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453 : Costume Design - CX Development of artistic and technical abilities in the field of costume design incorporating history, patterns, and renderings. (4) THEA 455 : Scenic Design Explores the process used by scenic designers to create a physical environment for the stage through analyzing a theatrical text, formulating and expressing an approach through research, and executing their ideas through models and simple drafting. Prerequisite: THEA 252. (4) THEA 480 : Directing II Builds on
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the program – Matt Leslie, Jack Rubenkonig, and yours truly. We spent two full days in each National Park, and the rest of the time in transit. Along the way we also stopped through the four corners to play a quick game of four square before the hordes of tourists forced us from our jovialities. Amongst belly laughs and hobo dinners, we rafted the Colorado river, hiked in full costume on one of the Grand Canyon’s most populated trails, and adventured through self-proclaimed strenuous trails in an
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hangings, rugs, tools used in the preparation of these pieces, and several costume artifacts. As a special feature, Swedish tapestry weaver, Cecilia Blomberg, will display several of her exquisite tapestries. “Textiles are a huge part of the Scandinavian culture. Not only were/are they an essential part of a household in many areas, but also serve as an identity to the people,” said Linda Caspersen, one of the curators of the exhibition. “Clothing is worn for protection, status, and adornment and these
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by some of the close relatives who ward off flies. The masqueraders stand still in front of the door and beat on their drums. After one or two days have passed the masqueraders come back to the deceased home and go into the courtyard where the corpse has been brought outside and cloth have been sewn around it. Now, apart from wearing the mask over the face, the dancer “wears a costume that consists of a one-piece suit dyed deep red with painted figurative and geometric patterns” (Art and Life in
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professional artists. Once the mask, along with the rest of the full-body costume and accessories including beads, rattles, kerchiefs, flywhisks, and scepters are in place, the dancers take on the role of whatever character their costume represents. The individual’s human status is no longer recognized as he participates in the foundational myth that allows him to fully embody the spirit and character of the mask. This spirit is so powerful that the men can hardly control it and the women cannot go near it
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artists. Once the mask, along with the rest of the full-body costume and accessories including beads, rattles, kerchiefs, flywhisks, and scepters are in place, the dancers take on the role of whatever character their costume represents. The individual’s human status is no longer recognized as he participates in the foundational myth that allows him to fully embody the spirit and character of the mask. This spirit is so powerful that the men can hardly control it and the women cannot go near it
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artists. Once the mask, along with the rest of the full-body costume and accessories including beads, rattles, kerchiefs, flywhisks, and scepters are in place, the dancers take on the role of whatever character their costume represents. The individual’s human status is no longer recognized as he participates in the foundational myth that allows him to fully embody the spirit and character of the mask. This spirit is so powerful that the men can hardly control it and the women cannot go near it
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artists. Once the mask, along with the rest of the full-body costume and accessories including beads, rattles, kerchiefs, flywhisks, and scepters are in place, the dancers take on the role of whatever character their costume represents. The individual’s human status is no longer recognized as he participates in the foundational myth that allows him to fully embody the spirit and character of the mask. This spirit is so powerful that the men can hardly control it and the women cannot go near it
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artists. Once the mask, along with the rest of the full-body costume and accessories including beads, rattles, kerchiefs, flywhisks, and scepters are in place, the dancers take on the role of whatever character their costume represents. The individual’s human status is no longer recognized as he participates in the foundational myth that allows him to fully embody the spirit and character of the mask. This spirit is so powerful that the men can hardly control it and the women cannot go near it
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about planning it! DJS Retreat at the Center for Diversity, Justice, and Sustainability Habitat for Humanity Volunteering Staycation Parkland Immersion Alternative Spring Break | sponsored by the Center for Community Engagement and Service My Culture is Not a Costume | Conversations with the Diversity Center about cultural appropriation in Halloween costumes Tunnel of Oppression ContactFor more information about this Learning Community option you may contact: Dream Gonzales, Community Director for
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