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This seminar investigates social dancing as a political practice, and the dance floor as a place where race, ethnicity, class status, and sexuality are formed and contested. While many students may be familiar with salsa, and can imagine how it produces particular kinds of Latin/a feminities, this course asks students to expand the notion of social dancing beyond partner-dancing spheres. Course materials will focus on dance practices from the late-nineteenth century to present-day, ranging from rural Louisiana dancehalls to NYC nightclubs to Iranian backyards. We will examine how dances become racially coded (e.g., what makes a dance black or Latin@?), and understand how categories such as gender, class, and regionality intersect with such racializations. Students will engage in a range of activities, including reading, viewing films, and participating in occasional movement workshops (no previous dance experience required). Each student¿s final project will require independent, sustained, ethnographic research in a social dance setting of choice (e.g., student dance club, yoga studio, aerobics class, or YouTube).

Women's bodies in sickness and health, and encounters with lay and professional healers from the 18th century to the present. Historical consttruction of thought about women's bodies and physical limitations; sexuality; birth control and abortion; childbirth; adulthood; and menopause and aging. Women as healers, including midwives, lay physicians, the medical profession, and nursing.

(Co-taught by Dereca Blackmon and Daniel Murray) Is multiracial solidarity necessary to overcome oppression that disproportionately affects people of color? What is frontline leadership and what role should people play if they are not part of frontline communities? In this course we will critically examine practices of solidarity and allyship in movements for collective liberation. Through analysis of historical and contemporary movements, as well as participation in movement work, we will see how movements have built multiracial solidarity to address issues that are important to the liberation of all. We will also see how racial justice intersects with other identities and issues. This course is for students that want to learn how to practice solidarity, whether to be better allies or to work more effectively with allies. As a community engaged learning course, students will have the option to work with an organization that is explicitly devoted to this kind of multiracial movement-building work around a particular issue. Specific issues are yet to be determined, but may include environmental justice, policing and mass incarceration, and education.

This course explores the transition from Victorian to modern womanhood in the U.S. from the 1890s to the end of the 20th century, including the experiences of Native, European, African, Mexican, and Asian American women. It asks how, when, and why the majority of American women become wage earners, gained full citizenship, and enacted political opportunities; how race- and class-specific ideals of womanhood changed in popular culture; and how women have redefined their reproductive and sexual relations.

Course introduces students to the basic elements of playwriting and creative experimentation for the stage. Topics include: character development, conflict and plot construction, staging and setting, and play structure. Script analysis of works by contemporary playwrights may include: Marsha Norman, Patrick Shanley, August Wilson, Suzan-Lori Parks, Paula Vogel, Octavio Solis and others. Table readings of one-act length work required by quarter's end.

May be repeated for credit. (Staff)

(Graduate Students register for PHIL 253 or FEMGEN 203) Concepts and questions distinctive of feminist and LGBT scholarship and how they shape research: gender, intersectionality, disciplinarity and interdisciplinarity, standpoint, "queering," postmodern critiques, postcolonial critiques.nPrerequisites: Feminist Studies 101 or equivalent with consent of instructor.nNOTE: This course must be taken for a letter grade and a minimum of 3 units to be eligible for WAYS credit.

Analysis of medieval love, satirical and Crusade lyrics of the trouabdours. Study of deictic address, corporeal subjectivity, the female voice, love debates, and the body as a figure of political conflict. Course readings include medieval treatises on lyric and modern translations of the troubadour tradition. Works by Ovid, Bernart de Ventadorn, Bertran de Born, La Comtessa de Dia, Thibaut de Champagne, Raimon Vidal, Dante, and Pound. Taught in English. Course includes a lab component for creation of multi-media translation projects: trobar. stanford.edu.