Garris first learned of the jail’s policy on May 10.Ī captain from the sheriff’s department visited Garris’ unit and told him and other inmates that the jail had a new policy and that inmates would need to get their hair cut by a barber that week, Garris recalled. “I’ve been going there for a while, and I never had problems with nobody,” Garris said earlier this month. In 2002, when he began serving 20 months in the Portsmouth jail, his hair extended halfway down his back. He said he has seen lots of inmates with long hair and dreadlocks. Over the years, Garris has served time in Portsmouth and Chesapeake jails on convictions that include bribery of a witness, grand larceny and possession of cocaine. The Portsmouth native was transferred to the regional jail on May 29. Sheriff Bill Watson and I have had words and I was punched by one deputy.” In an inmate grievance form, Garris wrote that “I feel that my life is in danger and or I may receive bodily harm from Portsmouth City Jail. Garris, 45, has been a practicing Rastafarian since 1994. “It’s one thing to put a prisoner in segregation but another thing to forcibly cut their hair,” said Kent Willis, executive director of the ACLU of Virginia. The ACLU of Virginia has appealed the ruling. The law also states that institutions should exercise the least restrictive ways of maintaining security.Ī federal judge in Richmond ruled last summer for the Department of Corrections. In 2003, the American Civil Liberties Union of Virginia challenged the state’s policy in federal court on behalf of a handful of Virginia inmates.įederal law prohibits jails that receive federal money from regulating how inmates practice their religion, except when there is a compelling interest for restrictions, said Rebecca Glenberg, legal director of the ACLU of Virginia. Inmates can then be placed in segregation, he said. The policy encourages hygiene and makes it difficult for inmates to alter their appearance to avoid recognition, Traylor said.Īs of June 1, about 35 of the roughly 31,500 inmates in state prisons have refused to comply, he said. Men must have a 1-inch hair length or shorter. The policy allows women to grow hair to their shoulders, but they, too, are banned from wearing dreadlocks. Long hair can conceal contraband, spokesman Larry Traylor said. In 1999, Virginia Department of Correction officials banned long hair on men, including dreadlocks. However, Virginia’s state prison system does. “It’s pretty much what you see on the street,” Bierowicz said.įederal prisons have no restrictions on inmates’ hair. Portsmouth defense attorneys Trey Piersall and Lee Ann Bierowicz said they see a variety of hairstyles when visiting clients in local jails: pony-tails, dreadlocks, plats and pom poms – natural hair that is sectioned off and placed in two rubber bands near the center of the head. Hampton Roads Regional Jail’s haircut policy states that “inmates will have freedom in their personal grooming except when a valid interest justifies otherwise.” It also states that “no unusual or exotic hair styles will be permitted.” “We do not make inmates shave or cut their hair when they come in as long as they keep it clean,” said Bonita Harris, a spokeswoman for Norfolk Sheriff Bob McCabe’s office. Portsmouth’s hair policy is unusual among local jails in Hampton Roads. Garris is the only inmate who has refused to comply, Watson said. Watson said he doesn’t know how many inmates have been required to get haircuts. Short haircuts also promote good hygiene, he said. The policy requires prisoners to keep hair short, Watson said, because they can hide illegal substances and items in long hair. Watson said this week that he started enforcing a long-standing hair policy last month as part of an investigation into contraband in the jail. This is the Portsmouth City Jail, not the Hotel Hilton.” “When you come in here, you have two choices: You can cut your hair, or we’ll cut it for you,” Watson said. E-Pilot Evening Edition Home Page Close Menu
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Many music traditions have been adapted to fit western forms of notation so they may be recorded, or for the purpose of education, but this process can be destructive. Khazan Rajabiy, Master of maqoms, during a masterclass Read more on the element Deforestation, for example, can deprive a community of wood to make traditional instruments used to perform music. Often, traditional art forms are turned into commodities in the name of entertainment, with the loss of important forms of community expression.In other cases, wider social or environmental factors may have a serious impact on performing art traditions. While tourism can contribute to reviving traditional performing arts and give a ‘market value’ to intangible cultural heritage, it can also have a distorting effect, as the performances are often reduced to show adapted highlights in order to meet tourist demands. Although this may bring more visitors and increased revenue to a country or community and offer a window onto its culture, it may also result in the emergence of new ways of presenting the performing arts, which have been altered for the tourist market. Music, dance and theatre are often key features of cultural promotion intended to attract tourists and regularly feature in the itineraries of tour operators. In these situations, there is little place for certain musical practices that are vital to the process of performance and tradition in certain communities. Many diverse forms of music may be homogenized with the goal of delivering a consistent product. Though it performs an important role in cultural exchange and encourages creativity that enriches the international art scene, the phenomenon can also cause problems. Music is perhaps one of the best examples of this, with the recent explosion in the popularity of ‘World Music’. Even in cases where they become more popular, only certain expressions may benefit while others suffer. As cultural practices become standardized, many traditional practices are abandoned. Many forms of performing arts are under threat today. Performing arts are often performed in specific places when these spaces are closely linked to the performance, they are considered cultural spaces by the Convention. In the performing arts this includes musical instruments, masks, costumes and other body decorations used in dance, and the scenery and props of theatre. The instruments, objects, artefacts and spaces associated with cultural expressions and practices are all included in the Convention’s definition of intangible cultural heritage. Samba de Roda of the Recôncavo of Bahia Read more on the element In a more intimate setting, lullabies are often sung to help a baby sleep. These arts, however, are more than simply ‘performances’ for an audience they may also play crucial roles in culture and society such as songs sung while carrying out agricultural work or music that is part of a ritual. Traditional theatre performances usually combine acting, singing, dance and music, dialogue, narration or recitation but may also include puppetry or pantomime. Apart form its physical aspect, the rhythmic movements, steps and gestures of dance often express a sentiment or mood or illustrate a specific event or daily act, such as religious dances and those representing hunting, warfare or sexual activity. The occasions on which music is performed are just as varied: marriages, funerals, rituals and initiations, festivities, all kinds of entertainment as well as many other social functions.ĭance, though very complex, may be described simply as ordered bodily movements, usually performed to music. There may also be a political or economic dimension to music: it can recount a community’s history, sing the praises of a powerful person and play a key role in economic transactions. It can be found in the most diverse contexts: sacred or profane, classical or popular, closely connected to work or entertainment. Music is perhaps the most universal of the performing arts and is found in every society, most often as an integral part of other performing art forms and other domains of intangible cultural heritage including rituals, festive events or oral traditions. Urtiin Duu, traditional folk long song Read more on the element The best colored lights come with lots of settings and features, allowing you to tailor their output in an instant. These LED lights are an alternative to buying gels, which are useful but must be mounted manually over standard lights. Whether soothing or flashy, they can help you create just the right atmosphere for your vision or add an unusual, unexpected effect. While they each have their own advantages, only some are suitable for certain situations while others suit other scenarios better.īest rgb light for photography TWENTY2PHOTO – Ĭolored lights can take your photography to new heights. These include continuous, strobe, and led lights. For example, there are many different types of portable lights that can be used in photography. As with most things in life, there are pros and cons to each type of equipment. When looking for the best rgb light for photography, it’s important to select the one that fits your needs and experience level. The portable and rechargeable kit includes two stands that can be used in tripod mode to provide a more flexible lighting solution than traditional DJ stand lights It gives you the freedom to shoot anywhere with a portable, battery-powered light during portraits or events. The Lightstand RGB LED photography light is the best portable light for your photo booth, studio or on-the-go. Size: about 6.9 inches (17cm) long and 0.1 inch (2mm) thick Best lighting for photography inside The light is perfect for taking awesome selfies and photos of your friends and family. This new portable light gives off the most natural looking light to create a beautiful glow. The best portable rgb light for photography allows you to take great pictures at home, on vacation or any time you want. The Venetian mask was normally white, consisting of a hollow beak and round eye-holes covered with clear glass, and is one of the distinctive masks worn during the Carnival of Venice. The costume is also associated with a commedia dell'arte character called Il Medico della Peste (lit.: The Plague Doctor), who wears a distinctive plague doctor's mask. Carnival A beaked Venetian carnival mask bearing a picture of a plague doctor, and the inscription Il Medico della Peste ("The Plague doctor") beneath the right eye This costume was also worn by plague doctors during the Naples Plague of 1656, which killed 145,000 people in Rome and 300,000 in Naples. Their robes, leggings, hats, and gloves were also made of Morocco leather. The costume forms the frontispiece of Manget's 1721 work. The Genevan physician, Jean-Jacques Manget, in his 1721 work Treatise on the Plague written just after the Great Plague of Marseille, describes the costume worn by plague doctors at Nijmegen in 1636–1637. L'Orme wrote that the mask had a "nose half a foot long, shaped like a beak, filled with perfume with only two holes, one on each side near the nostrils, but that can suffice to breathe and to carry along with the air one breathes the impression of the drugs enclosed further along in the beak." The garment was impregnated with similar fragrant items as the mask. The garments were first mentioned by a physician to King Louis XIII of France, Charles de L'Orme, who wrote in a 1619 plague outbreak in Paris that he developed an outfit made of Moroccan goat leather, including boots, breeches, a long coat, hat, and gloves modeled after a soldier's canvas gown which went from the neck to the ankle. Often, these plague doctors were the last thing a patient would see before death therefore, the doctors were seen as a foreboding of death. Depictions of the beaked plague doctor rose in response to superstition and fear about the unknown source of the plague. The beaked plague doctor inspired costumes in Italian theatre as a symbol of general horror and death, though some historians insist that the plague doctor was originally fictional and inspired the real plague doctors later. An early reference to plague doctors wearing masks is in 1373 when Johannes Jacobi recommends their use but he offers no physical description of them. The exact origins of the costume are unclear, as most depictions come from satirical writings and political cartoons. The canes were also used to keep people away and to remove clothing from plague victims without having to touch them. Doctors used wooden canes in order to point out areas needing attention and to examine patients without touching them. The wide-brimmed leather hat indicated their profession. The garments covered the body, shielding against splattered blood, lymph and cough droplets, and the waxed robe prevented fleas (the true carriers of the plague) from touching the body or clinging to the linen. Though contemporary theories about the plague's nature were incorrect, it is likely that the costume actually did afford the wearer some immunity. Doctors believed the herbs would counter the "evil" smells of the plague and prevent them from becoming infected. This was thought to be the principal cause of the disease. The purpose of the mask was to keep away bad smells such as decaying bodies and the smell taken with the most caution was known as miasma, a noxious form of "bad air". The beak could hold dried flowers (commonly roses and carnations), herbs (commonly lavender and peppermint), camphor, or a vinegar sponge, as well as juniper berry, ambergris, cloves, labdanum, myrrh, and storax. The mask had two small nose holes and was a type of respirator which contained aromatic items. The typical mask had glass openings for the eyes and a curved beak shaped like a bird's beak with straps that held the beak in front of the doctor's nose. The costume consists of a leather hat, mask with glass eyes and a beak, stick to remove clothes of a plague victim, gloves, waxed linen robe, and boots. Description Plague doctor outfit from Germany (17th century) However, the costume was mostly worn by a late Renaissance and early modern physicians studying and treating plague patients. It is often seen as a symbol of death and disease. The clothing worn by plague doctors was intended to protect them from airborne diseases during outbreaks of bubonic plague in Europe. His nose-case is filled with herbal material to keep off the plague. 1656, of a plague doctor of Marseilles (introduced as 'Dr Beak of Rome'). Clothing worn by plague doctors that was intended to protect them from infection Paul Fürst, engraving, c. Two-factor authentication (2FA) options.LastPass Premium includes the following features: The extensions make it easy to generate and save new passwords, auto-fill saved logins, and manage saved credentials. 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The potency and portability of disulfide-rich peptides have attracted much attention from the growing biotechnology sector as a potential source of leads for development of therapeutics or agricultural agents ( Gongora-Benitez et al., 2014). This property is perhaps most dramatically demonstrated in venom peptides, where disulfide-rich peptide toxins are not only excreted but further injected into a foreign host where they exert their function, often with devastating consequences ( Undheim et al., 2015). In these molecules, the disulfide bonds serve to stabilize the protein fold in the extracellular environment. The significance of disulfide bonds in proteins can be appreciated by their prevalence accounting for ~18% of all known protein structures (9,709 of the 55,032 proteins deposited in the PDB contain at least one disulfide bond – excluding structures with >90% identity, PDB accessed ).ĭisulfide-rich peptides and proteins are commonly secreted, and include biopharmaceutical targets such as hormones and antibodies ( Lewis and Garcia, 2003 Mamathambika and Bardwell, 2008 Gongora-Benitez et al., 2014). The observed improvements in resolution when using RDCs is remarkable considering the small size of these peptides.ĭisulfide bridges are naturally occurring cross-links formed between the side chains of two cysteine residues and are one of the most important post-translational modifications in proteins. At this resolution the sidechain of ordered amino acids can be defined accurately, allowing the geometry of the cysteine bridges to be better defined, and allowing for disulfide-bond connectivities to be determined with high confidence. We find that structures based primarily on NOEs, yield ensembles that are equivalent to a crystallographic resolution of 2-3 Å in resolution, and that incorporation of RDCs reduces this to ~1-1.5 Å resolution. Here, we use an extensive set of long-range residual dipolar couplings (RDCs) to assess the resolution of the NMR structure of a disulfide-rich peptide. Given the central role of disulfide bonds in the structure of these molecules, it is unclear what the inherent resolution of such NMR structures is when using traditional NMR methods. However, in NMR the sulfur atoms that are involved in three of the five dihedral angles in a disulfide bond cannot be readily measured. NMR is the most commonly used method for studying such molecules, where the relatively small size of these molecules results in highly precise structural ensembles defined by a large number of distance and dihedral angle restraints per amino acid. Structural characterization of small disulfide rich peptides (DRPs) presents unique challenges when using commonly applied biophysical methods. These structural scaffolds have, therefore, proven to be very attractive in bioengineering efforts to develop novel biologics with applications in health and agriculture. The arrangement of the multiple disulfide bonds directs the peptide fold into distinct structural motifs that have evolved for resistance against biochemical and physical insults. These cross-links play a critical role in stabilizing the 3D-structure of small disulfide rich polypeptides such as hormones and venom toxins. 2Laboratory of Chemical Physics, National Institute of Diabetes and Digestive and Kidney Diseases, Bethesda, MD, United Statesĭisulfide bridges in proteins are formed by the oxidation of pairs of cysteine residues.1Centre for Advanced Imaging, The University of Queensland, St Lucia, QLD, Australia.Venkatraman Ramanujam 1,2 Yang Shen 2 Jinfa Ying 2 Mehdi Mobli 1 * |
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