Fd&C mu n i c a t i3 6 0Z i n e Photo Credit: Kate McCann
A Tasting Menu of Authors 4
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We are a course about food, so why not do a recipe! The recipe I thought that would be most appropriate and representative of my experience in the 360, was to make a recipe for creating a great 360 course cluster. There are a lot of pieces or, ingredients shall I say, that were put together to make an appetizing semester. — Ariana Hall The literature selected for each course in the 360 really impacted the way I read the world around me. There was no way I was leaving the semester without creating pieces that reflected what the books painted in my imagination. I wanted to capture a space between the metaphorical and literal. — Selena Martinez
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The drawing I uploaded is of my first experience ordering coffee where I struggle more than I expected in translating Italian to Spanish in my head. The image specifically depicts my loss in translating ordering steps and assuming it would be more similar to the Italian ordering sequence but used to the American one - do I pay before or after, and do I pay the barista directly or the cashier at the pastry station? — Claire Craig
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The recipes I uploaded were dishes shared with us by our professors, nourishing our bodies while we fed our brains. They were the medium of communication and translation we used to physically explore the ideas we talked about- I’ll never forget the day we had king cake and discussed sugar and slavery! —Thea Flurry
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I was really drawn to the notion of eating as it relates to ancestry. We read The Woman Warrior by Maxine Hong Kingston and I was fascinated by the way that starvation has as much to do with food as eating it. Often times we eat to reclaim the past and in starving are able to see the future. — Alison Aguiar “I’m Done Eating” is a documentation of my finished plates of food over the span of the month after we came back from Barcelona. I was inspired by our meal at “Espacio Uma” where the technoemotional food pushed every diner out of their comfort zone, making us all rethink what can be defined as food. I wanted to look at my own relationship with food, moving away from the beauty of a delicious dish to the disgust of a dirty plate in need of a wash. — Kristal Antoinette Sotomayor My page is processing the fact that I was low-key disappointed we weren’t able to rip into a bloody heart dish and taking a step back and being like, wow, really Grace? #Spanishorrorstory #callmeHannibal — Grace Kim I submitted my reflections in doing the three different mapping projects. Through these experiences, I definitely got a better understanding of how cities are mapped out and the spatial and environmental elements that go into creating a restaurant and an image. — Isabell Gerbig My page is an online scrapbook page detailing our time in Barcelona. Ì took so many photographs from the trip and see them as the best representation of our experience. Ì see it as a meditation on how we remember such a fulfilling and food-stuffed time, and how we visually present it to others. — Ally Navolio Anytime there is an interaction between two different cultures, there is some part of the experience that is translated differently depending on which party you speak to about it. I felt that our group was very expressive about the differences we saw and felt in Spain. I created a collage to speak to my personal experiences while being abroad. — Ashvika Dhir
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The different ways of serving and presenting gazpacho kind of sums up a lot of the topics we touched on in class - it’s important to the identities of various groups of people, it’s been translated to appeal to a variety of audiences, and it wouldn’t exist if the Spanish Empire had never made it to the New World and brought back tomatoes — Austin Cheney I wanted to meditate on the beauty of La Sagrada Familia as well as the consequences of tourism for Barcelona. As tourists ourselves, it was important that we considered the impact of our presence on the city. — Emma Basen-Engquist Throughout class we discussed the idea about authenticity and molecular gastronomy and how these two topics relate to art and food. I wanted to dive into the idea behind what authenticity really means and also placing it into context of molecular gastronomy. — Connie Chan In the Montalvan household, food defines relationsihps and strengthens the love we have for each other. Freshman year, the stone-walls and cold feeling of my new dining hall didn’t seem like a place that would define love and relationships. Almost two years later, with the help of fourteen amazing peers and three phenomenal professors, I have found new meaning in eating. — Stephanie Montalvan
The Artist’s Recommendations Selena Martinez 10
“What’s your sexual appetite?” This piece was inspired by the quote featured on the art piece from Mo Yan’s novel POW. During this week of analyzing the novel we discussed the gendering of food. In this case the novel frequently sexualized the women’s bodies by describing them as food sources such as mangoes in this instance. Materials for the body: foundation, eyeliner, white crayon, mascara, lip gloss and color pencils
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“When in Wonderland…” After reading Alice’s Adventures in Wonderland by Carol for the Eating Empire class I wanted to submit a piece that captured what I envisioned my own wonderland to be, the place that resists the reality I live in. Materials: Nail polish, eyeliner, pen and sharpie
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“I knew the eggs tasted funny.” This piece was meant to be very busy visually to represent our taste buds during our experience at UMA with technoemotional food. Materials for the piece: cardboard, newspaper, markers, lipstick 36
“Listen to the dishes break” The dish itself represents the identity society wanted the woman to conform to: delicate, beautiful to look at and a tool that serves. I decided to break it to display a sense of resistance to the idea. The woman’s stare is supposed to be confrontational. I wanted her to hold the audience’s gaze. I did not display her entire face because I wanted the broken dish to be a part of her identity. This piece was inspired by the novel The Woman Warrior written by Maxine Hong Kingston. Materials for the dish: class articles on the gendering of food as the canvas, whiteout, pencil, sharpie Materials for the face: foundation, powder, eye shadow, eyeliner
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E a t i ngi sper s ona l , a nds omet i mes , ea t i ngc a nev enbes c a r y .Cons umpt i onha s t a k enaf ewt wi s t sa ndt ur nst hr oughoutt hi s360.Wef r a medi ti nt er msof c ol oni z a t i on, c a pi t a l i s m, s e x ua l i t y , a ndmos ti nt er es t i ngl y , c a nni ba l i s m.T r ynott o l os ey oura ppet i t e; t hi si swher ei tget sr ea l .Byc a nni ba l i s m, I a l s owa ntt o el a bor a t ea nds a yt ha ti ti smor et ha ns i mpl ypeopl eea t i ngot herpeopl e ’ s es h. T hi sbl a nk ett er mi nc l udes‘ hor r or ’ ea t i ng; bl ood, or ga ns , t r a nsgur a t i on met a phor s , et c .Wel ea r nedt ha tf ooda ndi dent i t ya r ec l os el yt i edt oget her–y ou a r ewha ty ouea t , a f t era l l .Andi nt hec a s eofc a nni ba l i s t i cea t i ng, t hi sbec omes l i t er a l .I bel i ev ey ouc a ndoal otofs c hol a r l ywor kwi t hc a nni ba l i s mi nt er msof f a s c i na t i on, hor r or , a ndi nv es t i ga t i ont hes ei s s uesofi dent i t y .Notal otof f oods t uffsa r eoffl i mi t sf orpeopl ei nt er msoff ood, a ndes pec i a l l ymea t .Ands o t hec ons umpt i onofone ’ ss el fa st a booc a nber ev ea l i ngofei t herdi s t ur ba nc e , or per ha ps , as ea r c hf ors omet hi ng.T wooft hemos tpr omi nentt e x t swer ea di nt he c our s ec l us t ert ha tdea l twi t ht hi sc onc eptwa sMoY a n’ sP ow! a ndBr a mS t ok er ’ s Dr ac ul a.I nt hes enov el s , I woul da r guet ha tt hec ons umpt i onofbl ooda nd es hi n av i s c er a l wa ys t a ndsi nf oras ea r c hf orhuma ni t y .T hema i nc ha r a c t eri nP ow! s ea r c hesf orf ull l menti nhi sf a mi l yl i f ea ndi nhi ms el f ; hec ons t a nt l yy ea r nsf or l i v i ngal i f et oi t sf ul l es t , ha v i nggr ownupwi t hhi ss t r i c tmot her .Dr a c ul aont he ot herha nd, s eek shomos oc i a l f ull l ment–s c hol a r T a y l orS c ha ffera r guest ha t t r a c esofS t ok er ’ sf r i ends hi pwi t hWi l dei sf oundi nt henov el .Wi l dewa sf ound gui l t yofhomos e x ua l i t yi nVi c t or i a nE ngl a nd, a ndS t ok era ba ndonshi sf r i endt o t hel a w; amont hl a t er , howev er , hebegi nswr i t i ngDr ac ul a, a ndI j oi not her s c hol a r si ni nt er pr et i ngt ha tt henov el c a pt ur est het or t ur ede x per i enc eof c l os et edqueer nes s .I ’ m nots a y i ngwes houl da l l gooutnowa ndl i t er a l l yea t huma nsnow, butI ’ ms a y i ngt ha tt het r opeofc a nni ba l i s mi nl i t er a t ur ea ndmedi a f or msi ss omet hi ngt opa ya t t ent i ont o.
VampyVi besPl ayl i s t : Woo/ /Ri ha nna L owL i f e/ /F ut ur e , T heWeek nd Hol dMeDown/ /Ha l s ey Pl eas ur eThi sPai n/ /Kwa mi e L i v , Angel Ha z e l HandsonDec k/ /T i na s he Al Pai nt i ngGr ey s/ /E mmi tF enn Gooey/ /Gl a s sAni ma l s Bon r e/ /Chi l di s hGa mbi no Wai t i ngGame/ /Ba nk s I Know/ /Bi gS ea n, J henéAi k o I nTheDar k/ /Dev Haunt ed/ /Bey onc é Wr ong/ /MAXf ea t . L i l Uz i Ver t
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“I’m done eating” A visual documentation of the waste of finished meals By Kristal Antoinette Sotomayor BMC ‘17
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Mapping My Way Downtown By Isabell Gerbig When exploring a new area in a foreign place, it can be beneficial to get lost and just wander around without focusing too much on where you are going. In order to fully appreciate the path that was taken, however, it would be interesting to be able to look back on the journey and see the bigger picture. LiveTrekker is useful in this sense as it makes it possible to document the path taken and photos, notes, recordings and videos along the way. As a result, it becomes easier to see the similarities and differences amongst various cities. Though the three cities where we did this project (Philadelphia, New York and Barcelona) differed enormously in layout and size, it was interesting to see how there were similar finds in all three areas. They were somehow tied together through the things we sought out and the things we learned in class, making for intriguing parallels between the three trips.
The first trip we took was to the Philadelphia Chinatown. We went in without a specific end goal in mind, mostly because Grace, Connie and I were all pretty familiar with the layout of it and
wanted to approach it with a critical lens in mind. We went into the Philadelphia Chinatown wanting to look for the distribution of Chinese to non-Chinese restaurants, which we thought was an important aspect in how Chinatown, and in effect Chinese immigrants, are viewed by ‘outsiders’. In looking for these restaurants, we chose to go along the most popular and most populated routes, which is why we walked down the main street and along a street that essentially marked the border between the commercial and
residential area. Because we were familiar with the layout of this Chinatown and knew where to look for the most restaurants, our map was a very clear and tidy T-shape. We did not get lost during this walk, and it is evident from the map that we had a purpose and did not stray too much from it. However, though this was not a project that pushed us to explore foreign areas, it still made us look at Chinatown differently. There were indeed more non-Chinese restaurants than we could count, along with many nonChinese Asian visitors Chinatown. This posed many questions about the history of Philadelphia’s Chinatown, because it seemed as though this Chinatown was a lot more diverse compared to other Chinatowns that we had encountered before. After getting back from the outing, I was curious about why this Chinatown differed from other Chinatowns. Some research into the beginnings of the Philadelphia Chinatown compared to the New York Chinatown, for example, showed that the Philadelphia Chinatown came about much more recently, with real expansion (from East and Southeast Asians alike) only beginning in the 1960s. The New York Manhattan Chinatown, on the other hand, started getting populated during the late 19th century, during a different wave of migration where more Cantonese
people emigrated into the US. Because the migration to the Philadelphia Chinatown wasn’t as homogenous as to New York Chinatown, this makes it much more open to all types of Asian stores and restaurants because there isn’t a dominant identity to maintain. That said, Chinese restaurants still outnumber any other ethnic groups, which is perhaps why it is still considered a ‘Chinatown’ above all else. In any case, the distribution of Chinese and nonChinese restaurants in Chinatown can be confusing and even misleading to those who are not familiar with these specific cultures. Visitors must be made aware of the diaspora in
Chinatown such that people are aware of the distinctions between various Asian cultures, as this could lead to ignorance and further discrimination against Asian Americans in general. Our experience and findings for the New York Chinatown trip were different because of the strategy that we employed, but they still bore some similarities to what we observed in the Philadelphia Chinatown. Stephanie, Connie and I were all unfamiliar with the New York Chinatown, which meant that we didn’t know where the most populated areas were, nor did we know what to look for in this Chinatown. We knew that we had to go back to the Museum of Chinese in America (MoCA) from Golden Unicorn (the dim sum restaurant) to meet the class, so with that in mind we decided to just walk in that general direction but follow whatever we were interested in pursuing. We were interested in comparing the Philadelphia
Chinatown to the New York Chinatown and were looking for similar themes throughout both areas. It was interesting to note that many of the basic stores appeared in both Chinatowns: bubble tea chain stores, Cantonese bakeries, fresh vegetable markets, and countless dim sum
places were all part of both Chinatowns. In the New York Chinatown, there were also plenty of non-Chinese stores, such as the Korean beauty store that we found or the many Japanese ramen places that we passed by. However, because of the sheer size differences between both Chinatowns, there were bound to be some differences. The New York Chinatown was evidently larger and much more residential, though there were still stores that catered towards tourists. There were plenty of souvenir shops as we walked down various streets, but none of them seemed to sell souvenirs that were specific to Chinatown. A few places were selling fans or traditional Chinese garbs, but the majority of things being sold were not Chinatown related. Another observation we had was that we also heard a lot more Cantonese being spoken, and many of the clerks that we spoke to preferred to speak in Cantonese. This, once again, tied back to the history of how the New York Chinatown came to exist and how the original waves of immigrants who established this Chinatown were mostly Cantonese. It is clear just from walking around that these Cantonese immigrants created a strong culture within this Chinatown that has lasted to this day. The distribution of non-Chinese restaurants isn’t as great as it is in the Philadelphia Chinatown, but there were quite a few Asian fusion restaurants, many of them kosher or vegetarian. In a way, because of the history associated with the New York
Chinatown, there was a need to create a stronger cultural identity within the Chinatown, which
cuisine. In addition to that, the waitress told me that Mosquito has gone through various
may be why there weren’t as many non-Chinese stores. Of course, it would be interesting to track how the distribution will change in the coming years, with waves of different immigrants entering and settling into Chinatown or with the increased commercialization of the area. Our third project was on a completely different continent and area of the world, Barcelona. Though the project didn’t involve a Chinatown or LiveTrekker, I still followed the same strategy of heading in a general direction but just following whatever path caught my eye. I was also looking for a restaurant that served Chinese food, because I was curious about how Barcelona would compare to New York and Philadelphia, especially since Barcelona had a smaller Chinese population. My friend who lived in Barcelona suggested one called Mosquito (which happened to be on the list Kara sent out). It is an Asian fusion bar/restaurant that serves ‘Chinese tapas’. While waiting in the ridiculously long line, I found out that Mosquito actually has two other counterparts, Grasshopper (a ramen bar) and Red Ant (a noodle bar). All of them are Asian-inspired, and are spread throughout the city. After talking to the waitress, it seemed that there wasn’t any particular reason (that she knew of) for why all these restaurants were named after insects, but what they all had in common was that they all offered a variety of different ales and beers. The odd combination of Asian food with various types of European brews creates an environment in which the aim is not to recreate the experience of eating at an Asian restaurant, but to provide a casual and ‘inauthentic’ introduction to Asian fusion
transformations, from Indian, to Japanese, to now Chinese dimsum. Though Mosquito’s main focus may be Chinese dimsum as of the moment, it is clear that these other Asian and Spanish influences have truly made ‘Chinese tapas’ into something of its own. While ‘Chinese tapas’ may be a way of translating dimsum to Spanish customers who are unfamiliar with this style of eating, it is also an example of how the food served at Mosquito has actually become a new type of cuisine.
All three of these projects involved mapping our journey of looking for Chineseinspired foodstuffs in places where Chinese cuisine was not the native cuisine. This led to the discovery of many different Asian fusion places and the realization that authenticity is ultimately relative to each person’s interpretation. It was interesting to see how over the course of the semester, with our increased understanding of Asian-American cuisine, the way that we encountered Asian-Spanish cuisine also changed. There was always a common struggle between keeping true to the traditional
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Coconut + Cardamom Biscuits Prep Time: About 20 minutes + 2 hours chilling . Bake Time: About 20 minutes per tray. Serves: Makes about 50 small biscuits. Ingredients 2 tablespoons Cardamom Pods 100 grams Caster Sugar 80 grams Butter, softened 60 grams Demerara Sugar 180 grams Plain Flour 2 large Eggs, beaten 140 grams Desiccated Coconut 75 grams Icing Sugar, for rolling
Method To make the cardamom sugar, take the cardamom seeds out of the pods. Place them into a grinder with 1 tablespoon of the caster sugar and grind to a Oine powder. To make the biscuit dough, place the butter, remaining caster sugar, Demerara sugar, Olour, eggs, coconut into a food processor. Add in the cardamom powder and mix until everything is well combined and forms a paste. Wrap the paste in clingOilm and chill in the fridge for 2 hours or until Oirm. To bake the biscuits, pre-heat the oven to 140C / Gas Mark 2. Grease and line two baking trays with paper. To shape the biscuits, remove the dough from the fridge. Shape the dough into balls measuring 12 grams each – about 1 tablespoon. Roll each ball in the icing sugar and place onto the baking tray. Press each ball down with a fork to Olatten slightly. To bake the biscuits, place them into oven for 20-25 minutes or until they are golden underneath. Serve them warm with hot tea. These biscuits also keep well in an airtight box once completely cool. Enjoy!
360 Love Forever and Always
By: Ally Navolio
Looking back, I still have trouble describing our trip to Barcelona. It was everything I could have hoped for and more in terms of a cumulative experience for the semester. So much of what we discussed in class dealt with finding a defining point for cultural cuisines. Is there such a thing as “authentic” Chinese food or Catalan food? It was incredible, then, to be plopped into this new area with the task of creating such a definition ourselves. While eating “classics” like patatas bravas and jamon serrano, we also experienced meals that were new and innovative and outside our wildest dreams. I left Barcelona with a whole new appreciation for food as a practice. Food is so much more than just what we put in our mouths. It’s about experiments, emotional rollercoasters, cultural appropriation, and love. Love for the food and love for the people sitting at the table with you. The beauty of this trip was the freedom we were given within the itinerary. Our professors really wanted us to make our own experiences with the city, allowing us to gather different levels and types of knowledge throughout the week. In hindsight, it was the most appropriate way to go about things, for that is what food studies is. There is no set definition for any cultural food practice. It all comes down to individual understandings that are brought together in a well-versed (and often hungry) group of scholars.
4amb5 Mujades
A selection
Photo Credit: Kate McCann
Soup or Beverage: Defining Gazpacho
By Austin Cheney A quick search on Google Images for “gazpacho” will show you bowls filled with various types of red liquid – some of it is smooth, some of it is chunky, but it’s all considered “gazpacho.” This is how I was introduced to gazpacho, not as a beverage, but as a soup. However as the people in Spain, specifically those in Andalusia which claims to be the home of gazpacho, will tell you – gazpacho is a drink, not a soup. My first encounter with gazpacho in drink form actually came from my mother. When I got home from a month in Spain several years ago and proclaimed how much I missed eating gazpacho, she made some herself and served it to me in a glass. I thought she was just weird. But when our 360º trip went to Barcelona I saw gazpacho everywhere, and it was definitely not served as a soup. What confused me the most was this carton you see to the right: Alvalle Gazpacho, made by Tropicana – an American company – boasting that it’s the Number One Gazpacho in Spain. The image on the front says it’s a soup, the writing on the front says it’s a soup, and yet it is being sold in what I would consider to be a juice carton. Do I know what to make of this? Not in the slightest. Did I buy some and drink it? Yes I did. Was it any good? Yes, yes it was. And really, does anything else matter? No, no it does not
ACTO VIII: Chocolate Bomb: Carrot Cake with micro-b, red fruits and others flavors
Breaking
erfection ~Connie Chan
“Chefs always seem to want to achieve this sense of perfection and I want to break it. Cooking is not only about perfection.” – Iker Erauzkin The Chocolate Bomb dish was served at Uma, an “espacio gastronomica” that focused on technoemocional. It is interesting to think about this dish in terms of how far can art go in terms of authenticity. If having something that is really artistic be considered as lacking in authenticity, then is it the same for the other way around? It is interesting to think of how art is becoming a factor that people consider as “impeding” authenticity. However in the end what does this really mean? People are so obsessed over obtaining something that is authentic and perfect but what is the point of doing so since food is constantly changing and one’s definition of authenticity is constantly. If someone perhaps said, “I wonder what the first ramen bowl taste like? I want to have an authentic Japanese ramen bowl,” I must say that they are out of luck mainly because even if there was a first bowl, it probably took some time before that specific dish was called ramen. At Uma, Iker Erauzkin aims at having dishes that evolve around the idea that ingredients that are usually not used can be incorporated into dishes. If these ingredients were never used before, then would this mean
that he is creating a new type of Spanish cuisine and evolving it or would people blame him as well as other chefs that they are distorting the principles that Spanish cuisine was founded upon. Molecular gastronomy also encompasses the idea that food can be deconstructed into having a new form but still having the taste. At alicia, we were able to view a Spanish omelet that did not use eggs and a dish that incorporated many different forms of yogurt. The idea that food can be changed for helping people is amazing because people are then able to consume foods that they were not able to consume before or they were not … The idea that being able to consume food through other means can be considered as an advancement in gastronomy and yet the stigma towards it is the idea how we are starting to lose the idea of the ingredients that are actually behind our food. If someone has allergies to eggs and now it is replaced by something that tastes like eggs, the fear behind this is that Chemicals on the shelf of alicia we do not know what is in the substitution that makes it taste like it is the original. Santamaria’s argument against Andria was how Andria was adding unknown chemicals into our food and is modifying the way that food should be served. If someone wants to go along this argument, what exactly does an individual mean by chemicals? If the chemicals are edible, it is probably a known compound known among molecular gastronomists but not so much among the consumers. A really amazing statement that comments on the idea of the use of chemicals is the use of dihydrogen monoxide. By stating that this “chemical” can kill many people is accurate and the idea that this chemical is seventy percent of our bodies also may terrify the consumers because of how unknown this name sounds; by not knowing what dihydrogen monoxide is, there is more fear on people are able to die of it rather than of the benefits. When it is revealed that dihydrogen monoxide is water, people come more relieved because everyone has heard of water and even H2O, but mainly people in the scientific field would know what dihydrogen monoxide is. This fear of the foreign and the idea that there is something foreign in our foods that make it less authentic is intriguing because of how in the end the food tastes the same or perhaps enables people to be capable of eating a type of dish from a different perspective. In a manga called Hell’s Kitchen, there is a scene that presents a dish that may make consumers feel disgust. However, it is this particular Hell's Kitchen Ch 29 Pg 23 type of presentation that intrigues the consumers and make it into a type of dish that is more appealing because of how, as consumers, we want to consume things that are foreign to us and gain a new idea of authenticity but do not want to be consume by the foreign—we do not want to experience a loss of identity as a result of eating food that is new yet based on the cuisine that is familiar to us.
When I arrived at Bryn Mawr, my mother accompanied me to Erdman dining hall for a welcome meal for students and parents. It was our final meal before her flight back home and before I officially begun my college journey. I don’t remember much about the meal, I was too excited about finally starting college, but I do remember having a conversation about the dramatic change I was about to go through shifting from home meals to college meals. There was a lot of fried food, a lot of pizza, and ultimately just a lot of unhealthy options. She was nervous about my health, I was a little more nervous about the freshman 15. In the Montalvan household food defined relationships and strengthened the love we had for each other. The stone-walls and cold feel of my new college dining hall didn’t seem like a place that would define love and relationships. Almost two years later, with the help of fourteen amazing peers and three phenomenal professors, I have found new meaning in eating. The lessons I have learned through this Food and Communication 360° course cluster will definitely last me a lifetime, but more importantly they have taught me to embrace the current eating opportunities I have. I never claimed to be a foodie throughout this course, mostly because my instagram followers would decrease by 80% if all I posted was food pictures, but throughout this interdisciplinary course cluster I’ve learned how to view everything and anything with a critical lens.
Thank you! We could not have done this without you! Our Fearless Leaders: Shiamin Kwa Kate Thomas Rosi Song
Our Tireless Enablers: Sarah Theobald Esther Chiang Elizabeth Reilly Kate McCann
This Magazine’s Pro Team: Thea Flurry Claire Craig Selena Martinez Grace Kim
The People that Brought This All Together: Ally Navolio* Austin Cheney* Emma Basen-Engquist Grace Kim* Claire Craig* Yuyan Ji* Ariana Hall Alison Aguiar Kristal Sotomayor Thea Flurry Ashvika Dhir Stephanie Montalvan Selena Martinez Connie Chan Isabell Gerbig
*Special thanks to our graduating seniors! You helped make this trip something truly remarkable!