Finding a New Appreciation at Beyond Ballet

Review of Beyond Ballet by the Pacific Northwest Ballet

Written by Newsroom Writer Haley Zimmerman and edited by Teen Editor Lucia McLaren

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I came to Pacific Northwest Ballet’s Beyond Ballet with a bit of skepticism, or maybe insecurity. My experiences of ballet—dance class at age five, occasional viewings of the Nutcracker—were few and far between, and I was supposed to go “beyond”? But I set my fears aside, put on a dress I hadn’t worn since March 2020, and made it to my seat in the very last row of McCaw Hall.

I found myself behind a trio of honest-to-God ballet students, apprentices at PNB, who chatted away about someone’s partnering and someone else’s port de bras, leaving me somewhat in awe. Before the show, three dancers took the stage to be promoted—promotion, I realized, is a big deal in ballet. After the applause from the audience faded, they ducked behind the curtain, where a muffled cheer went up backstage from their fellow dancers. It was a refreshing reminder that for all ballet’s mystique, it’s also a career, and the dancers are out there working hard and celebrating their co-workers. Then the curtain rose, and the mystique was back. Photo by Angela Sterling

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Fall 21: Whim W’Him’s Unique Explorations of Liminality

Review of Fall 21 by Whim W'Him

Written by Teen Editor Triona Suiter and edited by Teen Editor Valentine Wulf

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As we move into the shorter days, Whim W’Him opens their season with their annual Fall Showcase, this year featuring “Nova” by Alice Klock and Florian Lochner, “Underlove” by Mark Castera, and “E=16-0163-TSX” by Rena Butler. Presented as both live performances and as films on Whim W’Him’s streaming platform IN-With-WHIM, these three dances traverse the lands of unreality in ways that manage to hit startlingly close to true.

(The following is a review of the films only, not the live performances.)

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Spooky Ad-Libbing With Horror Unexpected

Review of Horror Unexpected: Spooky Sundays at Unexpected Productions

Written by Teen Writer Elle Vonada and edited by Teen Editor Lucia McLaren

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Improv is a journey that the performers and audience take together. Unlike traditional theatre, it does not go through extensive casting, costuming, or rehearsals. Shows that have been through that process will feel more complete and might be easier to watch. However, the beauty of improv comes from that on-the-spot creativity you experience comparatively to rehearsed shows that will not have that same element of spontaneity. It is imperative that the audience keeps this in the forefront of their mind when watching an improvised performance. Otherwise, it can feel as if the actors are underprepared or incompetent for their roles. At times, it can even be frustrating that the fluidity of the plot isn’t maintained throughout the show. Nonetheless, one must remember there is no set plot beforehand, and this is a compromise the audience makes when choosing to see a live improv show. The show you see one night will be completely different than the show another person sees the next. The beauty of improv is that it cannot be duplicated.

Horror Unexpected is a completely improvised horror story portrayed by actors that, like their audience, have no idea what is going to happen next. The show began by taking suggestions from the audience for a place we spent a lot of time growing up and something our home town is famous for. In the performance I experienced, The World’s Largest Porch Swing and the Everest Mall Arcade were suggested. Three performers began incorporating the porch swing into their scene, while another three actors began their scene at the Everest Mall. The Unexpected Productions performers turned these two places into a scary tale of an arcade and small town attraction gone wrong when reality and a game became one. Photo by Bill Grinnell

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Celebrate the Holidays with Art

Teen Editorial Staff November 2021 Editorial

Written by Teen Editorial Staff Members Esha Potharaju and Triona Suiter

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As we settle into the cozy fall weather, November beckons a slew of holiday celebrations. One way to get into the spirit is by enjoying some good old art, maybe to bond with a loved one you haven’t caught up with in almost two years, or maybe to treat yourself on a solitary afternoon. In the coming month, the TeenTix Newsroom will be hurtling through ballet shows, film classes, timeless plays, and holiday thrillers—and we hope you can join us in the journey.

To kick off the month right away with a healthy dose of feminism, we highly recommend checking out From Heartthrob to Movie Star at SIFF on November 4th. This virtual class focuses on the power of stories written specifically for a female audience and the importance of continuing to tell these stories despite the film industry’s increasing disregard for their value. Or, if you’re interested in female empowerment but want something a little more self-guided, Henry Art Gallery is hosting Diana Al-Hadid’s Archive of Longings exhibition, which will showcase sculptures exploring the natural world, Syrian and Muslim histories, and the female body.

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La Bohème Lights up McCaw Hall After 18 Months of Darkness

Review of La Bohème at the Seattle Opera

Written by Teen Writer Adrian Martin and edited by Teen Editor Disha Cattamanchi

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McCaw Hall opened its doors for a Seattle Opera performance for the first time since the pandemic. La Bohème, a hundred year old story of love, loss, and illness, was made especially potent as the first show at McCaw Hall in 18 months.

La Bohème follows young Parisian artists Rodolfo and Marcello as they fall in and out of love. Rodolfo meets sweet-girl-next-door Mimi, and their love—as well as their subsequent tragedy—become the heart of the show. Musetta, a friend of Mimi’s, carries a more comedic, on-again-off-again romance with Marcello. The underlying fear of disease and how it interacts with the characters economic status as artists is a tragically age old story. It’s a story that felt heartachingly familiar in the midst of the pandemic. Similar to these four characters, there were many artists putting their bodies on the line in this last year, making La Bohème a thoughtful and timely choice from the Seattle Opera.

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Contact High: Intimate Looks at some of the Most Iconic Photographs in Hip-Hop

Review of Contact High: A Visual History of Hip-Hop at MoPOP

Written by Teen Writer Ruby Lee and edited by Teen Editor Esha Potharaju

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MoPOP, formerly known as The EMP, has always been the epicenter for all things pop culture, art, and music in Seattle and is constantly showcasing art in innovative ways. Contact High: A Visual History of Hip-Hop is no exception. This exhibit features four decades of hip-hop through film and digital photography, giving visitors a chance to know what photos didn’t make it onto classic album covers and magazine spreads while overall celebrating the culture and craft that is hip-hop.

Rickey Powell’s work welcomes me at the entrance, a magnificent glowing wall with some of Powell’s original slides from the 80s and 90s. Seeing familiar faces like rapper Chuck D of Public Enemy and TV host Oprah excited me for the work ahead. Throughout the first space of the exhibit, contact sheets (a preview of all the images on the roll of film), framed prints, and magazine spreads tell magnificent stories. It was at this moment that I understood “visual history” to be a completely accurate description of the exhibition.

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The Complex History of Humans and their DNA

Review of Dr. Kathryn Harden's Why DNA Matters for Social Equality at Town Hall Seattle

Written by Teen Writer Aamina Mughal and edited by Teen Editor Eleanor Cenname

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Ideas of social equality and their intersection with genetics are rightfully met with hesitance. Our perception of the field is often marred with stories about how pseudoscience was used to justify racial inequality and ideas of racial superiority. Pseudoscience being used to justify horrendous antisemitism fills the topic with memories of Nazi Germany. The perceived “science” of the time was used to give grounds for the idea that non-Aryan people were genetically lesser, and led to horrifying events like mass genocide, and more specifically as a justification for mass sterilization. At the same time, in our current political landscape, political extremist groups and white supremacist ideology invoke the very real fear that such ideas are making a comeback. Dr. Kathryn Harden navigates these connotations, but sees the intersection between genomics and social issues differently. Dr. Harden, a clinical development psychologist and author of “The Genetic Lottery: Why DNA Matters for Social Equality '', discussed these issues at Town Hall Seattle on Tuesday, October 12, in a lecture promoting her book.

As Dr. Harden explained, DNA and human genome sequencing is becoming an increasingly lucrative technology. She argues that such technology can be used to elicit social change and examine social structures in our society. Dr. Harden, in her work as a psychologist, studies inequality of outcome and how people are channeled into certain outcomes in their lives. In other words, her work examines the aspects of one’s life that lead them to specific places and how early those aspects begin to dictate the rest of someone’s life. Dr. Harden focuses on psychiatric and genetic disadvantages that have significant outcomes, as she explained through her lecture. The human genome is composed of nucleotides, represented by the letters A, C, G, and T, which dictate certain parts of a person’s phenotype, or genetic presentation. Everyone’s DNA is made up of different nucleotides that make them the specific, unique person they are. Dr. Harden uses what are called Genome-Wide Association Studies which measure single-letter differences between nucleotides across a sample group of genomes. Using these measurements, a polygenic score is created, which denotes the effect genetic variants may have on an individual. Essentially, the score tells us how likely an individual is to have a given trait.

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Seattle Opera x TeenTix Internship Applications Open Now!

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TeenTix and the Seattle Opera are collaborating to host a new internship position in Winter 2022. This five-week internship will take place at the Seattle Opera, January 24–February 25 (with some flexibility). The work schedule is approximately 15 hours a week. TEENTIX INTERNSHIP AT SEATTLE OPERA

Are you a storyteller who wants to work in the arts or for a nonprofit someday? Are you passionate about making the arts a space where more young people and People of Color feel seen and represented? Or—are you an artist who wants to learn about how to market your work? The TeenTix Internship at Seattle Opera is the ideal opportunity for you!

Currently, Seattle Opera’s marketing and communications department spends a lot of time trying to provide context about old works for our adult audiences. How should we be telling these stories today, in 2021? What kind of context would attract young people to attending an opera? Bring your ideas to a major arts organization while gaining real-world experience. With supervision from both TeenTix and Seattle Opera staff, the intern will serve as a youth adviser for Seattle Opera’s marketing efforts, and help the company inspire more youth to attend Seattle Opera events and performances.

Interns will focus on communications surrounding the opera Blue, and gain experience in supporting the success of a production through social media copy, email copy, press releases, blog articles, interviews, and more. Blue is an award winning opera about contemporary African American life, love and loss, church, sisterhood, and most importantly, family. The story follows a Black family in the joy of the birth of their son, and later in the grief of his death at the hands of a police officer. This story contains difficult, complex, and emotionally nuanced themes that the intern will learn to navigate and present from a communications perspective. An example of what Seattle Opera does to help unpack how opera resonates today is our Community Conversations series. In April 2019, the conversation "Decolonizing Allure" featured Women of Color artists such as Perri Rhoden, Sara Porkalob, and Aramis Hamer prior to the company's mainstage performance of Carmen. Sunny Martini photo

WHO SHOULD APPLY

- Teens interested in the arts—music and opera experience are not required.

- Applicants should be 17-20.

- People of Color are strongly encouraged to apply.

COMMITMENT TO RACIAL EQUITY

Seattle Opera is committed to dismantling historic barriers of oppression, and to fostering racial equity. Through ongoing learning and evaluation of our work, by centering communities of color, and by building authentic partnerships, Seattle Opera believes we can transform our art form, and our world.

TeenTix is an anti-racist organization that is actively working to identify, name, and correct institutionalized racism and constructs of white supremacy within our own organization, and to help our partnered arts and culture organizations do the same. Our programs work to uplift marginalized voices in arts leadership and arts journalism, and to increase access to art.

COMPENSATION

The TeenTix Internship at Seattle Opera is a paid internship ($16.69 an hour; approximately 15 hours a week).

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No Tricks, Just Treats

Teen Editorial Staff October 2021 Editorial

Written by Teen Editorial Staff Members Eleanor Cenname and Valentine Wulf

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During this predictably cold and dreary season, we believe in seeking out the treats. Maybe that means ingesting a veritable bathtub’s worth of pumpkin spice coffee products, cracking open the old autumn sweater collection, or, if you are anything like us, becoming over-excited by the three new Light Rail stations. As you remember to treat yourself this month, let us also treat you with some fantastic art. Our upcoming reviews will guide you through just some of the arts events that we hope you will explore this month!

First up, we’ve got the Duo Comedy Showcase at Unexpected Productions! This open mic improv event is Every Wednesday from September 29 to December 29. Anyone can sign up to perform improv with a partner in front of a crowd. The Duo Comedy showcase is a great way to practice your improv skills, build your confidence onstage, or just have some fun with a friend! A mixture of experience levels makes this event wild from start to finish for both the crowd and the performers.

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Film as a Medium for Change at Local Sightings Film Festival

Review of Local Sightings Film Festival presented by Northwest Film Forum
Written by Teen Writer Stella Crouch and edited by Teen Editorial Staff

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The Local Sightings Film Festival is continuing to thrive in its 24th year. It is the only film festival in Seattle dedicated to Pacific Northwest films. The Northwest Film Forum was founded in 1995. It has kept Seattle’s film culture alive through its countless festivals, even through the ongoing COVID-19 pandemic. Last year, the Local Sightings Film Festival was held entirely online and now this year’s has been held hybrid, showing films both in person and in a virtual, COVID-safe manner. This year's festival has shown a wide array of genres and narratives with their only commonality being their connection to the Pacific Northwest. Regardless of their many differences they all feel as though they belong and there is something for everyone to appreciate.

Occupying the Megalopolis

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Come Home to Safety, Love, and Joy

Review of HOMECOMING Performing Arts Festival presented by Intiman Theatre
Written by Teen Writer Ava Carrel and edited by Teen Editor Lucia McLaren

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Last weekend’s HOMECOMING Performing Arts Festival from Intiman Theatre was a true celebration of joy. Walking into the festival, the love and effort could be immediately recognized: the patterns on the wristbands were beautifully drawn and the staff had towels on hand, constantly wiping seats off to make the event more accessible for their disabled or older guests. The pride was clear and well deserved.

The media constantly bombards us with news and images of trauma, loss, and marginalization—with the immense suffering of marginalized people becoming a staple in news today. Desensitization to such topics is becoming increasingly, and worryingly, normal. While it's essential to recognize systemic challenges to be able to invoke change, it’s just as important to showcase the togetherness and joy of POC and LGBTQIA+ communities.

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Witnessing Human Vulnerability Through an Insightful Polish Production

Review of Never Gonna Snow Again presented by SIFF
Written by Teen Writer Malak Kassem and edited by Teen Editor Valentine Wulf

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Never Gonna Snow Again is a Polish production directed by Małgorzata Szumowska and Michał Englert. The film emphasizes hardship, the challenge to accept personal flaws, and the battle to be one’s best self. Zhenia (Alec Utgoff) is a Ukrainian masseur who works in Poland. He gives massages that have radioactive powers, which work against high stress, exhaustion, and short-term depression by casting a spell and instantly putting patients to sleep, which is followed by great relief from the individual. Zhenia’s skills and powers are demanding in this uniformed, isolated town where houses are identical, door bells have the same tune, and the sky is never blue. The neighborhood lacks vibrancy, color, and driven individuals. Except for the sounds of clocks ticking in dining rooms and barking dogs going for walks, the neighborhood is hushed. The combination of lighting, sound, and the actors’ dull tones create an eerie atmosphere.Actors are in character and are in sync with one another. They live realistically within their roles. Never Gonna Snow Again’s characters are portrayed in a subtle and mysterious manner. Characters have an analytical mindset and are direct with the expression of their inner thoughts when it comes to their personal struggle and depression, especially around Zhenia. The people in this town are shameless and awkward in their interactions. Film still from Never Gonna Snow Again, directed by Małgorzata Szumowska and Michał Englert

Szumowska and Englert represent how the concept of internal struggle appears differently depending on the personality it affects. Zhenia had his own struggles and trauma. Zhenia is portrayed as a therapist, proving that therapists, counselors, and the people we rely on have their own stories too. A person behind closed doors is different from how they may seem in public. Everyone makes an enormous effort to represent their best selves in public spaces and platforms. It is not a coincidence that Zhenia refuses to be seen as an emotionally broken person except during this one instance, when he had drinks with the gatekeeper who is also Ukrainian. Perhaps Szumowska and Englert believe that it is only natural that people feel more comfortable around those who come from the same background, especially on foreign land. Immigrants and foreigners tend to create micro-communities to build a safe, gated, and trusted space for each other. Zhenia creates a bold, charming, and reliable image for himself which lures his patients to unfold and reveal their weaknesses in his company. Ironically, he is Ukrainian and they are Polish, going against the theory of trusting those from similar backgrounds. Zhenia is a one-way valve to vulnerability. Though he refuses to express vulnerability to others, they find him to be a confidant. The film highlighted some important motifs that are present in the real world that society tends to overlook, such as internal struggle, overcoming personal flaws, the challenge of living on foreign land, the importance of expressing yourself, societal pressures, the ugliness of the truth, and the realization that being hidden is better for your public image. The sun's lack of appearance in the movie symbolizes that happiness doesn’t follow people, but that people destined to be happy are the ones that go find it. Despite the film’s thoughtful ideas and messages, at times it was repetitive, and many scenes were predictable. There were some scenes that felt empty, and the movie would have been better without them. The story line was vague and there wasn’t a hook that had me at the edge of my seat. More dialogue and action could have improved the piece. Overall, Never Gonna Snow Again is a well thought out film with intriguing themes, but the slow pacing makes it hard to sit through. A short film could have gotten the same message across while keeping it engaging.

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Announcing the Mentorship for Teen Artists of Color Winter 2022 Cohort!

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TeenTix, in partnership with The Colorization Collective (a teen-run organization that promotes diversity in the arts) is excited to announce that applications for the 2022 Winter Cohort of our Mentorship for Teen Artists of Color (M-TAC) program are open! This program will specifically allow teen artists of color to hone their artwork under the guidance of professional mentors of color. This is a great way for teens to better their craft, build connections in the arts community, and present their art!

This mentorship is for teens interested in music (singing, composition, instruments, DJing, etc.) and writing ((journalism, fiction, creative nonfiction, poetry, screenwriting, etc.) (painting, drawing, sculpture, etc.) Teens will be put into either a music or writing cohort, and each group will be paired with a professional artist/mentor of color to create or workshop a piece specifically for the program showcase.

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Back in School, Back in Business

Teen Editorial Staff September 2021 Editorial

Written by Teen Editorial Staff Members Disha Cattamanchi and Lucia McLaren

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While 2021 renews the all-too-familiar challenges of last year, it also brings something a bit more hopeful: a fall season full of new opportunities. The pandemic may not be defeated, but we are learning to adapt and minimize its spread, which means (you guessed it!) in-person events are returning. So as students pack their bags for the semester and the weather gets cooler, look to see what art we’re reviewing this September.

If starting school again makes you want to get on your feet and dance, then going to an in-person dance event may be just for you. Let ‘im Move You: This is a Formation, a contemporary dance performance at On the Boards utilizes themes of Black Femme and queerness to tell a vivid portrayal through dance. Whim W’Him is also presenting exciting performances with Fall 21 to get your spirits running high and ready for school. If dance isn’t what you’re looking for, you’re in luck. TeenTix LA has recently expanded to LA, and we will be are featuring the TeenTix LA staff to learn about the arts landscape in LA and what it’s been like to open a new branch of TeenTix.

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Announcing the 2021/2022 Teen Editorial Staff!

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TeenTix is proud to announce the 2021/2022 Teen Editorial Staff. This year's Teen Editorial Staff (TEDS) is comprised of six teens: Disha Cattamanchi, Eleanor Cenname, Esha Potharaju, Lucia McLaren, Triona Suiter, and Valentine Wulf. The TEDS are the leaders of the TeenTix Newsroom, and work to curate reviews and arts coverage for the TeenTix blog. Teen Editorial Staff members decide which TeenTix Arts Partners' events to cover each month, write an editorial about their curatorial choices, and assign Newsroom writers to review each event. TEDS members interface with TeenTix Arts Partners to set up press tickets for each review, and edit all Newsroom writing before it is published on the TeenTix blog. The Teen Editorial Staff is a group of skilled writers, editors, and leaders, who keep the pulse of the TeenTix Press Corps and the Seattle arts scene.

Statement from this year's Teen Editorial Staff:

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Using Film as a Lens for History: Two Views on Fritz Lang’s Metropolis

Review of Metropolis

Written by Teen Writer Yoon Lee and edited by Teen Editor Lily Williamson

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The 1927 Fritz Lang film Metropolis is among the most influential films to ever exist, spawning discussion and setting standards that would influence the entire science fiction genre going forward. However, as is the case for any near-century-old film, many aspects are impossible to address without considering the historical context of its creation. As such, interpretations of this film from any time period can be an opportunity to further understand its context, and the viewpoints of those that viewed it in its prime. Among the best ways to pursue this opportunity is to view the reviews and critiques by audiences of the time. Of the multitude of high-profile figures that viewed and spouted their (often disapproving) takes on “Metropolis,” among them prolific science fiction author H. G. Wells, an often overlooked 1929 review is that of Shim Hun. This oversight is both due to the non-Western nature of the review, being written by a Korean, and due to Shim being an author targeted by Imperial Japanese censorship and subjugation.

Metropolis is a German science-fiction drama that presents a futuristic utopia existing above a bleak underworld populated by mistreated downtrodden workers. When the privileged Freder discovers the poor, and often fatal, conditions under the city, he becomes intent on helping the workers. He befriends the rebellious teacher Maria, who preaches to the workers of Metropolis, but this puts him at odds with his authoritative father Fredersen, master of Metropolis. Fredersen seeks out the deranged genius Rotwang to impersonate Maria so that the workers can be fooled and controlled. Brigitte Helm in Metropolis, 1927.

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Art Goes Hand in Hand with Science: A Talk With Temple Grandin

Review of Dr. Temple Grandin with Dr. Jim Heath presented by Town Hall Seattle

Written by Teen Writer Esha Potharaju and edited by Teen Editor Anya Shulka

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“Arts foster scientific success,” said Dr. Temple Grandin, a woman of many accomplishments, in a presentation I was lucky enough to catch at the Seattle Town Hall. An animal behaviorist with numerous scholarly articles published, Grandin has designed systems to handle half the cattle in America. Beyond her scientific contributions, Grandin is a renowned autism spokesperson and advocate. In 2010, HBO released the award-winning biopic Temple Grandin based on her memoirs.

In her presentation at Town Hall, Grandin broke down different types of thinking: visual thinkers, pattern thinkers, verbal thinkers, and auditory thinkers. While Grandin didn’t mention much about the latter, verbal thinkers love to memorize facts and history, visual thinkers love art and have natural mechanical ability, and pattern thinkers excel at math and music. Grandin herself is a visual thinker: she explained how she did not talk until she was about four, but was very artistic by that age. “You see, engineers calculate things,” she noted. “Visual thinkers can see it.”

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We the People: Stand Up For Our Democracy

Review of Stand Up Seattle: The Democracy Project, presented by Museum of History and Industry

Written by Teen Writer Disha Cattamanchi and edited by Teen Editor Lily Williamson

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The past couple of years have been embroiled with conflict and controversy—from a grueling year of the pandemic to an election that forced our political system to go under incredible scrutiny moreso than any other time in the past decade, the United States has been in a state of reflection. In fact, it could be said that the whole world has been in a state of reflection about the policies (explicit and implicit) that govern our social, political, and environmental issues. However, the lens that we have viewed news through has been on a more global or national scale, rarely exposing the unsettling truths about our ignorance locally. Common news coverage for most Americans, such as CNN, FOX, ABC, and MSN, covers a more national perspective in representation, rarely zooming in on Seattle. This local perspective is tackled by Stand Up Seattle: The Democracy Project, an interactive exhibit at the Museum of History and Industry (MOHAI) that explores social justice issues in an artistic yet informational way. Stand Up Seattle neutrally covers a wide variety of topics, such as Asian-American immigration, Black Lives Matter and LGBTQ+ protests, environmental issues, news resources, systemic racism, and involvement in democracy. With exhibits that engage your sight, hearing, and touch, Stand Up Seattle is a phenomenal localized outlook on Washington’s democratic history.Photo courtesy of Museum of History and Industry.

The doorway into Stand Up Seattle is the viewer’s first immersion into the interactive atmosphere of the exhibit. A walkway that surveys the visitor’s involvement in democracy ensures that visitors of all ages will have an immensely fun time going through the interactions. The entirety of the exhibit is displayed in the national—and very patriotic—red, white, and blue. The exhibit has a wide array of artifacts, such as a harpoon head from the Makah tribe’s whaling culture in the 1800s, to Pride T-shirts from recent protests, which are displayed throughout the exhibit. Materials used in Seattle protests were also shown to the public. It was an unsettling experience to see a spent tear gas canister, gas masks, and bottles of eyewash all right next to me. By displaying these objects that were key parts of protests, the exhibit attempts to accustom visitors to vital social justice history in Washington. It brings a nuanced depiction to marches and protests we may have only visualized in our heads or seen on our screens, humanizing the protesters that were on the streets fighting for their rights.

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When Social Media, Spanglish, and Shakespeare Meet, Romeo y Julieta is the Result

Review of Romeo y Julieta, presented by Seattle Shakespeare

Written by Teen Writer Katherine Kang and edited by Teen Editor Lily Williamson

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Romeo and Juliet is a classic play that almost every student is familiar with. But what if the script was modernized to include trends that Gen Z-ers are familiar with, such as Instagram, TikTok, and even masks?

Seattle Shakespeare did just that with its production of Romeo y Julieta, a multilingual adaptation of the famous and bitter love story of Romeo and Juliet. With a gender-bent and diverse cast, the production was a perfect way to begin Pride Month. From the allusions to queer culture to a Spanish, English, and Spanglish script, this show was a celebration full of love, drama, and emotion.

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Art in Stages with HUE Festival’s Homecoming

Review of Homecoming, presented by Seattle Public Theater

Written by Teen Editor Lucia McLaren and edited by Teen Editor Anya Shulka

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When I think of art, I imagine a piece that’s been worked to finality by its artist—and chances are, I’m not the only one. American society treats movies, music, and visual art as completed pieces on platters readily served up to a crowd that’s eager to tear them apart. But is this right? Is art only art when it meets some arbitrary benchmark of being “finished”?

HUE Festival, produced by the Seattle Public Theater, states its goal is to highlight shows by women of color playwrights and to “provide these new works with an opportunity to live and breathe before a community of theater lovers while also giving playwrights the opportunity to hear their work out loud for future development.” Starting on June 9 with Homecoming, written by Sandra Holloway and directed by Valerie Curtis-Newton, a series of plays are presented online with the same goal in mind.

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