34464 research outputs found
Sort by
We are No Longer Invisible
Get PDFSickle cell discourses are not merely descriptions of medical matters but contentious sites that invoke rhetorical arguments to support racialized medical borders, human difference, and ontological essentialism. In this essay, I examine in this essay is the way that those stricken by Sickle Cell Anemia appropriate the disease to advocate for their voice and visibility. I disclose how the construction of SCA as a black disease becomes a contested terrain which is often a “cultural centering on identity and dignity.” At odds is how the body is inscribed with a set of meanings in its association with blackness, the woeful ignorance that’s pervasive in the medical community of those who treat sickle cell patients and the indomitable will of the warrior to survive regardless. I consider the “warring ideals in one dark body,” urgings to be seen and heard. These manifest as performances of resistance, acts of resilience, and ways of asserting agency to maintain a semblance of humanity in the midst of situations that are anything but
Northanger Abbey
No full textHere the story is introduced by the character of Jane Austen who leads us through the world. Her costume was deeply inspired by the very few portraits of Jane Austen that had been painted while she was alive.https://ir.uiowa.edu/costume_design/1128/thumbnail.jp
Hit the Wall
No full textThis image features Madeline, on the left, wearing a deep fuchsia three quarter sleeve, mid length dress and a pillbox hat. This outfit was inspired by popular ‘60s trends, worn by Jackie O. On the right is Peg, wearing rust toned corduroy trousers, a patterned button down shirt, and a denim vest. The costume is distressed and she has bruise and blood makeup on her face, not only because she was in jail, but to show the extremity and brutality of the Stonewall raids.https://ir.uiowa.edu/costume_design/1127/thumbnail.jp
Hit the Wall
No full textIn this photo Carson, in the black dress, is talking to Mika and Tano. Mika, in the purple crop top, was inspired by images of Jimi Hendrix. Tano, in the blue shorts, was inspired by athletic wear of the 60’s. Carson’s black dress was designed with an influence from dresses worn by Judy Garland, in the late 60’s. I choose a sheer black fabric that had a heavy blue sheen to help illuminate it in the lights.https://ir.uiowa.edu/costume_design/1119/thumbnail.jp
Hit the Wall
No full textIn a moving epilogue, the characters address the audience sharing their accounts of that night and the aftershocks. Peg, Roberta, Cliff, and Carson stand at the edge of the stage in pools of light backed by the rest of the cast.https://ir.uiowa.edu/lighting_design/1176/thumbnail.jp
Faculty/Graduate Dance Concert 2020
No full textThe beginning of Organo Plano. The entire cast of dancers fill the stage and do the same choreography in sync with one another. I began the piece by lighting everyone in an icy white to support the minor key of J.S. Bach’s “Passacaglia and Fugue in Cm.” The cyclorama was lit in a cool blue throughout the piece to provide a static reference for the shifting light on the dancers.https://ir.uiowa.edu/lighting_design/1118/thumbnail.jp
Marat\u27s Dead
No full textAfter leaving the bath, Char looks up to the security cameras planted within Johnny’s home. She pleads to whoever is listening to change the path that the country is on. Space, obscured by static, drifts along the televisions behind her.https://ir.uiowa.edu/media_design/1013/thumbnail.jp
Marat\u27s Dead
No full textChar pulls out a knife and stands, “bathed in light” as she confronts Johnny.https://ir.uiowa.edu/media_design/1009/thumbnail.jp