The Heartbeat Magazine | Spring 2024 Inaugural Issue

1 Student Artists League

Spring 2024 Issue

We dedicate our inaugural issue to the Quinnipiac Theater community.

Our hearts are with you.

in this issue A Victory That Made History pg. 6

Julia Targrove reflects on Quinnipiac Dance Team’s historic competition at UDA Nationals in Orlando.

Arts at Quinnipiac: Changing the Culture pg. 11 Ryan Hagerman shares his perspective on how the visual and performing arts can positively impact campus culture.

Founded in 2022, the Student Artsts League promotes and advocates for the unification, development, and recognition of the visual and performing arts at Quinnipiac University.

SAL Media Team Editor-In-Chief Grace Doyle Creative Director Sean Formantes

We Need an Alma Mater Tune pg. 12

Contributing Writers Taylor Dilisi Sean Formantes Ryan Hagerman

Sean Formantes explains why Quinnipiac should have a tune before 2029.

SALuations Podcast Hosts MollyAnn O’Malley Tristan Ournac

Reclaiming the Bimbo Label pg. 14 Contributing writer Taylor Dilisi delves into bimbo culture and its impact on her style.

Measured in More Than Numbers pg. 16 Sean Formantes reflects on the creation of SAL and the impact of the arts on college education.

ULTRAVIOLET Show pg. 20 Pictures from a student rock band performance at On The Rocks.

The Heartbeat Magazine is a publication of the Student Artists League, a recognized student organization at Quinnipiac University in Hamden, Connecticut. The Heartbeat is published once a semester. For more information and to reach out with story tips, email Editor-in-Chief Grace Doyle at grace.doyle2@quinnipiac.edu

2023-24 Executive Board Founder and President Sean Formantes VP of Events and Programming Qadira Shaw VP of Media and Publications Grace Doyle Co-VPs of Public Relations Aidan Truckenbrod Nathaniel Legros Secretary Enike Etsekhume Treasurer Jeffrey Cormier Fundraising Chair Ryan Hagerman

The views expressed in the perspective section are those of their respective authors and do not necessarily reflect the views of the QU Student Artists League.

Printed By TYCO Print, New Haven

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editor’s note “Creativity takes courage.” - Henry Matisse “The Heartbeat” has been years in the making.

Ever since the founding of the Student Artist’s League two years ago, an arts and life magazine has been a concept in the works. After tireless efforts from our editing team, we are beyond excited to bring “The Heartbeat” to you.

I joined SAL after completing my first year of undergrad at Quinnipiac. After arriving from a performing arts high school, I noticed an extreme lack of representation for the arts on campus, despite the ever-increasing number of artists on campus. At SAL, we recognize the work that students create, as well as advocate for the protection of arts programs on campus.

Our organization has grown tremendously within its short period of existence, and we have already left a noticeable impact on the Quinnipiac arts scene.

Investment in the arts and humanities has steadily declined across universities; yet, I remain hopeful for our future. Investing in the arts is an investment in one’s future, as it produces self-expression, creativity, and heightened communication skills. Further, it allows a means for friendships to form through shared interests and ideas. Education is a lifelong pursuit, and to lose the arts in a college space is to dispel the idea that we can acquire knowledge strictly for human fulfillment.

SAL’s goal for “The Heartbeat” is simple: to promote all that we have created, and all that is left to create. Through this magazine, we envision our future; as individuals, as an organization, and as a university.

Grace Doyle, E.I.C.

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news

A VICTORY THAT MADE HISTORY Julia Targrove reflects on Quinnipiac Dance Team’s historic competition at UDA Nationals in Orlando.

By Sean Formantes HAMDEN, CT -- The Quinnipiac Dance Team keeps dancing their way to victory.

In January, the team competed at the Universal Dance Association (UDA) College Nationals in Orlando. For the first time in their short history, they placed fourth in the D1 Pom category against other schools in the nation, earning the highest score they have ever received.

“We have 22 girls,” said Dance Team President and CoCaptain Julia Targove. “We dance at all home mens and women’s basketball games… QThon, on-campus events, and acrobatics and tumbling [meets].”

Targove’s roles allow her to lead the group in two different functions. The first is the administrative end, where she focuses on how the team would go about paying to compete in the competition. Like many other organizations on-campus, the group is no stranger in needing to secure funding. The team charges dues and holds fundraisers on top of them. The second role is that of the captain, which involves being a supportive role model and a cheerleader for the team.

Targove has been dancing from a young age. One might be surprised to hear, however, that the group’s President was not planning to continue dancing in college.

“Once I came to school, I decided that I wasn’t going to dance originally,” Targove admitted. “Just because senior year [of high school], I didn’t get the chance to do that much because of COVID.” But coming into Quinnipiac, Targove personally knew someone who was on the team who encouraged her to try out. That moment rekindled Targove’s love for dancing once again.

During her sophomore year, the team started to really work on competing at nationals. To her surprise, Targove was starting to prepare to compete once again.

“I was like, ‘Wow, this is really getting real for me.’ I didn’t think I was gonna compete again.”

That same year, the team started performing at home basketball games for the first time since the pandemic, allowing more visibility for the group, and with that, support from newfound fans. Targove ran for president towards the end of her sophomore year.

The preparation for the Orlando competition began way before the fall semester started. In July, the team went to UDA Camp at the University of Scranton. This allowed the team to not only grow closer together, but to improve their skills and techniques before they returned to Hamden.

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Early into the season, the Dance Team competed at a regional competition. Although the competition was not required to earn a spot in the national competition, the pros of competing were clear.

“There were only a few teams there,” said Targove, “but it’s just to get some performance practice, see how we’re ranking against other teams in our category.”

Competing at nationals is fairly new to the Dance Team, which is only in its fifth season and third year performing on a national stage. Having placed against other top teams across the country, Targove admits, “was a great accomplishment.”

In Orlando, the team competed in three different division 1 categories: gameday, jazz, and pom.

“In each of those categories, there’s about twenty to thirty other schools competing.” It was only Quinnipiac second year competing in the pom category.

The competition would not start until a Friday, but the team made sure to get to Orlando earlier. They traveled on a Wednesday, and were able to practice on the backstage mats on Thursday.

It was not long until Friday came. The stakes were high – unlike regionals, the national competition has an elimination stage. In order to advance, teams need to place in the preliminary or semifinal rounds. The teams are then ranked, and only the top 50% of teams at each stage move on.

Gameday was the first category the team competed in. The team performed at 8am on Friday morning, and proceeded to compete in the final round that afternoon. Quinnipiac took seventh place in the category.

Immediately after, the preliminary round for the jazz competition took place that evening, where the Bobcats qualified for the next round.

On Saturday, Quinnipiac competed in the semifinal round for the jazz category. They did not advance to the final stage.

“We were so close,” said Targove. The team placed 11th in the category, while the top ten moved on.

Then, it came time to announce the teams for pom finals.

“We first didn’t think we made it. We were all sitting in the audience, all upset because they were announcing all these amazing teams.”

“These girls are literally my second family ... I wouldn’t want to share this expereince with anyone else.”

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The moment Quinnipiac was announced is a fresh memory to Targove.

“You could see the defeat on all our faces. We thought we did so good. And then they announced our name… and we’re like ‘oh my gosh, we did that.’”

The awards then took place on Sunday. The anticipation was building up once again, as the announcer proceeded to read up the ranks. When they got to the sixth place winner, the previous year’s champions were announced.

Quinnipiac took home fourth place in the pom category – an amazing accomplishment, and a record for the group.

As soon as Quinnipiac was heard over the loudspeaker, the celebration began. Targove reflects on it as being “the best feeling in the world.”

“These girls are literally my second family. We’re always hanging out. We’re always doing stuff together. At practice, it’s such a good environment. It’s a place where I feel like we can all escape if we have a lot going on. They have changed my life. They’re the best teammates, the best friends, and I wouldn’t want to share this experience with anyone else.”

Julia Targove

Although Targove’s time in the team is coming to an end – along with the rest of its first graduating class – she hopes that the group continues to grow.

“Joining the dance team probably is the highlight of my time here at Quinnipiac. It’s made me so many new friendships. We made history in Quinnipiac, which is so fun. And it’s nice to say that I was part of the first team that ever went to nationals from Quinnipiac. We’re the first team that got the highest score and placed in the top five. So, that’s definitely special for me.”

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perspectives

Arts at Quinnipiac changing

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culture

By Ryan Hagerman It is often lamented by students and staff alike that Quinnipiac’s campus has a problem. Students choose not to engage in activities, which creates a negative feedback loop of decreasing funding and decreasing satisfaction with life on campus. It doesn’t have to be this way: as a University and as a community, we can choose to be proactive rather than reactive. If we want to support a healthy campus culture, the first place to start is in the arts.

When someone sees or hears the word “art”, they may think first of visual art. In fact, our first experience of something being called “art” is often the finger painting or coloring book drawings we make as young children. From there, our education broadens our horizons and we learn about oil paintings and sculptures and all of the different forms and medias of art. However, something inside of us still internalizes those first experiences with crayons, markers, and colored pencils. There’s a reason why the most successful events across student organizations tend to be coloring nights. There’s something about sitting down with a page out of a coloring book and carefully coloring inside the lines to recreate a recognizable image that speaks to our inner child – that gives us the break from all of our worldly stresses that we yearn for. Beneath all of the exams and papers and projects of college, a little part of us is still that kid, with limitless imagination and endless worlds to create.

We have the opportunity to use these insights to expand the footprint of the arts at this school. If something as simple as coloring, which takes very little financial investment, can make such a profound impact on engagement, what can happen if we invest in strengthening other areas in the arts? I find that every

time a group of student leaders sit down and talk with staff and administrators, the topic most often discussed is our campus culture. While no one can magically wave a wand and create a perfect culture, it is important for us to think about what our individual versions of a perfect culture look like. While there will undoubtedly be much variation, common themes might include respect for different backgrounds and beliefs, a strong sense of community pride, and a place where everyone feels comfortable with and valued by those around them. The key to creating those things is art. When we create art together, we share our vulnerabilities and experiences in our art. Through such diverse mediums as drawing, sculpting, writing, singing, dancing, or acting, we create a little piece of ourselves to share with others, and it greatly influences how we choose to interact with each other. If art can leave the negative feedback loop, it can create a positive feedback loop. If we fund infrastructure and programming to support the arts, the arts will in turn support us.

This is why it is so exciting to see the Quinnipiac University administration giving attention to the arts and our community of artists. Both myself and SAL President Sean Formantes have met with CXO Tom Ellett and Provost Debra Liebowitz, and have been encouraged by the support we have received. The new multi-use student spaces in the South Quad are the future of the arts at Quinnipiac, and the potential for a great culture is there – as long as we keep up the pressure and the passion. We can see the light at the end of the tunnel, and we need your support to get there. If you show up to arts events, register for arts classes, and take part in important cultural discussions, you are the change and you are the future.

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We Need an Alma Mater Tune

By Sean Formantes

Traditions are an essential component of any college experience. From special events, to sports games and strong rivalries, to rubbing a statue of a mascot, traditions create a sense of heritage, school pride, and cohesive unity amongst the university community.

Another tradition found at many most colleges and universities in America is the singing of a school song, called at colleges as an “Alma Mater” tune. By this, I’m not writing about a fight song that is played at sports games (I will save my opinions about the “Bobcat Roar” for another time). I am writing about a school song that generates pride for the university as a whole, and evokes a sense of history, heritage, and overall college spirit. These tunes are generally slower, and reflect on what it truly means to be a part of a specific college.

There are many references in the lyrics that generate a reverence for “Old Connecticut.” It references “fellowship” amongst the UCONN community, “backing [their] teams in the strife” during game day, and pledging their ‘steadfast spirit of loyalty” to their university, its values, and what their institution means to them. In short, alma mater tunes generate pride, unite the entire university community through tradition and the unified statement of values, and generate heritage.

“In after years, should troubles rise / To cloud the blue of sunny skies, / How bright will seem, through mem’ry’s haze / Those happy, golden, bygone days! / Oh, let us strive that ever we / May let these words our watch-cry be, / Where’er upon life’s sea we sail: / ‘For God, For Country, and for Yale!’”

Quinnipiac should have this type of tune. The University was first founded in 1929, which means that we are ever so closer to reaching our centennial in 2029. Over a short period of time, we’ve gone through a lot of history: from the days of Samuel and Irmagarde Tator, to our phase in New Haven as the C.C.C., then J.C.C., and then Quinnipiac College, to our expansion into Hamden and national exposure under the successful tenure of President Emeritus John Lahey, and the further improvement of our school under the collective work of its current administration and leadership under President Judy Olian. We can reference things in a tune which are special to Quinnipiac and make it a college unlike any other, such its location “Underneath the Sleeping Giant” (which I recommend as the title for a potential tune), its amazing hockey teams (Go Bobcats!), and the ambition that is unleashed through every student on this campus.

Imagine being a student at Yale and singing these words; being so proud of your university that you proclaim your love for it and how you will cherish your college friendships for the rest of your life. This song is not just a happy tune – it is a pledge to the university and what it represents, alongside a representation of tradition and heritage. Another example comes from the University of Connecticut.

Quinnipiac has the history, the tradition, and the collective experiences amongst its community. What we need now, more than ever, is a culture of pride. If we’re proud of our University, we will be further driven to work together, as a whole, to better it. Pride not only unifies, but is a strong enough force to create the culture shift which is needed to create the University of the Future we so desire.

“Once more, as we gather today, / To sing our Alma Mater’s praise, / And join in the fellowship strong, / Which inspires our college days. / We’re backing our teams in the strife / Cheering them to victory! / And pledge anew to old Connecticut, / Our steadfast spirit of loyalty. / Connecticut, Connecticut, / Thy sons and daughters true / Unite to honor thy name, / Our fairest White and Blue.”

Here’s my grand idea: we should have an Alma Mater tune created before our University centennial in 2029. That way, we can all sing it collectively, as one Bobcat Nation, together at whatever large event will be planned for its celebration. We will be able to reflect on Quinnipiac’s past, what the institution means to us, and where we’re going in the future.

Take, for example, some alma mater tunes at other Connecticut universities. The first one I’ll give is from Yale, entitled “Bright College Years.” Sung to the tune of an old German patriotic march, the second verse reads:

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Reclaiming the Bimbo Label

By Taylor Dilisi

Avril Lavigne, Brittany Spears, Paris Hilton, and Lindsay Lohan. What do all these names have in common? They’re all bimbos. Although I was born too late to fully grasp the idea of fashion in the 90s and 2000s, the idea of the bimbo aesthetic has always appealed to me from a young age.

Bimbos are typically characterized by a hyperfeminine style with being above other women in sex appeal, yet beneath them in intellect. In the late 90s-early 2000s, Playboy models turned screen actors such as Pamela Anderson, Jenny McCarthy, and Anna Nicole Smith were crucial in creating what we know today as the bimbo, described by The Take as “a big-breasted, blonde, brainless sex machine). Most frequently, they are criticized by other women for being appealing to the male gaze.

The media has portrayed these women in a negative way since their debut. Urban Dictionary defines the term as “an attractive but empty-headed young woman, especially one perceived as a willing sex object,” especially with the trope of the “dumb blonde.” Some characters that feed into this stereotype include Karen Smith from Mean Girls and Brittany S. Pierce from Glee.

I think my first experience with bimbo culture was the first time I saw Hannah Montana on Disney. Maybe it was seeing someone that looked like me in the media or the catchy pop songs that my cousins and I would jam out to, but I admired her more than anyone else at that time. My room looked like Hannah Montana threw up on it, I only allowed my mom to play Hannah Montana in the car, even my seventh birthday party was Hannah Montana-themed.

My love for Hannah Montana played into my femininity from an early age. I loved playing dress up, having fashion shows, and the color pink has been my favorite for more than 10 years. I admired all the hyperfeminine characters in movies like Sharpay Evans in High School Musical and Regina George in Mean Girls, who fit the subtype of the bimbo, the hyperfeminine popular mean girl. From their sense of fashion to the way they presented themselves, they were all nerdy eight-year-old me who got all her clothes from garage sales wanted to look like.

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The problem with these characters is that they were always painted out to be the antagonist, rarely having a character arc. Throughout their time on the screen, they exist to pit down the main character while flaunting their good looks for their male audience. Seeing this on the screen as I got older and realized how the media was portraying them, my interests started to shy away from the feminine side, and I started to dress in less girly colors since I viewed being feminine as negative.

Middle school is when my antifeminism peaked. Social justice warriors, or “SJWs” went viral on the internet for being aggressive towards men and their fragile egos.

Wanting to fit in, I also made fun of these women and essentially became anti-feminist because I in no way wanted to be associated with these types of women.

Eventually, that turned into making fun of women for any types of feminism and cracking anti-women jokes any chance I got (women belong in the kitchen, go make me a sandwich, etc.)

What I did not realize is that I was doing this to impress men. All of the boys at the middle school age are easily influenced by popular figures in the media, such as LeafyisHere, a popular anti-feminist gamer of the mid2010s. His content was notorious for making fun of those blue-haired SJWs and wanting to fit in/appeal to men, I watched and absorbed that content.

After some time, that type of content died down in popularity and I still kind of just followed trends, including my clothes. I went to a private high school, so whatever fashion was considered popular was way out of my budget, and I wore a uniform since I was six anyway, so having my own sense of style seemed impractical. Since I worked, I managed to buy high-end clothing once in a while, but nothing like what most of the girls in my grade wore.

Eventually, quarantine hit during my junior year, and soon it did not matter what types of clothing I owned because all I wore were pajamas or my work outfit.

However, throughout that time, bright colors and

“kidcore” became a very popular clothing trend. Like many people, over the lockdown I decided to have an entire style change. As soon as the malls opened back up, stopped dressing like every other girl and started wearing what I liked.

I started dressing in lots of pink, wearing butterfly clips, and looking like I was straight out of a chick flick. It felt freeing to look like what I idolized for so long, I knew that younger me would have been so proud of what I looked like.

By dressing in this way, I feel as if I have helped contribute to the movement that is helping women reclaim the “bimbo” label. For the first thirty years that bimbos existed, they were only shown in a negative manner, with very few examples that diverged from that ditzy, sexy, bombshell blonde stereotype, such as Elle Woods from Legally Blonde.

The reason I, like many other girls joining the bimbo movement, dress like I do is a way to express and reclaim the femininity that girls have been shamed for. Why should a woman be ridiculed for expressing femininity?

I love the color pink, I love wearing skirts, and I love painting my face with makeup!

This new wave of bimbo culture is all about self-love and reclaiming the label. I may dress like Sharpay, but I would never try and win over the star basketball player. I also might dress like Karen Smith, but my boobs cannot tell the weather.

Dressing in pink Juicy Couture tracksuits, little skirts, and blinged out outfits makes me feel like the best version of myself. Throughout my school years, confidence is something I truly struggled with due to bullying and not doing amazing in the romance world. Once I stopped worrying about what other people, especially men, thought of me, I’ve gotten a lot more compliments on my looks. I truly do have to credit that to dressing the way I want and radiating that confidence. Pink may not be everyone’s color, but a little bit of self-love and confidence looks great on everybody.

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Measured in More Than Numbers

By Sean Formantes The effects of the pandemic were still lingering. University mask mandates had recently been lifted. People carried their COVID card. In the midst of worldwide chaos, The Legends, Quinnipiac’s only A Cappella group, continued to gear up for its annual competition.

There we were, about sixteen students from a university traveling from Hamden, Connecticut to Plymouth, Massachusetts to record a ten-minute video. We then submitted the video, came back to Quinnipiac, and won first place in the quarterfinal for group’s first time.

But the 2022 competition would not be normal. The organizers of the International Championship of Collegiate A Cappella made an announcement: the venue in Hartford changed their mind about in-person performances, but our quarterfinal was still to go on. Each group would send in a video of themselves performing, and would be allowed to use the resources they would have been able to use at the venue. Every A Cappella group could perform on a stage, with each member having their own microphone, just like the actual competition.

The lack of resources and opportunities in the arts is most likely not an intentional fault by Quinnipiac. But there have not been many large-impact attempts to further the presence of the arts on campus either. A quick search on The Quinnipiac Chronicle website will pull up opinion articles from the past decade of students pointing out this exact issue: Quinnipiac lacks in the arts.

For other groups, this was not a big issue. For The Legends, it was a huge one. Quinnipiac had neither a large stage or sixteen microphones. And yet, the group was left to compete virtually against groups at colleges that did.

Legends members emailed local high schools to see if they could use their resources. Being a Legend myself, I emailed my high school band director to see if they had access to a sixteen microphone set – knowing full well they did not. Someone checked with the University to see if they had enough microphones, only to find out there were less than sixteen owned in total.

Our president at the time found a solution. Her public high school in Massachusetts had a proper stage and a microphone set that we could use for free.

In recent years, this situation has become more dire.

Being in The Legends opened my eyes to the issue. Now, the more I look, the more problems I find. The issues students brought up in The Chronicle still exist as I write.

They range from the lack of student art displayed in campus hallways to the recent heartbreaking decision to sunset the theater major – the only performing arts major Quinnipiac has.

Recognizing this, a month or so after The Legends won, I presented a new idea to my colleagues in the Student Government Association’s First-Year Cabinet.

As a Senator at the time, I had been working on a different project to clear out the practice rooms at the inconveniently located Music Building on Sherman Ave – a distant land set apart from campus civilization.

I felt like my new idea could truly make a larger impact on the arts. The idea originally came to me on a chilly December night, during winter break, while sitting at my

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kitchen counter back home. I envisioned a new student organization, the Student Artists League, that would tackle the arts issue head on. It was an idea in my mind before The Legends competition, and one that persisted even after.

The cabinet’s reaction was overwhelmingly positive.

In the months after, I filed the paperwork, wrote the Constitution, met with students, and worked to establish the group with the help and input of other SGA members.

I then decided to leave student government to settle into my new roles as the group’s founder and president.

Immediately, the Student Artists League – which came to be known as SAL – had challenges to face. The first was that I was the only E-Board member. On top of recruiting students, I had to find willing leaders of the group. I pulled in my college suitemates and a couple other people who showed interest. Eventually, we got rolling, holding G-Board meetings where the majority of all but one of the attendees were E-Board members.

We held an art show in the Mount Carmel Auditorium that no one came to, except for the few campus visitors who walked through to get to the admissions center. We had an event where the projector in the Piazza did not work.

We barely passed the five member minimum policy for student clubs. Many of the students who attended our first meeting, filled with excitement, did not show up again.

SAL was greatly unrecognized. Because we were new, people had not only never heard of us, but did not even know the reason behind our existence. Some students even seemed oblivious to the idea that the arts at Quinnipiac were not doing so well. Yet, despite all of this, we managed to win the Judith Frank Student Organization of the Year Award in 2023.

What can our impact be measured in? Perhaps not in numbers, because SAL, to this day, still has very little to show in that regard. Instead, our impact is measured in the lives that we impact, the mindsets that are changed, and the discussions and efforts that are started.

If SAL inspires even one Quinnipiac student to support the arts, one artist to meet another artist and create together, and one student to change the way they think about themselves as a leader, we will have done our job.

Indeed, we have succeeded in doing all of these things.

Apply this same method of thinking to the on-campus arts. In what way can one measure the impact of a student song, a collage, or a short film? Yes, numbers can play a role, but it is a severely minor one at that. What is even more important is the perspectives that are shifted, the insights that are made, and the conversations that follow.

Numbers are indicative of growth. But behind every number is a person; one who will be directly affected if decisions are made purely based on numbers alone.

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The arts are important because they allow humans to see, in the same way that I see issues with my own eyes. We, as humans, have an innate ability within us to create; it is only a matter of whether individuals choose to do so or not. To stifle this creative ability is to take away from our shared humanity. If we can never look, we can never see.

And if we never see, we can never solve.

Unfortunately, the arts scene at Quinnipiac remains stifled. We have wins in the short-term, but are losing ground in the long-term. Our performance groups are left to fight for themselves. Even when they do something great, it goes underappreciated.

There is much that needs to be done at Quinnipiac. But all of those issues are solvable. We need students who are willing to face challenges head on, not simply point out the issues and complain about them. Anyone can complain about something, but it takes a true leader to fix it.

I have made amazing friendships through The Legends. I am sure that other artists would say the same thing about their creative communities. The arts provide intangible value, especially on college campuses. My hope in having founded SAL is that no other group of students would ever have to go through what The Legends did. But whether that mission succeeds will be determined by the next generation of student leaders.

Sean Formantes (second from left), founder and president of the Student Artists League, performs with The Legends A Cappella at SAL’s Spring Into The Arts Festival in 2023.

Photo by Grace Doyle.

ULTRA VIOLET

Photos By Sean Formantes A new rock band has made its mark at Quinnipiac. Ultraviolet consists of Quinnipiac students Nick Paquette, Jake McCurry, Chris Ryan, Ryan Elwood, and Thomas Ournac. The band performed for the first time at On The Rocks Pub and Grill on the York Hill Campus on December 7, 2023.

Thomas Ournac is a member of the Student Artists League.

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