I’m going to call myself a technical outsider even though I’m up in everyone’s faces half the time taking (literally) hundreds of pictures. I am *not*, however, a member of the cast, and since these are the people I’m currently interacting with, I think ‘outsider’ is the safest term.

As many of you may know, I’m taking the Ragtime course for two reasons: technically, I’m a member of the crew, running a spotlight, unless my fear of heights says, “Haha, no, you’re not,” and then I’ll help backstage, as per usual.

I’m also doing some  research on the production for my capstone class as part of my documentary studies certificate, over at the CDS near East Campus.

I’d gotten the idea last semester, just because I like performing arts, and I already knew a decent number of Hoof ‘n’ Horn kids. After talking to my CDS adviser about it, I decided to check out a few of the initial rehearsals, which quickly turned into taking the class, which then became discovering a story underneath all of this, which so far, in the most politically correct way possible, is this:

How goes the mass fusing of the music, theater and dance departments with the student-led Hoof ‘n’ Horn in a show that’s all about cultural acceptance? With the performers especially (both those in the cast and in the pit), I noticed some very clear delineations on the first few nights.

Which isn’t a bad thing: it makes sense that the pit folks would sit together, as well as the New Rochelle kids and the Harlem kids. What’s more interesting to consider, however, is that the majority of the time the ‘New Rochelle’ people are returning Hoof ‘n’ Hornies, while the Harlem track is comprised mostly of ‘newer’ student performers, or members of the Duke theater department.

This, so far, is where my story lies. It’s not so linear, yet, but I hope to let you all know where it ends.

Also, awesome show so far. I sort of love coming to rehearsals and mumbling under my breath with you all.

Aziza