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Exploring Trauma and Imagination: "Ruinous Gods: Suites for Sleeping Children" Opera Takes Shape
Obermann Interdisciplinary Research Grant recipients Layale Chaker and Lisa Schlesinger (Theatre Arts) are deep in the creative process, weaving together the intricate threads of music, storytelling, and stagecraft to bring to life their ambitious opera, Ruinous Gods: Suites for Sleeping Children. The project, commissioned by Spoleto Festival USA, centers on the experiences of displaced children grappling with resignation syndrome—a rare trauma response to displacement—and seeks to carve out a space for imagination and empowerment within the realm of opera.
Scholars Create Demo Derby as Comment on U.S. Political Discourse
A green car with the words “climate change” emblazoned on its doors slams into the back of a red car with the word “healthcare” on it, crumpling the bumper. Other cars with the terms “gun control,” “free speech,” and “abortion” repeatedly crash into each other in the muddy arena at the county fair, until one car emerges victorious.
Just Crushing is an artwork taking the form of a demolition derby to embody American political discourse as a spectacle of competitive wreckage. The Interdisciplinary Research Group (IDRG) consists of Allison Rowe (Teaching & Learning), Maia Sheppard (Teaching & Learning), and Nancy Nowacek (Stevens Institute of Technology). Drawing upon the theatrics of Carnivale, the hometown grandiosity of state fairs, and the rich history of destructive art, vehicles representing critical issues in American politics will brutalize one another as the crowd cheers and jeers them on. Through its live, winner-takes-all battle, this project stands in opposition to the polarizing debates of stylized dialogue across partisan media. In this way, Just Crushing literalizes us-versus-them culture and reveals the absurd extremes to which political discourse has arrived: where every issue must fight for a public and a platform.
Exploring Healthy Aging across the Life Course
Health happens in families and yet many health promotion interventions are not tailored for the family as a unit. Multigenerational households (i.e., families that consist of three or more generations) have become a more prevalent family structure in the U.S. and provide essential caregiving functions. This summer, as part of their Obermann Interdisciplinary Research Grant, "Healthy Aging across the Life Course: Engaging Multigenerational Families Living with Chronic Conditions," Ebonee Johnson (College of Public Health), Duhita Mahatmya (College of Education), and Kimberly Dukes (Internal Medicine) utilized the principles and practices of community engagement to better understand health and healthy aging in multigenerational families experiencing chronic illness and disability.
Data Justice for Flint: Seamster Leads Effort to Build Accessible Archive with Humanities Without Walls Grand Research Challenge Project
For seven years, the Obermann Center has been a partner in the Mellon-funded Humanities Without Walls consortium led by Professor Antoinette Burton at the University of Illinois Urbana-Champaign. Our graduate students have attended HWW’s Career Diversity Summer Workshops, and several faculty members have worked with cross-institutional Grand Research Challenge teams. This year, we are delighted that Assistant Professor Louise Seamster (Departments of Sociology & Criminology and African American Studies) was selected as the P.I. of a team focused on "The Flint Water Disaster Public Archive."
The ”Flint Water Disaster Public Archive” will re-home public data that has been largely inaccessible to Flint communities—a form of data justice that is of urgent relevance to the history, present, and future of those communities. The project is a collaboration among the University of Iowa, University of Michigan–Flint, and the Flint Democracy Defense League.
Below is Obermann Assistant Director Lauren Burrell Cox’s interview with Louise Seamster about the project.
Obermann Center symposium’s ‘Frequências’ film festival explores Afro-Brazilian cinema
The door of no return; the reinvention of belonging; Blackness in Brazil; these topics and more were the focus of this year’s Obermann Humanities Symposium. Presented in Iowa City by the Obermann Humanities Symposium & International Programs Major Project Award, the “Frequências” festival displayed lectures, cinema screenings, interventions, exhibits, and performances by contemporary Afro-Brazilian artists and scholars discussing Black diaspora.
Building Bridges: The MOSTRA Brazilian Film Festival
Cris Lira: Tell us a little bit about yourself and how the idea for the Mostra: Brazilian Film Series has started.
Ariani Friedl: I am Brazilian, 'gaúcha' (RS), and I have been living in the United States for over 50 years. I worked at the University of Illinois @ Chicago for over 20 years as Director of the John Nuveen Center for International Affairs. I was a member of the Board of Directors of the International Latino Cultura Center for over 15 years and also organized the Chicago Latino Film Festival in 2006 when our Director was on a leave of absence. I have the fortune of meeting many of our Brazilian filmmakers who attended the Latino Festival which always brings 3 - 4 Brazilian films. The question always posed by our Brazilian filmmakers was: "How can we better publicize and where else can we show our Brazilian cinema in the United States?" The idea of creating a festival with only Brazilian films in the Chicago area was born from this and it developed with another idea of bringing films with social conscience to be discussed in universities and other cultural and educational centers.
C.L.: Could you please tell us how do you select the films to be featured in the series?
A.F.: I bring to our festival every year, different Brazilian film critics and filmmakers. I also have collaborators in SP who attend many of our film festivals in Brazil and help me collect a list of films with relevant social content, and also films related to our culture (art, music, literature, dance...), history, environment, etc... We compile these in a document with trailers and synopses and present them to my Curatorial Committee (composed of professors, critics, and experts in cinema) for a decision in which films we will invite to our festival.
