Tag: columbia college

This year marked the 30th Anniversary of the arrival of Columbia College’s first class of women. It was celebrated in an event called CCW30, which brought together graduates and undergraduates from all years and walks of life; there were even outsiders, including a young woman from NYU, who registered to join the celebration.

As a woman in Columbia College, I find this hard to contemplate (not referencing that NYU students would want to cross the line to join Columbia, of course; that’s endearing, not surprising). I arrived in a time when 47% of the incoming class to CC and SEAS identified as female (according to the incoming class statistics provided by Columbia University). I arrived in a time when we were represented.

The women who surrounded me during CCW30 came into a Columbia College that was structured and indoctrinated under the ideology of women being different, not belonging, and thirty years ago Columbia College took its first steps to completely reimagine what it means to be a Columbia College student— paving the way for myself and others.

What I hear most often on campus about the transition is “SEAS did it first.” Indeed, SEAS had its first woman undergraduate in 1943.

The truth is, that Yale is going on 48 years of allowing women in as undergrads, and Princeton’s first class containing women graduated in 1973.

We were a bit late on the uptake.

Should I be ashamed that Columbia College took as long as it did, as some statements seem to imply?

Listening to the CCW30 stories from other Ivy League women who graduated in the early days of the co-ed movement, I hear about slut-shaming in the streets, Deans suggesting instead of dorms, schools build brothels for the incoming women; I hear about the pain and abuse suffered by women in the incoming classes of colleges and universities that I have long respected.

When I ask the first class of CC women what the worst struggle they faced was, I hear about a dozen variations of “getting the boys to shower.” It sounds like living with teenage brothers, and it makes me laugh.

A part of me is incredibly pleased that these women can say that.

And yes, they still had to fight. Sports teams, amenities, all of the things we share now didn’t come easily to them, but I’m glad that jumping in a bit later in the game seems to have meant our women didn’t face the same degree of malice others faced in the rights movement.

It’s a bitter-sweet realization, especially for a campus that identifies so strongly with activism.

And it doesn’t change how proud we should be of these women, who showed us that a couple hundred years of tradition is still a breakable wall.

Raucous singing took over Low Library’s entrance hall at one point during CCW30 as 30 years of CC women began to belt Columbia’s anthems as one (though not all in one key).

The thing is, these women are not just remarkable for taking their place as the first class of women in CC history. These women are remarkable because they have created a lasting community. They still reach out with open arms to support the Columbia College sisters that came after them.

Within a day after the event, I was receiving emails about grabbing coffee and getting feedback (“How can we continue to support the women of Columbia College?”), and suddenly it was like I stepped into the alley behind the Leaky Cauldron and pressed the right brick.

This is the point where the lesson of the day comes into play:

Honestly, until CCW30 opened my eyes, the place I felt most comfortable as myself, as a woman, was sitting with my friends in Diana, adopting Barnard culture. I didn’t actively seek out “fuckboy” free CC or try to build a place for the women around me; why would I need to? There was one next door.

The 30th anniversary of women in Columbia College has changed that for me. I recognize that I can’t continue to step away from the spot these women opened up for me in Columbia’s halls. I can love the safety of having a haven of strong, independent women down the street (SO: Jennifer Kaplan), but I can also work to maintain the same thing here in CC. More than maintaining that space, I can work to improve it.

The first class of women in Columbia College didn’t stop their efforts just because the doors opened or because there was a precedence that allowed them basic human rights. Deans not slut-shaming them from podiums didn’t mean they would stop before making themselves Deans as well— they kept reaching: they appealed to have time on the sports fields, getting up for 5 a.m. practices when Baker was always already booked, they set up an alumni network that remains active in our lives with events like CCW30, and they brought us to the point where we could fight for things like free tampons and pads (though to be quite honest, I’m still crossing my fingers for Always Infinity to appear [with the wings]).

Right now they’re out in the world fighting for women as well. Lilly Burns (CC’09) of Jax Media produces “Broad City,” revolutionizing the portrayal of women in the media. When was the last time you heard someone on a male-dominated network break the period-talk taboo to do anything but suggest that women are incapable of handling emotions during “their time of the month,” after all? Instead, Lilly Burn’s work is fresh and honest, breaking those unspoken barriers.

 

She is not the only one.

I am including a link below to the Alumni Association’s list of speakers from the CCW30 event in the hope that they help you think about who you want to be, understand what CCW30 was, and understand why this 30th Anniversary is so important.

https://www.college.columbia.edu/alumni/events/ccw30/speakers

Take this summer to think about who you want to be in the coming year, and what doors you want to be remembered for opening.

 

womens movement history

Meet Brandon Victor Dixon. Dixon, a Columbia College Class of 2007 graduate, is a two-time Tony Award Nominee. During his career, he has performed in various Broadway shows (including Columbia’s very own Varsity Show). Starting in August 2016, Dixon will assume the role of Aaron Burr in Lin Manuel Miranda’s hit Broadway show, Hamilton: An American Musical. As he prepares for his role, I sat down with him to talk about his career in the performing arts and his insights on pursuing your dreams and excelling in your career.

What did you study while at Columbia, and do you have any favorite memories from your time there? 

I was an Economics major initially. I left after my first semester senior year, but when I came back and I finished, I was a theater major. My favorite memories from school were of working on the Varsity Show V107 and V108.

What first sparked your interest in theater, and how did you explore that field as a student? Was it mostly through the Varsity Show?

I came to Columbia because I knew what I wanted to do, and I just wanted to go to school in New York so that I could audition and build my career. That’s why I came to Columbia, and I appreciated that Columbia had a campus, and a vibrant curriculum that I could delve into and expand my information base in general. But no, I didn’t go to Columbia to train, or help my career, though a lot of the work I did and the classes I took were of great help and education to me in the theater department at large. I came to Columbia so that I could be in New York.

What were some of the shows you’ve performed in prior to Shuffle Along, and now, Hamilton starting next month?

The Lion King, The Color Purple, Rent, Far from Heaven, The Scottsboro Boys.

With your recent casting as Aaron Burr in Hamilton, how are you preparing for the role? Are you nervous about anything about it?

Nope. It will be a good time. I’m working on a lot of the movement. The movement style is a little different for me so I’m focusing on the movement, but I’m approaching it like anything else. I’m doing my research. I’m learning the material. It’ll be interesting replacing someone in such a big and involved show. I’m going to be learning it even as I’m performing it.

What’s the most surprising or interesting that’s happened to you while performing and go like backstage?

While performing I fell in the orchestra pit one time. That’s one of the more interesting things. I can’t really think of anything that stands out about anything that’s happened backstage but definitely falling in the orchestra pit, that was an interesting one.

 What has been your favorite role to perform so far and why?

Eubie Blake in Shuffle Along. I’ve learned more about myself as a human being in this show and about all of us as human beings in the show. Also, it’s a culmination of everything that has come before it, so you know, it embodies all of the things that you see.

What general advice would you give to students interested in pursuing their career in theater and the performing arts?

The thing I’d say to anybody interested in pursuing anything: there are no rules, your power and ability are limitless, and keep going.

With Hamilton, did you know that you wanted to play Burr, or did they offer that role to you?

I didn’t want to be Burr … I wasn’t interested in doing the show because it’d been done. I don’t tend to replace. My goal is almost always to create something new but this is a unique show, and a unique opportunity and it came on at kind of the right time. The more they talked to me about it, and the more I thought about it, the more excited I did get about the process of joining the show. I am happy; it’s going to be a new experience.

What keeps you excited about being in theater? Is it that the audience has you perform? Is it just the idea of taking on the role of a new character? What motivates you or drives you?

Creating. Creation is what drives me. The reason we are here on this planet is to connect more deeply with ourselves and with each other, and art, and performance, and theater I think is a tool that I’ve come here with to make use of. Creating stories in this way, particularly … In art in general, particularly in live theater, it is a highly communicative, community experience. We get to share something special in that moment of time and that room with one another … And we leave transformed, and that is the important to evolve, to transform, to emote, and to connect with one another.

Since a lot of the people who will be reading this are incoming students, like this is their first time in New York, some have never seen a Broadway show. Do you have any advice for them like for shows they should, or general ideas and tips about what the magic behind Broadway is, in a sense?

The magic behind Broadway is that the people on stage create something from nothing. It’s creating magic, and it helps inspire you to create something from what you have. New York is a cultural bastion unlike any other. So see everything you can, do everything you can. Big, small, do it all.

 As you prepare for Hamilton, what’s your favorite song so far, whether it’s one you’ll be singing, or one some other character will be singing?

My favorite track in Hamilton is Guns and Ships but my favorite song to sing in that obviously is Wait for It.

Can I ask why Wait for It is going to be your favorite one to sing?

I think because I’m exploring the detail of the song but the thing that it sticks out for me is the chorus. Not a love, nor death, nor life, you know. It says,

Life doesn’t discriminate

between the sinners and the saints

it takes and it takes and it takes

and we keep loving anyway

we laugh and we cry and we break and we make our mistakes

And if there’s a reason I’m still alive

While everyone who loves me has died

and I’m willing to wait for it.

So minus the coda at the end, it’s that element of that’s true. Life is that, as is love, as is death, and they are all phases of the same thing, and they do not discriminate according to who you are.

Whether you are good or bad, it’s going to take something but you have to keep giving to it. It’s kind of a mini-encapsulated message about the circle of life, and what living is about. It’s a song with no resolution. He doesn’t figure anything out by the e`d of it. He starts affirming something, and then he starts questioning it, but then he finds himself left with a question in the end of it. It’s interesting piece but it’s one that’s resonated with me.

Brandon will begin performances as Aaron Burr in Hamilton: An American Musical starting in August 2016. For tickets to the show’s New York production, visit the show’s Broadway site.

Interested in interviewing students and alumni about how their time at Columbia has shaped their experiences and outlook? Join The Lion Profiles team by sending an email to team@columbialion.com.

Photo Courtesy CU Now Show

Have you seen the newest CU Now video? The video, released last night, features Shreyas Manohar (CC ’18) covering a gamut of issues alongside the Dean of Columbia College, James Valentini.

To better understand student reactions to the video, our team went out and polled students from a variety of academic years and backgrounds about their reactions to the new video. Check out what students said below.

Continue Reading..

Photo Courtesy Blake Mueller

As part of our elections coverage, The Lion is sharing responses from candidates about the following questions:

  1. What motivated you to run for this position?
  2. If elected, what would your goals be
  3. What is something you want to fix at Columbia? How would you plan to address it
  4. Any additional comments you would like to share with voters?

Below, you can find the candidate(s)’s unfiltered responses to help in deciding who you choose to vote for.  The Lion has yet to endorse any candidate at this time and the views below do not necessarily represent the views of our team. For more information, email submissions@columbialion.com.

Blake Mueller (CC ’18) – University Senate

  1. What motivated you to run for this position?

Unsolved problems.  I love to think of ways to improve how things are done, so each time I thought “Yikes, that could be better” or “Why is this not in-place already?” I encouraged myself to run. I decided that my input of time and thought necessary for these reforms were worthwhile, because I care about these issues and my fellow Columbians. I felt compelled to run so that I could be in a position to reform policies to make life here better.

II. If elected, what would your goals be?

Ultimately, to streamline Columbia’s bureaucracy and increase quality of student-life. Specifically, to name a few in no particular order, I know that my priorities would be: reforming UEM so that we have access to more space (by adding Uris and Manhattanville’s Lenfest theatre and lowering costs of Miller Theatre), reimplementing our ability to petition the Core Office, raising Dining’s health standards, relieving the Securities & Facilities Fund, rewarding CAVA volunteers with academic credit, raising lectures to 4 credit-points, reinforcing transparency in the Diversity Fund, and of course figuring out how to make Bacchanal great again.

III. What is something that you want to fix at Columbia? How would you plan to address it?

How Columbia handles the Securities and Facilities Fund (SFF). It is more important than how obscure it sounds. The Class Student Councils divvy up this money for the recognized clubs on campus. The recognized clubs register their events via UEM in order to host them, and if CUPSD deems that an event merits more security then clubs draw on the SFF. This process harbors two huge problems, because it often proves cost-prohibitive which empowers CUPSD to effectively stifle both our Freedom of Speech and our Freedom of Fun by limitation of clubs’ ability to host events. Since this process is less-than-clear, CUPSD can choose to restrict any event on whatever basis because we don’t know their justification for regulation.

For example, look at two events just this year: “After Charlie Hebdo: French Laïcité [secularism] and Islam: Can the “Republican” Model [of government] hold?” and Bacchanal. The latter event faces increasing bills for “security measures” to an extent that threatens event’s existence, since their budget can only live if it has a cheaper lineup, or if it increases income (student life fees) which would in-turn cost the Student Body more. This obviously is outrageous. What are they protecting us from? How do stringent crowd-control measures contribute to our safety? The former event was scheduled to take place in early November 2015 but it was canceled in response to Da’esh’s attacks on Paris. While this would’ve been a wonderful event, costs for security due to its “controversial” nature proved prohibitive. The would-be hosts (Maison Française and a few Institutes—European, Middle Eastern, Religion/Culture/Public Life and some others) did not see why they should dedicate so much money to a single event, as they have other programming, scholarships, fellowships, etc. that need funding. It is a shame that the very events that we so deeply need for debate and fun are the ones that face proscription. It is essentially a pricing-model for censorship, since these added-costs are inherently penalizing, they act as a controversy-tax and it has an arbitrary basis.

I refuse to let Columbia’s Public Safety ruin our campus environment for the sake of “security” like Robespierre’s Public Safety ruined the French Revolution. Security is doubtlessly important, but we did not come to the greatest university in the greatest city in the greatest nation in the world to be regulated; we came to be educated and invigorated.

Luckily, I have come up with a simple yet powerful reform to protect our Freedom of Speech and Freedom of Fun. I propose that if any club faces a security-bill from CUPSD for more than $600 (what it costs to host an event in Roone w/ 2 guards) then CUPSD ought to pony-up the additional costs, as well as attach their reasoning for the added-security. This does several things: it protects our Freedom of Speech since no event would face prohibitive costs, it forces CUPSD to be more cost-effective (they’d be less likely to demand more security-measures unless it’s absolutely necessary since they’ll pay for it) which saves money, and it enables our Freedom of Fun since we’ll have more events, and it keeps CUPSD accountable since they could no longer hide behind unpublished rationales.

IV. Any additional comments you would like to share with voters?

I earnestly hope that they would tell me their questions or suggestions about my policy-positions, and that they would give me their votes if they think that I would be a good advocate for them.