The Commons are buzzing. Event volunteers bounce around the room, setting out cameras, taping down wires, and queuing up the music. Near the stairs to the dining hall, seats have filled up quickly, so much so that another row of chairs is added to the front. Students and family members squeal hello to each other. Student Christina Newland, senior and leader of BLSA, steps into the center of the floor with a mic. “Welcome to the Black History Month Showcase—‘Echoes of the Past, Visions of the Future.’”
The infamous “Dear Colleague” letter addressed to schools by the Department of Education has sent colleges and universities into a rush to remove all mentions of inclusivity from their websites. The letter, which was released on Valentine’s day, identified equity and racial balancing as “nebulous goals” and threatened to remove federal funding from institutions that continue DEI practices. Despite the pressure, the Marymount Equity, Diversity, and Inclusion statement is still available online–and students are still spreading cultural pride.
The Throne commenced performances with an embodied, majorette-inspired choreography to a marching band rendition of Kendrick Lamar’s “Not Like Us.” They were followed by a quartet dancing to choreo by student choreographer Angelique Pierre. The piece, set to Beyoncé’s “Ameriican Requiem,” was Pierre’s first stab at choreography at Marymount. The audience was enraptured, silence broken only by appreciative whooping and applause. Dancer Shemara Smith took the floor after, clad in soft and sparkling pink. She introduced her piece by dedicating it to her recently passed away grandmother. Smith moved the room to tears with an emotional, delicate performance to “At Last” by Etta James.
Intermission was called, and attendees were invited to grab a bite of soul food from the tables. I took the opportunity to admire the photography put up around the room, and grab a few interviews. Christina Newland, who is a part of Marymount’s DEI council, had a few words to say about the DEI threats. “Trump can say all he wants to say, that we don’t have a month, but today we’ll be celebrating, we’ll be showcasing[….] We will always be MMC.” Other students shared grievances with the location of the showcase. “I think it’s disrespectful to put on so many events in the commons[…] when we have stages and dance rooms available,” said acting student Claire Stoops. Echoing a similar sentiment, fellow journalist Peyton Weeks said, “Last year we were in the Great Hall.” Weeks also shared a review of the food. The mac and cheese was good, the yams needed a bit more time in the oven, and “the chicken is chicken.”
As people found their way back to their seats, the second half of the night commenced. The Throne captured attention once more with an energizing hip-hop performance to “The Jump Off” by Lil’ Kim. Choir performances followed, directed once again by Angelique Pierre. As the singers serenaded the room with “Melodies from Heaven,” Kirk Franklin-inspired ad libs were sprinkled in to the delight of the audience. Laughter dimmed as the chorus began “Total Praise.” Harmonies ran through the room like melted butter, bringing the audience to tears once again.
The night concluded with some final statements by Newland. Attendees reconnected with the performers they’d come to support, and groups made their ways to the exit. With the event over, questions about its future still remain. As Marymount expects to merge with Northeastern University, students are worried about the school’s approach to diversity and equity on campus. One thing is certain: even with federal threats, Black students will continue to celebrate their identity.
