As fall is beginning, numerous fashion trends are becoming popularized. But do these fall fashion labels motivate us to cultivate better taste in style, or do they limit ourselves to only one type of clothing? 
Throughout any fashion season, it is easy to get stuck in the downward spiral of not knowing what to wear, or of being bored of one’s wardrobe. Specifically for fall, many people feel limited in thinking the only option is sweaters, jeans, and hoodies. However, a way out of this mental fashion block can be through clothing aesthetics, which provide nuanced outfit ideas that people may not think of on their own. By using social media platforms to their benefit, especially those such as Pinterest, people can see that there are certainly many seasonal styles to choose from. As society has become more technology oriented, most of the fashion the public views is online, therefore anyone is able to explore multiple styles, and save the posts with inspiration they want to refer to later. 
One of the most popular styles for this fall is the “downtown” aesthetic: dressing like a local New Yorker in Lower Manhattan. It typically follows the outfit of dark wide pants, a tight black top, a heavy fleece or leather jacket, and a scarf. Accessories may include chunky sunglasses, earbuds, or even a cup of coffee to add an “on-the-go” element. It focuses on layers and primarily dark colors, giving a mysterious and powerful aura. Parts of the look are more rough, such as worn out jeans. Other parts are more sophisticated or high end, such as silver heels or loafers, which are sleek slip-on shoes with a low cut and are usually made of leather. These types of shoes were very popular in the 1990s and have circled back into today’s taste in fashion, as with many other trends that seem to cycle every 20 years. Two large factors that have influenced the popularity of this style are characters Rory Gilmore and Elena Gilbert from the classic shows “Gilmore Girls” and “Vampire Diaries.” Both characters embody the core of effortless yet extremely fashionable fall outfits, with their jean-based looks including heavy cable neck sweaters or tight long sleeve button downs. Brands that carry clothing following this aesthetic may include Djerf Avenue or Zara. 
If the “downtown” style doesn’t quite resonate with you, you could consider balletcore, which is much more delicate compared to the city-local aesthetic. It is based on very light or pastel colors, such as baby pinks, whites, yellows, and blues. A typical outfit may follow a skirt, a babydoll top, a cardigan, and Mary Jane heels. Besides Mary Janes, the most common shoe found in this kind of wardrobe would be ballet flats which provide the graceful and dainty touch to any balletcore outfit. In high fashion, the Miu Miu ballet flats seem to be the most coveted, along with the Repetto collection of ballerina heels. What really matters is the details. There is a traditionally feminine touch added with lace patterns, leg warmers, hearts, babydoll socks, corsets, and an infinite amount of bows (in hair, on sleeves, shoes, and even bags). The balletcore style is commonly associated with romantic visuals like Victorian paintings, ballet, or flowers. When shopping for this style, you should look out for brands such as Fenity Fashion and Kitteny. 
Another way to dress in cooler weather that is timeless, stylish, and easy is by following streetwear aesthetic. This fashion label is so versatile because it encompasses multiple interpretations of clothing that is influenced by components of urban culture primarily geared to the younger generations, such as skateboarding and hip hop. It can be easily personalized to each individual. A more casual streetwear outfit may involve sweatpants, baggy tee shirts, and sneakers. More formal streetwear attire may consist of jeans or khakis, a sweater, a large jacket such as a carpenter or corduroy jacket, and boots. In any of these streetwear outfits, you could accessorize with a baseball cap, rings, or sunglasses. High-quality brands that help cultivate this style may include Carhartt and Dickies, which are both workwear companies that provide the thick and baggy pants or jackets that really make the streetwear look. Emerging especially from the bustling streets of New York and Japan in the 1990s, this style focuses on low effort yet put together ensembles. With mostly loose fitting clothes, it is very comfortable. 
Finally, the fall fashion season would not be what it is today without the “thriftcore” aesthetic, which is shopping for clothes previously worn at second-hand stores or vintage shops. Outfits following this style are effortlessly cool and unique with clothing that cannot be found anywhere else. There is a certain sense of coolness being able to tell other people you thrifted a clothing item, or knowing that it is not from a mainstream brand. They usually capture the chicness of past decades, like the 1990s or early 2000s. An outfit of this style may consist of washed out jeans, an old band graphic tee, vintage Adidas sneakers, and a varsity jacket from a random high school. While there are many thrift stores located in NJ, such as Red White and Blue in Hamilton, New York also has many great ones such as 2nd Street, and my personal favorite, L-Train Vintage. At many of these stores you can even find old items from designer brands such as Saint Laurent, Dior, or Bottega Veneta. 
When picking outfit inspiration from trends or aesthetics, you don’t have to be tied down to just a specific style. It can be easy to feel limited to specific articles of clothing when you are heavily interested in an aesthetic. While people may want to stick to one specific style, people also have the option of picking out what they like from each style and morphing those elements into a style of their own. For example, individual items from each fall style such as bows, the color cherry red, art prints, and metallic footwear can make the staples of someone’s wardrobe and inspire them to cultivate a style made up of what fashion personally speaks to them. In fact, fall style labels may encourage people to step outside of their fashion bubble by giving them inspiration for clothing they wouldn’t normally wear. This helps people to discover what defines their personal style even more.
As mentioned in the thriftcore aesthetic, many trends also encourage the use of thrifting. Thrifting is not only eco-friendly and cheaper, but it also allows people to wear clothing that is rarer since they are not in the circulation of fast fashion or highly demanded brands. People can often find older items that are more unique and involve more vintage looking trends from that past, since it is likely that no one else has the same item.
The popularization of labeled fashion trends has allowed people to gain new knowledge of tasteful fashion through deciding what styles resonate and building off of them. The list of fashion trends will be constantly added on as people discover more elements of fashion that express who they are and make them feel chic. This fall, you should develop and personalize your style through exploring these trending fashion labels. 
In my experience learning about other clothing trends has helped me to decide what I personally like and dislike, encouraging me to try out different styles until I create my own personal aesthetic that makes me feel chic and comfortable. I also believe that fashion does not always stay the same and instead usually comes in phases, just as my style has changed to represent eras of my life. As of now, I consider my personal taste in clothing to be a combination of the downtown and thriftcore aesthetics. I love the chicness of downtown outfits through dark, sleek, and more modern clothing, however I love the uniqueness of vintage clothing that gives more edge to ensembles. I like how sleek and modern clothing makes me feel like I’m walking the downtown streets of New York City, yet I also like putting together more unexpected and unique vintage outfits that give my style a little more edge.

Fall Fashion Trends and its Effect on Personal Style

   On June 20, PHS Visual Arts teacher Matthew Pembleton received the Art Educators of New Jersey High School Division award for demonstrating the highest level of distinctive instruction that helps students blossom to their fullest potential. 
   According to the AENJ, this award is given out to teachers who have “achieved the highest level of professionalism in the field of visual arts education” and have “contributed their services in an exemplary manner to the Art Educators of New Jersey and the goals espoused for the profession.”
   “It’s nice. I’ve been teaching [for] almost ten years, [so] this is nice encouragement and positive reinforcement,” Pembleton said. 
   Throughout his career at PHS, Pembleton has focused on a holistic approach to art, grounded in contemporary theory, practice, and skill building. In order to do this, he uses art history and modern events through images and current news to help inform instruction. Along with using this holistic approach to the curriculum, he also works to nurture connections with his students by creating a very student-centered classroom. 
   “He’s helped [me] by giving creative freedom for assignments and accommodating any ideas I might have,” said Mira Sawant ’24, a student in Studio Art IV. 
   Pembleton demonstrates a sense of calmness that is deeply valued in education. Because of this, among the art department at PHS, he is viewed like a rock, grounding everyone and calming the environment around him.  
   “He’s been a great mentor to me over the past couple of years, and he’s fun to be around because he brings my energy back down to a calm place,” said PHS Art Teacher Bridget Schmidt. “Nothing really fazes him in terms of chaos; he’s just very strong and instruction is the primary focus of his room. He [instructs] in a way that is calm, approachable, and just inviting.”
   One of the most fundamental pieces of advice that guides Pembleton’s method of teaching is to have students step outside of their comfort zone.
   “Trust yourself, even if it feels uncomfortable or different or new. If you’re feeling anxious, that’s okay; it means you have room to grow and you need to grow biologically,emotionally or technically — whatever it is,” Pembleton said.
   In both the classroom and throughout the hallways, students have shown their appreciation for Pembleton’s teaching methods. Throughout her years of being mentored by him in Studio Art I, III, and IV, Sawant has valued his method of honing in on technical skills while also venturing out into personal style and strengths. One of her favorite ways to cultivate her artistic abilities in his class has been through his sketchbook assignments, which have allowed her to practice consistently and try new artistic techniques.  
   “He’s a great teacher who gives his students the most creative freedom possible, and in my experience, this has really allowed me to improve over the years,” Sawant said.
   Students also specifically value how Pembleton lets each student stay true to their personal style, giving them independence. 
   “I don’t like hovering art teachers, or art teachers that talk too much, or try to do your work for you,” said Kaja Buettner ’24, another student in Studio Art IV. “I feel like all these things take away from the actual action of making art, and also infringe on my own creativity.”
   Instead of imposing himself on their work, Pembleton encourages students to become independent in their own method through small suggestions and solutions to problems. 
   “By providing sketching and painting projects, he helps me to reinforce my own style. He has also introduced me to new art forms, like papermaking. Working with this new medium helped me step out of my comfort zone, which is really important when making art,” said Buettner ’24. “I think his personality and ideas make art class such a fun place for me; his passion for art is also so evident, and inspires my creativity.”
   Pembleton’s deep passion for art has influenced his immense care for what he does and ultimately led to him earning the Art Educators of New Jersey High School Division award.
   “I really think [art is] one of the most human things that people do,” said Pembleton. I love teaching art … It’s a lot of fun, and I certainly wouldn’t want to do anything else.”

Art Teacher Matthew Pembleton Wins the Art Educators of New Jersey High School Award

Preparation time: 20 minutes
Cooking time: 40-50 minutes
Almost every Easter morning, I’m woken up by the rich smell of “Minnie’s Chocolate Cake,” a dessert passed down by a friend of my grandmother and now a traditional item on our display of Easter sweets. It’s a moist cake rich with chocolate flavor and a silky glaze of chocolate ganache. But even this common bakery staple has a few twists to make it special to Easter. Although it is appealing to taste, with its dark coloring of the rich chocolate, we brighten it up with a grass field of Easter eggs on top made out of shaved coconut and colorful mini eggs.
Before spring decorations were added, this cake was developed by my grandmother’s friend Minnie. Being huge fans of anything chocolate, my extended and immediate family have created the tradition of using this recipe for annual holidays, most commonly baking it for Easter. Over the years we’ve tweaked and twisted the recipe for preferred taste and look, while still staying true to its signature structure and flavor.
Although more complicated than the typical boxed cake, the ingredients and instructions of “Minnie’s Chocolate Cake” are very simple. Homemade cakes almost always come out better than store-bought mixes and are more fitting for Easter or any other holiday. But that’s not to say that this cake can only be made for special occasions — my mother and I will sometimes bake it on weeknights at 8:00 p.m. if we’re craving a chocolate dessert to satisfy our sweet tooth. But for a holiday like Easter, its rich chocolate taste, moist texture, beautiful appearance, and effortless assembly make it the perfect dessert.
Ingredients:
Minnie’s Chocolate Cake
- 1 3⁄4 cup of flour
- 2 cups of sugar
- 3⁄4 cup of cocoa powder
- 1 1⁄2 teaspoon of baking soda
- 1 1⁄2 teaspoon of baking powder
- 1 teaspoon of salt
- 2 eggs beaten
- 1 cup of milk
- 1⁄2 cup of any oil (we usually use olive oil) - 2 teaspoons of vanilla extract
- 1 cup of boiling water
Ganache
- 8 ounces of bittersweet or semisweet chocolate (if not in chip form, it should be finely chopped)
- 1 cup of heavy cream
Toppings and Assembling
- 1 cup of unsweetened shaved coconut
- Enough green food coloring to tint the coconut
(personal preference)
Steps:
Minnie’s Chocolate Cake:
Preheat the oven to 350 degrees Fahrenheit. Butter and flour an 8x11-inch square pan or a 13-inch Bundt cake pan.
Whisk together all dry ingredients in a bowl until fully combined.
Whisk together all wet ingredients except the boiling water in a separate bowl until fully combined.
Add the combined dry ingredients into the bowl of wet ingredients and beat well with a whisk until fully incorporated. Stir in the boiling water until fully incorporated. The batter should end up being very thin.
Pour the batter into the pan and place it in the oven to bake for at least 40 minutes (a Bundt should take almost 50 minutes). Before taking the cake out, check to see if it is baked through by sticking a toothpick through the center. If it comes out clean, it is done, but if it doesn’t, it may need a couple more minutes. Be sure not to overbake it.
When it is done, pull it out of the oven and let it cool for at least ten minutes inside the pan. Then let it sit outside of the pan until it is completely cool.
Ganache:
In a small saucepan, heat the heavy cream until it gently simmers (do not let it boil!). After it begins to simmer, take it off the heat.
Pour the hot cream over the chocolate in a separate bowl and let it sit untouched for about two to three minutes. After waiting, whisk together the cream and chocolate until fully combined. It should be glossy and thick. Transfer the cake to a stand or a plate, then pour the ganache over the cake, coating it evenly.
Toppings and Assembling:
Mix the coconut with a few drops of green food coloring in a bowl until it looks like your desired shade of grass. Sprinkle the green coconut onto the cake until it almost completely covers it (again, personal preference).
Place the Cadbury mini eggs evenly over the coconut.
Enjoy!

An Easter dessert: Minnie's chocolate cake

The dancer orchestrated her legs into the very first step: a plié. As her knees slowly bent into the step, the dancer’s spirits sang, and she felt confident in her skin, because even the simplest step felt that stunning. But it only took a few counts, not even five seconds into the class, for her teacher to yell across the room, “Suck in! Your stomach needs to be flat!” It was then that the euphoric feeling vanished.
   Although dance is beautiful for the viewer and can evoke great happiness in the dancer, deeply internalized body shaming of young women and misogyny are hidden beneath the layers of carefully perfected steps. This toxicity is most commonly rooted in the notion of perfection, an ideal present in all types of dance. Steps performed are meant to appear seamless, graceful, and easy to execute. To create this image, intense work is required in class and rehearsals. Sadly, this goal of being a perfect dancer can easily slip into a toxic message of body shaming and even harm. This aesthetic of the dancer body type is already very integrated into society, making it hard to notice at times, even though it is in our subconscious. It especially doesn’t help that when dance is shown to the public, the thin dancer with long legs is the one shown off for the purpose of the traditional dance aesthetic, excluding and isolating all other body types that make up the dance community. 
   The perfect ballet dancer stretches their legs and points their feet as if to make infinite extensions. They turnout, lift their leg above their head, and do many other actions that are unnatural for the human body, all while maintaining proper form. But these long lines and straight stature that comprise a proper ballet physique can easily translate into an idealized slim body type. Often, teachers tell students to suck in their stomach in order to create long positions, sometimes even commenting, “I can see your lunch.” Although this comment may not always be intended to be harmful, it is another example of body shaming that has been utilized so frequently it has become an ordinary act. 
   To achieve this ideal physique that is encouraged through body shaming, it is not uncommon for dancers to be compelled by the dance world and society in general to harmfully restrict their diets. Many teachers encourage harmful diets and exhibit favoritism towards a specific body type by giving lead roles to students with that body type. At more intense schools, some dancers have even been explicitly told they need to lose weight in order to be in a performance or to continue dancing at their school. Women who do not fit into these norms may develop insecurities and sentiments of discontent within themselves, which can contribute to the development of eating disorders and other mental health difficulties. This strain on a dancer’s health continues in the dance studio, where they frequently overwork themselves and often are in risk of a back, ankle, or foot injury in order to please their teacher’s expectations. While it would be unfair to say that male dancers don’t experience the same harmful body shaming, female dancers are more inclined to experience it because of the additional sexualization of women by directors and in the stories of the dance itself.
   One other factor that has contributed to the intense weight of body image in the dance industry is the continuous sexualization of women and feminine bodies. Providing that most storylines used in performances were written by men generations ago, they follow a very old-fashioned and stigmatized portrayal of women and their role in society. In ballets, women are often portrayed as very feminine to attract men in stories with their looks. This requires women to wear traditionally seductive clothing, act very flirtatious, and generally appeal to the male gaze. For instance, the ballet “Le Corsaire’’ builds on the stereotypes of the roles of women by centering around a pirate named Conrad who falls in love with Medora, a woman who belongs to a slave holder (who sells many other slave girls for a living). Similar to almost all other female leads in ballets, she is seen as a very beautiful figure who attracts many men. Additionally, despite being a powerful and emotional love story, Juliet in “Romeo and Juliet” is only thirteen years old and already expected by those around her to find a husband, further enabling the sexualization of young girls. In more historic or cultural dance forms and performances, such as Bharatnatyam, the female characters are often depicted playing the role of a submissive and doting wife or mother who churns butter or plays in a river. Furthermore, Hindu goddesses, who are incredibly powerful beings, are rarely portrayed in performances of Bharatnatyam, while the male deities are frequently displayed. This same idea of male characters being detailed throughout the play as heroic and adventurous is prevalent in all styles of dance. Although dance can empower women and their incredible abilities, parts of it are rooted in the old ideology of making the female body move in a way that attracts men, which is a practice that unfortunately remains established in dance today. 
   Traditional and cultural beliefs and values also play an essential role in propagating the presence of self-shaming views in dance, especially cultural forms of this art. Dances performed in Bharatanatyam and other classical Indian dance styles, for example, entail the recreation of key mythological events as well as the expression of Hindu religious stories and spiritual beliefs. Historically, Bharatnatyam was a genre of dance that could only be performed in a temple by Devadasis, women well-versed in dance and dedicated to performing to the gods and goddesses of the temple. As the dance form has passed down from dance teacher to dancer for generations, historical gender biases are common, even in modern-day performances.
   All these unrealistic and strict ideas of what a female dancer should look or act like takes away from the natural beauty of all dancers not only in appearance, but also in esteem. For instance, beauty stereotypes for women in Bharatnatyam include the promotion of colorism and Western beauty standards, something which can deeply harm the way a dancer without Western traits perceives herself. Dance is a stunning visual artform that relies on the originality of each performance and what the dancers bring to the stage to draw in the audience. If all dancers looked identical — like puppets being pulled on strings rather than outstanding human individuals who put their heart and soul into their performances — this artform would lose the emotional element that enhances even the most flawless of routines.
   Dance is a beautiful artform and sport, so dancers should be able to enjoy it without any body shaming or misogyny. This makes it increasingly important for dancers and non-dancers alike to speak up about these issues. In the end, dance is meant to be liberating, and it’s extremely disappointing that old and harmful requirements of a young female dancer’s body end up holding it back from all the amazing possibilities of what it could evolve into. Dance is already extraordinary, so a future without the toxicity that suppresses young female dancers would further the artform’s excellence, encourage more to explore its industry, and most importantly, promote a healthy atmosphere available to all. 

Backstage: a look into the ugly sexualization of women in the dance world

“Sylvie’s Love” (2020) is a whimsical yet passionate romantic film, starring Tessa Thompson and Nnamdi Asomugha. Set in the late 1950s and early 1960s, a woman, Sylvie, quickly falls in love with talented saxophonist Robert after meeting him at her father’s record shop, all while she is engaged to her fiancé, Lacy, who lives in Korea. Sylvie is caught between the societal expectation of being a housewife and chasing her dream of a professional life in the television industry. Despite the expectations society places on women, she does not cease to ponder the possibilities of pursuing what ignites her soul. She becomes driven by a piece of advice that Robert tells her: “Life is too short to waste time doing things you don’t love.” Because of this, despite their ever-changing lives and careers, Sylvia and Robert come back to each other in the name of love.
Sylvie’s romantic and personal journey is well-highlighted by the smooth jazzy mood of the film, with the soundtrack consisting of many jazz songs from the 1960s era. The swung and bluesy notes of the jazz also serve as an ode to Robert, a saxophonist rising to fame, and there are many other jazz songs that are featured in the film to orchestrate much of the gatherings in the scenes. The culture in the time period of the late 1950s and early 1960s is also displayed in the fashion, speech, architecture, and soundtrack of the film.
“Sylvie’s Love” provides a meaningful, real, and beautiful story of a romance featuring a primarily Black cast, bringing more diversity into a genre traditionally lacking in representation. More specifically, Black women are included as higher rank figures in the workforce, having impactful influences on their job and creating a powerful voice in their industry. The prominence of Black jazz musicians in the film further contributes to the diversity of the movie.
“Sylvie’s Love” conveys real-life experiences, desires, issues, and successes that may resonate deeply with its audience. The film addresses how one’s dreams, loves, and roles amongst others can impact one’s direction in life. It encourages people to fully value and make time for what makes them truly happy. Overall, “Sylvie’s Love” inspires its audience to disregard what outside forces tell them to do and follow their passions instead.

The Impact of Black Stories on Literature - Sylvie’s Love

Telenovelas:
Hispanic countries are all full of diversity, and no one is like the other, despite all having the same language in common. However, one thing any Hispanic country can relate to are telenovelas. The word “telenovela” comes from the genre of being a novel (novela) performed on screen/television (tele). A Spanish equivalent to soap operas, telenovelas are always defined by their over-dramatic romances. The complex plot twists involving common themes of revenge and familial drama, leading up to the final, happy ending, were what originally resulted in widespread viewership of the genre in all Hispanic countries. The presence of telenovelas has been a staple in Hispanic households for generations now, uniting Hispanic nations though pure nostalgia.
Looking back on telenovelas today, it is evident that in the last decade or so, the genre has come a long way. The original telenovelas are now being called out as antiquated as many of them portray sexist ideals, with common plot lines of a lower class woman being “saved” by a wealthy man. Equally numerous telenovelas have long had solely light-skinned lead actors. Thankfully, in the last decade, there have been many developments in the genre, and more inclusive stories have commonly been depicted. One example of a telenovela that has rejected the patriarchal plot of a woman being “saved” by a man is Telemundo’s “La Reina del Sur,” a Spanish telenovela telling the story of Teresa Mendoza, a woman who deals with grief by becoming one of the world’s most powerful self-made drug lords. Another revolutionary telenovela is Netflix’s “The House of Flowers,” a story set (as well as filmed and produced) in Mexico, revolving around the upper-class de la Mora family. The show is one of the genre’s first to include multiple LGBTQ+ leading characters, molding a promising future for the genre. Considering how telenovelas are expected to reflect Hispanic peoples, it is reassuring to see a more diverse demographic appearing, showing the masses just how unique and varied Latinx culture can be. By replacing the antiquated shows of the past with ones like “La Reina del Sur” and “House of Flowers”, telenovelas have been able to maintain their relevance, securing their place as a treasure in Hispanic culture for many decades to come.
One thing that telenovelas undoubtedly deserve credit for is providing representation of Latinx people to non-Latin countries, such as the United States. Most of the successful telenovelas in Spanish were turned into American replicas, which still starred Latinx actors but took place in the United States. Though it seems strange to keep remaking a show, these American adaptations were one of the first ways Hispanic culture was showcased in US television. For example, “Yo Soy Betty, la Fea,” a telenovela from Colombia, was made into ABC’s show “Ugly Betty” starring America Ferrera in 2006. The show was one of very few shows in the United States at the time that starred a Latina as the main character, and it quickly picked up success just as well as the Spanish original, “Yo Soy Betty, la Fea”, so much so that Ferrara became the first ever Latina to win the Primetime Emmy Award for Outstanding Actress in a Comedy Show. A more recent example, The CW’s adaptation of the Venezuelan “Juana la Virgen”, “Jane the Virgin,” starring Gina Rodriguez, is undoubtedly the most successful American adaptation of a telenovela since “Ugly Betty.” 
The American telenovela has reached a diverse audience across the country, even here at  PHS, where students can be heard avidly speaking about their investment in the show; 
“There are all these plot twists and so much drama that it keeps you watching,” said Melody Strum ‘25, which goes to show just how much Hispanic telenovela culture has evolved North American culture in recent years, and not just that of Latin Americans.
 Not only has the show spread Hispanic representation by being binge-watched by masses around the world, but it also has been exceptionally educational, teaching lessons on telenovelas to its viewers. The importance of telenovelas in Hispanic culture is conveyed in “Jane the Virgin” through the character Rogelio (Jane’s father), a telenovela star, and lessons on how to analyze and understand telenovelas and their most common plotlines are conveyed through the third person narrator’s analytical storytelling. With telenovelas like “Ugly Betty” and “Jane the Virgin,” Hispanic-American people have been given more screen time and representation in the United States’ media, and on the televisions of students here at PHS. The presence of these shows gives hope for greater education on Hispanic culture in the United States.
   Aside from telenovelas, dance is another facet of Hispanic culture that has made an impact on our lives. For years, dance has been used and passed down through multiple generations in Latino culture. It can be a form of celebration for occasions such as weddings and birthdays. It brings people of all ages together and continues traditions that are specific to certain countries and their culture. 
   As we celebrate Hispanic Heritage Month through the many aspects of Hispanic culture, much of this commemoration is expressed through dance. PHS’s club Latinos Unidos will be performing their own choreography for an assembly on October 18. 
   Latinos Unidos, a group that celebrates the cultures and traditions of the Latinx community, is presenting the Hispanic Heritage Month assembly. For many, it is a welcoming and positive experience that unites Latinos at PHS. It is a space where students with similar interests can share their experiences, even if they come from different Latino backgrounds. Hispanic Heritage Month is an important time for everyone to become closer with the Latino community, appreciate its culture, and share it with others. 
   “It’s a collection of various dances that are prominent and well-known in most spanish-speaking countries,” says Regina Sakar ’24.
    A dance routine has been created by Sakar and Ozzy Morales ’25, which their group practices during lunch to ensure that everyone involved has the steps down before adding in new ones. For Sakar, dancing and choreographing have become some of her favorite pastimes. This performance is meant to represent various well-known dances from Hispanic countries. 
	“Preparing for this dance has been relatively fast-paced as we have only practiced for about a week so far,” said Sakar. “We’re excited to finalize the dance as we get closer to the performance date.” With the help of Morales’ prior knowledge about Hispanic dance, a few reference videos online, and other members of the club, the two were able to create their own dance that reflected elements of Spanish culture while also demonstrating their own style.
“When it comes to dances like merengue, cumbia, and bachata, the meaning ultimately comes down to just having fun and letting the music bring our community together,” Sakar shared. 
   The routine is filled with rhythm, passion, and connecting with whoever is around you. Some types of Hispanic dance can be done more easily, although other types can be very challenging if they include quick movements such as rapid turns. Furthermore, dances that include partnerwork tend to be more intricate and complex. Some dancers devote their life's work to training in Hispanic dance. It is very influential, considering that the music and steps that are used have also been incorporated into current pop music and dance styles.  For example, there can be some connections between Reggae and Reggaeton music through their beat and rhythm. 
   The Latinos Unidos dance performance was a captivating display of Latinx culture, as dance is so integral to their expression and traditions. 


Avery McDowell's Work

The Tower