CHIH-RONG KUO, ELIZABETH ADLER AND AUBREY BUTTERFIELD
Groove Theory’s “One Move, One Groove”
RISI
ADDED TO THE FILE x The Georgetown Voice
Dear readers...
Amid an academically charged April, we are so excited to share this snapshot of student creativity: the Arts Issue, affectionately dubbed the Lissue (Leisure Issue)! Thank you to all who worked so hard to put this together—writers, editors, designers, and everyone in the amazing productions we had the joy to see, review, or preview.
We hope you enjoy this issue, and please, support the arts!
With love, Rhea, Koharu, and Sagun
Thank you Wingo’s, Hoya Game Day, and The Florian for supporting this issue!
Elspeth Campbell, Mariela Cruz, Thomas Fischbeck, Elizabeth Foster, Katie Han, Alaena Hurt, Sophia Jacone, Rina Khoury, Belinda Li, Stella Linn, Aiden Liss, Aidan Munroe, Rory Myers, Minhal Nazeer, Christina Pan, Renee Pujara, Nicholas Romero, Mahika Sharma, Isabella Stratta, Alexis Tamm, Brendan Teehan, Eileen Weisner, Catalin Wong, Sharon Xie
Brendan’s Crossword
ACROSS:
1. High-end brand with location on M St.
4. Type of medical scan
7. Common form response to “Write any other comments here”
9. Letter after pi
10. Next heritage month
12. Its atomic symbol is, inexplicably, Sn 13. Put all your eggs in one basket?
15. Green
16. “Lions and tigers and bears, oh my!” locales
17. Flight risk
19. Plot point in Nomadic Theater’s Ghosts
21. Supreme Court Justice Kagan
22. The art of on-campus politics?
26. Like all jokes said during an SNL taping
27. Dulles data point
28. To do this across the x-axis, multiply y by -1
30. Her name is also verb, meaning “to break up”
34. PJI class whose documentary showcase is on April 30th
35. Wasn’t let off with a warning
37. Part of W.A.P.
38. Cover in dirt, or just...dirt
39. Half of a candy duo
40. U.S. “Cornhusker” state (and my mom's home state)
41. CBS procedural
42. Pronoun in Paris
DOWN:
1. Maria & Alberto de la ____ Art Gallery
2. Comment that might solicit a “What's wrong?”
3. Many clubs get booze from them 4. Ruin
5. Like The Substance, or Emilia Pérez
6. You can buy them after a bell rings
7. One Catholic creed
8. Jacket cited in Clairo song “Blouse”
11. Other plot point in Nomadic Theater’s Ghosts
12. Form of indigenous dwelling
14. Put out a hit on
18. Longer than long 20. Assignments given outin the ICC
22. Former National Youth Poet Laureate
23. Malaise, literally
24. You keep watches in them, and keep watch over them
25. Game that’s all about space
29. Where a jibbet belongs
31. Name found in most American elevators
32. She “know[s] it ain't, know[s] it ain't the Stallionnnnnn!”
33. Lovers’ texts
36. Cotton gin inventor Whitney
No One And The Elses “A situationship of a band”
Most Georgetown students will never venture into the desolate cavern that is Studio D. As you traverse New North’s winding hallways—which, in true Georgetown fashion, are littered with holes that reveal the shoddy plumbing and electrical wiring—you’ll know you’ve reached Studio D once you breathe in air so damp it’s almost suffocating. It’s not much, but it’s where No One And The Elses call home.
A six-piece pop-rock band, No One And the Elses burst onto Georgetown’s music scene in the fall of 2024. But, their original identity was different from most other bands at Georgetown.
“The way that [the band] was pitched to me was that it would be kind of a more acoustic group, and then we would play in a relatively more casual setting. As opposed to, us finding some concert that people are putting on and play[ing],” drummer David Yang (CAS ’26) said.
Though Yang described the band’s beginning as “casual and noncommittal,” No One And The Elses have found themselves playing sets at bigger, planned shows. Performing at university-wide events such as Homecoming, Battle of the Bands, and the Arts Week Kickoff Concert, they are nothing but serious about their music—reminiscent of a romantic relationship that feigns as casual but is, in fact, the real deal.
In the soundproof room tucked away in New North’s stuffy basement, the noise emitted during one of the band’s songwriting sessions could best be described as an intentional cacophony. Yang was parsing through rhythms on the drums. Eric Chun (CAS ’25) was plucking his guitar and lightly singing a nondescript but familiar melody. Ethan Freed’s (MSB ’28) bassline was bumping in the background. Though unconnected— and as such, discordant—the sounds pouring out of Studio D exhibited an intense musicality marked by furrowed eyebrows and bobbing heads.
Though No One And The Elses have played crowdpleasing covers such as
“Sunday Morning” by Maroon Five, they were emphatic, but playful, in their declaration that they aren’t just a cover band—though, as they stated, “No shade to cover bands!”
“We’re slowly changing the ratio of covers to originals. I feel like it’s about fifty-fifty, and our goal is to make it even higher, to make more originals, at least,” vocalist and pianist Griffin Elliott (CAS ’26) said.
Though Elliott and Chun write No One And The Elses’ songs, each member contributes a personal touch to the final product. For his song “Somebody Else,” Chun began by telling the band his vision for the song. He laid out its chord progressions and scatted the song’s rhythmic pattern, giving remarks like “I want lighter ‘dah-dahs’ here.” But the song’s melodic interpretation was a fully collaborative effort.
“Even if you can tell who wrote the song, it does sound like a No One And The Elses song. We’ve had people say we have a certain color of sound,” Chun said. (Personally, I imagine their sound to be a bright orange—fun and spunky).
As the tune slowly came together, Elliott’s twinkling piano keys floated in the air, contrasting, yet complementing, the grounding rasp in Chun’s voice. Yang’s percussion filled the moments of silence, driving the sound forward. Freed’s bass articulated moments of emphasis. Though saxophonist Noah Vinogradov (SFS ’25) and guitarist Sebastian Larsen (SFS ’27) were absent, the other members suggested moments where Vinogradov and Larsen would be a needed addition, a reflection of the band’s synergy.
This style of songwriting continued through the session, with either Elliott or Chun at the helm. As the band transitioned to working on “Real Job,” one of Elliott’s originals, the guitars, keys, and saxophone all weaved in and out of the foreground. With bouncy instrumentals, Elliott’s warm croon, and dreary lyrics sung with a jovial, but ultimately sardonic tone, “Real Job” invokes a similar feel to Billy Joel’s “Vienna.”
While collaboration can often breed animosity, there is a palpable camaraderie within No One And The Elses. The band
Though No One And The Elses is acutely aware of their impending expiration date, it’s not something they’re afraid of; Chun, graduating this year, is looking forward to what the band will come to represent.
“Whoever is left on campus, I hope, will play with each other,” Chun said. “Then, I
explores creativity and selfexpression through fashion
BY AMBER BAI
DESIGN BY MAGGIE ZHANG
F or students involved, Diamanté is representation, confidence, and transcendence in equal measure. As Georgetown’s only fashion showcase centered on “the voices and stories of Black and Brown queer creatives,” Diamanté is an annual spectacle that has become an integral part of the campus creative scene.
Since its founding in 2018, the show has remained entirely student-led.
Though Diamanté focuses primarily on featuring designer pieces from across the DMV and East Coast, this year, the show includes a designer from as far away as California. The 2025 performance will take place at the Georgetown University Hotel Ballroom on April 13.
A highlight of Diamanté is its dynamic theme. From 2023’s “A Muse is Born” to “Mosaic of Self” last year, the show relentlessly explores the complex and diverse nature of identity, encouraging individuals to express themselves with confidence. This year’s theme, “Fantasy vs. Reality,” serves as a continuation of Diamanté’s legacy. On one hand, it highlights the group’s roots, honoring queer people of color and Ballroom culture, an underground queer subculture from the 1970s. On the other hand, the theme envisions a future for the community with immense possibilities to thrive.
“[Diamanté is] meant to be a safe, creative, queer space for Georgetown students of color,” Justin Goris (CAS ’25), the co-director of the show, said. “That’s the heart of Diamanté. We were tossing around ideas about how to incorporate that and bring it back to what it was originally meant to be, and we landed on Fantasy vs. Reality. Essentially, imagining a world for yourself and making that reality.”
Diamanté’s power to reimagine and redefine oneself is likely why the show attracts so many students. Creatives in Diamanté come from all Georgetown schools and have myriad interests but are bonded through their shared passion for fashion.
Saima Jean-Louis (MSB ’28), one of Diamanté’s models, said the show fascinated her even before she arrived as a freshman.
“I came here during Hoya Saxa Weekend, and our group took us to the Diamanté show,” she said. “I was just amazed by it. I was like, ‘wow, I need to be part of this when I come to Georgetown.’”
For model Jada Dickerson (SOH ’27), the show provides a chance to explore the creative side of herself with conviction and imagination.
“It’s not really common to find students who are into creative extracurriculars on campus,” Dickerson said. “It’s a very good stress relie[ver] for me, to not be in an environment where it’s biochemistry research labs every day. It’s really good to come to practice and be able to let go.”
Diamanté is not restricted to only Georgetown students, having accumulated interest in schools across the DMV. Collaborating with other universities in the area, the show sparks innovation and dialogue not only within, but also across schools. This year, the showcase is working with models from Howard University.
“The dedication that these Howard students have been putting in is
honestly kind of amazing. They’ll travel from the opposite side of D.C. to come to Georgetown for practices, they’ll come for fittings, and they’ll come for tabling,” Goris said. “It’s less about coming to Georgetown and more so [about] coming together to create this show that they’re passionate about.”
This collaboration is particularly personal to Goris, who transferred from Howard to Georgetown in spring 2022. For Goris, it was a challenge to navigate expression and student engagement coming from Howard, where the creative scene is much larger.
“[Howard’s] environment fosters students’ creativity and entrepreneurship, whereas Georgetown’s fosters the intellectual side of students, which is what I found the most difficult about acclimating to Georgetown’s environment,” Goris said. “I was so used to feeding this creative side of me that the intellectual side of me was kind of taking a back seat. And so coming here, I had to rewire my brain a little bit to switch roles.”
With Georgetown’s limited emphasis on arts and self-expression, Goris said, it is important for spaces like Diamanté to exist as an outlet for students to explore their identity.
“Of course, we have a lot of the preprofessional organizations, which are great… They give you the experience you need after you leave undergrad. But there’s so much more to people,” said Goris. “There are so many other interests, and to have even one space or two to three spaces where students can come and express their interest in fashion or photography or modeling or anything, and create that community, has been really special.”
Diamanté is more than just a fashion show. In many ways, it is a connection. This year, it is a liaison between Howard and Georgetown, between the past and the future, between intellect and creativity, and between Black and Brown queer creatives and the world around them.
When asked, “How would you describe Diamanté?”
“Transcendent,” Goris replied after deep contemplation. “Students can come and get what they expected, but also leave getting something that they never thought they were gonna get.” G
On April 5, Georgetown’s Latin dance group, Ritmo y Sabor, filled Gaston Hall with the vibrant colors, smooth rhythms, and energetic movements of the Américas. Their spring showcase included over 15 performances representing unique music and dance from countries across the Latin world.
The theme, “Vuelta a las Américas,” promised the audience a one-night trip across the Américas—with Ritmo y Sabor as the flight attendants.
The journey took off with an intro performance by the entire team, then highlighted different dance styles, including Mexican cumbia, Colombian salsa, Brazilian samba, and Argentinian tango. The first half of the show included a guest performance by Ballet Folklórico Mexicano de Georgetown, representing a more classical Latin dance style. After a brief intermission, the second half included a guest performance by Groove Theory, senior send-offs for both undergraduate and graduate members, and an energetic finale embodying the show’s theme of visibility and pride.
While each dance showcased the team’s incredible talent and the respective style’s cultural significance, a handful stood out.
Bomba, one of Puerto Rico’s oldest dances, originated as a means for the country’s African population to resist enslavement and seek spiritual relief. In flowing silvery skirts, the dancers fluttered across the stage, their elegance perfectly capturing the freedom of spirit central to the dance’s origins.
Haitian konpa, or kompa, is distinguished by its intimate partner work, smooth hip movements, and body isolations. In all-black outfits, the dancers moved sensually to the rhythm, looking exclusively at their partners. This piece not only demonstrated the tightknit dynamic among team members, but it also represented the feeling of losing sense of reality when overcome with affection.
By Aminah Malik Design by Tina Solki
Ritmo y Sabor’s “Vueltaalas Américas” dances across the Latin world
Set to the song “BEBÊ” by Camilo and Gusttavo Lima, the team’s bachata number portrayed the style’s central themes of love, heartbreak, and desire. In simple black and green costumes, dance partners showed off their syncopated steps with perfect chemistry, smiling into each other’s eyes as they took soft, quick steps. Coupled with the song’s sweet, mellow beat, this number masterfully encapsulated the little everyday happinesses of being in love.
In the second half, dancers honored the Dominican Republic’s merengue típico, the country’s oldest and most commonly played merengue style. Merengue típico songs are composed in two parts: the first establishes lyrical and rhythmic material, while the second introduces more complex beats and mambo. In sparkling gold dresses and blue tops, the dancers matched the song’s twopart composition with footwork that grew more intense as the song progressed. The dancers’ steps crescendoed to an untraceable blur, stopping suddenly in a bold final pose.
In an homage to Venezuela, this year’s show included a tambores performance. Traditionally performed in a circle, it’s marked by a call-and-response dynamic between dancers and drummers. In long red skirts, the dancers expertly navigated complex formation changes while demonstrating the style’s hallmark footwork.
For choreographer Alejandra Cova (SOH ’26), this number was special, as her mother helped choreograph the dance.
“I grew up dancing and always knew I liked it, but I never thought that I could create dances and produce a form of artwork that I could become so proud of,” she wrote to the Voice
Ritmo y Sabor’s performance explored not only the diverse cultures of the Latin world, showcasing various countries and dances, but also myriad human emotions—from yearning to loss, love to heartbreak, joy to grief.
This year’s show also featured Ritmo y Sabor’s first-ever contemporary piece. It sought to represent the memories that haunt us like fantasmas, or ghosts.
“Perhaps these moments are ones we had in our countries of origin or in our childhood homes. Now, they feel like a distant dream,
one we wish we never woke up from. We aim to physically convey these profound sentiments of the human experience, love and loss,” Tyvheen Robles (MSB ’25), Ritmo y Sabor’s head of marketing, said.
In elegant white dresses emulating fantasmas, this dance included seven dancers, leaving one alone during partner work to complete solo sequences. The isolation was emblematic of fondly remembering a happy memory amid heartbreak over its passing. In the outro, the dancers left the stage one by one, their fluttering goodbyes embodying what it feels like to have a moment slip through your fingers.
Ritmo y Sabor also emphasized the timely significance of its show.
“Given the state of the world and the challenges the Latinx community has been facing, and as a Latina myself, I feel it is imperative to address that it is a privilege we can be here with our loved ones, dancing freely and celebrating the diverse culture this team represents,” Co-Director Priscila Nicole Putzulu (CAS ’25) said.
Putzulu pointed to the Trump administration’s crackdown on immigration that dehumanizes migrants, especially those of Latin origin, and has resulted in deportations which judges and legal scholars have called unconstitutional.
Against the backdrop of these injustices, the Ritmo team recognized the importance of celebrating Latin heritage, especially at a predominantly white institution. “Vuelta a las Américas” was not just a showcase of Latin culture, but an active resistance against the current administration’s attempt to scrub the U.S. of Latin joy.
“In the words of Bad Bunny, ‘Aquí mataron gente por sacar la bandera, por eso es que ahora yo la llevo donde quiera,’” Putzulu added, calling on Bad Bunny’s “LA MuDANZA.” It translates to “they killed people here for waving the flag, that’s why I bring it anywhere I want now.”
“Anyone who knows me knows I am a walking Argentinian flag,” Putzulu continued. “So I urge you all, whether you’re Latinx or belong to another community and culture, to be visible and to be proud. Our goal with this show was to do exactly that.” G
Ghosts
Nomadic’s : A riveting family tragedy unfolds behind closed doors
BY EMILY TRAN
GRAPHICS BY SOPHINA BOYCHENKO; LAYOUT BY LUCY MONTALTI
Ahand-painted fjord—strikingly vast and illuminated by blue lights—greets every person walking into the Village C Theater for Nomadic Theatre’s Ghosts. In the distance, hills undulate and the bracing ocean looms threateningly. The lights dim; darkness descends.
A woman emerges from the dark shadows, pacing back and forth. She trembles uncontrollably. Her eyes are fixated on something in the distance. In horror, she sprints to the door, slamming it shut. Did she have a harrowing vision of the past? Or did she witness a tormenting event unfold in the present? This is our first impression of the tenacious Mrs. Alving (Claire Cable, CAS ’25). Cable’s chilling, hair-raising performance sets the tone for the rest of the play.
Henrik Ibsen’s Ghosts, Nomadic Theatre’s spring production, is a three-act drama centered on Mrs. Alving, a dutiful widow who dedicates an orphanage in honor of her late husband. Although Captain Alving is dead, his legacy haunts the living. Throughout the play, the characters move emotionally closer to and further from each other, repulsed, yet pulled in by some magnetic force of attraction. Doors open. Doors shut. The audience is left to contemplate what happens outside the room; what sinful, incestuous affairs occur beyond the scope of the confined space?
The chemistry between the actors is palpable. As the door to Mrs. Alving’s estate opens, a clandestine meeting takes place between the lively Jakob Engstrand (Tai Remus Elliot, an exchange student) and his purported daughter, Regine (Anna Kummelstedt, SFS ’25). Their cheek-by-jowl interaction begins as joyful banter, gradually tapering into deeper, existential arguments. Kummelstedt is sharp-witted and outspoken, and, with hands on her hips, she successfully channels Regine’s assertive nature. Elliot’s boisterous performance as her father is as compelling. His jollyful raconteur-like bluff cuts through his daughter’s pointed remarks, painting him as a dubious, yet warm person. This peculiar interaction prompts the audience to question if Regine is actually Engstrand’s daughter.
Kennedy, CAS ’25) consults Mrs. Alving on the orphanage’s finances. Standing upright and tall, Manders invites Mrs. Alving to read through the papers. Within a few seconds, he snatches the paper from her in a pompous movement, leaving the audience chuckling at the impropriety. This not-so-subtle gesture pokes fun at the misogyny of 19th-century society, defining Manders as a somewhat rigid, yet comedic caricature.
Kennedy masterfully strikes a balance between gravity and comedy. A few chuckles arise from the audience as he struggles to maintain his respectable gentleman-like
Norway. His take on what “honorable men” do outside of their family homes is refreshing. His respect for non-nuclear families is progressive. His joy of life exists when social norms are deconstructed. However, hints of Osvald’s tragic arc gradually unravel throughout the play. His artistic temperament is soon recognized as a trait passed down from his father. His enlightening discussion with Manders about what a family home is causes Mrs. Alving to silently pace back and forth in trepidation. Her behavior alludes to a troubling secret.
Ghosts is driven by echoes of the past. It is soon revealed by Mrs. Alving that her husband had an affair with his maid. The haunting, omnipresent words, “let me be,” uttered by the maid when she was in a private room with Mr. Alving, ring in Mrs. Alving’s ears for the rest of her life.
Even more salacious is the fact that Regine is the daughter of Mr. Alving. Osvald’s controversial affair with Regine, his halfsister, mostly blossoms offstage. He gives Regine glances of longing before exiting the room. The door is left slightly ajar, teasing the glimpse of happenings in a different room. Yet, we can never fully pull back the veil, and see what lies beyond the exposed set. The audience is left to imagine what happens between the two forbidden lovers. Echoes of the past, the haunting words “let me be” are uttered offstage, foreshadowing tragedy.
Director CC Mesa (SFS ’26), does not shy away from shedding light on the nonchalant dismissal of women’s intelligence in Ghosts. In one scene, Pastor Manders (Will
facade. At one point, uproarious laughter fills the theater when Manders stomps away from Mrs. Alving’s overly affectionate attempt to kiss him. Manders’s immediate repulsion and Mrs. Alving’s natural instinct to move closer to him heightens the implication that there may have been a romantic relationship between the two.
Brendan Teehan (CAS ’25), who plays Mrs. Alving’s son, Osvald, sells an equally poignant performance. With his shirt loosely unbuttoned, he makes his first appearance strutting through the room with a freespirited essence that can only be described as joie de vivre. At first glance, Osvald appears to be defiant—a force of nature challenging the rigid social conventions of 19th-century
Though each person involved in Ghosts shines on their own, the cast and crew together are responsible for successfully creating the play’s ultimate tragic ending. Osvald lies on his deathbed, staring out into the void. His eyes are red, tinged with desperation. He suffers in the latest stages of syphilis, a hereditary illness that is passed down from his father. Cable lets out a tour-deforce, guttural scream. A cry that any mother in the audience could not bear to listen to. She holds her son’s face close to her own. For the first time, warm light seeps through the room. The fjord is lit up, more luminous than ever. The sloping hills, the cornflower blue skies, and flowing oceans stand out before the whole world.
The double entendre, “ghosts,” lingers as we leave Village C Theater. The past can continue to haunt us as recurring visions or it can be reenacted, taking form and shape in our successors. G
I Stand WIth You: S no lost generation tells afghan refugee stories
BY IZZY WAGENER
DESIGN BY LUCY MONTALTI
Black easels lined the sides of the ICC galleria for No Lost Generation’s refugee art exhibit, each canvas depicting sorrow and resistance. One painting portrayed a row of dancing women holding bird cages in their hands. Another showed the black silhouette of a woman, golden wings on her back, as birds took flight around her.
No Lost Generation, a student-run refugee advocacy club, hosted the showcase on April 3 as part of its annual Refugee Week of Awareness. This year, it partnered with ArtLords, a street art organization founded in 2014 in Kabul, and Parla Arte, an initiative that supports refugees in D.C. by selling their artwork.
“When you really boil down to it and look at these amazing pieces people are creating and the emotions they convey, I think it just really shows the impact of everything going on,” Laura Logan (SFS ’27), president of No Lost Generation, said. “It’s just a great way to empower different refugee voices so they could tell their story.”
In addition to fundraising and putting on educational events like the arts showcase, No Lost Generation also hosts speaker events and does advocacy work.
The paintings displayed in the showcase were part of ArtLords’ “I Stand with You” campaign, to recognize the Taliban’s treatment of women as gender apartheid. ArtLords has painted more than 2,200 murals in Afghanistan, using art as a form of activism.
“We wanted to work on different social issues, but we wanted to do it through unconventional ways,” Lima Halima-Khalil, co-founder of ArtLords, said.
The “I Stand with You” campaign also offers financial support to Afghan artists both inside and outside of the country. Some of the artists that ArtLords works with remain in hiding in Afghanistan, while others have been evacuated by the organization.
ArtLords has partnered with several universities to spread awareness about the conditions of women in Afghanistan. In March, the organization hosted a town hall and painted a mural at the College of William and Mary.
“We wanted to work with different schools and academic institutions, so that the faculty members, students, communities, get involved and get awareness about the situation of Afghan women, which is completely inhuman,” Halima-Khalil said.
Parla Arte, the other organization that partnered with No Lost Generation, was created in 2024 by Rania Najih, a senior at Walter Johnson High School in Bethesda. Najih was inspired in part by Love Without Borders, an organization based in Greece that provides art supplies to refugees and exhibits and sells their artwork. Najih started working with the Immigrant & Refugee Outreach Center (IROC) to create a similar initiative.
At the showcase, Parla Arte sold jewelry, placemats, bags, and other items handmade by refugees currently living in the D.C. area, with sales from the artwork going directly to the artists.
“Initially, I focused on painting, but I quickly discovered that the refugees possessed incredible talents in various areas, including sewing, embroidery, and a wide range of crafts,” Najih wrote in a statement to the Voice.
Najih also sells her own necklaces, which she first started creating during the pandemic. Her earnings are donated to the IROC. Najih emphasized the critical role art can play in providing an outlet for healing.
“Through the medium of art, refugees can convey their personal and unique experiences. Art is important because not everyone has access to therapy. For many people, art heals inner wounds,” Najih wrote.
The Taliban takeover in 2021 had profound impacts on the arts community in Afghanistan, with restrictions on music, sculpture, and portrait drawing. Many of ArtLords’ murals have been painted over as part of widespread censorship. Education has also been impacted—the Taliban banned women’s education and prohibited men from studying painting. Refugees who fled the country and those still seeking to leave now face new obstacles from the Trump administration.
President Donald Trump suspended the U.S. Refugee Admissions Program on Jan. 20, pausing the entry of refugees and cutting funding for recent arrivals. These restrictions have turned creative expression into a daunting concept.
“Many of the refugees I worked with are now afraid to participate, fearing that their artwork on display may draw attention to their identities. It’s disheartening that they escaped one form of fear only to find themselves living in fear again,” Najih wrote.
ArtLords has also been impacted by the recent federal funding cuts. The organization used to receive funding from the National Endowment for Democracy to buy art supplies, transport art to the U.S., and evacuate artists. Those grants have been eliminated.
Despite these obstacles, HalimaKhalil underscored the resilience of art as a path forward.
“I think art is a tool or a medium that cannot be stopped. Of course, we are scared that our work, which is mostly political, and it just does critical work, would be picked up. But at the same time, that is the purpose—to give voice to the voiceless,” Halima-Khalil said.
No Lost Generation has responded to recent political developments by increasing fundraising efforts and continuing congressional letter writing and lobbying. During its Refugee Week of Awareness, the club hosted a book talk, gala, and several speaker events. Keeping the club active helps Logan stay hopeful.
“Even though this work sometimes feels a little hopeless, because of everything that’s happening, I think just slowly fundraising, advocating, getting the message across, and showing that students, Georgetown as an organization, isn't going to stand with these violations of human rights… I think it’s powerful,” Logan said. G
SweeneyTodd Mask and Bauble’s SweeneyTodd provides comedy, murder, and catchy music
BY NOLA GOODWIN
DESIGN BY KATIE REDDY
Content warning: This article includes mentions of physical violence and sexual assault.
Mask and Bauble Dramatic Society’s latest musical, Sweeney Todd: The Demon Barber of Fleet Street, is a tale of vengeance, cannibalism, and murder. Running from April 3–11, the performance is both gritty and hilarious, and the music will stay with you long after the actors have taken their final bows.
The ensemble adds complexity to the show. As each member changes roles throughout the musical—sometimes Turpin’s accomplices, sometimes Todd’s victims—they force the audience to question whether they, too, are implicated.
Sweeney Todd tells the story of Benjamin Barker (Massimo D’Onofrio, CAS ’28)—a barber who returns to England after 15 years of exile in Australia. Set in 19th-century London, Barker, who has renamed himself Sweeney Todd, vows to get revenge on Turpin (Jack Kealey, CAS ’25), the man who raped his wife (Hannah Beil, CAS ’28) and falsely convicted Todd of a crime. Luckily for Todd, Mrs. Lovett (Daisy Casemore, CAS ’26), the owner of a failing pie shop, is willing to collaborate—by baking Todd’s murder victims into her pies.
Told almost entirely through song, the musical is considered one of Stephen Sondheim’s most vocally challenging. The dark, emotional songs feature remarkably high notes and rapidly changing tempos— making the cast’s outstanding performance impressive. The opening group number, “The Ballad of Sweeney Todd,” sets a high bar for the rest of the musical, eerily foreshadowing Todd’s descent into villainy. The remainder of the songs—backed up by a pit orchestra of students—only gets better from there.
The music in Sweeney Todd is intense, but every member of the cast gives their all. Beil, who also plays Todd’s daughter, Johanna, is particularly impressive. Beil both handles her character’s exceptionally high notes with ease and conveys the sadness behind the lyrics. Her voice is longing as she attempts to escape her old life. While every cast member shines brightly on their own, they shine even brighter together. The opening number, “Pirelli’s Miracle Elixir,” “God, That’s Good!” and “City on Fire” are especially notable for their complicated choreography and chorus of overlapping voices.
eccentricity, Johanna’s white lace dress is the picture of innocence, and Pirelli’s brocade overcoat is just as extravagant as he strives to be.
For example, at the ball where Turpin rapes Lucy, Todd’s wife, the ensemble is complicit in her assault as they block Lucy in, preventing her escape.
For a show about cannibalism, Sweeney Todd is surprisingly hilarious. Although the darker moments certainly drive the show, the cast also leans into the humorous elements, emphasizing the absurdity through comedic pauses and fourth wall breaks. During “Pirelli’s Miracle Elixir,” Todd attempts to steal customers away from rival barber Adolfo Pirelli (Jack Markowitz, CAS ’27) by informing them that the so-called cure for hair loss is, in fact, urine. Tobias Ragg (Stratton Rebish, CAS ’28), Pirelli’s young assistant, is the highlight of this song; as he sings about his miraculous hair transformation, he makes direct eye contact with the audience, pitching the product to viewers as well as the ensemble.
The musical is an immersive experience. Every inch of the stage is occupied, whether by dancing, a quickly constructed restaurant, or a dramatic escape from the city’s asylum. But rather than being distracting, this frenzy serves to draw the audience in. As the viewers are shown around London, the city begins to come alive.
Just as the actors flesh out their characters’ backstories, the constantly changing set creates a sense of place. As the musical progresses, it only gets more complicated; the walls are pulled away to reveal new rooms and Todd’s drab barber shop gets an aesthetic upgrade after intermission. In Act II, as Todd grows angrier and more unstable, the set adapts to his needs. His barber chair retracts into the wall for easier disposal of the bodies, and viewers are able to see the ovens Mrs. Lovett uses to bake her pies—a piece of the set previously hidden behind walls.
While the set is well-designed, it’s the costumes that truly immerse the audience in 19th-century London. Each garment is intricately crafted, reflecting
For all their humor, the cast of Sweeney Todd ensures the comedy does not overshadow the show’s more grim themes. With frequent appearances by the character simply named “Beggar Woman” in the program (Ruth Abramovitz, CAS ’27), viewers are made privy to how each character understands poverty.
Additionally, in Act II, when Anthony (Nate Findlay, CAS ’27),a young sailor in love with Johanna,goes to rescue her from the asylum she is imprisoned in, the audience bears witness to the uncomfortable truth of how people with mental illnesses were treated in 19th-century London.
Mrs. Lovett, who both drives the show’s comedy and supports Todd in his gruesome quest for revenge, exemplifies how the show balances humor and solemnity. Casemore plays up her hilarity through her sarcastic tone of voice and her variety of dramatic facial expressions, keeping the audience rapt through songs like “By the Sea”—which is both incredibly long and fast-paced. By granting us glimpses of pure panic and desperation, Casemore allows the audience to see Mrs. Lovett be swept up in Todd’s crimes in real time. In presenting Todd’s accomplice as a sympathetic character, the show has us reconsider our
Arts Week 2025 hosts gallery in Lauinger Library, highlights student artists
BY MINHAL NAZEER
DESIGN BY ELIN CHOE
When Tina Solki (SFS/ MSB ’26) stumbled upon a Voice article advocating for the revival of GUSA’s Arts Week—a week dedicated to various arts at Georgetown, including a cappella groups, dancers, filmmakers, musicians, and comedians—she was immediately captivated
“I come to find out that it is not being run, it does not exist, and frankly there’s nobody involved,” Solki said, after realizing the week hadn’t been hosted since 2019.
Solki took it upon herself to pitch a revival of the Arts Week to the GUSA Senate, beginning her role as Chair of the Arts Week Committee.
Part of her vision included creating a gallery where students did not have to go out of their way to find art, allowing them to take a moment in their busy lives to appreciate their peers’ artistic ability.
“I wanted to highlight the work that existing student artists were doing on campus to bring the arts in its variety of forms to people directly,” Solki said.
She was also interested in designating a space specifically for art students to share what they have created, for the sake of art itself.
“I feel like at Georgetown a lot of the arts are relegated to how they can be sold. There are a lot of places to show off your work to further a capitalistic purpose, or some sort of private purpose, rather than being able to showcase it for the work itself,” Solki said.
Currently, most student art is displayed in Walsh or in various student publications, like the Voice, The Indy, The Anthem, or ADDED TO THE FILE. Walsh is already physically separated from campus, and these publications need to be sought out with the intention of looking for art. In most cases, the artists
also create that art to be for a specific purpose—a themed issue, a cover, an article visual. Allowing student-produced art to be brought to their peers in one of the most populated areas on campus brings a new audience to the work itself, not just the ones who intentionally read The Anthem or hang up their friend’s prints.
Her next step was reaching out to different spaces on campus for the gallery to be installed. “I thought, ‘you know what would be great? If it’s 2 a.m. on Lau 2 and I’m writing a paper, to have something to look at that’s new,’” Solki said.
One of the most drab, yet highly frequented, buildings on campus, Solki considered Lauinger as the ideal location for a gallery—which was eventually approved by library staff.
The exhibit itself features works produced in Georgetown classes or solicited from a Google form spread around the student body. There are two sculptures and thirteen paintings on display, with ten artists being represented. The sculptures shape wood and cardboard into fluid, abstract, three-dimensional shapes. The paintings contain a variety of subjects, like selfportraits, landscapes, more abstract and virtual work, and animals. A total of six easels are put up right near the entrance of the floor, and a collage of seven others sits near the larger meeting rooms. This collage has four paintings in a similar style, with different women having their bodies and faces colorblocked, and the other paintings gradually shifting to more neutral tones.
Serving as the main director for the Lauinger gallery, Zadie Weaver (CAS ’28) worked with artists on campus to find pieces and finalize the vision of the space.
“A ton of people submitted different work, like self-portraits and abstract stuff—I think it goes to attest to what Georgetown students choose to express themselves creatively with,” Weaver said.
Another driving factor to hold such a space for art was to break up the monotony of everyday life.
“I want people to have fun. Thinking about how fun Homecoming or St. Paddy’s Day was—just seeing things happening outside of class in a decorated third space as the vibe for an entire week,” Weaver said.
On the other hand, some of the motivation behind reestablishing Arts Week is to rebuild campus traditions.
“Part of the significance of this, being something that’s coming back postpandemic, is that a lot of our customs are only just pulling themselves back together,” Solki said. Creating Arts Week means reawakening campus traditions from a bygone era.
Arts Week also hopes to bring together Georgetown students from all different circles—all experiencing the same art. Whether a lingering consequence of COVID-19 or not, a feeling of cliquiness dominates the Georgetown experience today. Solki hopes that Arts Week will change that.
“Because social life [at Georgetown] is so granularized, everybody has their own little bubbles within the broader Georgetown bubble. I feel like the moments that feel very distinctly college are when everybody’s individual bubbles pop and suddenly they’re sharing space with other students and they’re engaging in some greater communal activity,” Solki said.
This could be achieved from the gallery, student cultural showcases, or student fashion shows, but the overall goal remains to build community, celebrate student art, and brighten up someone’s day while doing it.
“If we can do anything to give people a reason to smile, it would be a reason for success,” Solki said. G
The exhibit will be available to view on the second floor of Lauinger Library from April 6-13, one of the many events during Arts Week.
Editor’s Note: Tina Solki is a contributing editor for the Voice.
ABBISA puts a futuristic twist on the classic Romeo and Juliet
BY ELLIET WALTON
GRAPHICS BY ELLIE TA; LAYOUT BY MICHELLE WANG
On April 11, the African Society of Georgetown’s (ASG) 13th annual spring showcase, ABISSA, will fill Gaston Hall with dance, modelling, and romance. This year’s original play-meets-fashionshow performance is Fate of the Forbidden, inspired by Shakespeare’s Romeo and Juliet.
Fate of the Forbidden, written by a group of ASG students, follows West African Romeoluwa and East African Julietu as they fall deeply into a forbidden love. The cultural and ethnic divide between the two prohibits them from any interaction. Drawn to one another, Romeoluwa and Julietu push back against authority figures and social norms in their fight to be together. Although it is based in Africa, the story does not reflect contemporary social divides, according to ASG Co-President Winifred Asigri (CAS ’25).
“Ethnic divides have less of an impact on things like marriage nowadays,” Asigri said. “I think also as people are becoming more educated about colonization and understanding that a lot of the African country borders are man-made in a very European sense; it doesn’t really hold as much precedence as it would in the past.”
In contrast to past years, ASG opted out of hiring an outside playwright for Fate of the Forbidden. Instead, the ASG board brainstormed and wrote the script themselves. The process started in September with only a “concept and a dream,” Asigri said. Five board members met weekly over the fall semester to create the outline and during winter break, Sophomore Representative Kemka Ihemelandu (CAS ’26) began turning it into a script that underwent numerous revisions in the following months.
“We decided we’re not gonna hire anybody from outside the university anymore. We’re gonna write our own play. It’s gonna be completely, entirely made by us,” Asigri said. “That’s one of the things I’m most proud of this year.”
In between scenes of the play, Georgetown students will walk the runway, modeling over 80 Afrofuturistic outfits from African clothing designers.
“The clothes will have some element of futurism, whether it's something flashy, something bright, something colored,” ASG’s Vice President Frederick Mwansa (MSB/SFS ’26) said. “Every model’s a different art piece of the sort, and we try to make sure that they have the confidence
to display the clothes…[and] feel as at-home onstage as possible.”
Pulling from both local and overseas sources, the search for designers started early in the fall semester, as ASG wanted to incorporate more East African clothing.
“[A lot of] the designers that we have available to us… are from West Africa—either Ghana, Nigeria, or just somewhere in a western country,” Asrigi said. “We wanted to make sure we were incorporating a lot of Habisha clothing, Somali clothing… and then doing separate model walks for East and West.”
According to Asigri, the overarching theme of 2025’s ABBISA is unity—emphasizing the strength and beauty of the differences across African cultural and ethnic groups.
“[ABBISA is] about thinking less about what makes us different and more so about… the beauty of the culture of the continent,” Asigiri said. “Even with our differences, I think that it’s really necessary that we come together and are able to form dialogue… looking past colonial divides, man-made lines, or man-made social constructs.”
This theme was inspired partially by ASG’s community, which provides space for African students of distinct backgrounds to exchange cultural traditions, freshman representative Musinga Mbuvi (SOH ’28) said.
“I appreciate [ASG] because there are things that we can talk about and appreciate about each other’s cultures,” Mbuvi said. “Even though, culturally, we’re from a lot of different places—like a lot of East Africans and West Africans—at the same time, it’s like, we have a lot of foods that we just call different names.”
True to their message of unity, ASG has made an increased effort to advertise the play in an accessible manner, reinforcing the idea that the performance is open to everyone, regardless of race, heritage, or ethnicity. In the past, they’ve had difficulties reaching audiences beyond the Black community of students and staff, according to Mwansa.
“It can be hard to break the glass of this being perceived as an ‘Africaonly’ event. Of course, the concept is, but the art is meant to be consumed by everyone on campus and beyond,” Mwansa said.
With the play in Gaston Hall for the first time, they’re hoping to reach a
larger audience, not only in size, but also in demographic.
“[African culture] may be different from the cultures that a large part of the student body at Georgetown have experienced, but not different in an intimidating way—an attractive, enticing way,” Mbuvi said.
While creating and advertising ABBISA, the board curated every detail with intentionality, from the style of clothing to the fonts used on the play’s poster. The poster features the silhouettes of Romeoluwa and Julietu on the foreground of a futuristic city of silver metal buildings, completed with Fate of the Forbidden written in large yellow and black letters.
“We arrived on futurism because it’s digestible. The concept’s already been introduced to everyone before,” Mbuvi said. “When making the poster, we made it very intentional to have equal focus on highlighting Africa and also the futuristic aspects…. That includes fonts, background, but also foreground and background characters.”
Even beyond ABBISA, ASG aims to advertise their club and its events as open and welcoming to every student on campus.
“We always try to make it as clear as possible [that] our events are literally for everyone,” Asigri said. “We want you to come and learn about our culture and become immersed in it.” G
To be transported into a whirlwind world of romance and futurism, come see Fate of the Forbidden in Gaston Hall on Friday April 11. Tickets are on sale now.
Persona-fication of fabulous: Mx. Georgetown is back
BY ALEX L ALLI
DESIGN BY MICHELLE WANG
As their big day approaches, Scottie Vandy (CAS ’27) and his fellow contestants are rushing to put the final touches on the performance of their lifetime.
Vandy showed me a potential sample of his costume for Tiara Wink—a persona born out of his desire to bring to life someone equal parts substantive, recognizable, and “gay enough.” The initial drafts of his costume sported a pair of hot pink latex “shorts” tightly holding the crotch like a swing. He ended up opting for a slightly less exposing bodysuit instead—still latex, of course.
Tiara Wink, along with four other contestants, will perform at the Mx. Georgetown drag competition—a more campy and suggestive spoof on Mr. Georgetown. The contestants, each donning personalized drag personas, will compete in segments including a Miss America-style Q-and-A, talent showcase, lip sync battles, and a final showdown between the top two contestants. Last year, it was “fruit fellatio.”
This will be the second annual production of Mx. Georgetown since Jackie Early (CAS ’26) created the event
fostering a legacy of queer celebration for students.
The event is already building a fabulous community with this new cycle of contestants, each coming from a diverse array of backgrounds, both personally and in terms of drag experience.
Vandy was first exposed to drag through watching RuPaul’s Drag Race (2009–present). After watching seasons seven through 16 over one summer, he felt inspired to try drag at home.
Sasha Jayne (CAS ’27) was brought to Mx. Georgetown through the Rocky Horror pipeline.
“I’m a big fan of that kind of pwerformance aspect, especially with all the flair and pizzazz,” they said.
Leena Kethu (GSAS ’26), who joined Mx. to have some reprieve from gradschool hell, has been practicing drag for some time.
“My drag name is Yersinia B Pestis; it’s the scientific name for the Bucha plague,” they said, wanting to reference their health care background. “And the B stands for, like, buboes, but spelled like, boobs.” Well, duh.
While some contestants already have matured alter egos, others are diving
experimentation is expressed through portraying either extremes of the gender binary—drag queens do elaborate makeup and corset their waists while drag kings sport drawn-on beards and staches.
But Mx. contestants are going even further to question the very validity of gender binaries, using their personas as an opportunity to mix-and-match identities without the pressure of committing to a label.
“A lot of drag is an exaggeration,” Jayne said. “You’re free to do as much or as little as you want—doesn’t have to tie your particular gender identity. It allows for a lot of experimentation.”
Shinnick found drag to be formative in their experience coming out as non-binary at Georgetown, which initially left them unsure of how to present outwardly.
“I think drag gives you a space to explore along those lines [of gender] and figure out both where you are, what you're comfortable with, and what you like,” Shinnick said.
Their drag persona, Dionysia (after the ancient festival of “orgiastic revelry” honoring the Greek god Dionysus), is more focused on extravagant deification than delivering a binary performance of gender, all while incorporating classic elements of a drag persona.
“A god who has the arrogance and the persona of the Greek gods, [which is a] very human side of things, while also being incredibly powerful, incredibly attractive; sure, I think that fits very well with being a drag queen,” Shinnick said.
Similarly, Yersinia B Pestis, according to Kethu, plays with gender in a hybridized, Frankenstein-esque way: no breasts, snatched waist, and twisted stache accompany a burlesque performance. Yersinia is a dramatized version of Kethu’s many facets—their medical interests, theater background, and punk aesthetic— all fused through hyperbolized, but fluid, gender performance.
Mx. provides Georgetown students with a space to experience and witness liberated gender and self expression, a unique privilege that Early wants to pay forward. This year, Mx. Georgetown’s proceeds will go to Point of Pride, an organization that provides financial aid to trans individuals.
“I think our community, at times, just kind of gets stuck in this Georgetown bubble of things,” Early admitted. “So I think it’s important that we kind of like reach out and help folks who maybe aren’t in those situations to fully embrace themselves.” G
Mx. Georgetown will take place on April 11 at 8 p.m. in the Lohrfink Auditorium. Tickets can be purchased on CampusGroups.
Is your (sp)ringtone set for
BY ELIZABETH ADLER, AUBREY BUTTERFIELD, AND CHIH-RONG KUO
DESIGN BY SOPHIE ST AMAND
Tulips are blooming, admitted students are swarming campus, and cherry blossom pictures are flooding Instagram.
Spring is in full swing. Whether you’re trying to escape the rapidly changing weather or distract yourself from the looming presence of finals, Spring Sing is the perfect event to end your year on a good note.
Georgetown’s final a cappella performance of the year—Spring Sing— will take place on April 12 in Gaston Hall. True to its name, the event aims to transport audiences to a hopeful spring wonderland through performers’ brightly colored outfits and upbeat setlists.
“The sun’s coming out, everyone’s going on the lawn and everything, and so we’re trying to play off that vibe and make it a very hopeful ‘you’re done with the school year’ type of event,” Phantoms Music Director Wyatt Nako (CAS ’26) said. “It’s really just like a celebration.”
Spring Sing features the Phantoms, the Chimes, the GraceNotes, and the Capitol G’s and is hosted on a rotating basis by the remaining two Georgetown a cappella groups; Superfood and the Saxatones. This year, the Saxatones are hosting.
The profits from ticket sales will go towards the Saxatones’ chosen charity, Mary House. Mary House is a metro D.C.-based charity that provides housing
instead of just working on our singing,”
Saxatones Co-Music Director Lydia Duckworth (CAS ’27) said.
For the Saxatones, a cappella is more than just songs—it’s serving the community, helping those in need through pitch-perfect harmonies, financial assistance, and labor. To support this mission, there will be flyers at Spring Sing containing information about how to donate to Mary House directly.
The event is unique not only in its springtime theme and community service roots, but also in its inclusion of creative arrangements and exciting collaborations.
The Chimes, for example, will nearly double their typical number of performers through the inclusion of their “neophytes,” or Chimes-in-training.
“The really cool thing about that is that it allows us to do different types of music, because when you have so many more people on stage singing, it becomes more of like a choir,” Chimes Ephus (president) Robby Della Bernarda (CAS ’25) said. “It allows us to literally perform pieces we otherwise could not.”
In addition to the unveiling of the Chimes’ neophytes, the concert will feature a collaboration between Superfood and Saxatones.
Amid the excitement, Spring Sing is also the final performance for the groups’ seniors, marking a bittersweet moment for the tight-knit aca-families.
“It’s not just like a last performance with these people, but the concept of a cappella and maybe singing for some of us, which is weird to think about too,” Capitol G’s member Eric Chun (CAS ’25) said. “I think this is one of the strongest sets we’ve had. And I’m very glad that this is the note we get to end on.”
More than a creative outlet, the relationships built within these a capella
groups last beyond the final concert. The GraceNotes, for example, are a sisterhood that spans generations.
“A cappella is not only a good space to switch gears and get a chance to explore more creative outlets, but also it’s been a really great alumni community,” GraceNotes Music Director Hope Tan (SFS ’26) said. “We’re really dedicated to supporting each other’s growth holistically.”
Spring Sing promises to be an upbeat, optimistic celebration of the growth, creativity, and joy that a cappella fosters, making it emblematic of the community as a whole. Never experienced the joy of a cappella before? Spring Sing is the place to begin.
“Spring Sing is kind of the perfect opportunity for people who haven’t been to a cappella to get their foot in the door,” Phantoms Business Manager Joséphine Bonnot (MSB ’27) said.
No matter what your music taste is, Spring Sing is sure to have something for everyone. Songs range from summery pop throwbacks like “Brazil” by Declan McKenna, to the Chimes’ signature barbershop fun, to a medley from Daft Punk’s classic house album Random Access Memories (2013).
“I think that’s just a really cool thing that in one night of music you can hear so many different styles, so many different interpretations, and so many different colors of sound made just by the human voice,” Superfood Music Director Tommy Reichard (CAS ’27) said.
And if you’re not sold on pitch-perfect harmonies or a pre-finals celebration, go to Spring Sing to support your aca-peers.
“Everyone on campus probably knows somebody that does a cappella, so you probably know someone who’s doing a cappella and you don’t even realize it,” Chimes Business Manager Aidan Metz (MSB ’26) said. “You’ll see that kid from your econ lecture get up there and kill some crazy solo, and that’s just a really cool experience to see people in a different light than you would have expected.” G
BY ALEXANDRA RISI DESIGN BY PAIGE BENISH
On March 28, Georgetown’s hiphop dance team, Groove Theory, brought Gaston Hall to life with their 15th annual “One Move, One Groove” showcase. From powerful group numbers to versatile vignettes, the girls brought energy and passion to the stage, and they did it with style.
The show experimented with different styles of movement, allowing the girls to take a step outside of their typical hip-hop genre.
The showcase began with “Sigma Alpha Groove,” a group number featuring songs “reminiscent of darties on Vil A,” according to junior Dance Captain Mariella Boudreau (CAS ’26). The number was jam-packed with sharp, clean movements and classic party tracks.
The next group number, “Denial is a River,” was a tribute to Doechii, filled with songs by Black female artists like Doja Cat. According to Dance Captain Karina Munjal (CAS ’25), a mix like this, with Black artists, particularly Black women, is common for their group. This number used a ripple effect, with groups of dancers staggering their movements to the different beats in the songs. The girls in each group were perfectly in sync—a very powerful execution.
Groove’s final group number, showcasing throwback songs, was absolutely electric. Finishing strong in terms of energy and movement, the dancers left it all out on the stage.
Between group numbers, Groove played with style in their vignettes— shorter numbers incorporating contemporary movements and a specific theme or feeling. The vignettes were packed with emotion and demonstrated
the true adaptability of the dancers: from the more grieving movements in “Brother” to the sultry steps of “Dirty Diana,” the girls worked off each other’s energy and moved as a cohesive unit.
The showcase also featured guest performances by Ritmo y Sabor, Hoya Break Squad, GU Vibe, and GU Jawani. The groups brought different cultural and rhythmic styles to the show, creating an addictive variety of movements. Within Groove Theory itself, dancers performed with a range of styles, each adding their own flair. For Munjal and others, this variety is what drew them to Groove Theory originally.
“It’s really nice to be exposed to these different types of artistic movement,” Alexandra Dassopoulos (MSB ’28) said. “Everyone has their own unique twists and techniques that they’ve learned.”
Groove Theory’s choreography is inspired by a range of people, themes, and styles. At the beginning of the year, each dancer in Groove Theory also has the opportunity to choreograph a smaller number, some of which were performed in the showcase. According to Boudreau, this is a standout opportunity for dancers at Georgetown.
“Everybody gets the chance, no matter how old you are or your previous experience, to choreograph,” she said. “You get the chance to show off your skills, and you can do every style. Which I think is really unique.”
For the larger numbers, choreographed by Munjal and other dance captains, inspiration can come from anywhere.
“I think because I grew up dancing, I’ll hear a song sometimes and it’s like ‘oh I can imagine this being a fun thing to see on stage.’ Just an immediate visual from so many years of experience,” Munjal, who choreographed two of the group dances, said.
Boudreau enjoys incorporating the music artist’s style and emotion into her choreography. This year, she choreographed “Dirty Diana,” a bold vignette to the Michael Jackson song of the same name.
“I feel like taking influences from the artist’s personal lifestyle and projection of themselves is super fun. Michael Jackson’s always super sassy,” she said. “I think also incorporating the percussion to whatever image of the artist you see is always pretty cool.”
Figuring out how to dance the choreographer’s vision was as rewarding for the dancers as it was for the choreographers.
“For me to really embody what the choreographers have envisioned for these dances is to show that not only in my body but also in my facial expressions and in the thoughts that I carry when I’m walking onto the stage,” Dassopoulos said. “It was honestly rewarding for everyone to see our collective effort and how we managed to perfect everything within the last few weeks.”
No matter the genre, so much time, thought, and deliberation were put into each movement. It was easy to tell that the girls cared about making each dance distinct.
Munjal attributed the success of the showcase to the strength and variety of members in the group.
“I think that’s also just a testament to how talented and how smart all of the girls in the group are,” Munjal said. “The people I met in Groove Theory, I feel like I may not have met otherwise. Like everybody has different majors, everybody has different interests, everybody has different extracurriculars aside from dance. And I’m just so glad that I had that one thing that was able to bring us all together.”
Georgetown’s dance community— Groove Theory and beyond—is highly collaborative.
“The dance community is super closeknit, and everybody just loves music and expressing yourself through dance,” Boudreau said.
This sense of community was indisputable in their performances. Everyone moved as a unit to create intoxicating, high-energy dances that enraptured the audience in Gaston. Groove Theory truly put on a spectacular showcase that demonstrated true versatility, redefining what it means to be a hip-hop group. G
