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Swirls of yellow paste made from ground tree bark decorate the cheeks of Rohingya Muslim women and girls in the refugee camps of southern Bangladesh.

Thanaka, a type of sun protection that dates back centuries, is a common sight on the faces of the women, who say the use of the traditional cooling paste helps bring a sense of normality to their difficult lives in the camps.

Rohingya refugee Juhara Begum poses for a photo wearing thanaka paste at Jamtoli camp.

"The make-up is my hobby, and it's our tradition," said Juhara Begum, 13, who arrived in Cox's Bazar in September last year after fleeing a military attack on her village in Myanmar's Rakhine state.

"The military fired guns and slaughtered us," said Juhara, who had to walk for five days to reach the border. Now, she lives on a hilltop in the crowded refugee camp of Jamtoli.

"I live on top of the hill and it is too hot with the strong sun," said Juhara, who wore the protective paste on her face.

Rohingya refugee Senuara Begum, aged 14 poses for a photograph as she wears thanaka paste at Jamtoli camp.

She is among more than 700,000 Rohingya who have taken shelter in the district after fleeing a military crackdown in Myanmar last year, the United Nations and human rights groups say.

Reuters photographed some of the refugees who believe the use of the paste keeps their skin smooth and cool, safe from exposure to the sun, and fends off acne.

Refugee Zannat Ara poses for a photograph wearing thanaka paste at Kutupalong camp.

Zannat Ara, a nine-year-old Rohingya girl, said the paste protected her against the swarms of insects in the Kutupalong refugee camp where she now lives.

"I wear make-up to keep my face clean and there are some insects that bite my face and this keeps them away, so this protects me," she said.

Rohingya refugee Romzida, aged 8 poses whilst wearing thanaka paste at Shamlapur camp.

Thanaka is produced from the bark of a tree found in the dry central parts of Myanmar. A flat stone called a kyauk pyin is used to grind the bark into a milky yellow paste.

The paste is applied to the face in various patterns and dries into a protective layer. While it is used medicinally elsewhere in Asia, women in Myanmar also use it as a cosmetic.

Rohingya refugee Rufia Begum, aged nine poses whilst wearing thanaka paste at Balukhali camp.

Rohingya girls and women use traditional methods to make the paste from thanaka tree bark which is sold in the camps.

"I can live without eating rice but I cannot live without makeup," said Juhara, to whom the paste brings some comfort amid a gruelling life in the camps.

1 / 17

Slideshow

Rohingya refugee Nur Kayas, aged six poses as she wears thanaka paste at Kutupalong camp.

Rohingya refugee Razina Begum, aged 16 poses for a photograph whilst wearing thanaka paste at Jamtoli camp.

Rohingya refugee Laila Begum, aged 23 poses for a photograph as she wears thanaka paste at Balukhali camp.

Rohingya refugee Zinu Ara, aged four poses for a photograph as she wears thanaka paste at Balukhali camp.

Rohingya refugee Shamima, aged 10 poses for a photograph as she wears thanaka paste at Jamtoli camp.

Rohingya refugee Rumana, aged 10 poses for a photograph as she wears thanaka paste at Kutupalong camp.

Rohingya refugee Dil Kayas, aged 10 poses for a photograph as she wears thanaka paste at Kutupalong camp.

Rohingya refugee Majuma, aged 10 poses for a photograph as she wears thanaka paste at Kutupalong camp.

Rohingya refugee Sufaida, aged 7 poses for a photograph as she wears thanaka paste at Kutupalong camp.

A Rohingya refugee poses for a photograph whilst wearing thanaka paste at Shamlapur camp.

Rohingya refugee girls named Nur Sadia (left) aged six and Nur Safa aged seven pose for a photograph wearing thanaka paste at Kutupalong camp.

Rohingya refugee Zannat Ara, aged 10 poses for a photograph wearing thanaka paste at Balukhali camp.

Rohingya refugee Rozia, aged 10 poses for a photograph as she wears thanaka paste at Kutupalong camp.

Rohingya refugee Ahalam, aged four poses for a photograph as she wears thanaka paste at Balukhali camp.

Rohingya refugee Sakila Begum, aged 15 poses for a photograph as she wears thanaka paste at Jamtoli camp.

Rohingya refugee named Rokiya, aged 11 poses for a photograph as she wears thanaka paste at Kutupalong camp.

Rohingya refugee Toyuba, aged 18 poses for a photograph as she wears thanaka paste at Kutupalong camp.

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These materials were made possible thanks to the generous support from the Kemper K. Knapp Bequest Committee.

Here are some very successful sample abstracts from a range of different disciplines written by advanced undergraduate students.

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Humanities Abstracts

“Margaret C. Anderson’s Little Review”

This research looks at the work of Margaret C. Anderson, the editor of the Little Review. The review published first works by Sherwood Anderson, James Joyce, Wyndham Lewis, and Ezra Pound. This research draws upon mostly primary sources including memoirs, published letters, and a complete collection of the Little Review. Most prior research on Anderson focuses on her connection to the famous writers and personalities that she published and associated with. This focus undermines her role as the dominant creative force behind one of the most influential little magazines published in the 20th Century. This case example shows how little magazine publishing is arguably a literary art.

This project involves discovering how the American Revolution was remembered during the nineteenth century. The goal is to show that the American Revolution was memorialized by the actions of the United States government during the 1800s. This has been done by examining events such as the Supreme Court cases of John Marshall and the Nullification Crisis. Upon examination of these events, it becomes clear that John Marshall and John Calhoun (creator of the Doctrine of Nullification) attempted to use the American Revolution to bolster their claims by citing speeches from Founding Fathers. Through showing that the American Revolution lives on in memory, this research highlights the importance of the revolution in shaping the actions of the United States government.

Social Science Abstracts

The purpose of this research is to identify a subtype of autism called Developmental Verbal Dyspraxia (DVD). DVD is a motor-speech problem, disabling oral-motor movements needed for speaking. The first phase of the project involves a screening interview where we identify DVD and Non-DVD kids. We also use home videos to validate answers on the screening interview. The final phase involves home visits where we use several assessments to confirm the child’s diagnosis and examine the connection between manual and oral motor challenges. By identifying DVD as a subtype of Autism, we will eliminate the assumption that all Autistics have the same characteristics. This will allow for more individual consideration of Autistic people and may direct future research on the genetic factors in autism.

JACQUELINE E. LAWTON ()’s plays include ; and ; ; ; ; ; ; and . She has received commissions from Adventure Theatre-MTC, Discovery Theater, National Portrait Gallery, National Museum of American History, Round House Theatre and Theater J. Her play was published in (University of Texas Press). A 2012 TCG Young Leader of Color, she is an alumna of the National New Play Network (NNPN), Arena Stage’s Playwrights’ Arena and Center Stage’s Playwrights Collective. She is a proud member of the Dramatists Guild of America. She received her M.F.A. from the University of Texas at Austin, where she was a James A. Michener Fellow.

DANIELLA TOPOL ()’s area credits include (Round House, Rattlestick/Women’s Project, Steppenwolf) and and (Theater J). Recent NY credits include (Ensemble Studio/P73), (South Coast Repertory, Women’s Project), (Rattlestick), (Magic Theatre, Ma-Yi Theater), (Women’s Project/Cherry Lane) and (Ma-Yi Theater). Daniella received her undergraduate degree in directing and master’s in arts management from Carnegie Mellon. She was associate producing director of City Theatre, new works program director at the National Alliance for Musical Theatre and artistic program director of the Lark Play Development Center. A D.C. native, Daniella lives in Brooklyn with her husband and 4-year old daughter and serves as artistic director of Rattlestick Playwrights Theater.

MISHA KACHMAN () has worked at Arena Stage, Asolo Repertory, Center Stage, Cincinnati Playhouse in the Park, the Kennedy Center, Milwaukee Shakespeare, Opera Lafayette, Opera Royal Versailles, Portland Center Stage, Round House, Shanghai Dramatic Arts Center, Signature Theatre, Skylight Music Theatre, Studio Theatre, Syracuse Stage, Theater J, Wilma Theater and Woolly Mammoth, among many other companies in the United States and abroad. He is a company member at Woolly Mammoth and an associate artist at Olney Theatre Center. Misha is a Helen Hayes Award recipient and a graduate of the St. Petersburg Theatre Arts Academy. He serves as the associate professor of scene and costume design and head of M.F.A. in design at University of Maryland.

IVANIA STACK ()’s regional and D.C.-area credits include Woolly Mammoth (company member), the Kennedy Center Theater for Young Audiences, Center Stage, Everyman Theatre, The Second City, Contemporary American Theatre Festival, Round House, Signature Theatre, Imagination Stage, Olney Theatre Center (associate artist), Studio Theatre, Theater J, Constellation Theatre, Pointless Theatre, Synetic Theater, Forum Theatre, Theater Alliance, Rorschach Theatre, The Karski Project, Metro Stage and Gala Hispanic Theatre. She is a Ringleader for Audience Integration and the Artistic Director for Original, Interactive Work for dog pony dc, and has an M.F.A. in design from the University of Maryland.

KATHY A. PERKINS () has designed Off-Broadway and in New York at Manhattan Theatre Club, New Federal Theatre, Here Arts Center, Brooklyn Academy of Music and Carnegie Hall. Regional credits include Mark Taper Forum, Steppenwolf, Actors Theatre of Louisville, Goodman, St. Louis Black Repertory, Berkeley Repertory, American Conservatory Theater, Indiana Repertory, Seattle Repertory, Court Theatre, Penumbra Theatre, Alliance Theatre, eta Creative Arts, Writers Theatre, About Face Theatre, Alabama Shakespeare Festival, Geva Theatre Center and Playmakers Repertory. Internationally she has designed in Switzerland, Germany, Austria and South Africa. Kathy is the editor of six anthologies focusing on African/African Diaspora Women. She is a professor of dramatic art at the University of North Carolina at Chapel Hill and a member of The College of Fellows of the American Theatre. sale cost Dolce amp; Gabbana Lace PeepToe Ankle Boots for sale finishline best sale cheap price 0dKK5K6gGC

JANE SHAW () makes her Arena Stage debut. Off-Broadway credits include (directed by Daniella Topol, Women's Project/Rattlestick); (Clubbed Thumb/Playwrights Horizons); (Mint Theater); and (The Pearl). Regional credits include (Hartford Stage); and (Cleveland Play House); (Dorset Theater Festival); and (Triad Stage). Jane last worked in D.C. on at Gala Hispanic Theater; the show originated at Denver Center and traveled to Costa Rica. Her design for at Hartford Stage was honored by the Connecticut Critics Circle. She has received a Drama Desk Award, Bessie Award, Henry Hewes Design Award, Latin ACE Award, Meet the Composer and two Lucille Lortel Award nominations. Her education began in biochemistry at Harvard and finished in sound design at Yale.

JARED MEZZOCCHI () received the 2012 Princess Grace Theater Fellowship as the first projections designer to receive the honor. He is a company member at Woolly Mammoth, most recently having designed . D.C. credits include (Theater J), (Studio Theatre) and (National Geographic). New York credits include (MTC); (3-Legged Dog); (HERE Arts Center); and (The Builders Association). Regional credits include Milwaukee Repertory, Cleveland Play House, Center Stage and The Wilma. He has designed for Big Art Group at the Vienna Festival (Europe, Canada and U.S. tour), Connect4Climate, Alcantara (Design Week, Milan) and the atrium of the World Bank in D.C. Jared teaches projection design at The University of Maryland.

LEIGH WILSON SMILEY () is a voice teacher and professional voice, dialect and text coach. Smiley has worked at Arena Stage, Center Stage, Everyman Theatre, Round House, Ford’s Theatre, the Kennedy Center and Folger Theatre. She coaches NBC on-camera anchors, Cirque du Soleil performers, lawyers, doctors and others. Leigh is the director of the School of Theatre, Dance and Performance Studies at the University of Maryland, where she is a producing director for main stage dance and theater shows, student produced shows and she conceived the Annual Black Theatre Symposium. She developed the , a web resource for dialect and accent samples. She is a member of Actors Equity Association, Screen Actors Guild, American Federation of Television and Radio Artists, Association for Theatre in Higher Education and the Voice and Speech Trainers Association.

TREVOR A. RILEY () returns to Arena Stage after having worked on , and . Other D.C.-area credits include , , and (Imagination Stage); , , and (Olney Theatre Center); and , , and (Woolly Mammoth).

Post-Show Discussions March 14 at 7:30 p.m. March 15 at 12:00 p.m. March 28 at 12:00 p.m. March 29 at 12:00 p.m. March 30 at 8:00 p.m.

Audio Described

Saturday, March 11 at 2:00 p.m.

Open Captioned

Wednesday, March 15 at 7:30 p.m. Thursday, March 23 at 8:00 p.m.

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