Omar Ramos

Omar Ramos has designed lighting, sound, and video for theatre, dance, opera, and film. His design and associate design credits from across the U.S. include the Goodman Theatre and Chicago Shakespeare Theater (Chicago), McCarter Theatre Center (Princeton, NJ), Oregon Shakespeare Festival (Ashland), and San Diego Repertory Theatre. He has collaborated on numerous dance and movement pieces with Wallpaper Performance Company, PADL West, and UC Riverside faculty and experimental choreography students. In 2022, he was recognized by the Kennedy Center American College Theatre Festival National Awards Committee for his video design on Brown Face by Carissa Atallah. Prior to his appointment at CSUF, Ramos taught courses for both undergraduates and graduates at UC Irvine and UC San Diego. Ramos received his Master of Fine Arts degree in Theatre Design with a dual focus in lighting and sound from the University of California, San Diego. He is most interested in work that outreaches to children, veterans, survivors of domestic abuse, and their families. He also gravitates to work that sheds light on the politics of race and serves LGBT+ communities. More information about his work can be found at https://www.omarramosdesign.com/ 

Commitment to Justice, Equity, Diversity, and Inclusion: 

I am dedicated to the crafting of a community of individuals with diverse backgrounds and life experiences, free of discrimination based on racial and ethnic origin, gender identity, sexual orientation, social economic status, or religious belief. I acknowledge the spheres in which I have privilege and seek to leverage that privilege to amplify underrepresented voices. I have been and will continue to be committed to working to build a more diverse and inclusive environment, through teaching, mentoring, and research. 
 

Land Acknowledgment:  

I recognize and honor the original occupants and stewards of the lands where I live and work. As an instructor at Cal State Fullerton, I acknowledge my presence on the traditional, ancestral and unceded territory of the Tongva (Gabrieleno) Nation. I honor the survival, the adaptations, the forced assimilation, and the resilience and creativity of Native peoples – past, present, and future. I stand in solidarity with Native, Indigenous, and First Nations People, and their sovereignty, cultural heritage, and lives.  

I also recognize and acknowledge the labor upon which our country, state, and institutions are built. I remember that our country is built on the labor of enslaved people who were kidnapped and brought to the U.S. from the African continent and recognize the continued contribution of their survivors. I also acknowledge all immigrant labor, including voluntary, involuntary, trafficked, forced, and undocumented peoples who contributed to the building of the country and continue to serve within our labor force. I acknowledge all unpaid care-giving labor. To the people who contributed this immeasurable work and their descendants, I acknowledge their indelible mark on the space in which I live and work today. It is our collective responsibility to critically interrogate these histories, to repair harm, and to honor, protect, and sustain this land.