy and grant-making body, but also as a partner with local, state, and even national alliances to create a “city-wide creative agenda” and a creative economy for the city.

[Image: A shot of the fireworks on show during the Fourth of July fireworks]

Another key concern is that a comprehensive plan for the transition has not been released as of writing. This includes the path forward for the Baltimore Farmers’ Market, Artscape 2025, the Baltimore Book Festival, and the Fourth of July fireworks show.

The future of the Creative Baltimore Grant is also in jeopardy, as it was created by a city ordinance and will likely be released from BOPA’s authority once their contract expires. However, Ms. Graham noted in the town hall that grants such as the Public Arts Commission and the Janet & Walter Sondheim Art Prize will still be under BOPA’s jurisdiction.

Additionally, the future of the staff of BOPA is under question, especially as a layoff is already in place. Stating on her X (formerly Twitter) account, Jess Solomon-DaCosta noted that she “[feels] for the staff,” a sentiment shared by the wider community.

Amongst all of this, both a sense of confusion and a sense of hope are apparent from both BOPA and the city’s artist community, that BOPA is here to stay. To close out this article, I would like to quote Ms. Graham from the October 29th town hall: “I am stubborn to a fault, especially when there are things that I believe in and I feel passionately about, and the Baltimore Office of Promotion & the Arts is one of those things […] I believe in BOPA.”

This is a developing story. This article has cited information courtesy of The Baltimore Banner and the Baltimore Public Media Corporation.

By Jamie Nguyen, ‘25

A Call from the Baltimore Sun Guild

Published on November 4, 2024 by The Quindecim

On Monday afternoon (the 28th of October, 2024), members of the Sun Guild – the union of staff in the Baltimore Sun – announced to the public the news of the complete dissolution of the Features department of the newspaper. According to the letter published by the Sun Guild, this would mark the first time since 1888 that there would be no reporter dedicated to covering the city’s cultural life. This news came in as Guild members and the management of the Baltimore Sun are currently in negotiation rounds for a new labor contract.

The dissolution of the features department is the latest in a series of controversies surrounding the takeover of The Baltimore Sun by David Smith–son of Julian Sinclair Smith, founder of the Sinclair Broadcasting Group–and conservative radio host Armstrong Williams earlier this year.

Noted within the letter, the Guild “is devastated for the chefs, artists, musicians and business owners who are no longer considered worthy of coverage by their hometown newspaper — and for readers, who will lose information they can use to decide how to spend their money and time.” This dissolution came within the context that within the past two months, eight union reporters – or more than a quarter of the news reporting staff of the Sun – and three union-represented advertising staff had been either fired and/or laid off. One of the most prominent cases was the firing of reporter Maddi O’Neill in September, in which the Guild has officially filed a complaint to the National Labor Relations Board as of October 23rd, 2024.

[Image: Statement from the Baltimore Sun Guild concerning the firing of Maddi O’Neill on September 12, 2024]

Needless to say, this development created a strong reaction within the Baltimore culture community: attached alongside the Guild’s letter, founder of the American Visionary Art Museum Rebecca Hoffberger noted that without the Baltimore Sun’s “lavish, in-depth arts and architecture coverage for [her] idea back in 1991, […] there may well never be an AVAM.”

Jeannie L. Howe, executive director of the Greater Baltimore Cultural Alliance said it was “unconscionable and bad business” for the Baltimore Sun to eliminate coverage of arts and culture. “According to the U.S. Bureau of Economic Analysis the culture sector contributes $11.7 billion to Maryland’s economy. Around the country, robust journalism which reflects the community continues to decline. Let’s not let this erosion in vital coverage happen here,” she noted in her statement.

[Image: Front page of Baltimore Sun’s November 3rd, 2024 edition. This is the first edition of the byline strike.]

In their latest statements, the Baltimore Sun Guild has also launched a byline strike between November 3rd and 10th of 2024, including Election Day coverage on the 5th, citing sliding journalistic standards and union-busting proposals raised by management at the bargaining table. “We are calling on readers to stand with us to demand better working conditions and newspaper ethics standards that should be the norm,” the statement noted.

The Sun Guild has asked all readers to stand in solidarity with the union – including their stance that “if the Baltimore Sun isn’t covering culture, it isn’t covering Baltimore,” by sending a pre-written letter to Smith and Williams, which can be accessed here.

This is a developing story. The Baltimore Sun Guild can be reached for additional information either through their profile @baltsunguild on X (formerly Twitter), or through their email at baltsunguild@gmail.com.

By Jamie Nguyen, ‘25

How Science Taught Leonardo How to Paint: Interviewing Francesca Fiorani

Published on October 21, 2024 by The Quindecim

It is guaranteed that when talking about the Renaissance period, the name Leonardo da Vinci will appear. Though he has only a handful of paintings to his name (art historians have only found 15 paintings that can be attributed to him), his magnum opus is his notes on the usage of light and optical science within painting and the portrayal of nature, which is believed to have been upwards of 16,000 pages. This connection between the polymath and artistry of Leonardo—which have long been considered core, yet discrete parts of his identity—have been fused together within The Shadow Painting: How Science Taught Leonardo How to Paint (published November of 2020), the latest work by Dr. Francesca Fiorani, Commonwealth Professor of Art History at the University of Virginia. Earlier this month, she was the guest speaker of the Irwin C. Schroedl Lecture series on Material Culture & Decorative Arts, with the stewardship of Goucher’s Visual and Material Culture program.

[Image: Front cover of The Shadow Painting]

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Note from the author: I = Interviewer, F = Dr. Fiorani.

I: What has brought you to the art of Leonardo?

F: A deep understanding that Leonardo the artist and Leonardo the scientist were inextricably connected from the very beginning; that Leonardo did not become a scientist as an adult man, as it is traditionally thought, but that his interest in the science and training in it went hand in hand with his artistic training since his youth. In short, Leonardo did not become a scientist. He was one all along.

I: As we both know, the art and the artistry of Leonardo is a topic that has had a large body of scholarship over the centuries. How did you come up with the concept for the book we now know as “The Shadow Drawing: How Science taught Leonardo How to Paint”?

F: It became clear to me that among the many interests Leonardo had, the science of optics was of paramount importance to him as it was the science that taught him how to learn about the world through the eyes.

I: During the process of writing this book, was there a system/order that you thought/synthesized your ideas in? Please elaborate more on this process if there was!

F: I was focused on searching for an explanation for the things Leonardo did, rather than describing what he did or how he did them. Why did he do this? Why did he paint this way? Why did he conceive his book on painting this way? Why did he read these books?

I: Considering that The Shadow Painting was published amidst the COVID-19 pandemic, was there an aspect during either the research, writing, or editing process that was particularly challenging for you?

F: It was challenging to do the final revision of the book when libraries were closed. I used whatever resource/book/article was available online, my own personal library, and also the library of friends. It was challenging and time consuming—much more time consuming than having a library at hand—but I did it.

I: Was there any part of the research process for this particular book that surprised you?

F: It was surprisingly hard to write in an approachable way about complicated scientific matters, even though I had deep knowledge of those matters. Chapter 3 [titled “Body and Soul”] was especially hard to write.

I: In your opinion, who would be the target readership for The Shadow Painting?

F: People interested in Leonardo da Vinci, in Renaissance art and culture, and in the intersection of art, science and technology, and in the process of innovation. This includes graduate and undergraduate students in art history, the history of science and technology, faculty in various fields in the humanities, but also the general public of interested readers.

I: Chapter 12 of The Shadow Painting [titled “The Biographer and the Doctored Book”] focused primarily on the doctoring and the distortion of Leonardo’s art and artistry, with a focus on the initial publication of Leonardo’s Book on Painting [also known as the Treatise on Painting], which was heavily doctored and distorted. It could be said that this chapter is very contemporary, as it offers a case study on the distortion of an artist’s biography and the commercialization of art, which are topics that garner much debate these days. What is your take on this?

F: This is correct. The Leonardo that was known in past centuries is very different from the Leonardo we know today. This is certainly due to the fact that today we have a much deeper understanding of his works, his writings, his way of thinking, the books he read, the people he met, etc. But it is also true that in every period, country, and geographical area, different groups of people have different and selective takes on the artist, building different views based on what matters to different people at different times in different places.

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We would like to thank Dr. Fiorani for her knowledge and time through her lecture on Leonardo da Vinci. Goucher College hosts guest speakers on various topics throughout the school year; check your email regularly for updates from the Goucher events calendar, or it can also be found at https://events.goucher.edu.

By Jamie Nguyen ’25

Does Sally Rooney Still Have It? Intermezzo Review

Published on October 21, 2024 by The Quindecim

Sally Rooney is an award-winning Irish novelist who writes contemporary fiction, primarily about romantic relationships, economic class, and how interpersonal relationships affect those around us. Both her novels Conversations with Friends and Normal People have been adapted into TV Shows, and her third book Beautiful World, Where Are You? won the Goodreads award for ‘Best Fiction’ in 2021.

It’s been three years since her last book, and now the world has Intermezzo. I’m here to talk about whether or not the hype, both on and offline, still holds up.

Intermezzo follows two brothers, Peter and Ivan. Peter is a lawyer who is in his thirties, struggling to balance the relationships between his first love Sylvia who he still pines for, and grad student Naomi ,who doesn’t seem to be taking her life too seriously. Ivan, a competitive chess player at twenty-two who sees his older brother has inferior due to his own social awkwardness, meets Margaret. An older woman who has a complicated past of her own and very quickly becomes wrapped up in his life.

Despite being brothers, they seem to have nothing in common. After losing their father, the two now grieve and their relationship takes unexpected turns.

Rooney’s way of writing characters that feel like real people is astounding. The dialogue between all of these characters plays real, and Peter and Ivan’s dynamic has so many complexities to it that also play real.

Her ability to put the spotlight on so many characters is impressive as well. As the reader, you are able to not only learn all about Peter and Ivan, but also Sylvia, Margaret, and Naomi. There is so much depth in the cast of characters, and I wish the book didn’t end.

Rooney’s writing style is more striking and emotional than ever. I loved the way she explored grief, complicated family dynamics, and love in this novel. Some of it hit close to home for me, and I know it will hit close to home for so many other readers as well.
Now, Sally Rooney is known for using no quotation marks and not many indents in her novels. This still holds true in Intermezzo, which certainly makes it a challenging read, but I would still highly recommend it. Rooney can do no wrong when it comes to picking up a pen, and I would say this is her best novel yet.

By Merryn Overbeck, ’28