Promethean

spring 2016

FEATURING

hijabi power a tale of tulle the art of color a piece of print in life and death: alan rickman

Cover by: Lucia Melendez

Table Of Contents 4

Contributors Page Meet the faces behind Promethean

6

Letter from the Editor A few words from our Editor Sanjana

8

Which Art Movement Are You? A fun personality quiz that tells you which major art movement you are

10

A Piece of Print A look into various printmaking techniques and some artists who specalize in print

14

Which Artist Are You? Learn which artist shares your zodiac sign and about the life of that artist

promethean|page 02

16

Photo by Unknown The Art of Color A modern guide to the universal use of color in psychology, art and the display of art.

20

Hijabi Power The significance the Hijabi has and insight from people who wear them

24

Hijabs Around the World The wide spread fashion of hijabs around the world and how art influences the various styles of head coverings

26

Get Cratfy: DIY Tutu How to make an easy tutu with no needle or thread required

28

A Tale of Tulle The importance of ballet costumes in a production and the processes behind how they are made.

32

Tea Time With Alan Rickman How to make proper tea british style in honor of Alan Rickman

34

In Life And Death: Alan Rickman A tribute to Alan Rickman’s life and his impact on others throughout his career. promethean|page 03

CON TRIBU TORS

Here’s a little look into the people that made our magazine a reality; our own little

DREAM TEAM

ALYSSA WALKER

Alyssa hasn’t always been interested in most styles of traditional art, but is currently exploring the realms of alternative forms, such as mixology. Her love of Alan Rickman blossomed through her discovery of the Harry Potter series and she believes that Rickman should be praised for his addition to the film industry. Alyssa is often times found in the kitchen, composing wild and new culinary concoctions. She believes that dolphins are a perfect representation of her personality, as her energy and curiosity is constantly growing. Her vision for the future is being a Communications Liaison or an FBI Profiler because of her interest in bettering society through connections between people.

Photo by: Alia Shaukat

LUCIA MELENDEZ

Lucia, an avid traveler with a true sense of wanderlust, believes that art is found in anything and everything. For her, art is universal and opinions should be spoken freely. She is able to blend and balance her diverse interests in volleyball, acting, and singing with grace and radiance. Like a swan that cuts through the water with luminosity, Lucia is one that is mostly tranquil but is able to express herself when needed. Following her love for travel, she sees herself as a translator so that she is able to learn the languages and cultures of people all around the world.

Photo by: Alia Shaukat Background photo by Judith Cooper

promethean|page 04

SANJANA ALURU

Sanjana, born into a family that values wildly brilliant artistry, is naturally drawn to all modes of art, including printmaking. You are able to find her at the crossroads of dance and music; as her singing and traditional Indian Bharata Natyam dance combine to beautiful lengths. As a playful yet loyal individual, Sanjana believes that her personality perfectly reflects that of an otter. She hopes that in the future she will flourish into a shining doctor, either as an oncologist or an optometrist, so that she can improve the lives of those around her.

Photo by: Alia Shaukat

MEGAN GILBERT

With her experience in ballet from a young age, Megan’s wonder and admiration for the production of ballet costumes is large. She believes that art is able to take many different forms and should never be bound by rules. Megan enjoys wandering through the forests of art and beauty as she makes her way in the world of dance, pasta, and coloring. As an animal, Megan would be a hip and relatable corgi, with brutally bold and incredible passion for those she loves. She wishes to better people’s minds with her work in psychology in the future.

Photo by: Alia Shaukat

ALIA SHAUKAT

Following her heritage, Alia’s passion for women’s rights and expression in the Middle East started at a young age due to her father’s early life in Pakistan. She is fascinated by all types of art as she stretches her mind from the staggering heights of snow-capped mountains to the sunken and mysterious trenches of the ocean. She is currently creating a path for herself with her experience in the world of modern dance and various mediums of literature. As a quiet and aloof individual, Alia believes that she is similar to a wolf, one that is easy to annoy yet quick to protect the ones she loves. In the future, she desires to be a writer, living in an ivy-covered home and dabbling in all sorts of literature.

Photo by: Megan Gilbert

promethean|page 05

the

from

Dear Readers,

It is with great pleasure that I write this letter to introduce Promethean. We have worked very hard to bring this issue to you, and can truthfully say that we are very proud.

At the beginning of this (very long) semester, we had just gotten our magazine themes, and I was disappointed to be part of a science and technology magazine. I tried very hard to work with another topic, and finally — cutting quite close to the feature story idea deadline — was moved to the arts and crafts group. To be honest, I was still a little wary at the time, as I had held out hope for the music and film magazine, but beggars can’t be choosers, as they say, so I kept quiet and threw myself into art. Looking back, I am actually very happy that I decided to stick it out and remain in art, as that decision led to the beautiful magazine that you are holding.

This magazine, the product of our efforts, is about the fine arts and crafts. It features stories about topics ranging from color psychology to women empowerment through fashion. The title, Promethean, means “creative and boldly original,” and I believe that describes our magazine perfectly.

I thank my wonderful team for helping to make Promethean possible, and hope you enjoy reading it as much as we enjoyed making it.

Sanjana Aluru, Editor-in-Chief

promethean|page 06

Photo by: Unknown (Wikipedia Commons)

which ART MOVEMENT are YOU?

by Sanjana Aluru

Do you enjoy

no fascinating?

yes poetry?

yes

yes

Are you an extrovert? no Do you value hard work rather than beauty?

6

3

You are the RENAISSANCE, a period of revival of classical Greek and Roman art and values. You have a stable mind, are interested in literature and philosophy, and are naturally curious. You are an idealist, guided by your imagination.

2

3

renaissance

2

baroque

“Madonna with Saints” by Caracci Family

“Mona Lisa” by Vincent Van Gogh

1

no

no

4

You are the BAROQUE, a period of elaborate and highly detailed art. You, much like the people and art of this time, are dramatic and exaggerative. You are very direct, and posses a blunt honesty.

no

Do you prefer fiction over nonfiction?

3

8

yes

7 romanticism

“Wanderer Above the Sea of Fog” by ››Caspar Freidrich

5

emotion?

no

yes

yes

Are your actions

yes governed by

You are ROMANTICISM, a period of emphasis on imagination and emotion.

You are in-tune with nature, and are quite dramatic, albeit traditional.

You tend to be unpredictable, prone to violence, and very emotive in your personality. You are a hopeless romantic, and love animals.

4

realism

“A Norman Milkmaid at Gréville” by Jean-François Millet

no

Do you find nature

Do you prefer darker colors?

You are REALISM, a period of art focused on showing objects or people as they are. You are a grounded person, in touch with yourself and those around you. You are also quite confident in your abilities and self, and assert yourself in social interactions. You are a realist.

Do you believe that yes START life as we know it is an illusion?

no

no

Do you rely more on Do you prefer proven common sense rather facts over theories? than intuition?

Do things yes shrouded no in mystery Do you need interest organization you? and order in your life? yes Are you seen as no nonconformist?

Do you like to learn about mythology?

yes no

no

Are you often misunderstood emotionally?

no

yes

1

7

yes Do you often catch yourself daydreaming?

no

no

Do your dreams focus on your real life and its events?

8

4

2

8

pop art

surrealism

7

expressionism

6

“Campbell’s Soup Cans” by Andy Warhol

“Selfportrait” by Marianne von Werefkin

6

yes

Surrealism by Salvador Dali

impressionism

no

yes

“Woman with a Parasol” by Calude Monet

no

yes

1

5

Are you more practical than creative?

Would you wear something practical rather than stylish?

yes

yes

no

yes

no

Are you more of an optimist?

5

no

Are you closer to your family rather than friends?

yes no

no

Are you a yes perfectionist?

no

yes

yes

no

Do you see yes the big picture easier than little details?

Is being organized more important than being adaptable?

no

Do you often spend time yes Do you find yourself exploring unrealistic yet constantly analyzing intriguing ideas? yes people’s words and actions?

You are IMPRESSIONISM, a period of art which shows the momentary, sensory effect of a scene. You are bold and opinionated, and can come across as mysterious to others. You are also very individualistic, serving yourself and no others. You can tend to be narcissistic.

You are EXPRESSIONISM, a period of art that expresses the artist’s feelings. You are very emotive, seeking affection or some sort of outlet for your emotions. You can be indecisive, torn between choices, as there are usually two sides to your personality.

You are an activist for many causes.

You are SURREALISM, a period of emphasis on the power of the personal imagination. You are a thinker and dreamer, focused on what is and what will be. You are also an observer, and are very imaginative. You are an idealist.

You are POP ART, a period of art focusing on commonplace people and objects. You are a modern person, not to mention slightly rebellious. You are bold and engaging, and tend to be sarcastic and opinionated. You are quick and witty, and are a realist.

by SANJANA ALURU

Elvia Perrin’s etching press. Photo by: Travis Perrin

P

rintmaking used to be considered a tool to reproduce and distribute texts. However, over time, it has changed to the purpose of creation, rather than reproduction.

Printmaking today is a distinct art form, resulting in highly unique works of art.

Printmaking is not as obscure of an art form as one might think initially.

Many famous artists — Rembrandt, Andy Warhol, and Pablo Picasso among them — produced many prints of varying styles. Out of all of the techniques, screenprinting and intaglio are considered the most popular. Many people today dabble in printmaking, and some have even turned it into a business.

Photo by: Travis Perrin

Perrin sets up her plate for print.

TITLE PICTURE: An inked print by Perrin. Photo by: Travis Perrin

Perrin wipes off ink from the plate. Pho-

elvia perrin

Her primary medium is intaglio.

Intaglio is a technique where the design being printed is etched into the printing surface, or plate, which is made of metal, plastic, or even coated paper. Ink is then rubbed into the grooves created by the etched design, and the surface of the plate is wiped clean. The ink remains in the grooves, and paper is pressed into them, creating an image on the paper. This is the final print.

Austin artist Elvia Perrin is part of the latter group. She attended the University of Texas at Austin, taking an interest in lithography.

Lithography is printing on a flat surface which has been specially treated to repel ink except for on the areas where the ink is needed for the print.

“I just fell in love with the mark making approach and the multiplicity of the medium,” Perrin says.

“I just fell in love with the mark making approach and the multiplicity of the medium.”

Elvia Perrin

to by: Travis Perrin

Intaglio printing requires immense pressure, unlike other styles of print.

Major sub-techniques of intaglio are engraving, etching, drypoint, and mezzotint. Intaglio printing produces a large range of prints, with the unique three-dimensional printed surface.

“Etching is a beautiful medium that Photo by: Travis Perrin

Perrin rubs ink onto the plate.

promethean|page 11

A J&J Worldwide Services shirt printed by Kong Screenprinting.

A silkscreen with an image to be printed.

uses line, surface and ink to create a beautiful layering of color on paper,” Perrin says.

Perrin works on an etching press.

She works with copper and solar plate etching. A copperplate, as the name suggests, is a sheet of copper which has been engraved to form the grooves in which the ink is placed for the print. Solarplate etching is a newer, more eco-friendly process. A solarplate is a plate made of a combination of light-sensitive polymer and steel.

“Screenprinting has the ability to capture color in a vibrant, robust manner that no other print media can match.”

Ryan Burkhart

“I hope people find a simplistic beauty to my work and curiosity to how it was created,” Perrin says.

ryan burkhart

Ryan Burkhart is the co-owner of Kong Screenprinting in Austin, Perrin also combines multiple Texas. He studied fine art and printing processes, layering printmaking and received his BFA lithographic techniques to add at Ohio State University. He went dimension to the otherwise flat on to receive his MFA at Texas Tech element of that medium. She uses University. He got interested in etching to add color, surface textures, printing because of his fascination and patterns to her work. Solar plate with the printed word and art in etching helps add any photographic history and daily life. elements to her prints.

“I like finding order in things,” Perrin says. Her work starts as a painting or drawing and is redesigned into a minimalistic and formal final print. promethean|page 12

In Burkhart’s opinion, building a self-sustaining, profitable business that is a “vibrant” part of the Austin community is his greatest accomplishment in printing. Kong Screenprinting focuses on printing and design, specializing in high

quality art design, screenprinting for apparel, and paper prints for various types of organizations.

Burkhart also works with local and national-level artists to help bring their works to print.

Burkhart collaborates and consults with other people to help bring their ideas to life. He interprets and revises their ideas so that every project he is a part of is a combination of his experience and abilities as well as his collaborators’ concepts and designs.

Screenprinting is a technique in which the ink is placed directly on the surface to be printed. The image to be printed is transferred to the screen, made of very fine fabric, which serves as a stencil. The ink is then wiped across the screen and forced through the unblocked areas to create the image on the printed surface.

“Screenprinting has the ability to capture color in a vibrant, robust manner that no other print media can match,” Burkhart says.

Burkhart is also trained in lithography, etching, woodcut printing — also called relief printing or xylography — and letterpress.

Woodcut printing is where the image to be printed is carved into a block of wood, with the raised surfaces to be inked and the areas that have been gouged out are where there is no ink. Letterpress printing is much like woodcut, except the image or text is repeatedly printed on a continuous roll of paper.

“As someone who loves simplicity, I like the direct way screenprinting can translate my ideas quickly and with impact,” Burkhart says. He hopes other people take pleasure from his works.

Printmaking, in short, is a complex and wide category of art. People use various printmaking techniques in their different jobs, or even as a hobby. This medium of art is rare in the day-to-day word, but greatly enjoyed and coveted by many.

Photo by: Travis Perrin

A finished print

by Perrin.

Photo by: Travis Perrin

A finished print

by Perrin.

“I hope people find a simplistic beauty to my work and curiosity to how it was created.”

Elvia Perrin

Photo by: Travis Perrin Photo by: Travis Perrin

Perrin signs her prints.

promethean|page 13

WHICH ARTI TO A P

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20

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JA N

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20

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MAR 21

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AR 20 TO M 9 1 FEB

DEC 22 T O JA

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WHAT’S

21

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22

23 AUG

OC T

P 22 TO SE

SEP 23 TO OC

2

3T O

N O

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promethean|page 14

JU L

21

22

V NO

OD 22 T

22 T OJ UL

EC 21

JUN

YOUR

ST ARE YOU?

by Lucia Melendez

ARIES You’re eclectic and ahead of your time, just like Vincent Van Gogh!

CANCER You’re vibrant selfportrait painter Frida Kahlo!

LIBRA

TAURUS You’re eccentric Spanish Surrealist movement leader Salvador Dali!

You’re American minimalist painter Ellsworth Kelly!

LEO You’re iconic pop artist Andy Warhol!

VIRGO You are Surrealist painter and costume and set designer Pavel Tchelitchew!

SCORPIO

You’re American Impressionist painter Emil Carlsen!

You’re revolutionary modern artist Pablo Picasso!

CAPRICORN

AQUARIUS

You’re French Fauvist color enthusiast Henri Matisse!

GEMINI

You’re influential abstract impressionist movement leader Jackson Pollock!

SAGITTARIUS You’re fiery and passionate Mexican muralist Diego Rivera!

PISCES You’re Impressionist style developing painter Pierre-August Renoir!

promethean|page 15

the art of

Photo Courtesy of Carlos Melguizo

by: Lucia Melendez

F

or Margaret Martin, LCSW, the choice between painting her office green or blue is more than just a choice. It’s a deciding factor in whether her clients respond to her psychotherapeutic techniques. In today’s fast-paced, market-centered and reasonably judgmental society, people tend to have short attention spans.

Choices that seem like no big

deal can affect you a lot. The choice between a red shirt and a blue shirt could be a key component of someone’s decision to tell you good morning or not. The colors we choose reflect who we are, and when you’re trying to make people feel safe as long as Margaret Martin has, you’ve got the colors down to a science. To make her clients

feel most at home, Margaret Martin spent lot of time choosing how to decorate it. With lots of soft blues, aquas and yellows, her goal is to make it relaxing as possible. “What I get from people who come in my office is ‘Wow, this is such a safe place!’ and that’s really important to me.”

In her office, Martin works with a promethean|page 17

lot of patients that have undergone mental trauma “That sounds really horrible, but at the same time, I get to see people at their most vulnerable, and I get to go with them on their journeys of healing, and I get to see them and their healing process and be a part of their healing process, and that’s amazing to see someone go through that kind of growth, and get to be a part of that kind of growth.”

Martin said.

I was a part of that. And they had this new C.E.O. with this plan to revamp what all the offices look like. And they spent all this money on new paint and furnishings and stuff like that, and they came around and painted, all of it was like this baby poop color. It was depressing, and this is an environment where people already hurt all the time and they’re depressed, they’re anxious, Psychotherthey’re apy is a very stressed delicate enout vironment. about -Dr. Francesca Consagra In therapy, their the client has pain and to really open you want to up, and that’s hard have them to do in a place that to have a healing doesn’t feel positive and vibe.” Martin said. uplifting. That’s where the color choices come into play.

Even in a non-psychological setting, color choices matter.

“I used to work at this pain Whether we’re aware of it clinic in town. So it was doctors, or not, color impacts us very and they treated people with directly, especially in an educachronic pain, and they had a tional setting. Artform is a very psychotherapy department and effective medium to express

“You have to be very conscious with the colors you pick.”

Photo Courtesy of Carlos Melguizo

promethean|page 18

color. Francesca Consagra, Senior Curator of Prints and Drawings, European Paintings at the Blanton Museum of Art, has been fascinated with art since she was about six years old.

“I saw Michelangelo’s Pietà at the New York World’s Fair, and I had a calling from that time on.

I always knew, I took art history in high school, I got my Ph.D.. in Italian world printmaking in Rome.” Consagra said.

As a curator and a connoisseur, displaying art is a big part of Consagra’s job.

The art of displaying art is very fickle. Trends tend to come and go at the drop of a hat.

“It’s tough because you’ll paint your entire museum light gray only for light gray to go out of style a year later. You have to be very conscious with the colors you pick. Another technique I’ll use is pull one color that is present in every piece in the exhibit.

But then again, that’s also tough because then you’re highlighting that one color and downgrading all the other ones.” Consagra

Photo Courtesy of Carlos Melguizo

Photo and artwork Courtesy of Carlos Melguizo

said.

is no different.

As both a lecturer and a connoisseur, Consagra likes her job very much.

When he’s planning his next piece of art, colors are very important to Carlos Melguizo.

Following the common theme, art called to Melguizo early on.

“I’m able to merge both my museum work with the academic world. Then I came back to the concept of the blending of the two, and that’s why I like this job, very much. It brought me back to where I started.” Consagra said.

Even as important as the display of art is, it always needs art to display. Color choices in artwork tend to be equally as deliberate as the choices made when the artwork is displayed.

Artists from every age have taken to the easel when inspiration has struck, and Carlos Melguizo

they’ve developed into a language that everyone can understand.

Today, color is just another way to communicate.

“I first started playing with PlayDoh, and then it sort of just escalated from there.” Melguizo said.

“If I’m trying to express a sadder tone I’ll use blues. Reds can be passionate or symbolize pain.” Melguizo said.

Carlos Melguizo is an avid painter as well as owning a jewelry store in McAllen, Texas.

Francesca Consagra in her office. Photo by Lucia Melendez

Since colors are so universal, promethean|page 19

Courtesy photo by Rameen Haroon.

Haroon is wearing a traditional Pakistani dress and head covering.

MUSLIM WOMEN BREAKING DOWN STEREOTYPES

by ALIA SHAUKAT

T

he hijab, a headscarf worn by most Muslim women, is suddenly representing so much more than modesty.

“I would prefer that people not look at me as a woman first, but as a person,” says Huma Munir, a Muslim woman working at the Liberal Arts and Science Academy in Austin, TX. As predominantly Muslim countries, such as Pakistan, are evolving into places with a larger value on gender equality, women are putting more and more worth on what covers their head.

“Wearing hijab is not the only factor that makes you a Pakistani, even a Muslim,” says Rameen Haroon, a sophomore at LASA, “Personality, faith, and many other factors are the way to judge people, not their appearance. If a woman decides not to wear hijab, it isn’t my or anyone’s business, only that woman’s.”

Although women in Islamic countries are putting more worth on their headscarves and how they dress, it hasn’t always been a choice for women.

“When I was growing up in Pakistan, I never really saw women wearing jeans or going outside without the headscarf,” says Munir.

“I know it happened in elite towns, but in the society where I was I never really saw any of that happening.”

In the past, most Islamic cultures put a large emphasis on modesty. In fact, it was a large taboo for women to leave the house without covering their head.

“People these days are influenced easily by media that sometimes falsely advertises the hijab. I have been called names and been given

weird stares,” says Haroon. “But who wear hijab are oppressed, but more than those who have given me that isn’t true at all.” said Haroon. bad experiences, there have been a “But when I hear these stereotypes ton more good experiences.” at school, I’m quick to confront and Traditionally Islamic countries, such correct people because I spend most as Pakistan, are changing drastically of my time at school and having in their outlook on what life entails. these stereotypes floating around a “People are becoming more aware place that I spend so much time isn’t in Pakistan. People are getting better beneficial for me or for anyone else.” education, better job offers, and a Although it might seem as if men better lifestyle,” says are the decision makers in Islam Haroon. “As and that Muslim women are the world forced into covering their modernizes, head, most women are Pakistan able to choose how “The hijab is kind of like can’t stay they dress. behind “Honestly, as a modesty in action. It’s not and I millennial and a really about a woman’s body to think that person living in the me. It’s about religion.” people US and not the most Rameen Haroon are now engaging Muslim, I starting to don’t really care if a realize that.” woman wears Hijab or Many young not.” said Zayan Vohra, people have come a Muslim freshman at LASA. and gone from Pakistan, “If she wants to follow the religion bringing fashion and technology more, or if she likes how it looks, it’s with them to help modernize their up to her if she wants to wear it.” country.

For many men such as Zayan Vohra, Even if Islamic countries are the truth of Islam is that most adapting becoming more openmen couldn’t care less about how minded, growing up with a a woman wants to dress. “Islam traditionally modest heritage in a as a religion does say that women country like America is challenging should cover their heads, but times to say the least. are changing.” said Vohra. “People In the Quran, the sacred Islamic need to move on and worship god book, it talks about women and in their own way.” As Vohra said, their modesty, “that they should not one of Islam’s principal values display their beauty and ornaments is forgiveness; people need to be except what must ordinarily appear able to forgive those around them, thereof; that they should draw their meaning that it should not matter if veils over their bosoms and not a woman wears the hijab or not. display their beauty” (Quran 24:31). “Wearing a hijab these days shows a In Islam, women are expected to whole other side to Muslim women: veil their beauty and dress fairly Muslim women aren’t intimidated modestly. by today’s opinions against women.” promethean|page 21 “Many people think that women

said Haroon.

These days, many women are starting to adapt their culture towards Westernized styles.

Although some may claim that this change is essential to keep up with the world, others believe that this isn’t necessarily for the best.

“Obviously I don’t think there’s anything wrong with American culture or fashion, or even adapting to American fashion but I think that one should always cherish their own culture and hold onto it for as long as possible.” said Munir.

Her belief is shared by many Muslim women who are desperately trying to salvage their culture. Many would say that their headscarves are important to hold onto their traditions and heritage. In fact, Munir says that she values

her country’s culture, clothing, femininity all in one. As Haroon traditions, and cuisine more than said, the hijab always spark more anything. positive inquiries rather than “I’ve never come across assume the worst of another culture in people. this world where so Her advice for many colors come young women “There are so many together and starting to people in the world where so many develop their that are going to be more different types identity as interested in your hijab and of embroidery a Muslim your modesty rather than you come together woman, to create “Have fun being a terrorist.” masterpieces.” with it. But in Rameen Haroon said Munir. “I just the end, know wish people would why you’re wearing hold onto our culture the hijab.” because I’ve never seen anything more beautiful.”

The hijab is something worn by women all around the world. It represents modesty, Islam, and

Courtesy photo by Rameen Haroon.

Henna tattoos come from the dye of the henna plant. It is a temporary body staining also known as mehndi in South Asia.

While in the past henna was used mainly for weddings and special occasions, today it is used all around the world as an interesting and respectful way to learn about South Asian culture.

promethean|page 22

Courtesy photo by Rameen Haroon.

Haroon is wearing a traditional Pakistani dress and head covering.

Courtesy photo by Wikipedia A traditional Islamic pattern shown in a mosque in Shiraz, Iran. Centrally planned mosques like this one have an interior octogonal space with 8 piers, made to be filled with light and sound.

hijabs around the world Written and illustrated by ALIA SHAUKAT

SYRIA IRAN

AFGHANISTAN

PAKISTAN

EGYPT

YEMEN

Courtesy photo by Wikimedia Commons

THE HIJAB

The hijab is the head covering that is most widely known and worn, originating from Pakistan and Afghanistan. The hijab is a square scarf that covers the neck and head while keeping the face bare.

THE CHADOR

The chador is a head covering that is very similar to the hijab but is more conservative. The face is left bare, yet the head and neck are covered with a separate head scarf that comes with a full body cloak. This style originates from Iran.

THE NIQAB

The niqab, often confused for the burqa, originates from Egypt, Syria, Yemen, and Iran. It covers the neck, head, and face while keeping the eyes uncovered.

THE BURQA

The burqa, the most concealing head covering, is a full body cloak with the neck and head covered. There is mesh in front of the eyes as well. This style originates from Syria, Pakistan, and Afghanistan.

promethean|page 25

Get Crafty: DIY Tutu

MATERIALS:

About 10 yards of tulle 1” Elastic Scissors Measuring tape Thread+needle or hot glue Bucket/large cylinder object Optional: Bow+Accessories

by Megan Gilbert

1 Measure the circumference of your waist, and cut a piece of elastic that length.

2 Place a dot of hot glue on one end of the elastic, and glue it to the other end.

3

promethean|page 26

Measure out 6” or 7” wide strips in your tulle that are about 24” in length, with the number of strips being enough to cover the elastic (these measurements can be changed, if you want a less fluffy tutu make the width larger, and the length of the tulle is 2 times the length you would want your tutu to be).

4

Lay out a strip of tulle and cinch it in the middle.

Fold the strip in half and form a loop towards the top of it.

6

Place the piece of tulle behind the elastic. Then, grab the ends of the tulle and pull it through the loop, therefore tying the tulle to the elastic and fanning it out.

7

Congrats, you now have a

5

Repeat step 6 along the length of the elastic (the amount of times you do this depends on the desired thickness of the tutu).

8

tutu! You can stop after step 7 or add a bow or other accesories to jazz it up!

promethean|page 27

A Tale of Tulle

by Megan Gilbert

Photo By: Unknown (Wikipeida Commons)

A

single spotlight appears on the stage, illuminating a figure clothed in ivory. Suddenly she begins to move, entrancing the eagerly anticipating audience.

She rises up on her toes with ease, executing a series of leaps as if she is flying. The audience is dead silent, completely engrossed in the ballerinas performance. The only thing that matters is the girl on stage, and nothing else is important in that moment. However, that is not the case. The reason a ballet is so entrancing is a combination of things, including the costume worn by the ballerina.

A ballet costume is something that tends to be regarded as background to most other elements of a ballet; choreography, music, facials etc.

While the costumes are normally seens as beautiful and captivating, they don’t usually receive very much recognition. However, the countless hours and intense perseverance required to create each intricate and beautifully crafted costume shows that the process involved is substantially more difficult than many people may think.

Alexey Korygin, costume master The Costume workshop at Ballet Austin Courtesy Photo By: Alexey Korygin

at Ballet Austin, knows first hand the difficulties that go into hand crafting each costume. Korygin has grown up with Ballet, starting the craft when he was 4 and continuing dancing professionally and passionately for about 21 years. However, being a ballet dancer requires a certain criteria of exemplary physical and mental states, and because of this the physical toll can be a lot to handle for most people.

Korygin recognized this, and realized that although he couldn’t continue to dance professionally anymore, he could still be involved in ballet in another way. “I had to retire, but I wanted to still be a part of ballet even if I couldn’t dance anymore,” Korygin says, “I remember thinking about what else I found beautiful about this art, and costumes just came to mind”. So he began his long and illustrious career as costume master, a job title he has held for about sixteen years.

While a ballet costume is generally very intricate, therefore providing a sense that crafting one is a lengthy process, the actual extensive time it takes is fairly surprising. There isn’t really an average time to craft

a costume, with a simple leotard taking only a day to make and a more complex costume sometimes taking a few months to craft.

Korygin is in charge of creating the memorable Mother Ginger costume for Ballet Austin’s rendition of the Nutcracker, a costume that is definitely a crowd pleaser for its unique design of a huge skirt and platform.

“The skirt is architecturally and technically the most difficult costume I have to create annually” Korygin says. No surprise there, for the costume itself is about 12 feet tall, attached to wheels and a platform. The Mother Ginger performed stands in a box secured to the platform below, and the whole thing is covered in a large skirt to give the illusion of Mother Ginger being very tall. The whole thing takes about a few months to complete, but the end product is worth it according to Korygin. “The first experience I had making this was very challenging” Korygin says, “but as time went on I have grown to appreciate this costume and the work I put into it.”

So how do Korygin and other costume masters come up with their design ideas? Well, the process is fairly similar timewise to creating a costume, with some concepts being thought of in only an hour but others taking months to complete.

“Designing a costume doesn’t really have a time limit” Korygin says, “because the design process is sort of when the inspiration strikes kind of deal.” This inspiration can be drawn from numerous places, including back in time. Ballets with a historical influence, such as Aida taking place in Ancient Egypt, the designers look at garments worn in that time period promethean|page 29

and use those to give the costumes a more authentic and realistic feel.

However, with more modern ballets without parameters the designers have a lot more leeway. “With more contemporary and modern ballets, there isn’t much to build off of, so I draw inspiration from mainly the music or the choreography style” Korygin says, “If the music is lighter and sweeter, I’ll use more flowy fabrics, and vice versa.”

fact that costume designs are usually used to create 3 or 4 costumes, depending on if the choreography piece calls for it. In total, a costume manager can make up to 200 costumes just for a single ballet.

This large number definitely adds up, for ballet costumes are not exactly cheap to make. Like most aspects of ballet costume making, the cost varies on several factors including material and complexity, The number of costumes actually but on average they can cost around designed for a ballet fluctuates based 1,000 dollars to make each. “French on both the number of lace, Swazvarkie crystals and characters and the other imported materials style of ballet. drive that price up For instance in significantly” says “The key element of a large and Korygin, “however design in ballet is freedom extravagant these materials are of movement, as a costume ballet such essential to make designer, I have to make sure as the the most pleasing that I am not the reason that costume.” While Nutcracker, around 60 these elements make the dancer’s ability is costumes have for a more complex hindered.” to be designed, and beautiful costume, - Alexey Korygin whereas in a even the simplest peasant more abstract ballet costume can still cost a there could be as little hefty price, therefore making as 5 costumes designed. However, a complete ballet collection cost these numbers do not accurately around a represent the number of costumes million dollars total. that are actually crafted, due to the A ballet costume is significantly A typical female costume structure and design Photo Courtsey By: The Costume Lady

promethean|page 30

different from any other costume and requires numerous other elements to design that are not required for other costumes in other practices, largely due to movement being the key aspect of a ballet.

“The key element of design in ballet is freedom of movement” states Korygin, “for as a costume designer, I have to make sure that I am not the reason that the dancer’s ability is hindered.” Korygin also believes that fit and patterning are essential in both mens and womens costumes. In mens jackets to prevent constriction of movement, he has to leave room under the arms and insert stretch panels in order to allow the dancers to move freely. For female dancers, cutting the bodice is important, for it should allow the dancer to move without constraint, but also be structured enough to give it the proper shape of a traditional bodice.

Not many people get to experience wearing these carefully crafted costumes designed for their specific needs, but Shannon Gilbert, former ballerina and avid ballet lover, has had this opportunity. She vividly remembers not only the costumes being easy to move in without hindrance of her movement, but

An example of a males costume jacket Photo Courtesy By: EmTutu

The snowflakes in a production of the Nucracker Photo By: Gabriel Saldana

also how exquisitely beautiful the costumes were. “ I remember thinking this was just the most elegant one ever.” Gilbert says, “It was a pink tutu, but it was one of the long tutus that flow, and I thought that was so awesome that I got to wear one of those flowing tutus. I loved it.”

After realizing all the thought and effort that goes into handcrafting each and every costume, one has to wonder what exactly costumes have to offer to a ballet. It all depends on perspective, whether you’re an audience member, artistic director or costume master yourself.

“I think it’s {costumes} important for setting the scene and understanding the characters and how they’re interacting with each other.” Gilbert says. For an audience member, costumes can make or break their understanding of the characters and plot in a ballet. For example, in the Nutcracker the role of Clara is traditionally played by an adult, but she is portrayed as being a young kid. So, the costume of hers is very childlike, therefore creating the illusion that the ballerina is younger than she actually is.

For an artistic director, the about the significance of costumes perspetive is slightly changed for in a ballet. “Ballet costumes are they see what is going on behind visually appealing to the eye. With the scenes, and are well versed in all the sequins, layers, different the ins and outs of a ballet. “ {The shades of color and more, they are importance of costumes} depends quite stunning to see on stage.” on the type of ballet.” Claire says.

Korygin says. “A ballet itself is “If a ballets main goal is to tell a already beautiful, but the costumes story, I would say that costumes add another layer that may be are very important, especially to an lacking when only choreography and audience member.... however with movement are present.” ballets that have the purpose of No matter what the perspective, conveying an emotion or are more all can agree on one thing, that abstract, costumes are probably not costumes are significant and as important. Like I know that for all important to a ballet. Therefore, ballets like this I have directed, the ballet costumes deserve alot more dancers are usually recognition than they receive, dressed very plain for not only are they in order to not beautifully visually, but draw “A ballet itself is alalso the amount of attention ready beautiful, but the effort that goes into away costumes add another layer hand crafting each from the that may be lacking when only and every one is movement choreography and movement astonishing. So next itself.” time you’re at a ballet, are present.”

Now, finally notice the costumes, the person -Alexey Korygin and remember the work who creates that has gone into making and designs them. the costumes, the one who spends the most time caring for each and every costume, has a unique point of view promethean|page 31

e m i T a with e T

1.

2.

by Alyssa Walker

Get a proper porcelain pot that is between the sizes of 74 mm-78 mm (2 in-3 in) wide and 83 mm-87 mm tall (3 in-3.5 in).

Heat up the water, but do not exceed 29 degrees celsius (85 degrees fahrenheit) or go below 15.5 degrees celsius (60 degrees fahrenheit).

60

3.

Alan Rickman

85

Following the ratio of two grams of tea:100ml of water, place your tea leaves and water into the pot.

If you’re using tea bags you there is an average of 1.5 grams of tea in each tea bag.

100 ml 2 Grams

promethean|page 32

4.

Pour the hot water into the pot.

100 ml

5.

6.

Extra

Allow the tea to brew (or seep) for 6 minutes.

Pour tea into cup and remove tea (bag(s)) from the pot.

Even though this is not proper for British style tea, feel free to add milk, cream, or sugar to your tea.

promethean|page 33

Alyssa Walker

J

K Rowling tweeted this comment after receiving the news of Rickman’s passing “There are no words to

express how shocked and devastated I am to hear of Alan Rickman’s death.” JK Rowling tweeted after receiving the news of Rickman’s passing.

Alan Rickman’s death received a variety of responses. One of these responses was hundreds of people flying or driving to Harry Potter World in Orlando Florida and attending the raising of the wand ceremony, given to every fallen witch or wizard. Rickman still affects people young and old, but before we get into that let’s learn about the life of Alan Rickman.

The Life of Alan Rickman Alan Rickman was born on

February 21st, 1946, in West In 1991 Rickman starred in three London but didn’t get into acting different feature: Close My Eyes: until 1978 when he joined the Royal Truly, Madly, Deeply; and Robin Shakespeare Company. Rickman Hood: Prince of Thieves, in which didn’t much care for the company, he played an unforgettably arch he felt like they didn’t Sheriff of Nottingham. care about the Rickman’s next high mental health profile role was of their young in the 2000s; “Actors are agents of actors and which is where change.

A film, a piece of just pushed he starred theatre, a piece of music, or a them way as Severus past their Snape in book can make a difference. It breaking the very can change the world” point. It was first Harry in 1985 when Potter movie - Alan Rickman Rickman as Professor portrayed Severus Snape.

Le Vicomte While the Harry de Valmont, the Potter series were starring role in Les still being created Liaisons Dangereuses. Then Rickman also portrayed different in 1988 ha appeared as Hans character in a few different films Gruber in Die Hard followed by including The Butler as Ronald Quigley Down Under in 1990.

Reagan(2013) and A Promise as

Tristan Ketcham, Severus Snape in the Three Broomsticks AVPM Recreation Photo by: Alyssa Walker

promethean|page 35

Karl Hoffmeister.

Two Inspired Actors

The Alley Cat Players at LASA High School located in Austin Texas, recently performed two very different versions of A Very Potter Musical, also know as AVPM. Each of these two version had different actors for each role. Tristan Ketcham and Antonio Batista where the two different actors who portrayed Snape. Ketcham and Batista were affected differently by the new of Rickman’s death.

Ketcham’s response to my question if he was affected by Rickman’s passing was “Not really. I liked him as an actor and I am playing the part in which he is most well-known for. It was a terrible thing, and it is sad he won’t be in anymore movies, but personally not really”, while Barista says that he was slightly more determined to portray his version as Snape as close as he could, even though he was already doing this.

and movies, and has proceeded to teach her children the wonders of JK Rowling’s creation. Moghaddam has described the books to be “A wonderful escape from reality, when I first read them I felt as if I was truly there, a student at Hogwarts going on a variety of adventures with Harry, Ron, and Hermione.”

According to Moghaddam she was getting ready to take her daughter to school when she heard on the news of Rickman’s death. “I was

devastated. He had been a huge inspiration in my life and one of my favorite actors. After I had pulled myself together I went to tell my daughter who adored Alan Rickman”. Moghaddam in the end said that it is a shame to lose such an amazing man, but that he had completed his journey and it was time for him to move on.

From The Start

KiYa Moghaddam has been in love with the novels, and movies from the start. She has a copy of all the books

KiYa Moghaddam, a students mother and a huge fan of Harry Potter since the first book came out.

Photo by: KiYa Moghaddam’s friend

Fun Facts About Alan Rickman - He was an active patron of the charity Saving Faces and honorary president of the International Performers’ Aid Trust, a charity that alleviates poverty in some of the world’s toughest places.

- Before becoming an actor he studied graphic design at Chelsea College of Art and Design, as well as at the Royal College of Art. He even created a successful graphic design company named Graphiti with some of his friends, but after three years he decided to pursue acting professionally.

- Despite being author J. K. Rowling’s first choice to play Snape in the Harry Potter films (she actually admitted envisioning him when writing the character), he was only given the role in Harry Potter and the Sorcerer’s Stone after Tim Roth, who was the studio’s favorite, turned down the role to star in Planet of the Apes.

promethean|page 36

1978 Romeo and Juliet Tybalt BBC Television Shakespeare 1980 Thérèse Raquin Vidal BBC serial 1980 Shelley Clive Episode No. 1.7 1982 Busted Simon BBC TV film 1982 Smiley’s People Mr Brownlow Episode No. 1.2 1982 The Barchester Chronicles The Revd Obadiah Slope BBC serial 1985 Summer Season Croop BBC TV series 1985 Girls on Top Dimitri / Voice of RADA CIT TV series 1988 Die Hard Hans Gruber 1989 Revolutionary Witness Jacques Roux BBC TV short 1989 The January Man Ed, the painter 1989 Screenplay Israel Yates BBC TV series 1990 Quigley Down Under Elliot Marston 1991 Truly, Madly, Deeply Jamie 1991 Robin Hood: Prince of Thieves Sheriff of Nottingham 1991 Close My Eyes Sinclair Bryant 1991 Closet Land The Interrogator 1992 Bob Roberts Lukas Hart III 1993 Fallen Angels Dwight Billings TV series 1994 Mesmer Franz Mesmer 1995 An Awfully Big Adventure P.L. O’Hara 1995 Sense and Sensibility Colonel Brandon 1996 Rasputin: Dark Servant of Destiny Grigori Rasputin 1996 Michael Collins Éamon de Valera 1996 Castle Ghosts of Ireland Tyde Documentary 1997 The Winter Guest Man in street (uncredited) Also director and co-writer 1998 Judas Kiss Detective David Friedman 1998 Dark Harbor David Weinberg 1999 Dogma The Metatron 1999 Galaxy Quest Alexander Dane/Dr Lazarus 2000 Help! I’m a Fish Joe (voice) 2001 Play Man 2001 Blow Dry Phil Allen 2001 Land of the Mammoth Cro Magnon hunter Documentary 2001 The Search for John Gissing John Gissing 2001 Harry Potter and the Philosopher’s Stone Severus Snape (Harry Potter and the Sorcerer’s Stone) 2002 Harry Potter and the Chamber of Secrets Severus Snape 2002 King of the Hill King Philip (voice) Episode: “Joust Like a Woman” 2003 Love Actually Harry 2004 Something the Lord Made Dr Alfred Blalock 2004 Harry Potter and the Prisoner of Azkaban Severus Snape 2005 Harry Potter and the Goblet of Fire Severus Snape 2005 The Hitchhiker’s Guide to the Galaxy Marvin the Paranoid Android (voice) 2006 Perfume: The Story of a Murderer Antoine Richis 2006 Snow Cake Alex Hughes 2007 Nobel Son Eli Michaelson 2007 Harry Potter and the Order of the Phoenix Severus Snape 2007 Sweeney Todd: The Demon Barber of Fleet Street Judge Turpin 2008 Bottle Shock Steven Spurrier 2009 Harry Potter and the Half-Blood Prince Severus Snape 2010 Alice in Wonderland Absolem the Caterpillar (voice) 2010 Harry Potter and the Deathly Hallows – Part 1 Severus Snape 2010 The Wildest Dream Noel Odell (voice) National Geographic documentary 2010 The Song of Lunch He BBC Drama Production[56] 2011 Harry Potter and the Deathly Hallows – Part 2 Severus Snape 2011 The Boy in the Bubble Narrator Animated short filma 2011 Back at the Barnyard General Alien Episode: “Aliens” 2012 Gambit Lord Shahbandar 2013 The Butler Ronald Reagan 2013 A Promise Karl Hoffmeister 2013 CBGB Hilly Kristal 2013 Dust Todd 2015 A Little Chaos King Louis XIV Also director and co-writer 2015 Eye in the Sky Lieutenant General Frank Benson (posthumous) 2016 Alice Through the Looking Glass Absolem the Caterpillar (voice) Theatrical release: 27 May 2016[57] (posthumous)

Alan Rickman’s Credits

Photo by: http://www.limelightmagazine.com.au/

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