<p> <i>We Support Our Troops</i> is a series of three mural sized prints in panoramic format. The images can be described as Rochester urban landscapes in which the commercial images of the billboards were replaced with images of Latin American resistance movements. The title is an appropriation of the United States pro-war slogan twisted into the support context of these movements. The prints are made in the contemporary and non-toxic printmaking technique <i>4 Color Inversion Intaglio-Type</i>, developed by Master Printmaker Keith Howard. The Intaglio-Type techniques are the ones in which the photopolymer film ImagOn^&reg; is used. </p><p> A technical and historical approach is used in this written document. Included is a detailed explanation of the process with descriptions of the photographic equipment and software used for the image capture and creation of the landscapes. A step-by-step description of the <i>4 Color Intaglio-Type </i> technique follows, from making the plates physically to the printing process. This technical walkthrough illustrates why this Intaglio-Type technique is the optimum fusion of the digital imagery with traditional printmaking techniques. Also, the description highlights the large format printing difficulties overcome in this research, with new possibilities yet to discover with the Akua Colors^&reg; inks.</p><p> The Latin American resistance movements referenced in this work are: The <i>EZLN</i> (National Zapatista Liberation Army) from Chiapas, Mexico; the <i>APPO</i> (Popular Assembly of the People of Oaxaca), from Oaxaca, Mexico; the <i>EPB</i> (Popular Boricua Army) or <i> Macheteros</i> from Puerto Rico; and the <i>Piqueteros</i> from Argentina. A historical overview of each of these movements is included. </p><p> Through this thesis I intend to shed light on the economic disparity between the United States and Latin American countries caused by their political relationship. To identify myself with a political movement, rather than to educate or criticize the status quo. In order to effectively make this statement, the images were carefully worked in terms of composition, color and content. These elements included in the large panoramic format are strong enough to entice the viewers to stop, look, enjoy and ultimately reflect on the meaning behind the images.</p>

<p>This research focuses on the life and work of Jose Limon, (1908-1972), one of the most influential figures in twentieth-century modern concert dance. The way in which his Mexican and immigrant heritage influenced his unique contribution to American modern dance will be discussed in relation to three of his works: Danzas Mexicanas (1939), La Malinche (1949), and Missa Brevis (1948). As a dancer of Mexican heritage, I seek to better understand my artistic path and potential through this study of Jose Limon. The introduction includes a brief description of Jose Limon's personal and professional life, and my connection to it as a Latina dance artist. The first three chapters present analysis of three Limon choreographies selected because they exemplify his deeply rooted and personal invocations of Mexican culture and an introspective relationship to self-identity and community. The final chapter is a description of my thesis concert inspired by Jose Limon's life and work. The sources of information used in this work are books, academic articles, newspapers, archival documents, magazines, and photographs. This thesis includes interviews with artists who worked with Limon, danced in his company, and continue to dedicate their artistic endeavors to his work.