With a peak of over 300 members, the social club was run by volunteers who wanted “a safe space for women, lesbians and supportive straight women to gather without risk of harassment and violence” during a hostile period for those groups both in Binghamton and nationally, according to the exhibition’s webpage.

This hostility was represented in parts of the exhibition, with documentation that relates to the persecution that lesbians and queer women faced in Binghamton. A newspaper clipping included in the exhibition from August 1930 mentions “two women, including one dressed like a man,” being arrested for their “suspicious clothing,” who lived as “husband and wife on Henry Street.”

The exhibition also included information about the lesbian community in Binghamton before the opening of Herizon. A reproduction of Herizon’s 10th anniversary newspaper recalls that by 1974, the sole lesbian bar in Binghamton, the Green Onion, was open for only a year before a bomb went off inside after closing, which the writer Laurie Ryan and others believed was done by an owner for financial reasons.

Despite the risks and dangers of operating gay bars in the first years following the Stonewall Riots in New York City, a lively queer nightlife emerged in Binghamton, offering space for both college students and locals. They were “all owned by men and some by the syndicate,” had a “frantic sexual and alcoholic atmosphere” and “overt” gayness was often repressed by management, according to Ryan.

However, these bars were an inextricable aspect of lesbian life. It was where women “found friends, lovers, and a sense of belonging in an otherwise alienating society.”

This exhibition depicts how essential spaces like Herizon were then and continue to be today. Walking through the recreation of its front door, painted chalkboard black with no way to look inside, the materials on display, including posters, flyers, T-shirts, murals, records and a section dedicated to Herizon members who have passed, illustrate what the space meant to its 300 members at its peak and the lives that they lived within it.

Walking around the gallery, looking at materials from Herizon, provided an emotional experience, both because of what the club was and its closure. While there are several options for lesbians and queer people in general in Binghamton, they are limited. It can be especially difficult for college students seeking community, as the constant turnover of the student body also applies to bars and community spaces in Binghamton.

There were several reasons that Herizon had to close in 1991, among them the devastation of the AIDS epidemic, but there also simply weren’t enough people willing to work and keep the space going.

According to the author and professor Bonnie Morris Ph.D ‘89, who studied women’s history at Binghamton University and was a member of Herizon, by the late 1980s, it was difficult finding enough volunteers to keep Herizon open from Wednesday to Sunday.

Many wanted to keep it open to provide a place where a member could drop in spontaneously to find “warm sisterhood and cold beer,” but with many members having “gradually paired off, settled down, bought homes, adopted kids, and/or elected to get sober,” there weren’t enough people nor funds to keep it open. This was exacerbated by the raising of the New York state drinking age to 21 in 1985, which prevented college students interested in the space from attending.

Members wanted the space to continue to exist without providing the necessary support to do so. Morris wrote, “They simply expected that women’s cultural space would continue to be available to them as consumers, without their taking a role in it as producers.”

There has been a massive decline in the number of lesbian bars and women’s spaces in the past several decades, with an estimated 24 lesbian bars in the United States in 2021, compared to over 200 in 1980. Several factors contribute to this, like online dating, greater social acceptance of queer people and gentrification that prices out bars.

But they also close because people stop going. While there has been a small revival of lesbian bars and spaces, the loss of Herizon tells a fundamental lesson that people can carry both while at the University and beyond: participation.

Morris says it best: “cultural space that is woman-friendly and queer-friendly does not just happen: it’s a product of hard-won compromise with location, labor, outreach, budgeting, and communication.” It is arduous, but it is necessary. Whether your involvement includes attending events at lesbian and queer bars, working behind the scenes or helping others find community, it is all vital.

Tip your queens and the bartenders, and relish the queers spaces you find and make — they need you as much as you need them.

Thunderous applause erupted as Binghamton Philharmonic Music Director Maestro Daniel Hege took the stage. Serving in the role since 2018, Hege is one of the only Indigenous music directors of an American orchestra, as he is wal’wáma, Chief Joseph Band of Nez Perce.

Hege explained how the night’s theme, “Heroic Journeys,” would be explored throughout the program. The work of Ludwig van Beethoven was central to the theme, as Hege detailed how the second song was formerly commissioned for the 200th anniversary of Beethoven’s birth. He discussed Beethoven’s obsession and inspiration with “fate now conquers” from Homer’s “The Iliad,” one of the most well-known heroic epics from Ancient Greece.

The audience quieted, listening to Hege spin the journey they were set to embark on, as the lights dimmed and the orchestra began to tune.

“In the Seventh Symphony, we hear all of Beethoven’s Hector-like courage in the face of fate and all of his joy in the ultimate freedom of the human spirit,” Julia Grella O’Connell, the program’s director of education and community engagement, wrote in the concert program. “As we listen this season to the culmination of his symphonic output, let us partake of both.”

The first piece, Carlos Simon’s “Fate Now Conquers,” started softly as the instruments escalated through dynamics. From the quiet, clear woodwinds featured in the beginning, the orchestra built in a wave of noise in sections. A cello soloist took the spotlight, immersing the crowd in a haunting melody, easing the building tension of the piece.

The final section had the orchestra once again unite for a fantastic, uniform final note. The bows of the strings flourished as the audience exploded into applause, setting an excited tone for the works to come.

Scattered gasps filled the theater as highly decorated pianist Tomoko Kanamaru took the stage, sparkling under the lights. Kanamaru has played with professional orchestras since the age of nine, gaining notability with orchestras across the United States and Tokyo. With an expansive education and teaching background, she has previously performed Beethoven’s works.

Kanamaru gracefully smiled at her warm welcome and made her way to the grand piano center stage, completing full harmony with the Binghamton Philharmonic in their next piece. Hege raised his hands, ushering in the beginning of Franz Liszt’s “Piano Concerto No. 1 in E-flat Major.”

The piece featured four movements, each with a pattern of alternating sounds between the orchestra and piano. It became a form of call and response as they bounced off each other’s momentum. A featured solo came from the principal violinist, once again calling out.

Kanamaru connected with the music as her body moved with the notes and her facial expressions danced to the music’s tone. Her hands constantly moved as she often opened her palms to the sky or beckoned to the orchestra. Each motion became open ended, almost gesturing for fate to dictate the journey.

The audience was captivated by her synchronicity along with the music — the silence in the theater was nothing short of electric. Kanamaru held onto every note and the audience did the same under her spell. As the piece concluded, the audience shot to their feet for a cacophonous standing ovation. She bowed, her face and outfit shining under the lights, exiting the stage before reappearing for an encore.

The encore was entrancing, as the clear tone of the grand piano filled the hall with a calming melody. As Kanamaru finished, she leaned back and looked up, smiling and raising her arms toward the sky. The theater once again filled with cheers, as Kanamaru was decorated with flowers and took her bow with Hege one final time.

The lights came up for intermission and the audience stirred, beginning to chat about the show. Marianne and Steve Konka, of Cincinnatus, NY, shared their experience of the performance so far. Marianne commented on the pianist’s prowess, specifically in Liszt’s pieces and they discussed the beauty of the theater itself. The couple said that the philharmonic is a special place for them, recounting stories of nights they watched enchanting performances here while they were first dating.

“There is something extraordinary that happens when we gather in a concert hall: a moment of stillness, then sound — and suddenly, we are connected,” wrote Megan Curinga, the president of the Philharmonic Orchestra board of directors, in the program. “Music transcends words, backgrounds, and beliefs. It brings strangers into shared feeling and turns a roomful of individuals into a community.”

The final piece, Beethoven’s “Symphony No. 7 in A Major, Op. 92,” served as the concert’s finale. The entire symphony followed in a similar suit to the previous pieces, repeating a soft, cycling call and response as each instrument section took a highlight. Sections were bold and brash, with Hege’s conducting matching this energy as the noise grew. Frequent shifts to a minor key made the familiar melodies established in the first movements turn haunting, a question of where the music would go next.

The ending movement truly encapsulated the overarching theme of the performance, focused on the role of fate. The constant back and forth of bold and soft, fast and slow, mimicked a journey with its twists that was making its way to a fateful conclusion.

As the last note rang out in the theater, every seat in the house was abandoned for a standing ovation. The company took their bows and the lights began to illuminate the house, once more bringing the audience back into reality.

The three-day festival was a collaboration with University faculty, Indigenous peoples and other local community members, highlighting the six clans that make up the Haudenosaunee Confederacy and their culture and history.

“Too often, the distinct history and rich, resilient heritage and knowledge of Indigenous communities are not acknowledged across academic disciplines or represented as living traditions within institutions of higher education,” Tonya Shenandoah of the Oneida Nation and Turtle Clan and the Multicultural Resource Center’s assistant director of Native American and Indigenous Student Initiatives, wrote in an email. “The Haudenosaunee festival is an opportunity to share and honor the distinct history, knowledge and resilient culture that continues to guide many of the Haudenosaunee nation communities.”

The first day of the festival began with the Three Sisters Garden Harvest in the Science 1 courtyard. Attendees learned about traditional harvesting techniques used by the Haudenosaunee peoples and the folktales and history behind what gets planted. The following evening, Suzanne Halbritter, a member of the Onondaga Nation and Eel Clan, shared her experiences documenting protests at the Standing Rock Reservation between 2016 and 2017 in a presentation at the Binghamton University Art Museum.

Halbritter captured her time in the reservation through photos, artifacts and personal recounts with members. Documenting the Indigenous struggle in the United States fighting for water protection on their land, she gave a glimpse into the everyday life of Indigenous peoples today and the demonstrations that took place at Standing Rock.

“It’s to show the power of what the water is for people,” Halbritter said. “It’s not just saving Standing Rock, it’s not just that. It’s setting a precedent for everything — even everything that’s already failed.”

The second day of festivities began with canoeing in Otsiningo Park and a collection of vendors selling artwork, jewelry and books on the Peace Quad. Most of the jewelry was made out of natural objects like horse hair, seashells, crystals and wood, and many of the art pieces centered around people’s connection to nature, highlighting the Haudenosaunee’s reverence and respect toward the Earth.

Other events included a Witness to Injustice event that highlighted the effects of colonization on Indigenous groups through demonstration and storytelling. Many dance groups, comprising Indigenous people and other local community members, performed celebratory and social dances in traditional dress throughout the event. Guests joined the dances and learned more about the history behind the performance and garments.

Every aspect of the festival demonstrated an appreciation for nature, from the artwork to its panelists who discussed the conservation of endangered animal and plant species.

“There’s so much to learn,” Birgit Brander Rasmussen, an associate professor of English and a member of the festival’s organizational committee, wrote. “Many of us don’t know that the Haudenosaunee inspired the U.S. Constitution and the Suffragette Movement. This is a vibrant culture from which we can learn so much more in terms of agricultural and environmental science, philosophy, governance, literature and storytelling, history, land and water management, respect for Elders, etc.”

The final day of the festival commenced with a flag-raising ceremony, where representatives from the Onondaga Nation gave a brief speech, officially starting the day’s festivities. Along with admiring art pieces, attendees also tasted traditional Indigenous foods using ingredients collected from the harvest, like cornmeal made from corn and berries and a complementary strawberry juice.

The events continued with a lacrosse youth clinic held by Hiana Thompson and Jerome Thompson Sr., where they shared the sport’s rich connection to Indigenous history and its importance to communities nationwide. Working with the University’s men’s lacrosse team, the accomplished father and son helped young kids develop their skills and learn life lessons on the field.

Events and displays during the festival highlighted many aspects of the Haudenosaunee’s rich history and celebrated many of the values that the clans still uphold. This included the Two Row Wampum, a belt made of shells that represented a peace treaty made between Dutch settlers and the Haudenosaunee people.

The festival concluded with a final dance from the Haudenosaunee Singers and Dancers, another performance which encouraged audience participation.

“The festival builds bridges of peace and friendship, cultivating a critically needed sense of place for Native American and Indigenous students on campus, creating a sense of respect and belonging,” Shenandoah wrote. “Hosting the festival on the Binghamton University campus will expand these bridges through community partnerships and enrich the educational experiences of all students through the sharing of cultural and intellectual knowledge that continues to guide the distinct way of life of Haudenosaunee communities as separate, sovereign nations.”

Guests walked around and explored the event’s offerings. Many vendors sold handmade items, which emphasized the fair’s core messages of creating a safe space based on people’s personal connection to spirituality.

“The history behind the Psychic Fair at the Phelps Mansion Museum is very simple,” Lorie Jarrold, a vendor and member of Gathering Hearts of Light, the group that founded the Psychic Fair, wrote. “A group of psychics decided to attend the ghost tours at the museum one October. Since we all felt wonderful energy at the place, we thought it would be a wonderful place to host a Psychic Fair.”

The community of the Psychic Fair was exceptionally positive. Guests could strike up a conversation with anyone and be met with kindness and enthusiasm to exchange stories. Vendors and guests connected over their shared experiences and relationships to spirituality, creating a personal connection for everyone at the event.

One vendor, Dr. Pearl Reed-Klein, an adjunct associate professor of psychology at SUNY Sullivan and the owner of Sky Visions, her brand where she creates jewelry and teaches workshops, said the Psychic Fair is a holistic experience.

“I like positive energy, and I like to be involved in different types of shows or events that do have a spiritual element to them,” Dr. Klein said. “Some regular craft shows don’t have that, but people here are seeking to find meaning to their lives and to just be a healthier person, mentally and physically.”

For guests seeking inner guidance, a variety of options from tarot card readings to spiritual aura painting were available. For additional protection, crystals embedded in jewelry and everyday items, like pens and tea strainers, were for sale.

“What I love about doing readings at the fair is that you can touch base with a large group of people,” Reverend Katey Gabello, a psychic medium who has been practicing for over 30 years and is a founding member of Gathering Hearts of Light, wrote. “Through the connection with the spirit world the reader is able to bring in upliftment, guidance and healing. That’s a big part of why I do this work.”

As a hub of positive energy, everyone could find their own tie to spirituality through the event’s many facets. Along with embracing spirituality, guests experienced different perspectives and connected with new people.

Attendees are always welcome to reach out to the psychics for more information and connect with the vendors after the event, ensuring that the community continues to grow. Above all, the two-day Psychic Fair is a culmination of the spirituality seen in Binghamton, and a compelling celebration and reminder of its existence.

“The purpose of the Psychic Fair is to give people who believe [in] communication between the spirit world and us, a place to do so,” Jarrold wrote. “A place with psychics/mediums who legitimately practice their skill to present a positive message that is for the client’s best and highest interest.”

Founded by three friends in 2015, LUMA utilizes the existing architecture as an all-encompassing canvas, transforming the streets into an immersive open-air art gallery that harnesses cutting-edge video projection technology to engage up to 30,000 attendees. Six major shows featuring several internationally acclaimed artists were presented, along with eight smaller-scale, interactive installations tucked inside the nooks and crannies of the city, providing exposure for emerging creatives.

This year, State Sen. Lea Webb ’04 secured a $10,000 grant to help support the LUMA Arts Initiative Inc., elevating the festival’s mission with additional funding. According to Joshua Bernard Ludzki MBA ’13, LUMA’s co-founder, Webb has encouraged the growth of LUMA since its conception as a first-of-its-kind, grassroots project.

“We’re absolutely thrilled that Senator Webb was able to secure this generous grant in a year when funding for the arts has been particularly challenging,” Bernard said in a press release. “The Senator has been a supporter of LUMA from day one, initially as a Binghamton city councilwoman, and her support has only grown over the years. Events like LUMA couldn’t exist without leadership like Senator Webb’s.”

Past a line-up of food trucks and stalls greeting attendees at the entrance, the exhibitions were situated within walking distance of each other and played in looping intervals from 8:30 p.m. until 12:15 a.m., allowing visitors to view each show at their own pace.

An eight-time returning artist hailing from Hungary, MaxIn10sity’s “Dream of a Machine” tells the timely story of artificial intelligence through a resounding narrative that booms over the crowd, questioning its emotions and humanity. Clashing visuals of warped binary code and towering ancient ruins unfolded above 95 Court Street, seemingly defying the building’s boundaries.

Just down the road was another mainstay of LUMA programming. Los Romeras’ “Instinct” displays the evolution of a canine-like creature as its primitive, wild nature breaks free from the structure of civilization. Shape, form and light shifted to reflect the dynamics of chaos and reason, with environments transforming from lush vine-enclosed forests and rising geometric cityscapes.

Nya Lee, a senior majoring in art and design, described her experience attending this year’s LUMA and her perspective on this year’s shows as an artist deeply involved in the campus’s creative community.

“As a senior, I am prioritizing experiencing as many events and adventures as possible before I graduate, and LUMA was one of the most enjoyable experiences so far,” Lee wrote. “I went on opening night, and LUMA was already active within the first hour of the show. My favorite had to have been ‘Instinct,’ as all of the shows were amazing, but this one stood out to me the most. ”

“As an artist, I am drawn towards movements like post-impressionism and Fauvism, and this piece really struck out to me because the visuals reminded me of those movements! It was super immersive and a great art experience overall,” she continued.

On 84 Court Street, “The Peg Johnston Living Lights Project” displayed pieces submitted by artists of all experience levels and mediums, including students from local school districts like Maine-Endwell, allowing some of the youngest talents of the Broome County area to see their hand-drawn designs brought to life.

In addition to the larger-than-life size of these projections, LUMA drives revitalizing economic activity for local vendors and small businesses. This year, the festival was estimated to bring in over $1 million over the course of two nights. Years after the first festival lit up Binghamton, the event’s unique combination of spectacle and storytelling has continued to inspire and influence thousands.

“Every year, LUMA showcases the power of creativity and the importance of investing in the arts, not just as entertainment, but as a vital part of our culture and economy,” Webb said in a press release.

Established in 1939, the ACA is a nonprofit organization dedicated to helping immigrant and refugee communities establish themselves in the area without sacrificing their unique cultural and ethnic heritages.

Garlic farmers, craft vendors, food stalls and civic organizations set up tents in the park, while bands played live music. Families, students and other community members perused the festival’s offerings.

“The American Civic Association really does a great job in ensuring that every resident is not only recognized, but made to feel a part of our great and wonderful, diverse community that is in the Southern Tier,” State Sen. Lea Webb ‘04 said.

The festival features garlic due to its widespread use across cultures and cuisines. Vendors sold a diverse range of foods, including garlic ice cream, za’atar, pierogies and Indian and Caribbean food, in stalls with large selections.

“Most cultures use garlic,” Laila Hernandez ‘13, MPA ‘18, the deputy director of the ACA, said. “It’s our way to bring us together through that herb. More importantly, we know how difficult it is to navigate living here and being here, and we’re very proud of helping immigrants resettle into the community, or helping people adjust their statuses, legal-wise, or even directing them to services.”

According to Hernandez, the Garlic Festival is one of the organization’s largest fundraisers, helping to support the services that the association provides. This is particularly crucial in a year where federal funding has been cut for organizations with missions similar to the ACA.

“We have been resilient,” Hussein Adams, executive director of the ACA, said. “When our federal funding got cut in January, we immediately established additional programs where we can receive funding through New York state to start programs that would support these vulnerable populations.”

Besides helping raise necessary funds for immigrant and refugee communities, the Garlic Festival was an opportunity for family farmers to display and sell their products. Greg Parsons of Screaming Fox Garlic Farm in Rushville, New York sold three varieties of garlic — German White, Chesnok Red and German Red.

Parsons compared the garlic typically sold in supermarkets to the garlic he sells.

“If you look, it’s either from California, Mexico, China, sometimes it’s out of Canada,” Parsons said. “Usually that’s a soft neck. And my personal opinion is that it doesn’t have the flavor that the hard neck garlic that we grow here in New York [has].”

Music also tied the festival together, with artists across cultures and genres performing. Nadaya Petchenyi opened with Ukrainian music, while later performers like The Supreme Soup played hip-hop. Peter Stewart of Binghamton-based rock band Green Creeks, which played at Porchfest the following day, hit the stage as well.

“It brings joy just seeing the community come together, seeing the community with different backgrounds come together and enjoy themselves on one platform,” Adams said. “The American Civic Association being the organization that is hosting speaks volumes for what we do as an organization.”

From noon until 7 p.m., over 130 acts performed live from 60 residential driveways, lawns and porches that wrap around the historic neighborhoods between Riverside Drive and Recreation Park. Borrowing from a concept originating in Ithaca, New York in 2007, Binghamton is among over 200 cities nationwide that sponsor Porchfest.

Christopher Bodnarczuk ’11, Binghamton Porchfest’s founder and director, embraces the event’s longstanding commitment to community by bringing thousands together across all ages and backgrounds to share a universal love for live music.

“It’s easy to stay siloed here, but a day like Porchfest is for everybody,” Bodnarczuk wrote in an email. “I can’t think of another event where toddlers dance alongside octogenarians to hip-hop and Grateful Dead cover bands. There’s students, there’s families, there’s community elders, tourists, government officials. There’s heavy metal and Christian music performing on the same block, seemingly in harmony.”

“We don’t get as many opportunities as we should in this world to come together with our neighbors from other walks of life to do something collective,” he continued. “Porchfest is for that.”

Porchfest showcases a range of genres and artists catering to its diverse audience, with a blend of original songs and iconic covers flooding through crowds of listeners. Local legends like Caviar & Grits drew dozens of dedicated fans onto College Street, while newcomers Ramblers, a female-led band of Binghamton University seniors established last spring, gained a brand new audience.

From The Interns’ jazz-inspired rendition of “Creep” soaring above Davis Street to the raw pop-punk instrumentals of Lit’s “My Own Worst Enemy” erupting over Lincoln Avenue, attendees played it by ear and wander around the neighborhoods by scooter, stroller or foot in search of a set that called out to them.

“Every host, every band is a volunteer — essentially, they all create their own little concerts and we figure out how to schedule them with regards to sound and crowd balance throughout the neighborhood,” Bodnarczuk wrote.

Porchfest is the product of months of careful planning and collaboration, with coordinators like Katie Perkins of Binghamton working closely with the city to organize street closures, shuttle routes, free parking and law enforcement presence, among other logistics. Food vendors like Big Zues Barbecue and That Coffee Place were scattered between blocks, accompanied by the occasional homemade lemonade stand, magic show and garage sale sprawled across front yards. New this year was a curated artisanal market in Recreation Park, offering specialty crafts, gifts and more for sale to those passing through.

Perkins, who was awarded with keys to the city by Mayor Jared Kraham for her efforts in bringing Porchfest to life, reflected on the positive reactions she witnessed from those in attendance.

“It’s really great to see and hear from people throughout the festival [about] how happy everyone was, how amazing the music was, and just how electric the atmosphere felt,” Perkins wrote.

Dr. Dana Stewart, a Binghamton University associate professor of romance languages and literatures and Mountainview’s collegiate professor, who lives on the West Side, has participated in Porchfest as both a performer and host from the beginning. This year, Stewart and her husband Bob Rynone hosted three different bands at their home and featured several aspiring student musicians, giving many of them their first chance to showcase their talent to the larger Binghamton community.

Stewart describes the event as a wholesome “family affair” for several, with her son even joining in to accompany her own band, Dr. Dana & the Jam Dept., on the drums and guitar.

“From the moment we heard about Porchfest, 10 years ago, we were all in!” Stewart wrote. “We loved the idea of a music festival happening all throughout our neighborhood, and we loved the thought of turning our front lawn into a festival stage. Porchfest is such a wonderful celebration of live music, community, and also Binghamton itself — particularly the city’s West Side, our beloved neighborhood.”

Whether they’re longtime organizers or first-time attendees, Porchfest allows everyone to experience a unique side of the city that often goes unappreciated.

“I know it’s not the same experience that everybody has, but I fell in love with Binghamton when I moved here,” Bodnarczuk wrote. “I grew up in the middle of a bunch of cornfields so I found a sense of community here that I hadn’t known before. There’s an amazing, if undervalued, creative scene if you know where to look, and it’s only grown stronger in the past decade.”

“My hope is that Porchfest can be an introduction to that community each August for new and returning University students, as well as a bridging of the gap between the university and local community,” he continued.

While the music festival began in 1996 as a way to promote original jam band music, it has been known as the Harper M. Stantz Rec Park Music Fest for the past seven years in honor of Harper Stantz, a 16-year-old girl who tragically passed away in 2019. Stantz, known for her compassionate soul, love of music and connection to the park, lives on through the yearly gathering and her family, who have continued to be strong supporters of the festival.

Sporting Harper Stantz t-shirts, attendees gathered in the shade around Recreation Park’s amphitheater with blankets and chairs to enjoy the evening’s music lineup.

“I always thought it was important to have outdoor venues for live music,” Jim Reyen, the festival’s founder and producer, said in an interview. “But I think it’s even more important now post-COVID for people to come out and gather, meet the community and interact.”

Reyen strives to bring diverse music groups together each year, with the evening’s performances ranging from cover bands like Home Brew, a Grateful Dead tribute group, to local original groups like Heavy Delish and Caviar & Grits. A unique addition to this year’s festival was Sophistafunk, a Syracuse group recruited as Guy Fieri’s house band that brought a mash of funk and rap to the park.

Staying true to the festival’s mission of promoting local music, many performers played original pieces. Vocalist Allie Torto, a Binghamton local dedicated to her hometown’s music community, sang a mixture of covers and her original songs for the audience, accompanied by a full band.

“I love to sing my original songs,” Torto said. “I try to do covers to get people familiar and comfortable with what they know and how my voice is in relation to that because I think it captures their attention a little better. But I love singing originals and having a good response, and that’s exactly what happened today, so it was a wonderful feeling.”

Mitch Distefano, lead singer of Heavy Delish, hailing from Brooklyn, New York, expressed his appreciation for the festival as a way to gather Binghamton’s community and promote his band’s music.

“I just love the fact that kids of all ages can be here,” Distefano said. “It’s friendly, the sound is great and there are kids playing in the background — it’s a family affair, as opposed to being in a bar or a rock and roll club, where people can’t just walk by with strollers. And also, it’s nice to be an original band in a scene where there really aren’t that many. People really appreciate that we work hard on the music.”

For three decades, Binghamton’s beloved historic park has been transformed into a vibrant celebration of music, community and resilience. What began as a grassroots event has turned into a cornerstone summer festival that draws musicians, artists and families from across the region to Recreation Park in honor of Harper’s legacy and the joy that music brings.

“It goes to a good cause,” Benjamin Raub, bassist for Heavy Delish, said. “Jim Reyen has been putting this on for 30 years and it’s just grown and grown and grown, and I think that’s because of the people that volunteer their time with a positive attitude, bringing music, arts and food. Bringing it all together for a good cause, and Harper Stantz’s family is a benefit to that.”

Produced by Ü Lee, a musician and educator from Apalachin, New York, the concert program will feature famous songs and rare tunes banned in Russia, along with pieces that require a distinct skillset to carry out in a performance. About 50 musicians will perform, including vocalists from the choirs of Sacred Heart Ukrainian Catholic Church and St. John the Baptist Ukrainian Orthodox Church and several instrumentalists like violinists, saxophonists, cellists, pianists and a flutist.

“The pieces specifically are from Ukrainian composers to highlight how incredible their citizens are,” Christina Docenko of Endicott, one of the concert’s violinists, wrote in an email. “One of the pieces (Red Viburnum, a patriotic march) is considered a nationalist anthem, and singing it is punishable by fines and imprisonment in Crimea circa Russian Invasion of Ukraine in 2022. Playing songs like this and the national anthem allow us to loudly support Ukraine in protest of the Russian invasion.”

While some pieces in the program are well-known, like the famous Christmas tune “Carol of the Bells,” based on “Shchedryk,” a Ukrainian New Year’s song, others may be unfamiliar to concert attendees.

“Several songs in this concert state the resilience and the vibrant spirit of Ukrainians,” Lee wrote in an email. “Except the first piece (Star Spangled Banner), the rest of the repertoire in this program is all composed by Ukrainians (1800s – present). It’s very likely that our production may have premiered ‘My Kyiv’ and ‘Klebanov’s Piano Trio No. 2’ for the audience in this area.”

Along with teaching music and performing arts, Lee studies different languages, including other countries’ vocal and musical literature. While studying Ukrainian music, she said the event came together after she posted on Facebook about organizing a concert celebrating the culture.

“I’m a linguist with great enthusiasm to learn languages,” Lee wrote. “I’m also a humanitarian that has put together numerous benefit concerts for nonprofits around the world. When I feel that there’s a voice that should be heard more, I start a project and engage people to make it happen.”

Lee organized the concert with a group of volunteer musicians. While she chose the music, arranged the program and coordinated the event, artists recommended Ukrainian music that resonated with them. Boris Derow of Canora in Saskatchewan, Canada and the concert’s tenor saxophonist, shared the significance of the pieces he suggested.

“The pieces that I sent to her were love songs between people, for Kyiv, and a lullaby about wanting the sun to shine just a little longer before it disappears below the horizon,” Derow wrote in an email. “The piece, ‘My Kyiv’ is a crowd favourite among Ukrainians as it sings about one of Europe’s most beautiful capitals. ‘The Quiet Evening’ was the last song played on Ukrainian national radio before the Soviet Union shuttered the station. It’s always held a special place in my heart.”

“Celebrate Ukraine with Music by Ukrainians” is not only a celebration of Ukrainian culture, but an opportunity to learn about the ongoing war between Russia and Ukraine and its impacts. At the concert, attendees can donate to UNITED24, the official fundraising platform of Ukraine.

Lee said that the event will allow attendees to engage with the concert and support the Ukrainian diaspora.

“They will be able to hum some famous melodies,” Lee wrote. “They can take pictures with beautiful Ukrainian art. They’ll enjoy some light refreshments made/coordinated by Ukrainians. They will learn a little more about Ukrainian culture and hopefully return and support more cultural activities.”

The theme, “Entre Las Olas,” meaning “among the waves,” was reflected in the space’s decor. Posters, illustrating the various contestants overlaid on an enlarged seashell in an underwater city, were hung on the walls, along with colorful lighting and music to amp up the crowd. This year’s contestants represented Argentina, Bolivia, Brazil, Cuba, Ecuador, Guatemala, Haiti, Peru and Uruguay.

“The theme Entre las Olas was inspired by the idea of movement, resilience, and transformation,” wrote Jiene Feng, LASU’s vice president and a junior majoring in psychology, in an email. “Just like waves in the ocean, our identities are fluid, powerful, and constantly evolving. We wanted to highlight the beauty and strength found within the Latinx community, especially how we navigate and rise through challenges with grace.”

“The theme also symbolizes the cultural tides that influence our stories and how we carry generations of heritage within us,” she added.

Donna Villa, the organization’s president and a senior double-majoring in history and political science, began the event by dedicating a moment of silence to victims of the Jet Set nightclub roof collapse in the Dominican Republic.

After introducing the night’s hosts and former contestants, Julio De La Cruz, a sophomore majoring in economics, and Madyson Rodriguez, a junior majoring in linguistics, each contestant strutted down the aisle and posed for the audience. The contestants then performed a choreographed merengue dance, showing off their musicality and coordination before the first act.

Act one, “Tidal Wave,” was dedicated to a swimwear catwalk. Each contestant paraded their country’s flag, sporting bikinis, one-pieces and trunks, accessorized with linen button-down shirts, sarongs, flower clips and heels.

For the cultural segment, contestants displayed their knowledge of the country they represented with a performance. Some opted to sing or play an instrument, while others performed folk dances and demonstrated how to make popular cultural dishes.

Isabella Florentino, LASU’s La Voz coordinator and a junior majoring in business administration, shared her appreciation for the cultural segment.

“It’s very rewarding for the contestants, as well as the E-Board as coaches, to take a deep dive into the country of focus and immerse ourselves in honoring it,” Florentino wrote in an email. “We all learn so much and we get to share it with each other for weeks, until we get to share it with everyone else!”

“I have also really enjoyed our practices the past few months leading up to our pageant,” she continued. “Watching our contestants prepare and become more comfortable, not only in their pageant segments but with one another, has been one of the highlights of the whole experience for us all.”

Kyaris Rodriguez, Ms. Guatemala and a senior majoring in biology, performed a folk dance called baile de los gigantes, which involves three-meter-long wooden figures puppeteered by a dancer. According to Ms. Guatemala, the wooden figures in the dance represent mythical creatures dating back to ancient stories.

Gabby Dorcely, Ms. Cuba and a junior majoring in psychology, played a song on the acoustic guitar before transitioning into a salsa dance to a mashup of multiple songs, including “Macorina” by Los Muñequitos De Matanzas. Dorcely reflected on her appreciation for Cuban heritage and cultural roots.

“Being that I’m from Latin America, pageant helped me to learn about a different country in Latin America,” Dorcely wrote in an email. “It also allowed me to see the similarities between my own countries (Haiti and DR), and learn to truly appreciate the influence that we all have on each other. It also expanded my view on a lot about Cuba. I learned about Cuba’s literacy rate and their healthcare programs that are amazing and not a lot of people acknowledge.”

Elizabeth Isaacson, Ms. Brazil and a sophomore majoring in English, demonstrated how to make brigadeiros, a traditional Brazilian dessert. She set up a table with the ingredients needed to make the dish: chocolate, sweetened condensed milk and sprinkles. After she read the steps aloud, each judge tried brigadeiros she had made for the show.

Jayden Perez, LASU’s secretary and political correspondent, shared the significance of being involved in the organization.

“Being involved in LASU has been life changing,” Perez, a junior majoring in psychology, wrote in an email. “I have made some of my closest friends through this organization and have worked hard to create a safe space for students away from home. I have learned more about the vast cultures of Latin America and worked to engage in political advocacy such as organizing a rally to protect immigrant rights. I’ve seen people be able to talk about issues they don’t otherwise feel comfortable discussing at our events, and being able to maintain a space where that can happen is incredibly meaningful to me.”

In act three, contestants performed another talent of their choice, with the option to demonstrate a talent unrelated to the country they represented.

Jack McShane, Mr. Argentina and a freshman majoring in psychology, displayed his multitalented skills by playing a segment on the saxophone and singing “Hasta que te conocí,” a song that has been covered by several artists, including Marc Anthony, who popularized the song in the early ’90s.

“The rehearsals were so much fun,” McShane wrote in an email. “Even when the contestants felt burned out after a long day of classes the LASU E-board and interns always brought such great energy and were so supportive.”

“I specifically remember brainstorming the choreographed formal walk with my coaches Ariana and Rene,” he continued. “We had such a great time messing around and being creative when coming up with this section.”

Other contestants performed dances, lip-synced to songs and sang covers, while Tyler Smith, Mr. Bolivia and a sophomore majoring in economics, performed an original song.

After a short intermission, the final act of the night began. Contestants strutted down the runway wearing suits, gowns and displayed props, with some acting out short skits to a song of their choice. Clayton Greene, Mr. Peru and a senior majoring in physics, recreated the Bad Bunny and Calvin Klein video advertisement that became a hot topic on social media as fans ogled over the artist.

Between acts, the hosts kept the audience engaged through activities like aquatic trivia, a best-dressed catwalk and a bachata dance competition.

As the night came to a close, the hosts set aside a few minutes to invite audience members to vote on their favorite contestant, resulting in Mr. Argentina and Ms. Cuba winning the titles of “Audience Choice.”

The judges then selected four contestants to advance to the next round of eliminations, deciding on Mr. Peru, Mr. Argentina, Ms. Cuba and Ms. Guatemala. The last four candidates moved on to a Q&A session where they were each asked a social, political or cultural question relating to the country they represented.

After the E-Board was introduced, this year’s Nuestra Belleza y Nuestro Galán Latinx was revealed to be Mr. Peru and Ms. Cuba. For many students involved in the organization, LASU’s annual pageant is more than evidence of their hard work — it reflects the strong community they’ve built together.

“I’d say don’t even think twice — just come,” Feng wrote. “Even if you’re shy or unsure about where you fit in, there’s space for you here. LASU is full of people who are proud of where they come from, but also understand how hard it can be to find your footing in a new place. You’ll find people who will hype you up, support your goals, and remind you that you’re not alone.”

“Whether you’re looking to get involved in activism, cultural events, or just want to be around people who share similar experiences, there’s a place for you here,” she continued. “You don’t need to speak Spanish fluently or fit any specific mold — just bring your authentic self.”

Greenfield, known for his roles as Schmidt in the award-winning sitcom “New Girl” and Dave Johnson in “The Neighborhood,” along with his voice acting work in “Bojack Horseman” and “Bob’s Burgers,” brought an electric presence to the stage, bouncing off of the energy from the audience and the moderator of the night, Ryan Vaughan Ph.D. ‘06, an adjunct professor of English.

Robert Camlet, SAPB’s comedy chair and a senior majoring in art and design, and Basil Lambros, SAPB’s vice comedy chair and a junior majoring in biomedical engineering, took to the stage and gave a short introduction, thanking the theater for hosting the event, SAPB and Vaughan’s contributions, and for the support from Binghamton Sound, Stage and Lighting and Off Campus College Transport.

“I hope attendees leave the show satisfied that they got to see one of their favorite actors visit their college town, almost like a full-circle moment,” Camlet told Pipe Dream.

“While SAPB mostly does shows with stand-up comedians, this year we wanted to try something a bit different as someone that had to learn timing and delivery but also express it through his body language, expressions and acting ability,” Lambros added. “Max Greenfield, most well known for his acting in ‘New Girl,’ allows us this perspective. The experience aims to explore the requirements that come with being a comedic actor and merge that with the nostalgia of Max’s time on the show and funny moments that he has had while filming.”

Following their introduction, Vaughan came out on stage with Greenfield, whose presence was met with applause and excitement from the audience. One of Greenfield’s initial remarks was announcing the Spring Fling headliner, an event he referred to as a “spring soiree.”

“And just so you know, I invited A Boogie while I was backstage, and immediately he said ‘yes,’” he said. “So you have me to thank. You’re welcome. That’s all the ammo I have, so don’t ask me any more tough questions.”

As the screams and excitement from the reveal leveled out, Vaughan introduced the five categories of questions for the night: “New Girl,” “The Neighborhood,” personal, miscellaneous and hot takes.

“Shows like these are important for students for so many reasons, but I think mostly because it brings students together and gives them an event to come together in a non-alcoholic environment which is where most gatherings occur anyways,” Camlet wrote.

Throughout the evening, Vaughan hopped around the categories, steering the conversation wherever it naturally went. He started with “New Girl,” asking Greenfield if he thinks Schmidt is a douchebag, to which his response was “no.” He said that judging characters is a slippery slope, adding that if Schmidt is a douchebag, then we should embrace the characteristic. He believes throughout the show, Schmidt was eventually molded into a “lovable douchebag.”

Following this, Vaughan pulled out a prop that he made: a douchebag jar similar to the one introduced in the pilot of “New Girl.” The jar, akin to a swear jar, attempts to correct Schmidt’s behavior by forcing him to put money in it for any action or comment considered “douchebaggery.”

“It wasn’t until I started consuming comedy, true pure comedy that prompts thought as well as laughter, that I started to question many of the things I thought I believed,” Vaughan wrote in an email. “Comedy was a catalyst for self-analysis in that way.”

After commenting that any money put in the jar should go toward Spring Fling, Greenfield said Elizabeth Meriwether, the creator of “New Girl,” most likely still has the original jar.

The conversation continued to flow, with the two moving from the origin of Schmidt’s name to Greenfield’s voice acting and singing on “Bob’s Burgers” and his all-time favorite TV shows, largely consisting of half-hour sitcoms like “The Office” and “Seinfeld.”

The discussion shifted back to “New Girl,” where Vaughan asked how much improv went on in the show and if that was an indication of the quality of the writing.

“Never, because there was what was written and we would make sure that we would always do that,” Greenfield said. “And then they would ask us to improv, because on take 11, we were like, ‘Did we not get it?’ And they were like, ‘Keep going, keep going.’ And then at some point, you know, on take 19, we would improv in a way that would suggest to everyone behind the camera that we were done. And they would use that stuff in the show.”

“It was so confusing,” he continued. “And so at some point, because we did so many takes, because what we were saying was so outlandish, we never knew what was gonna make it into the episodes. There’s so much of the show that I now watch where I’m like, ‘Oh, I don’t remember doing any of this.’”

As an example, Greenfield reproduced verbatim, “I would rather sit naked on a hot grill than buy something off the rack,” one of many of Schmidt’s iconic one-liners that was met with enthusiasm from the audience.

“I can do it, but I don’t know what I’m saying,” Greenfield said as he proceeded to add cash to the douchebag jar, fully committing to the bit.

Greenfield also discussed the topic of recognition and how he loves being known as Schmidt.

“There’s such a feeling from the people who are expressing their love for that show to you that it meant they had an experience with it,” he said. “And it’s always positive, and so I love it and will always love it.”

Next, Greenfield talked about his experience on “The Neighborhood” compared to “New Girl.” Despite both being sitcoms, the former varies in tone and structure as a traditional multicam show with limited room for improv.

Greenfield said that acting in “The Neighborhood” is about finding moments in the writing with room to play around, and momentum comes from being part of a group. He referenced his co-stars Cedric the Entertainer, Beth Behrs and Tichina Arnold as individuals he continues to learn from and is thankful to work with.

He then noted some comedic influences, including Steve Martin, particularly his work in “The Jerk,” and Jane Wickline, a featured cast member on Saturday Night Live’s 50th season.

“Max Greenfield allows a new perspective on comedy,” Lambros wrote in an email. “As a comedic actor, he has learned creative ways to express himself both on and off the screen. This skill is something that he does especially well.”

“Furthermore, just from watching interviews and watching some of his material, he is pretty relatable,” he continued. “This relatable side as well as his creative comedic acting make him the perfect person for Binghamton students to hear from.”

As the night drew to a close, Vaughan introduced the “hot takes” category, which involved a series of topics Greenfield had to give an opinion on in under 10 seconds, including zombies, tipping at restaurants, fishing, country music and more.

The show ended with Greenfield answering questions from the audience. In response to “Who from ‘New Girl’ would you want to live with in real life?” he responded, “I feel like I live with all of them.”

“Having these shows allows students the opportunity to learn to express themselves when heading into the real world,” Lambros wrote. “Seeing people with such unique experiences in life allows students to hear the challenges that come with it.”

“As a college student, ‘real life’ is quite literally around the corner,” he continued. So having creative people like Max Greenfield visit allows students the [lens] of a famous creative. This helps to entertain and grow that creative side of each person, helping them to go in any direction that they plan to go.”

McKenna, a devoted member of the rowing team who served as captain of the varsity men’s team, was known for always supporting his teammates, said Lukas Grieb, the McKenna Committee’s logistics chair and a sophomore majoring in physics.

Taylor Grindley, the committee’s coordination chair and a junior majoring in biology, shared the importance of the race.

“The race has been a staple part of the BU Rowing Club since its start,” Grindley wrote in an email. “It is a time for not only Rowing alumni to come together and honor John whether we knew him or not.”

After graduating from BU, McKenna attended officer’s cadet school, where he became a second lieutenant and completed two tours with the U.S. Marines Corps. He then joined the New York State Police as a trooper before serving another tour as an infantry platoon commander with the U.S. Marines in Fallujah, Iraq, where he passed on Aug. 16, 2006.

McKenna was highly decorated, winning many awards and military medals, including the Purple Heart, Navy and Marine Corps Achievement Medal, the National Defense Service Medal, the Global War on Terror Expeditionary and Service Medals and the Combat Action Ribbon.

Michael Eichler ‘09 first organized the race with the Rowing Association, a group established in 2016 to bring together alumni and community members to commemorate McKenna’s dedication, both to the University and his country. The race helps fund the John J. McKenna IV Military Courtesy room in the Albany International Airport, which offers a “home-away-from-home” for military workers, said Mackenzie Farquharson, the McKenna Committee’s coordination subchair and a sophomore majoring in psychology.

The race started at 10:15 a.m. with a $20 registration fee and discounts available for students and military personnel. Max Marro, a freshman majoring in biology, placed first of the 33 men who competed in the race, and Emily Tozer, a senior majoring in nursing, placed first of 28 women.

Grieb shared his experience running in the race.

“It was really cool, especially from being a member of the team-kind of perspective, to see everyone all come together,” he said. “Because it’s kind of rare that we have events outside of practice that are mandatory and that everyone is actually going to, so it was nice to kind of see everyone come together for something other than just rowing.”

This event also connects members of the rowing community with people who wanted to honor McKenna, like state troopers who served alongside him and his father. Organizers invited local fire and police departments, encouraging community members to unite those who have served to protect others.

Besides the race, attendees participated in other activities. A raffle was offered with prizes including four tickets to a Binghamton Rumble Ponies baseball game and a weekend trip to Lake Placid.

“John J. McKenna was a great man and a valued member of the Binghamton community,” Farquharson wrote. “He gave the ultimate sacrifice and this event is the perfect way to honor his memory.”

The event started around 2 p.m. and began with a quick introduction from three E-Board members, who made their way to the apron of the stage and stood in an orderly formation near the curtains, smiling with anticipation. As the members went onto the stage, the atmosphere quickly shifted to one of excitement and engagement as attendees settled in. The room buzzed with suspense for the activities ahead, setting the tone for a lively and fun event.

Katherine Peters, the organization’s president and a senior majoring in biomedical engineering, Veronica Raffaele, the vice president and a junior double-majoring in philosophy, politics and law and Spanish, and Elise Frenyea, the treasurer and a junior majoring in psychology, welcomed the audience and kicked off the showcase. The applause then went quiet, the lights dimmed and the first act began.

Dressed in sleek pink costumes, the dancers took the stage with fierce confidence and fluid grace, starting the show with a bold attitude.

Blending modern dance with hints of vogue-like movement and contemporary flair, their dance was marked by striking flexibility and seamless transitions that pulsed with the beat of the song. Partner work showcased not just physical strength but emotional support, echoing themes of unity and empowerment. The performance radiated pride, resilience and self-celebration, turning the stage into a space of unapologetic expression.

The first act featured a dynamic lineup of 15 performances, showcasing a diverse range of styles including ballet, hip-hop and contemporary dance. Among the standout pieces was Yulia Garaeva’s powerful interpretation of “Army Dreamers,” which left a lasting impression with its emotional depth and precise choreography.

“For my solo ‘Army Dreamers,’ I took inspiration from my own personal grief and deep conflicts in life,” Garaeva, a ballet III choreographer and a senior majoring in sociology, wrote in an email. “I wanted to showcase vulnerable components of real life that people could connect to and feel along with me. Evolution Dance Company has given me the opportunity to perform such aspects of my life and provide a stage and audience to share my choreography with.”

“The arts are so important in navigating difficult concepts such as grief, loss, and tragedy; EDC allows full liberty for their choreographers to express themselves and tell a story that is close and dear to them and to many people in the audience,” she added.

Following Garaeva’s emotional solo, the showcase continued with a vibrant mix of performances that kept the energy high and the audience engaged.

MODA brought dynamic movement and swagger to the stage with a high-energy hip-hop routine, while Tap That delivered a synchronized tap performance full of rhythm and charisma. Paradox entered the scene with a captivating blend of K-pop and hip-hop influences, combining sharp formations, expressive gestures, bucket hats and a powerful stage presence. Each group brought its own distinct style, adding depth and variety to Act I.

Act I concluded with a striking piece choreographed by Anjali Durjan, set to a medley of Kendrick Lamar’s “United in Grief” and Childish Gambino’s “Me and Your Mama.” Rooted in contemporary and modern dance styles, the performance channeled raw emotion and intensity. Dancers wore messy T-shirts, with smudged black makeup and eyeshadow that amplified the chaotic, expressive energy of the piece.

The performance had character and emotion, and it completely enraptured the audience as cheers and name-dropping filled the room.

The dancers’ movements were sharp and unpredictable — at times furious, at times still — with moments where they collapsed to the floor or laid down completely, embodying themes of exhaustion, rage and release. Jazz hands appeared unexpectedly, adding an unsettling edge to the choreography. As the performance drew to a close, the dancers slow-walked offstage, their backs to the audience, as the music and lighting gradually faded into silence.

“The vision for this semester’s showcase, specifically in my own dance, ‘United in Grief,’ was to introduce a piece that was different to EDC,” Durjan, a modern III choreographer and a junior majoring in art history, wrote in an email. “While this being my first time choreographing for Modern 3, I wanted to bring my different dance interpretations and techniques to the club. I wanted to create a piece where we all embodied a crazy and unique character. A character with ups and downs and I believe we accomplished that. I wanted to challenge everyone to reach their full and ‘limitless’ potential, hence the show title name.”

Several dancers remarked on how much they would miss the graduating members, expressing deep appreciation for their leadership, friendship and the impact they had on the group’s community and spirit.

During intermission, Jennie Po, a sophomore majoring in nursing, shared her gratitude for the spring showcase, where she performed with MODA and her EDC team.

“I met so many friends,” Po said. “They supported me, especially when I was on MODA, and then they saw me perform, and they congratulated me afterward. It’s so rewarding.”

After a brief intermission, everyone went back to their seats, and the lights dimmed once more. Act II began, introducing a fresh wave of 16 performances that carried the momentum forward with renewed energy and passion.

Raffaele choreographed a solo performance for herself that was both dramatic and emotionally charged. Her movements were expressive and deliberate — falling gracefully, flipping with ease and maintaining a strong sense of composure and focus throughout the entire piece.

Raffaele, who will be graduating a year early, admitted to feeling bittersweet in the days leading up to the showcase, knowing it would be one of her final performances with the group.

“I’m most excited to perform one last time with all of my favorite people,” Raffaele wrote in an email. “Watching everyone’s hard work over the past year — from weekly rehearsals and full company run-throughs to social events and late-night dinners — come together on stage is so rewarding. Showcase day always has a special kind of energy: a mix of excitement, nerves, and bittersweet emotions as everything wraps up. I’ll truly miss everything about EDC, but especially the incredible people I’ve met along the way.”

Act II ended with two climactic performances titled “Drake vs. Kendrick” and “Gaga,” which included the entire EDC E-Board. In the former, the dancers were split into two groups — one half was dressed in red track pants and the other dressed in blue — visually representing the contrast between the two artists through a dynamic hip-hop routine.

“Gaga” followed with a modern piece that featured expressive movement, glittering costumes and a standout moment where one dancer was lifted, adding a sense of elevation and theatricality to the performance.

The night came to a heartfelt close as all the dance groups gathered on stage for a final bow. Graduating members were honored with roses, a touching gesture that celebrated their contributions and marked the end of their journey with the team.

Peters described EDC’s bright future.

“This show is 10 years of EDC and we have incorporated some components to give thanks to our past,” Peters wrote in an email. “We appreciate how far we have come and what those before us have done to help foster an environment full of creativity and connection. We want to show that the possibilities are ‘limitless’ for the future of EDC.”

Organized for Dominican students to express their heritage and provide a home away from home during the academic year, DSA hosted Teteo in Paradise — or “party in paradise” — to immerse attendees in the distinct customs of the Dominican Republic. Regardless of whether they are Dominican themselves, DSA wanted attendees to learn more about the country and its people while gaining a new sense of belonging.

“This year, we took a different approach by hosting Teteo in Paradise off campus and securing an artist to perform, which elevated the experience for attendees,” Tara Delcarmen, DSA’s president and a senior majoring in social work, wrote in an email. “Full transparency: it was not easy to put everything together, from logistics to securing funding, but it was all worth it in the end. Seeing everyone enjoy themselves and celebrate our culture made all the hard work pay off.”

Upbeat music pulsated throughout the space as guests were led to tables embellished with centerpieces of the Dominican flag, pesos and dominos, a popular pastime played among family, friends and neighbors. A stage and dance floor at the far end of the room was set up for live performances and interactive competitions, while backdrops decorated with butterflies and bundles of balloons were positioned against either wall for photo ops.

The decals honored the revolutionary legacy of the revered Mirabal sisters, known as Las Mariposas — or The Butterflies — who resisted the dictatorship of Rafael Trujillo in the late 1950s and early ’60s. Two alumni, Jorwell Perez ’20 and Helene Vasquez ’21, emceed the event and opened the night with a brief history of the Dominican Republic, explaining the significance behind the theme “En Los Tiempos Clásicos.”

“This theme allowed us to honor our roots and highlight the legacy of Las Hermanas Mirabal, three courageous sisters who played a vital role in the fight against dictatorship,” said Geraldine Nunez, DSA’s vice president and a junior majoring in nursing. “Their bravery and resilience left a lasting impact on our country, and through this event, we aimed to educate and inspire others about their contributions to Dominican history and culture.”

Tropical Ecstasy, a Caribbean dance team, then transitioned into the first performance of the evening, displaying fluid choreography inspired by soca and dancehall styles while decked out in red, blue and white outfits. Phi Beta Sigma Fraternity Inc. and Corazones Unidos Siempre, Chi Upsilon Sigma National Latin Sorority Inc. also performed their own high-energy and explosive numbers, choreographed to music from primarily rap and Latin artists.

Audience participation was encouraged throughout the event, with the hosts inviting five couples to the front of the room to compete against each other in a merengue típico contest. After each pair demonstrated their spin on the fast and rhythmic dance style, the winners were selected based on the intensity of the crowd’s applause. Keeping with this year’s theme and the objective of educating others on Dominican history, the emcees also hosted a trivia competition with questions on the Mirabal sisters and their contributions to the fight against dictatorship.

Throughout the evening, DSA E-Board members and interns circled each table to serve “la Bandera Dominicana,” a culinary staple enjoyed in many households consisting of rice, steamed cabbage salad and stewed beef or chicken slow-cooked and seasoned with rich, aromatic spices. Dinner was paired with colorful mocktails and tres leches cake for dessert.

The event wound down with a live performance from Bronx-based Dominican singer Chavi Leons, who was accompanied by a full band. Attendees immediately surged up from their seats to dance along to his songs, characterized by a modern blend of classic merengue and bachata charged by sharp instrumental trills and beats.

DSA was inspired to reach out to Leons and his team because they believed his music authentically represented Dominican culture and embodied the lively spirit of the teteo. Delcarmen described Leons as “an ideal choice” for this year’s theme.

“We knew his performance would transport our guests back to the golden era of Dominican music while keeping the energy fresh and exciting,” Delcarmen wrote. “Beyond that, having Chavi perform at Teteo in Paradise felt like a full-circle moment. When we were discussing the event, he shared with me that his first live performance was actually at Binghamton during my freshman year for the Latin American Student Union’s banquet.”

“We both thought it would be super cool for him to return and perform again, this time for DSA’s biggest event of the year,” she added. “I am forever grateful for Chavi and his amazing team for helping finish off the event strong!”

Nunez elaborated on the lessons she hoped that guests attending this year’s Teteo in Paradise walked away with.

“I hope attendees left with a deeper appreciation for Dominican culture and history,” Nunez wrote in an email. “More importantly, I hope they learned about Las Hermanas Mirabal and the powerful legacy they left behind. Their story is one of strength, resistance, and sacrifice, and their impact is still felt today. We wanted this event to be both a celebration and an opportunity for reflection, ensuring that their contributions are never forgotten.”

Held at the DoubleTree Hilton Hotel, the festival filled the banquet room wall to wall with students and community members eager to sample an array of mac and cheese with bright yellow baseball caps and forks in hand. Twenty restaurants lined the room as assembly lines of workers rushed to fill cups. The panel of judges sat above it all, tasting each dish and awarding the prizes, which included Best of the Fest and Best Non-Traditional Mac and Cheese.

The festival is held each year as a fundraiser for the Binghamton Philharmonic Orchestra. Proceeds came from ticket sales and a massive raffle, which included items like memberships to the Jewish Community Center, Binghamton Rumble Ponies tickets and merchandise and a basket of high-quality Italian ingredients.

Julia Grella O’Connell, the director of education and community engagement at the Binghamton Philharmonic, helped organize the event and works to share art and music with the community. In that spirit, the majority of this year’s celebrity judges were leaders in the Binghamton art world.

“We are focusing this year on how the arts provide so much to this community,” Grella O’Connell said. “They provide so much in terms of jobs, they provide so much in terms of driving economic growth, and they provide so much in helping us as a city to connect to one another through what makes us fully human, which is great art.”

Daniel Fried, the president of Binghamton University’s cheese club, was one of the celebrity judges. He shared his excitement at the great turnout and multitude of options.

“Being on the cheese club, I like cheese probably more than the average person,” Fried, a senior majoring in chemistry, said. “It’s just really fun to see what all these restaurants do with their mac and cheese. It’s very diverse.”

There was no lack of variety, as restaurants offered their own take on the traditional pasta dish or created something new entirely. Establishments like the Park Diner and American Dining Creations made their mark, while other restaurants offered a novel take, like Courtside Bar & Grill’s Gumbo Mac and Cheese.

Patti Bail, who represented American Dining Creations and presented at the festival for the first time, shared that the size of the event was much larger than she expected and joked about bringing more trays next time.

About 90 minutes into the event, a hush fell over the crowd as the winners were announced. Park Diner and Kampai Japanese Steakhouse respectively took home Best Traditional Mac and Best Non-Traditional Mac once more, as both have been favorites for many years. Courtside swooped in to win New to the Fest with great excitement, and Downtown by Chef Jay Pisculli won Judge’s Choice.

The biggest award of the night, Best of the Fest, came from a popular vote, and BIG ZUES Barbecue’s brisket bacon ranch claimed victory.

“We’re on top of the world,” said one of the chefs, Jesus Clarke. “Every year, it gets bigger and bigger, and we’re looking forward to next year.”

But Mac and Cheese Fest is so much more than determining a winner and loser. It’s a community staple that means so much to the people of Binghamton. Take the Haynes Family, for example, who have been at every event since the second-annual festival. The family has made the tradition an extravagant and inclusive affair, bringing partners over the years to join in on their fun. Featuring engraved spoons, mac and cheese-themed shirts, and a Kraft Mac and Cheese-style notebook, the family gave this year’s festival a rave review.

“It’s just a fun time,” they said. “I’ve gotten a bunch of my coworkers coming this year. Come on down and enjoy yourself. It’s a blast.”

The Binghamton Philharmonic Orchestra’s annual Mac and Cheese Fest is not an event to miss, and Pipe Dream is counting down the days to next year.

“Afahye is our annual banquet where we come together and we showcase our African culture through dance, the decor, the story being told and the food to the Binghamton public and those that might not be in tune with Africa or in tune with the culture and things of that nature,” Jadesola Teriba, the president of ASO and a senior double-majoring in psychology and philosophy, politics and law said. “We throw this event to celebrate ourselves, as ‘Afahye’ does mean celebration. So we throw it to celebrate ourselves and to celebrate our culture and to show everybody that.”

While every Afahye celebrates rich and diverse cultures that originate from Africa, this year’s theme brought an air of mystique by incorporating the African tradition of masquerade dancing and allowing attendees to take part in the theme by wearing their own masks.

At 6:30 p.m., the doors opened and guests were invited to find a seat at one of the banquet tables adorned with black tablecloths and silver masks. Each table’s centerpiece had a vase decorated with beads and a mask with protruding feathers. On the ceiling, draped white fabric illuminated by string lights added a soft, elegant ambiance to the space.

The celebration commenced with an opening scene that featured a performance by Afahye’s masquerade dancer Chidi Okoro, a sophomore majoring in computer engineering. Okoro was dressed in a traditional costume with a mask and danced around the crowd, often coming face to face with audience members or crouching low to the ground and moving with long, sweeping strides.

Teriba explained the history and significance of masquerades and this year’s theme.

“In Africa, masquerades are kind of super scary and it’s something that’s like, ‘oh, if you’re a bad kid the masquerade will come and get you,’” Teriba said. “The dance is beautiful, but it’s kind of scary because of how they’re embodied and so we wanted to redefine it and show people it’s not scary — it’s cool, it’s interesting. The lore behind our culture is interesting.”

Afahye’s first performances were part of scenes that portrayed different aspects of the night’s story and masquerade theme, including the entrance, a love scene and a heartbreak scene. While the masquerade dancer was the central figure of Afahye, groups of performers, many of whom are a part of ASO, brought the night to life and told the story through various types of dance, including a theatrical floor show. An appearance from One World Dance Team, Syracuse University’s first and only African dance team, ended the night of dance performances.

Opportunities for audience engagement occurred throughout the event, ranging from a game of musical chairs with contestants who represented different countries to a scavenger hunt.

The celebration’s menu offered an array of African dishes. For appetizers, fried yam and pepper was distributed to each table. Later in the evening, entrees included Jollof, Indomie stir fry, peppered chicken gizzard and chicken sausage, fried turkey, gob3 and sweet plantains with garri and African salad. The dessert course featured milo cupcakes and malt.

The goal of the Afahye was to honor African culture as a whole through music, dance and food. To celebrate the African identities of many Afahye attendees, there was a roll call for each African country and those influenced by the African diaspora.

“Basically, we’re trying to shorten a very broad African culture of celebration as one event so that the Binghamton community can understand the African diaspora,” said Angel Okoro, ASO’s fundraiser and a junior majoring in electrical engineering.

The evening’s goal was to concentrate on a prevalent aspect of African culture.

“This event is more to show who we are and to show everyone’s culture because there’s so much culture in Africa,” Rana Larry, an intern for ASO and a sophomore majoring in philosophy, politics and law, said. “And it’s really hard to show each and every single one of them, but we try as hard to make sure everyone gets the time to show who they are and where they’re from.”

Teriba expressed the importance of the organization’s annual Afahye.

“Our goal is just to share our culture with the Binghamton community and let everybody in the diaspora know that we are here, and we wanna be heard,” Teriba said. “We wanna show you the great things that come from our culture and why we are so proud and have so much national pride in ourselves, and this event plays into it by doing just that. Showing the masquerade, we’re literally showing you our culture, and though some people might be scared, it’s not a scary thing, it’s moreso something that’s interesting that you should learn about.”

State Street alone is home to several galleries with a range of displays focusing on color, nature, music and community. Anthony Brunelli Fine Arts is a warmly lit and welcoming art gallery on State Street and is directed and curated by John Brunelli of Vestal, New York. The gallery displays fine paintings and mixed media works by a combination of local and international artists.

“I’ve got about 60 artists that I represent from all over the world, and this is just a sampler of some of those artists,” Brunelli said. “And each month I’ll be rotating new pieces in.”

In the gallery, Ghanaian mixed-media works of Na Chainkua Reindorf and Dutch-Argentine hyper-realistic images of birds and vases from Lorena Kloosterboer are just a few of the incredible installations that could be seen this Friday.

People of all ages, including students hoping to immerse themselves in the local art scene, could be found mingling about the Art Walk’s pieces, enjoying the philosophy behind them, the colors they brought to each space and the warmth of experiencing art among a community of like-minded people. Chatter filled each gallery and the streets as people zigzagged across from gallery to gallery.

Zoha Khan ‘24, the programs and marketing coordinator for the Art Council, explained what the Council wants to promote through First Friday events: community development and the pride and joy that local businesses bring to their community.

“I want people to appreciate this town,” Khan said. “Part of our First Friday marketing is people often say there’s nothing to do in Binghamton. That’s not true. There’s actually so much to do here. There’s so much art, there’s so much livelihood and you just got to find it.”

The First Friday Art Walk is a way for students and residents can appreciate Binghamton’s culture and art scene throughout the year. From the impressive works of the Artful Child Gallery to the soulful and cultural pieces found at Brunelli’s gallery and Orazio Salati Studio & Gallery, the Art Walk provides inspirational pieces that community members can think about for weeks to come. This program is both an activity for cold winter days and an inspiration for folks to go out and find ways to engage with the community.

The event was open to the public and included a guided poetry workshop with two writers, followed by an open mic and reception where community members were invited to share their own poetry and short prose.

“The Binghamton Writers Project was formerly the Binghamton Poetry Project, established twelve years ago by former Ph.D. student, Nicole Santalucia,” Tina Chang, the director of creative writing and an English professor at BU, wrote in an email. “This event was created to celebrate the Project’s over decade-long commitment to the Binghamton community and to offer recognition to its work to foster creativity, understanding, and connection.”

The event started with a poetry workshop led by Sam Corradetti, a second-year Ph.D. student studying English, and Matthew Midgett, a third-year Ph.D. student studying English. The workshop focused on ekphrasis poetry — a type of poetry that focuses on the description of art.

“You can be imagining yourself as part of the narrative,” Midgett said. “You can be adding onto the narrative that you’re seeing there. It’s just making an attempt to build some sort of relationship with your own words and another piece of art.”

The workshop began with an audience examination of “Nighthawks,” a painting by Edward Hopper. Then, an ekphrastic poem based on this painting titled, “A Midnight Diner by Edward Hopper” by David Ray, was read.

This allowed the audience to compare interpretations and examine the freedom this form of poetry allows before writing their ekphrastic poems based on public art in Binghamton. Photographs of four art pieces — two murals and two sculptures — located in Downtown Binghamton were shown for audience members to practice their ekphrasis.

The second phase of the event — the open mic and reception, was hosted by Jordan Franklin, a third-year Ph.D. student studying English, who has previous experience as an emcee.

Attendees were invited to share works of poetry and short prose, including what was written in the workshop, written before the event or works of other writers that they wanted to share. Finally, the event ended with a book raffle.

“What makes all Binghamton Writers Project events unique is the way they cross-pollinate the off-campus and on-campus writing communities,” Jen DeGregorio, the associate director of creative writing, wrote in an email. “So often universities are silos, never managing to authentically engage with the residents of surrounding cities and towns. But BWP, originally the Binghamton Poetry Project, was envisioned to create a bridge between the graduate-student writers studying at Binghamton University and the writers living in Binghamton and the surrounding region by offering opportunities to work together in a formal writing practice and to gather for sharing creative work.”

However, this event was different from the usual events hosted by the Writers Project, as it was announced that it was the last event before the group will take a hiatus for the spring semester. The project plans to use next semester to discuss new writing initiatives to bring to BU students and community members and, hopefully, return stronger than ever next fall.

Though the Writers Project may not be active next semester, it does not mean the community it fostered has to disappear. The event ended with Franklin encouraging attendees to connect and form groups to continue to share work and build creative writing skills.

“I hope attendees will feel inspired and see themselves as part of a larger community of writers living in and around Binghamton,” DeGregorio wrote. “I hope they went home feeling empowered and excited to keep writing and sharing their work with others. They should know that their voices matter.”

The Broome County Forum Theatre welcomed the Dark Star Orchestra, a Grateful Dead tribute band, this Thursday. The orchestra has performed 3,100 shows over 25 years, with guest features from six original Grateful Dead members. During performances, they aim to emulate the traditional Grateful Dead experience while adding their own unique twists.

Current members include Rob Barraco on keyboard and lead vocals, Rob Eaton on rhythm guitar and vocals, Richard “Dino” English on drums and percussion, Lisa Mackey on vocals, Skip Vangelas on bass and vocals, Jeff Mattson on lead guitar and vocals and Rob Koritz on drums and percussion. The band originated in Chicago, Illinois and has been touring since 1997.

The group has earned its fair share of fame throughout its tenure, including sold-out shows at Colorado’s Red Rocks Amphitheatre and venues in London, Paris, and the Caribbean, including an annual winter show in Jamaica called “Jam in the Sand.”

Every band member has a long history with music, and the passion was evident in their performance on Thursday. Attendees were transported back to the 70s and 80s, with mesmerizing light and smoke displays adding to the experience. Balloons and glow sticks were passed around.

English described a relationship between themselves and their audience that creates an amazing atmosphere at concerts. On his favorite part of performing, he said “watching the audience dance and have the time of their lives while playing some of the most well-crafted songs and musical exploration motifs and simultaneously exploring my own musical creativity and constantly finding both naturally living within each other.”

The theater’s atmosphere made it impossible to not dance, and the ambiance transported you into a 1970s live concert of the Grateful Dead. The orchestra did a wonderful job emulating the nature of the Grateful Dead and carrying on their prolific legacy.

“I consider DSO more of a progeny of the Grateful Dead,” English said.

Over a nearly four-hour performance, the group performed classic Grateful Dead songs, including “Casey Jones,” “Truckin’” and “Sugaree.”

There was a wide range of ages in the audience, some coming for the nostalgic times of the Dead, but also younger, newer fans coming to keep the iconic sound alive.

“There is so much good music that we would never hear live anymore without these bands bringing it to an audience,” Koritz said.

There was a definite sense of community among the Deadheads. Few cameras or phones were out during the performance, a rare phenomenon at concerts in recent years. The audience’s sole focus was on taking in the band’s sound.

English, the group’s drummer since 1999, said he loves to watch the audience engage with the music while also using each concert as an opportunity for musical creativity. The orchestra’s concert experience is all about emulating the sound of the Grateful Dead and recreating that experience for both fans who had been able to see the original band in concert and those who haven’t. The night was lots of fun for old and new fans alike.

Face It! Theatre Company welcomed audiences back with its first production since 2019 this November, “In the Garden of Z,” a story of a young Russian woman struggling to find truth in her country and identity.

The show ran from Nov. 1 to Nov. 10 with shows on Fridays and the weekends at the First Congregational Church in Binghamton. Face It! Theatre Company is a nonprofit, local traveling production company in Greater Binghamton that brings together high school and college students, community members and professional actors to put on conversation-invoking productions.

Written by Sean and Jelizaveta Robinson, “In the Garden of Z” dives deep into the media of Russia today. Jelizaveta Robinson found inspiration after the Russian invasion of Ukraine. She was shocked to learn that her friends and family in Russia were not as horrified as she was to learn about the war and took years of research to put together this piece of work.

The play focuses on Sabina, the main character and a young girl living in modern-day Russia. She reads the writings left behind by two young women, Agnessa and Polina, who lived through Stalin’s rule of the Soviet Union. Their stories are shared by Sabina as she learns about her country’s history while refusing to buy into the mass amounts of Russian propaganda.

When asked about what this production has meant to her, Alexandra Blum, the actress playing Sabina and a senior majoring in theatre, shared that the production gave her a sense of hope for the future of these worldly conflicts and how written art forms can assist in spreading messages of hope.

“The fact that people are writing stories about this, writing plays, because they believe it’s an important story to tell,” Blum said. “It gives me hope that people’s minds are gonna change and that they’re gonna learn and that we can move forward and everything will be better.”

The production had a focus on women’s voices with an all-female cast. Each of the characters explores various themes, including the impacts that their surrounding environment has on them. From the clashing familial relationships, to love, loss and the hope that difficult times will subside, many aspects of womanhood were explored with each individual character.

Kaitlyn Sorenson, an assistant professor of comparative literature and the department’s undergraduate director, attended the show and shared her thoughts on the importance of feminine voices in the production.

“I think one of the things that really strikes me about this play is the fact that we are perhaps a little bit prepared, typically, to expect these kinds of narratives of nationalism to be articulated through male-identifying voices,” Sorenson said. “And here we don’t have that, right? We have this not portrayed as a problem of male impotence or sexuality, but in fact, often glanced through female sexuality in a very interesting way.”

The production consisted of passionate monologues that were equally impressive and full of substance. One of the most notable came from Dana Malikova-Buralkiyeva, the actress playing Olga, a Russian journalist, whose primary job is to spread Russian propaganda.

In her monologue, Olga reveals that she’s aware of the false narratives she is spreading and acknowledges the Russian people’s desire to believe what they are hearing. When asked about her feelings on the monologue in a talk following the play, Malikova-Buralkiyeva shared her thoughts on propaganda and her experience as a first-year graduate student studying political science.

“Basically my current work in academia, it’s about freedom of speech and propaganda,” Malikova-Buralkiyeva said. “Basically, just to be honest, back in Kazakhstan, I [was] doing a lot of training sessions for different ages of people about propaganda, about freedom of expression, about how can you actually understand when they lie to you.”

“In the Garden of Z” captivated the audience and brought the community together to share stories of hope and optimism for the future of our world. By using theater as a vessel for knowledge of the state of Russia, the writers and cast were able to portray real stories beautifully.

A cold, dark November night was imbued with warmth and exuberance during Italian Medieval Night, part of Downtown Binghamton’s First Friday events.

Held in the University Downtown Center, the hum of conversation and smell of antipasto and a pasta dinner introduced the night as one for camaraderie and sharing the sounds of a culture. Seats were filled with students and community members alike, all there to listen to the music of Nino Samiani and Andrea Di Cesare, world-renowned rock and pop Italian violinists. Anticipation for a cozy night of music led to chattering about the artists and hopes for what might be performed.

Programs were provided with the Italian lyrics and English translations all written out, encouraging audience participation. As Samiani, a musician local to the Endicott area, performed well-loved songs, the room filled with not only his singing, but the voices of community members. From older Italian singers like Domenico Modugno and Louis Prima, to more contemporary artists like Ed Sheeran and Andrea Bocelli’s version of “Perfect Symphony,” this performance welcomed audiences of all ages and cultures to enjoy the romantic language of Italy.

Dana Stewart, an associate professor of romance languages and literature and collegiate professor of Mountainview College, has been working at BU for 30 years. In that time, she has invited Samiani to perform multiple times.

“I love it when he does the sing-along songs that involve the crowd,” Stewart said. “I also just loved looking out at the crowd. There are a lot of Italian Americans in this area, a lot of people with Italian heritage and a lot of people who knew a lot of the songs he was singing. So to look out in the crowd and see so many people humming along, singing along with some of the words, that was a really exciting moment for me — of feeling like I’ve been able to help bring about this evening of celebrating Italian culture together.”

After a brief intermission, it was time to hear Di Cesare’s original composition. Di Cesare, featured on 20 platinum and gold records, has performed at Binghamton before and was particularly taken with the dedication to the University’s study of medieval Italian literature. In this small corner of New York, he had a special performance planned — the world premiere of a multi-part composition based on Dante’s “Divine Comedy.”

So began the “Inferno,” the first part of this composition. Introduced by a backtrack of howling winds and screeching instruments, the suffering of Dante’s characters exiled to eternal damnation was translated into orchestral movements. The programs provided at the beginning of the show allowed audience members to read along with the Italian spoken recitation of Dante’s writing, along with the English translation.

As Di Cesare played his violin through the “Inferno,” into “Purgatorio” and “Paradiso,” clear transitions were made. “Purgatorio” brought transitions from low to high, emphasizing the quick fluttering of hope within the souls Dante encounters on his journey. The high, smooth notes of “Paradiso” communicate the sensation of arriving at Heaven and learning about love.

The final movement of the piece, however, was based on just two lines at the end of the poem, explained by Stewart as the moment in which Dante the character joins with Dante the poet and gains the ability to write about his travels, which “The Divine Comedy” is about. This section rounded out the circle of the journey, bringing the night of music to an end in a very whole and satisfying way.

Sam Corradetti, a second-year Ph.D. student studying English, expressed their emotions after the performances by Samiani and Di Cesare.

“You can really feel the emotion in his work,” Corradetti said. “You can feel the care in his work. I think in particular the final section. The fourth section that’s based on the end of the ‘Paradiso’ canto, where he just took two or three lines of Dante and just interpreted, literally interpreted, the whole universe kind of being pulled into Earth. And you felt that.”

The end of Medieval Italian Night came about joyfully in Downtown Binghamton, with community members having experienced a bit more of their culture and students learning about the Italian language and history. The autumn chill that had been locked out of UDC through swirls of harmonies and captivating violin solos felt less sharp as folks left the building and entered into the first weekend of November.

The vaulted ceilings of the church, adorned with grand murals, reverberated the angelic echoes of songs performed in Italian, Spanish and Turkish. Translations provided with the hymns and songs described lyrics about love, admiration and comedy which captivated many audience members.

This event was hosted by the Southern Tier Singers’ Collective, founded in 2018 by William Culverhouse, the director of choral activities and an associate professor of music at BU. The collective consists of mainly of music educators from around northeast New York and Pennsylvania. Culverhouse explained that since their creation, the organization has worked with the Binghamton Philharmonic, Fifth House Ensemble, Momenta String Quartet and more.

They also collaborate with BU’s School of the Arts to foster connections with the professional musical world.

“Collaborating with professional-level musicians gives our students an experience of music-making that they cannot get with an all-student music ensemble,” Culverhouse wrote in an email. “For those that are contemplating pursuing music as a career, this provides an invaluable preview of professional musical life.”

As the concert progressed, the mixes of the Mediterranean styles became evident as the choir became accompanied by tambourines when certain songs switched, a harmonic blend of the different regions of the Mediterranean.

This performance also included working with artist and Palestinian, Jordanian and Canadian composer Shireen Abu-Khader to represent Arab voices for peace. Culverhouse mentioned how this collaboration became more significant after Oct. 7, 2023.

“Shireen and I sought to offer musical experiences representing Arab voices for peace, since these voices have been underrepresented in many current conversations about the situation,” Culverhouse wrote. “The commissioned work, Rumor Mill, to a poem by Palestinian-American poet Naomi Shihab Nye (who was just awarded the Wallace Stevens Lifetime Achievement Award for her poetry), is a particular example of this.”

The School of the Arts designs many opportunities to create exposure to art influences. Christopher Robbins, the school’s founding director, explained the presence and opportunities students have across different art installations, including Downtown Binghamton’s annual LUMA Festival, the HCS Center for Art and Counter Culture in Vestal and Spool Contemporary Art Space in Johnson City. Working with the collective is just one example of the range in which students can experiment with the arts.

“The arts are essential to how we understand culture and the world around us, even if people don’t always realize it,” Robbins wrote in an email. “They shape our perceptions of people, events, and ourselves. One key reason for establishing the School of the Arts was to foster collaboration and raise the visibility of the arts both on campus and in the community.”

The market was held from 10 a.m. to 2 p.m. and featured a variety of homemade pieces, including jewelry, clothing and decor. Each vendor had their own tables set up and some even had tents outside. The scene was bursting with autumnal flavors and colors, unique designs and heaps of creative flair.

It was clear that many of these creators have a passion for their craft and inspiring motivations that they carry with them. There was a palpable sense of love and camaraderie that felt welcoming and inviting. Many of the interactions between the vendors and the members of the community were ones full of recognition and care.

Shoppers at the market found not only one-of-a-kind gifts and creations at each vendor but there was also a connection in the stories behind their creations. There was an unbridled enthusiasm that radiated from many of the smiles on the vendors’ faces and the joy they displayed by being there.

One of the vendors, Second Chance Glass, involves the process of reclaimed glass making. The shop, headed by Jennifer Barnaby, of Binghamton, creates remarkable glasswork made of fully reused glass. Barnaby does all of the framing and cutting of the wire work individually and most of the completion of the work is done between 10 to 15 hours in a kiln.

Another vendor, Kim Hope, of Binghamton and owner of Hope’s Creations, shared her deeply rooted motivations for starting her hand-poured candle company. She prioritizes the use of reusable and organic materials in her candles that have been tested to ensure they are free of toxins and harmful chemicals to protect herself and her customers. She hopes to inspire her customers to make mindful choices that better support their health and well-being.

Other vendors included handmade crochet creations and food items such as baked goods, coffee and a lemonade stand for attendees to enjoy.

Overall, the Autumn Artisan Market was a showcase of wonderful handmade items that exhibited the spirit of the fall season. The products were intricate and unique and each piece carried with it a different story. It was a fascinating experience that celebrated the beauty of autumn and the creativity and individuality of local vendors in the community.

The city of Binghamton brought members of the Hispanic community together to share their pride for Hispanic Heritage Month. The event was held to honor and celebrate the achievements of the Hispanic community with foods from different countries, lively music and dancing.

The event was held inside the Polish Community Center at 347 Prospect St., which was decorated with flags from different Hispanic countries. Large tables and colorful tablecloths invited community members of all ages to gather and share a meal. Attendees showed their pride in their Hispanic heritage by donating food and wearing traditional cultural outfits.

The event was spearheaded by Edward Marte, 27, of Binghamton.

“I originally came [up] with the idea when I was working at the American Civic Association, and I did that in 2022 when I was working there,” Marte said. “Of course, with the help of the local members from the community that make food and contribute to make sure this event happens.”

Marte, originally from the Dominican Republic, is an active representative of the Hispanic community in Endicott and Johnson City and teaches Spanish at West Middle School in Binghamton.

Community members entered at 6 p.m. and settled in. Honorary speakers took the stage to say a prayer of gratitude for their beloved Hispanic community and all they have been blessed with.

At 7 p.m., the festivities began. Everyone was encouraged to stand up and dance to lively music. Soon after, a large line for food quickly formed and wrapped around the inside of the venue.

A long row of tables appeared to be the center of attention as trays of food donated by local community members crowded the space. This included traditional rice and beans, empanadas, beef and potatoes and a taco station, along with a selection of desserts.

Volunteers from Binghamton University’s Dominican Student Association helped set up the event and handed out food to community members.

“Food and dancing is definitely one of the bigger [aspects of culture],” Marte said. “We also have special guests that came from the city that will be doing a performance to represent the Dominican cultures and the carnival.”

Local banks and organizations, like Empower Federal Credit Union, were invited by Marte to set up tables to represent their organization and inform attendees about them. Many of them sold raffle tickets.

The blend of cultural representation from a variety of Hispanic countries created an inviting and diverse event for community members. The atmosphere thoroughly symbolized the traditions that define Hispanic culture and history through inviting music and dance. As the event came to a close, attendees were reminded of Marte’s gratitude for the support and unity that the event had fostered.

Founded in 1849, the Spring Forest Cemetery is home to quite a few impressive memorials with enriching histories. The tour was led by the museum’s educator, Joe Schuerch, and former chair of the Board of Trustees, Mark Dickinson. The tour focused on symbolism found on many of the monuments in the cemetery.

Upon entering, visitors were led to an obelisk intricately carved with a woman on an anchor holding flowers. Shining light on the craftsmanship, Schuerch shared that in the 19th century, memento mori, or “remember you must die,” symbols began to go out of fashion and newer messages about resurrection and the afterlife became more common on gravestones.

Reflective of the change in symbolism, the next monument was topped with an urn draped in finery. Schuerch explained how the urn illustrates the idea of an eternal flame or the eternal spirit of man. On one of the many walking paths in the cemetery, Schuerch led the group to a monument decorated with scrolls and tablets, representing a love of learning and openness to new ideas as life passes on.

On neighboring monuments, large angels were carved as symbols of protection and spirituality and different angels signified different meanings to the mourners — open wings symbolized the flight of the soul to heaven, a carrying angel represented being escorted to heaven and a weeping angel was built to honor an untimely death.

Nestled underneath the fall foliage lay a small gravestone carved with a lamb that had a doll perched on top of it. Borrowed from Dickinson’s personal collection, the model was made to look like mourning dolls that would often be placed on the graves of children in the 19th century.

Many monuments feature thoughtful iconography that testifies to the unique, meaningful lives of the deceased and their journey onward. It was common for tombstones to represent contemporary attitudes about death and the recently departed rejoining nature. Several tombstones had carvings of ivy wreaths, signifying victory over death as well as friendship, fidelity and the concept of mortality.

In addition to being a picturesque resting place for generations of loved ones, Spring Forest Cemetery is home to an enriching local history. Joshua Whitney, one of Binghamton’s founders, and his family have an entire plot on the grounds.

The tour highlighted the cemetery’s impressive wartime history and Schuerch pointed out a few prominent soldiers that people still pay tribute to.

Major Frank W. Tremain and Colonel David Ireland are just two of the numerous Civil War veterans who can be found buried in Spring Forest. Tremain was killed in action in Virginia in 1865 and Ireland came home to marry Sherman Phelps’ niece, Sara Phelps, in 1863, later dying in 1864 before the war ended a year later. According to Schuerch, Phelps had the monument built and set with a full-size Civil War sword in honor of Ireland.

It was also common that wealthier Americans would border graves in cast iron fences, however, most disappeared in World War II when they were recycled as part of the war effort.

Perhaps a more harrowing part of the cemetery’s history is the trend of grave robbing that erupted in the 1870s. There was a dispute in 1884 regarding the embalmment of Robert Phelps and the Phelps mausoleum was broken into. Ever since then, the plot honoring the famous railroad investor has been sealed and left undisturbed.

Before the founding of the Spring Forest Cemetery, the courthouse burial ground was the only allocated graveyard in Binghamton. As Schuerch explained, graveyards in the 18th century were often located in town centers and were relatively small. Only in the 1800s did park-like cemeteries function as outside community spaces and become popularized on the outskirts of cities before the later establishment of state and city parks.

“The Phelps Mansion represents a very significant time in Binghamton’s history when it was a growing and thriving industrial city,” Schuerch said. “We tell the story of the Phelps family and those who came later and then we also do a lot of other local programming like the cemetery tour, to highlight different parts of local history and tell those stories as well.”

For the past six years, the festival has been known as the Harper M. Stantz Music Festival, a tribute honoring the memory of Harper Stantz, a teenager whose sudden and tragic passing shocked the community in 2019. Her spirit lives on, forever tied to this beloved event as a beautiful homage to a girl who loved live music and loved her community even more.

The festival, held in Recreation Park’s picturesque amphitheater, has become a cherished tradition for residents. A wide range of local and regional bands take the stage each year, some performing for the first time. They represent genres as diverse as the audience itself. Bill Van Pelt, 62, a singer and mandolin player for Drifting From Shore, described his band’s music as a blend between bluegrass old-time music and folk Americana.

Pelt described the festival’s impact on the community and the range of music heard throughout the day.

“You can go from an old-time string band like Drifting from Shore and then you’ve got a rock-blues band like Revenants, you know we’re immediately on the heels of that,” Pelt said. “That diversity just rolls all day through the festival. That draws an enormous cross section of the community.”

The music brings people together from all walks of life, creating a space where the community not only enjoys the music but actively participates. The music was the initial reason for the festival’s inception, but it’s the sense of togetherness that has cemented the Recreation Park Music Festival as a cornerstone of Binghamton’s culture.

For nearly three decades, families have gathered on the grass, friends reunite under the cover of trees and neighbors connect and remember Stantz through the shared experience of enjoying live performances. Even the rain couldn’t dampen the spirits of those who came out to support the event this year.

Over the years, the festival has grown from a small, local event into a celebration that raises thousands of dollars for educational scholarships for Binghamton High School students. Much of that is due to the community’s involvement, but it wouldn’t be possible without Jim Reyen, 53, the festival’s founder and producer.

Originally he was inspired to create the festival because he wanted a space in Binghamton to showcase live music. Now, his motivations are far more personal, as it’s a way for him to give back to the community.

The festival’s dedication to Stantz is a testament to the deep ties that bind the event to the community. Stantz’s death shook Binghamton, but it also brought people together in solidarity. Over the years, many have found solace in the gathering, and Stantz’s love of music lives on through each performance.

It’s clear that the festival is more than the music. It’s a reflection of the resilience, spirit and closeness of Binghamton — a place where the community and the festival sustain one another, year after year.

Despite the challenges of weather, loss and time, the festival remains a symbol of what makes Binghamton special — its people. As the event looks ahead to its 30th anniversary next year, there’s no doubt that Stantz will continue to bring the city together, rain or shine.

A community of music enthusiasts gathered to experience an innovative and audience-engaging African-Caribbean jazz group led by Edgar Pagan of Syracuse and featuring five-time Emmy winner Emedin Rivera at the Schorr Family Firehouse Stage on Monday.

Located on 48 Willow St. in Johnson City, this firehouse-turned-performance center hosts a range of shows, from comedy acts to a cappella experiences.

Attendees were welcomed with a dark ambiance and an array of small tables with dimly lit candles facing the instrument-flooded stage. Pagan allowed for a new style of music to be heard, not only among the crowd but his own band.

“I look for people with a special spirit,” Pagan said. “They’re very open to improvisation and they’re comfortable in the moment. Some people aren’t. I’ve worked with musicians that like everything very structured. But you know, one of the things about jazz and the blues is that it leaves room for a lot of interpretation and just having some fun with it.”

The group consisted of Pagan, of Syracuse, on bass and vocals, Jerry Moore of Syracuse on flute and saxophone, Adam Fisher of Syracuse on guitar, Dan Pugh of Syracuse on keyboards and Rivera on percussion.

Pugh’s fluid piano skills set the foundation for a classic jazz tune while Fisher’s electric guitar solo wowed the audience as he added an edgy new sound. In true jazz fashion, improvisation, along with engagement from the audience, created a unique blend of the blues and Latin beats.

Percussionist Rivera, 73, of Landing, New Jersey, began the performance, slithering through the audience while banging a metal wheel that created a bell-like sound to symbolize a train conductor. The intro created a unique start to the setlist, filling the venue with laughter and instantly setting the tone for what the audience would be expecting from the group.

The performance was anything but typical, but the audience was able to see the music come to life one instrument at a time. Each musician brought their own personality to the stage. Rivera showcased his abilities when playing with a drumstick in one hand and his bare left hand to blend jazz and Caribbean percussion beats simultaneously.

Pagan told the audience one of the final songs, “La Musica,” was meant to symbolize how music is all around us in our day-to-day lives. From the simple sound of a handshake to a hug, every noise can become musical. Small hand percussion egg shakers were handed out to the audience to invite the crowd to groove along with the band, showcasing the true meaning of the song.

“I’m from Puerto Rico, you know, so the Latin rhythms, maybe they’re in the DNA or something, because my mom, when she was cooking, she’d be in the kitchen,” Pagan said. “I could hear her doing the rhythms with all the forks and knives and spoons on the table, and I kind of feel the music.”

The setlist came to an end as Michael Carbone, a former director of Binghamton University’s Harpur Jazz Ensemble, was brought out to accompany the band’s final song with his soulful saxophone solo.

“You could tell, the moments when we were like, ‘OK, where’s this going to go,’ but that keeps it exciting and on the edge and fun,” Pagan said. “This time around instead of doing a super polished show, because we weren’t really ready for that, let’s let the audience know and be honest with them. And it seemed like the reaction was nice.”

At first glance, the club’s location at 218 Loughlin Road appears modest. However, after stepping beneath the welcoming “Wilkommen” sign and following the wooded path, the event’s charm began to unfold. Even before reaching the heart of the celebration, lively music filled the air, signaling the festive atmosphere ahead.

Upon arrival, visitors were greeted by the cheerful sounds of a German folk band dressed in authentic lederhosen. Long rows of picnic tables with blue and white tablecloths stretched out under an awning, resembling a Biergarten filled with guests clad in traditional German dress, enjoying classic Bavarian food like beer, bratwurst and pretzels. Hearty laughter filled the air as guests clinked their beer mugs together, danced in pairs in front of the band and sang celebratory songs.

With a history spanning over 100 years, the Binghamton German Club was founded by German immigrants seeking to preserve their heritage through music, camaraderie and the warm spirit of conviviality that continues to define the club’s vibrant celebrations today.

Longtime Binghamton German Club choir member Patty Davern, 75, of Binghamton, has been a member since 1978. According to Davern, the club’s roots run deep.

“I knew the people that built this place, they came over from Germany,” Davern said. “There were a couple men that lived on the East Side of Binghamton. They wanted to have a place to sing. So they were neighbors. They put their two chicken coops together and they formed a little organization that would come and sing German songs.”

The founders’ passion for music laid the foundation for what has become a cornerstone of German culture in Binghamton. Over the years, the club has hosted many traditional German holidays and celebrations, including Oktoberfest.

Binghamton’s Oktoberfest mirrored many traditional festivities found in Munich, commencing with the tapping of the first keg. Other festivities included a lively beer barrel roll, where participants competed to roll a barrel up a hill quickly.

Later in the evening, the event concluded with the Bier Stein hoisting competition in which participants tested their strength by seeing who could lift a one-liter stein the longest.
Angelina Schoonmaker, 39, of Binghamton, the club’s president, shared the significance of Oktoberfest.

“Germany is really so diverse,” Schoonmaker said. “You could be talking to two people from Germany, and there might be, we’ll say, a specific style of dish, right? That [dish may be] very common in one part of Germany and then another part of Germany that person has never heard of it or seen it. I think we do try our best to encompass as many of the different traditions in Germany, just because they are so diverse.”

Anyone interested in experiencing the charm of the Binghamton German Club doesn’t have to wait until next year’s Oktoberfest. The club hosts Friday dinners open to members and the public until the first weekend in December. For non-members, it costs $12, plus $3 for dessert.

The club is also preparing for its upcoming Harvest Fest and welcomes anyone interested. For a $25 annual fee, members get discounted drinks, meals and the chance to volunteer at club events.

The club welcomes anyone who wants to be part of the community. Whether you’re of German heritage or just appreciate German culture, the Binghamton German Club offers a welcoming environment for all to enjoy.

Several venues hosted live music performances throughout the weekend. Each artist had a roughly two-hour set, and a wide range of music genres, like flute, piano and folk music, were featured. Some artists played on both days in different locations, giving attendees a chance to see a handful of sets without having to miss a particular artist.

For the event’s visual component, large organizations, including churches, galleries and artists with large studios, hosted other artists so the majority of the sites along the trail would include several mediums from acrylic to wood. Zoha Khan ‘24, the programs and marketing coordinator for the Art Council, described the process of organizing the trail.

“When it comes to organizing the artists with the venues, that comes down to our site coordinators,” Khan wrote in an email. “They’re the ones who put in the time to speak with venues and artists to ensure that every artist has a place to show their work. Without their work, the Broome Art Trail wouldn’t be possible.”

The first site on the trail, ArtFarm Studios & Gift Shop, is owned by Michael Schnurbusch, 45, of Binghamton. Schnurbusch uses several mediums, including photography and woodwork, but his main attraction for the Art Trail was his stained glass work. He developed his interest in art in high school and decided that he wanted to turn it into a career.

“I decided to take classes at Broome Community College,” Schnurbusch said. “I went the art route, but I realized that anybody can learn art, you can pick up an art history book and know what that’s about, but to really understand art, you can kind of figure that out on your own and what journey to go [on]. So, I switched my major to business so I can know how to market myself and run a business more appropriately.”

On his farm-turned-studio, Schnurbusch hosted Santia Eytina, 33, of Vestal, and owner of the online shop Lambs Wings Connect.

Another location that hosted several artists was the First Congregational Church on Main Street. Here, Brandy Brown, 45, of Binghamton, was selling crocheted garments and paintings from her shop, The Honey Suite. Brown said she had frequently attended the Art Trail but had never gotten involved until she joined the North of Main Community Center as an artist. She explained how four years ago, the Art Council reached out to ask if they would participate in the Art Trail and how they have been a participant ever since.

While many artists said the Council has been supportive of local artists, both Eytina and Brown noted that this was an improvement from previous years. An interview from 2015 with Sharon Ball, a former executive director of the organization, revealed that outreach to Broome County’s artists may have needed improvement.

“The communication part continues to be a challenge,” Ball said in 2015. “Trying to be a source of information for everything — not in this clique or that clique, not favoring one or the other but actually being a neutral promoter of all of the arts and all of the people who support, defend and patronize the arts.”

Many of this year’s Art Trail participants expressed gratitude that the council has been working to improve their programming.

“They’re really supportive of the artists and encouraging us to be ourselves and to put ourselves out there,” Brown said. “A long time ago, when I first started, it wasn’t really like that, but I feel like they’re more into working with the community.”

Southern Tier Actors Read performed three readings of Anton Chekhov’s play, “The Cherry Orchard,” in the Phelps Mansion Museum’s ballroom this past weekend.

“The Cherry Orchard” is set in the waning years of the Russian Empire and follows the Gayev family. Owners of a once-prosperous estate, the Gayevs grapple with its approaching sale, financial struggles and the decline of the Russian aristocracy. Their estate includes their greatest asset, the cherry orchard, which holds fond memories for the family. However, following the sale of their home to Yermolay Lopakhin, a businessman raised as a peasant, the orchard is set to be chopped down and turned into cottages leased to summer visitors.

Director James Michalec MA ‘13, also the owner of the Face It! Theatre Company, shared the play’s central themes.

“’The Cherry Orchard’ itself is a complex play that one can spend a lot of time unpacking,” Michalec said. “Covering things from the changes in late 19th-century Russia, the breakdown of social classes, the rise of new classes of people, particularly the serfs who had been freed and also businessmen.”

Taking place only a few years before the 1905 Russian Revolution, “The Cherry Orchard” depicts the late condition of the Tsarist Empire, where the noble class was quickly losing its lavish lifestyle after the emancipation of their serfs in 1861 and the subsequent rise of capitalists.

While the play is a comedy, it includes tragic aspects like the Gayev family’s loss of their beloved estate and way of life. An example of these intertwined tragic and comedic aspects is the character of Mrs. Lyuba Ranevsky, owner of the estate and its cherry orchard who cannot process that she is losing everything. Lisa Dutcher, of Endicott, played the role in the reading. She described what it was like to portray the character.

“I found her to be incredibly interesting and a bit challenging to portray, just because she has so many different switches in her mood,” Dutcher said. “She’s crying, she’s laughing, she’s ordering servants, she’s excited to be home. I think she also is pretty naive at times about the fact that her most treasured orchard is going to be sold, and then eventually when she realizes it is happening, she falls apart and she doesn’t know how to deal with it.”

Since the performance was a reading, there was minimal movement and technical aspects included, and the actors were lined up behind stands. The stage directions were read aloud at the start of each act to provide the audience with the necessary context, however, the actors used parts of the museum to help tell the story.

“We used the double doors back there,” Michalec said. “Constantly people were coming in and coming out. We had voices behind the door, we had noises behind the door when someone falls down the stairs, and we also use the stage, which is not where we’re standing in the performance. But we use the stage at the very end to establish the demise of the estate and the cherry orchard and a social class and a way of life as the head butler lies clearly at the end of his life.”

While the butler, Firs, played by Bill Gorman, 88, of Binghamton, was only in a few scenes, his character represented the death of the Russian aristocracy. After the sale of the estate at the end of the reading, he is accidentally left behind when the Gayevs leave. In the final scene, there is movement as Gorman climbs onto the stage and acts out Firs’ death, forgotten by the family he served.

Pat Chadwick, 74, of Wappingers Falls, New York, was an attendee who had previously read the play. He described the importance of Firs’ character.

“I loved the old butler, Firs,” Chadwick said. “He didn’t have that many speaking parts and really was a background character as I read the play, but when it was performed I saw that he was the historical context and conscience of the play.”

With little more than their scripts and stands, the actors successfully brought their rendition of “The Cherry Orchard” to life. A blend of comic and tragic elements, the reading gave viewers a unique way to connect to Chekhov’s famous play and its cultural context.

Michalec emphasized the message of Chekhov’s play.

“Change brings with it the good and the bad,” Michalec said. “When change occurs as social orders break down, we really don’t know what’s going to happen next. I think ‘The Cherry Orchard’ underscores what happens to relationships, what relationships look like when they’re under strain and when they begin to break down and that applies through time. Those circumstances change, but the lessons of change and what they do to us remain the same.”