2019-2020 2020-2021 2021-2022 2022-2023 2023-2024
Browse
by subject...
    Schedule
view...
 

11 - 20 of 1219 results for: all courses

AFRICAAM 134: Black Music Revealed: Black composers, performers, and themes from the 18th century to the present (CSRE 35N, MUSIC 35N)

Online seminar on the achievements of Black composers and performers in ragtime, jazz, and classical music, from Chevalier de Saint-Georges, whose music influenced Mozart, and George Bridgetower, for whom Beethoven composed his "Kreutzer" Sonata, to Anthony Davis's opera "The Central Park Five". Students will examine issues of cultural borrowing in operas by Mozart and Verdi, and shows like Showboat and Porgy and Bess. Guest speakers will include composers and performers. Students will work together in groups to produce materials on course topics in coordination with the African American Museum & Library at Oakland. (Cardinal Course certified by the Haas Center)
| UG Reqs: WAY-A-II

AFRICAAM 145B: Introduction to African Studies I: Africa in the 20th Century (HISTORY 145B)

(AFRICAAM/ HISTORY 45B is 3 units; AFRICAAM/ HISTORY 145B is 5 units.) CREATIVITY. AGENCY. RESILIENCE. This is the African history with which this course will engage. African scholars and knowledge production of Africa that explicitly engages with theories of race and global Blackness will take center stage. TRADE. RELIGION. CONQUEST. MIGRATION. These are the transformations of the 20th century which we shall interrogate and reposition. Yet these groundbreaking events did not happen in a vacuum. As historians, we also think about the continent's rich traditions and histories prior to the 20th century. FICTION. NONFICTION. FILM. MUSIC. Far from being peripheral to political transformation, African creative arts advanced discourse on gender, technology, and environmental history within the continent and without. We will listen to African creative artists not only as creators, but as agents for change.
Terms: Aut | Units: 5 | UG Reqs: GER:DB-SocSci, GER:EC-GlobalCom, WAY-A-II, WAY-SI

AFRICAAM 149: African Voices: Literature and Arts in 20th Century South Africa (HISTORY 48S)

How did South African Black intellectuals and artists utilize literature and other artistic forms to articulate their increasingly precarious position in the country's political landscape in the 20th century? What hopes and visions were captured through their works? Engaging with numerous sources ranging from speeches, newspapers, short stories, novels, music, film, paintings to photographs, we will explore what Ntongela Masilela calls "New African modernity"--a movement pioneered by different generations of Black intellectuals and artists. We will grapple with the notion of art as political, and the salience of Black women's works in contexts of double marginalization. This class lies at the intersection of intellectual, cultural, and literary histories.
| UG Reqs: WAY-A-II, WAY-EDP

AFRICAAM 152G: Harlem Renaissance (AMSTUD 152G, ENGLISH 152G)

Examination of the explosion of African American artistic expression during 1920s and 30s New York known as the Harlem Renaissance. Amiri Baraka once referred to the Renaissance as a kind of "vicious Modernism", as a "BangClash", that impacted and was impacted by political, cultural and aesthetic changes not only in the U.S. but Europe, the Caribbean and Latin America. Focus on the literature, graphic arts, and the music of the era in this global context.
Last offered: Autumn 2015 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-EDP

AFRICAAM 154G: Black Magic: Ethnicity, Race, and Identity in Performance Cultures (AFRICAAM 254G, CSRE 154D, FEMGEN 154G, TAPS 154G, TAPS 354G)

In 2013, CaShawn Thompson devised a Twitter hashtag, #blackgirlmagic, to celebrate the beauty and intelligence of black women. Twitter users quickly adopted the slogan, using the hashtag to celebrate everyday moments of beauty, accomplishment, and magic. The slogan offered a contemporary iteration of an historical alignment: namely, the concept of "magic" with both Black people as well as "blackness." This course explores the legacy of Black magic--and black magic--through performance texts including plays, poetry, films, and novels. We will investigate the creation of magical worlds, the discursive alignment of magic with blackness, and the contemporary manifestation of a historical phenomenon. We will cover, through lecture and discussion, the history of black magic representation as well as the relationship between magic and religion. Our goal will be to understand the impact and history of discursive alignments: what relationship does "black magic" have to and for "black bodies"? H more »
In 2013, CaShawn Thompson devised a Twitter hashtag, #blackgirlmagic, to celebrate the beauty and intelligence of black women. Twitter users quickly adopted the slogan, using the hashtag to celebrate everyday moments of beauty, accomplishment, and magic. The slogan offered a contemporary iteration of an historical alignment: namely, the concept of "magic" with both Black people as well as "blackness." This course explores the legacy of Black magic--and black magic--through performance texts including plays, poetry, films, and novels. We will investigate the creation of magical worlds, the discursive alignment of magic with blackness, and the contemporary manifestation of a historical phenomenon. We will cover, through lecture and discussion, the history of black magic representation as well as the relationship between magic and religion. Our goal will be to understand the impact and history of discursive alignments: what relationship does "black magic" have to and for "black bodies"? How do we understand a history of performance practice as being caught up in complicated legacies of suspicion, celebration, self-definition? The course will give participants a grounding in black performance texts, plays, and theoretical writings. *This course will also satisfy the TAPS department WIM requirement.*
Terms: Spr | Units: 3-4 | UG Reqs: WAY-A-II, WAY-EDP
Instructors: Robinson, A. (PI)

AFRICAAM 159: James Baldwin & Twentieth Century Literature (AMSTUD 159, ENGLISH 159, FEMGEN 159)

Black, gay and gifted, Baldwin was hailed as a "spokesman for the race", although he personally, and controversially, eschewed titles and classifications of all kinds. This course examines his classic novels and essays as well his exciting work across many lesser-examined domains - poetry, music, theatre, sermon, photo-text, children's literature, public media, comedy and artistic collaboration. Placing his work in context with other writers of the 20C (Faulkner, Wright, Morrison) and capitalizing on a resurgence of interest in the writer (NYC just dedicated a year of celebration of Baldwin and there are 2 new journals dedicated to study of Baldwin), the course seeks to capture the power and influence of Baldwin's work during the Civil Rights era as well as his relevance in the "post-race" transnational 21st century, when his prescient questioning of the boundaries of race, sex, love, leadership and country assume new urgency.
Terms: Spr | Units: 3 | UG Reqs: WAY-A-II, WAY-EDP
Instructors: Elam, M. (PI)

AFRICAAM 187: African Archive Beyond Colonization (AFRICAST 117, ARCHLGY 166, CLASSICS 186, CLASSICS 286, CSRE 166)

From street names to monuments, the material sediments of colonial time can be seen, heard, and felt in the diverse cultural archives of ancient and contemporary Africa. This seminar aims to examine the role of ethnographic practice in the political agendas of past and present African nations. In the quest to reconstruct an imaginary of Africa in space and time, students will explore these social constructs in light of the rise of archaeology during the height of European empire and colonization. Particularly in the last 50 years, revived interest in African cultural heritage and preservation raises complex questions about the problematic tensions between European, American, and African theories of archaeological and ethnographic practice.
Terms: Aut | Units: 3-5 | UG Reqs: WAY-A-II, WAY-EDP
Instructors: Derbew, S. (PI)

AFRICAAM 191B: African American Art (ARTHIST 191, CSRE 191)

This course explores major art and political movements, such as the Harlem Renaissance, the Black Arts Movement, and #BlackLivesMatter, that have informed and were inspired by African American artists. Students will read pivotal texts written by Black artists, historians, philosophers and activists; consider how artists have contended with issues of identity, race, gender, and sexuality; and learn about galleries, collections, and organizations founded to support the field. Attendance on the first day of class is a requirement for enrollment.
Last offered: Spring 2021 | UG Reqs: WAY-A-II, WAY-EDP

AFRICAAM 213: Culture and Revolution in Africa (COMPLIT 213, FRENCH 213E, HISTORY 243E)

This course investigates the relationship between culture, revolutionary decolonization, and post-colonial trajectories. It probes the multilayered development of 20th and 21st-century African literature amid decolonization and Cold War cultural diplomacy initiatives and the debates they generated about African literary aesthetics, African languages, the production of history, and the role of the intellectual. We will journey through national cultural movements, international congresses, and pan-African festivals to explore the following questions: What role did writers and artists play in shaping the discourse of revolutionary decolonization throughout the continent and in the diaspora? How have literary texts, films, and works of African cultural thought shaped and engaged with concepts such as "African unity" and "African cultural renaissance"? How have these notions influenced the imaginaries of post-independence nations, engendered new subjectivities, and impacted gender and generational dynamics? How did the ways of knowing and modes of writing promoted and developed in these contexts shape African futures?
Terms: Spr | Units: 3-5 | UG Reqs: WAY-SI, WAY-A-II
Instructors: Seck, F. (PI)

AFRICAAM 218: Musics and Appropriation Throughout the World (CSRE 118D, MUSIC 118)

This course critically examines musical practices and appropriation through the amplification of intersectionality. We consider musics globally through recourse to ethnomusicological literature and critical race theories. Our approach begins from an understanding that the social and political contexts where musics are created, disseminated, and consumed inform disparate interpretations and meanings of music, as well as its sounds. Our goal is to shape our ears to hear the effects of slavery, colonialism, capitalism, nationalism, class, gender difference, militarism, and activism. We interrogate the process of appropriating musics throughout the world by making the power structures that shape privileges and exclusions audible.
Last offered: Winter 2023 | UG Reqs: WAY-A-II, WAY-EDP
Filter Results:
term offered
updating results...
teaching presence
updating results...
number of units
updating results...
time offered
updating results...
days
updating results...
UG Requirements (GERs)
updating results...
component
updating results...
career
updating results...
© Stanford University | Terms of Use | Copyright Complaints