News: CWRU to make attendance free to Cleveland, East Cleveland public school students (pg.2)
The Case Western Reserve
Observer
Friday, September 29, 2023 Volume LV, Issue 6 Est. 1969
EDITORIAL
CWRU’s ineptitude with illness protocol kicks those who are down Editorial Board Case Western Reserve University is a place where students strive for excellence, leaning on the support of peers, faculty and staff to lead them through their college journey. However, amidst this pursuit lies an unspoken struggle many students face: getting sick and having nobody to turn to. As the seasons change and another wave of COVID-19 strikes campus, more and
more students are falling ill, and the limited support from navigators— now four-year advisors—and University Health and Counseling Services (UHCS), in addition to inconsistencies in faculty policies regarding absences, are doing more harm than good. The fact that students find themselves sacrificing rest and recovery in fear that taking some time off could jeopardize their college careers is disgusting. When many of us joined CWRU, we were told our four-year advisors
Lucas Yang/The Observer
are here to provide us with “holistic, comprehensive support,” ranging from career exploration to personal wellness. They play a crucial role in guiding decisions about classes, extracurricular activities and our overall college experience; however, when it comes to dealing with illness, the support offered by four-year advisors is often insufficient. They are not trained to handle health-related issues, and as such, much of their help is in providing resources—many of which can be easily Googled—and serving as a liaison between students and faculty. For new students and those unsure about how to deal with illness at college, four-year advisors are often the first to be notified about an illness, and are seen as a student’s primary support. However, in our own experiences, four-year advisors are not all the same. Some are very responsive and helpful, while others may ask students to handle the situation on their own. Across the board, if CWRU expects students to lean on four-year advisors for issues regarding personal wellness, they need to be better equipped to provide guidance on managing coursework, connecting students to appropriate resources and sticking by them throughout the process. For students seeking medical care, UHCS is often the first place they look.
Offering 24/7 care with nurses and counselors on call, as well as in-person appointments during office hours, Health Services is a valuable resource, but one that brings its own set of challenges. While the nurses on-call are responsive, they can provide only limited care via telephone, and students must wait until the clinic opens to schedule an appointment. Even then, the clinic struggles with lengthy wait times on calls and limited appointment availability. This was especially prevalent this past week when construction at the Dental Research Building, where UHCS is located, allowed only a handful of in-person appointments for Health Services and no in-person appointments for those seeking counseling. For those suspected of having COVID-19, UHCS advises students to follow CDC testing protocol and obtain rapid antigen tests from wellness vending machines. However, despite claims that the “[m]achines are filled once each business day,” students will be hard-pressed to find a COVID-19 test in most of the vending machines around campus. For students already dealing with the stress of illness, inconveniences posed by UHCS can make seeking medical care a chore. Continue reading on page 6
LIFE
A Cleveland Ballet spectacular: The first timers’ review of “Carmen” Zachary Treseler News Editor Amanda Wu Staff Writer This past weekend, the Cleveland Ballet performed its most recent show including “Pas de Dix,” “Nocturne” and “Carmen” at the Connor Palace in Playhouse Square. As it was our first time attending a ballet performance, not only were we enchanted by the performance, but it also reinforced our appreciation of the various cultural opportunities close to Case Western Reserve University. After receiving free tickets through the BakerNord Center for the Humanities, we were uncertain of what exactly to expect, but we thoroughly enjoyed the show, even if we were confused when we should take a bathroom break. The founders of the Cleveland Ballet, Dr. Michael Krasnyansky and Gladisa Guadalupe, gave a brief introduction and history of the company alongside their own personal motivations for sustaining the company since its inception in 2014. Cleveland’s robust history of dance originated long before then; its roots date back to the beginning of the 20th century. Today, the company dedicates itself to cultivating and enriching the world-class performing arts sector
of Cleveland. Guadalupe especially highlighted the company’s commitment to diversity, equity and inclusion. “Carmen” follows the story of a young Spanish gypsy woman who works at a tobacco factory. After showing up late to work, Carmen gets into a fight with Manuela—the highest ranking worker—and ends up killing her. Don José, one of the guards who arrests Carmen, inadvertently falls in love with her. He releases her from jail and together, they embark on a brief, lustful honeymoon. Yet, soon afterward Carmen is attracted to another man, a bullfighter named Escamillo. Driven by anger, Don José confronts her about her duplicity and ultimately strangles her. The company’s interpretation of “Carmen” is a shortened adaptation of a four-act French opera, but still included parts from the original score. Viewing the performance was phenomenal in and of itself, and yet, the most striking part to us was the on and off-stage musicians. The orchestra, playing from the confines of the pit, captivated the audience in a mesmerizing interpretation of iconic scores from each of the three acts. Even from the beginning of the performance, Guadalupe noted how the orchestra is a vital part of the show, explaining the expected appearance of both a pianist and guitarist on stage. As for the music in the other two performances, “Pas de Dix” featured music solely from the orchestra, while
the music in “Nocturne” came almost exclusively from a single piano player onstage. Both contained exquisite renditions of their original scores. We were pleasantly surprised by a beautiful cover of “FantaisieImpromptu” during “Nocturne.” What we also loved and Guadalupe failed to mention were the two opera singers performing during the headline act, “Carmen.” Calmly stepping under the radiant spotlights, their emphatic vibratos soon rung throughout the theater, dazzling the audience with expressive interpretations of this sensual narrative. The use of different kinds of musical talents created an incredibly cohesive and rousing show while also displaying the many artistic disciplines that thrive in such a multifaceted city as Cleveland. The show felt incredibly intimate, from the performance itself to the lovely introduction from the founders. And that is not even considering the dancers themselves. On such a grand stage, their execution of each story—complete with synchronized spins and undulating twirls—created a reverberating effect in their aftermath. They truly bridged the gap between acrobatics and dance. The dancers’ ability to express a story purely with their facial expres-
sions was nothing short of incredible. It truly exhibited the unique ways in which someone can offer many possibilities for interpretation, yet maintain one singular narrative. In a way, ballet is a language in and of itself, communicating love, passion and the consequences of utter devotion. Continue reading on page 3
Courtesy of Cleveland Ballet