Winter Guard, Drum Majors, and Winter Percussion compete at Armijo Winter Review

The participants overcame weather conditions to perform spectacularly

By Vidyuth Sridhar Staff Writer

On Saturday, March 4 at Armijo High School, MSJ’s Winter Guard, Drum Majors, and Winter Percussion competed in the Northern California Band Association (NCBA) Armijo Winter Review in Fairfeld, CA, entertaining spectators with musical numbers and intricately choreographed routines.

At 1:35 p.m., after performances from 20 previous groups, Winter Guard kicked off MSJ’s contributions during the event with “The Night Circus.” Its array of synchronized visual movements coupled with dazzling fag and rife tosses left a lasting impression, propelling the group to a third place fnish in the Regional AA Division. “I think we executed the rife work pretty well. It’s most people’s frst time [handling the] rifes, and we were still able to pull it off, ” Winter Guard Co-Captain Senior Rucha Kulkarni said.

Separate from the Winter Guard’s competition, MSJ’s Drum Majors also competed throughout the afternoon in the Field Conducting and the L-Pattern Mace categories. Sophomore Pheona Ma and Junior Evan Pang both scored a school-high sixth place in the Field Conducting and L-Pattern Mace respectivly. “This was the biggest NCBA competition I’ve been to, and it was really cool seeing people’s styles of performance,” Ma said.

Performing at 5:35 p.m., MSJ’s Winter Percussion sought to mimic the sounds and imagery of the monotonous work cycle with their production, “The Grind.” Featuring both melodic and rhythmic elements as well as visual backdrops and acting contributions from Sophomore Srithan Meeniga and Senior Kimberly Jeung, the unit was also awarded third place out of nine groups in their respective Regional AA Division.

In the process of preparing for the Winter Review, MSJ’s performers faced several setbacks, such as inclement rain and windy conditions, making it harder to execute various movements whilst practicing before the event. “We had to get to Mission at 6:15 a.m. [on the day of the event], and it started pouring rain … we didn’t [get to] prepare as much as we would’ve wanted to,” Winter Guard Freshman Gita Dintakurthi said.

All the groups had to spend signifcant time training and familiarizing a large infux of new members. There were also differences in opinion over creative contributions to the performance, as each member had their own ideas to add. “You’re trying to tell a story, and you somehow have to create that through more than just music,” Winter Percussion Drum Captain Senior Alton Gu said.

However, the positive response from the audience and NCBA judges left students and teachers optimistic. “My favorite part of the shows is watching the students fnally put it all together. There’s all this chaos before, but just watching them perform and have a good time with it…I think that’s really cool,” Percussion Instructor Stephen Slater said.

MSJ’s Winter Guard, Drum Majors, and Winter Percussion will compete next at the NCBA Foothill Winter Review on March 25 at Foothill High School in Pleasanton, CA, before ending their seasons at the NCBA Winter Championships from April 1-2 at Rodriguez High School in Fairfeld, CA. “Whether it’s syncing up music, fnishing our drill, or setting the atmosphere of a bustling city, I’m looking forward to [continuing] creating a performance that everyone … can be proud of,” Gu said. ▪

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All policies on distribution, corrections, and bylines can be found at www.thesmokesignal.org/about e US is an amalgamation of different cultures, consisting of nativeborn residents and immigrants from a variety of countries. Immersed in a completely unfamiliar country and culture, some immigrants long for a familiar community — a result of them leaving their homes in pursuit of a better life. Others, especially second-generation immigrants, feel disconnected from their heritage and family due to their assimilation into American culture. As a result, members of diasporas participate and take pride in their cultures as a way of

In 2012, model Karlie Kloss walked down the runway of a Victoria’s Secret fashion show in a Native Americaninspired headdress, resulting in harsh backlash from the Native American community. Traditionally, headdresses are a symbol of bravery and honor — feathers are earned for significant achievements or contributions to the tribe. Unfortunately, according to Brown University Assistant Professor of American Studies and Ethnic Studies and Cherokee Nation Citizen Adrienne Keene, the headdress “has been ‘borrowed’ so many times and in so many ways that its original power and sacred meaning have been all but lost to the non-native public.” is incident is one of many labeled as cultural appropriation, fueling the hotly contested debate about where the line between cultural appropriation and appreciation should be drawn. What’s often forgotten, however, is that there are many layers to the complicated question of who is “allowed” to represent or participate in a culture. Perspectives on this issue will differ from person to person, especially for diaspora and people living in the native country of their ethnicity.

Breaking stereotypes in dance

By Annika Singh Opinion Editor

I’ve been dancing since before I could walk. My parents’ old cameras are filled with videos of me twirling and jumping to random songs. After my first dance class in elementary school, my heart was set on pursuing the sport for the rest of my life. Dance allows me to express myself in a variety of styles, explore my creativity, and meet new people. But in the last few years, the enjoyment I originally found in choreographing and learning new routines has evolved into insecurity and frustration. Society’s expectations of a dancer’s appearance, which often involve sharp facial features and dainty bodies, pressured me to fit their standards.

ough I still love to dance and participate in school events such as Homecoming and Multicultural Week, I often find myself downplaying my efforts and skills in order to conform with society’s image of the ideal dancer, overshadowing my passion for the sport.

Growing up, I was surrounded by films and shows that only displayed the stories of young white ballet dancers, furthering misconceptions about beauty and physique. As a result, many assume that individuals who don’t look like dancers — tall, skinny, and white — portrayed in the media have less capability. is hurtful narrative can a ffect people’s self-esteem and reduce their value as a dancer — an issue exacerbated by the lack of diverse representation of di fferent body types in the industry. By dismantling unrealistic standards and encouraging a shift in perspective, we can make the dance community a safer space for individuals. e first step towards promoting body positivity and acceptance in the dance industry is by celebrating influencers such as Lizzy Howell and Colleen Werner, who are erasing the stereotypes behind “a dancers’ body” through encouraging videos and open discussions about body issues in the dance community. Despite having incredible technique, mesmerizing stage presence, and powerful expressions, these dancers are often criticized for their appearance and ability via comments on TikTok and Instagram. Instead of being overly judgemental about someone’s body, we should understand that a dancer’s talent extends beyond physical appearance. is mindset is crucial in promoting an inclusive environment that allows individuals to freely explore their passion and express themselves. Without enabling this change, the industry is depriving itself of talented artists who have meaningful stories to share.

By engaging in movements dedicated to inclusivity in the dance industry, celebrating diversity, and understanding that all dancers’ skills are valuable regardless of their appearance, we can create a more representative environment for future generations of artists.

Cultural appropriation or appreciation: an issue of nuance

reconnecting to their heritage. is pride can manifest in the form of traditions and objects of cultural significance, such as ethnic wear, arts, and customs.

ese traditions are often misrepresented by individuals who are unaware of the cultural significance they bear, leading to the devaluation of one’s heritage. Marginalized communities have a long history of exploitation and discrimination in the US; for example, violence against minorities has recently been on the rise, including an increase of police brutality against African Americans and many incidents of anti-Asian hate crimes during the pandemic. us, when someone wears a garment that diaspora have historically been harassed and “othered” for wearing, members of the same community may feel the need to defend their cultures and assume cultural appropriation as an immediate reaction. Social media’s nature of quick clicks and direct messaging also makes it easy to latch onto others’ opinions, initiating a wave of backlash from not only members of that community, but individuals outside of it as well.

However, it’s important to acknowledge that the experiences of people living in their home countries differ from those of immigrants. Native people are usually the majority and do not experience the cultural discrimination that members of the same ethnicity in other countries face. For natives who have been exposed to and participated in their culture all their lives, there isn’t as much of a fierce attachment to certain traditions because they are constantly immersed in their cultures. For example, although kimonos are traditional Japanese gar-

“Don’t be afraid to take up space.” A few weeks ago, I was in a meeting with a legislative office when the conversation between the sta ffer and I segued to some of our personal experiences. Despite our di fference in age, we connected deeply over our shared identities as low-income, Asian American women navigating the political world. Weeks later, her candid reflections on the importance of “taking up space,” or in other words, feeling unapologetically confident in your presence and leadership, haven’t left my mind.

Whether it’s leading a coalition of professional adults as a high schooler, rarely seeing other Asian Americans in the political sphere, or being one of the only low-income students in the room, I’m no stranger to working in environments where I’m the minority. As a first-generation, low-income immigrant and student advocate, this is no surprise — the statistics point against me. Since this past conversation, I’ve been reflecting on how my self-assurance has changed over the past few years as it didn’t always come very easily to me.

When I started my advocacy journey from ground zero, I felt perpetually lost amidst the large systems designed to be inaccessible to marginalized communities. Seeing that politics was dominated and ultimately controlled by

Taking up space

By Esther Lau Opinion Editor

wealthy, white folks, I was doubtful of my capabilities and potential to create change. More than anything, I constantly questioned whether I should be in those spaces at all. But, I was lucky enough to meet experienced individuals who not only provided me with invaluable guidance and encouragement, but also showed me how taking up space can impact representation and help our voices be heard.

Over the years, I gained a greater understanding of the uniqueness of my lived experiences and the value my perspectives could bring to the table. rough taking up space, I’ve been able to confidently lead by example, breaking the barriers to inaccessible systems and changemaking in policy.

Beyond my own experiences in politics, this approach can extend into all aspects of daily life. From group discussions to interpersonal relationships, recognizing the value you can bring to a situation and being confident in your presence is key to making a lasting impact wherever you are. Seek mentorship from those with more experience, and look towards them for valuable support. Most importantly, when we see ourselves as capable individuals and agents of change, we’re able to unleash our potential. As we continue to grow in our pursuits, let’s remember to be unafraid of taking up space. ▪

By Hannah Shen & Lucy Yao

ments, most young Japanese people today do not know how to properly wear a kimono without professional help. us, when confronted with the issue of cultural appropriation, native individuals often view it positively and even encourage foreigners’ interest in their culture. After all, people around the world regularly celebrate holidays from other cultures, experience others’ traditional foods and customs, and learn from each other’s practices. Multiculturalism benefits all people, allowing individuals to better connect with those who possess different worldviews.

ere will inevitably be differing opinions on what is considered appropriation or appreciation. We must recognize that there is nuance to every situation and that people of one culture are not a monolith. Rather than immediately taking offense to individuals participating in cultures other than their own, we should strive to promote and appreciate the cultural diversity in our society. Beyond research and education, we can participate in cultural organizations and events and respectfully experience the food, media, and customs of other cultures. On campus, students can join a diverse selection of culture clubs; MSJ Korean Club and MSJ Spanish Honors Society are just a couple that serve to introduce people to their unique cultures. By taking the time to learn about aspects of cultures we are unfamiliar with, we can cultivate a more accepting environment for people of all backgrounds. ▪