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1 - 10 of 121 results for: PATHWAYS::*

AFRICAAM 8: Conjure and Manifest: Building a Sustainable Artistic Practice (CSRE 8)

In this course, student-artists spend time investigating their artistic practice as a framework for promoting power, wellness, and creativity; and as a tangible means for navigating the first steps of their artistic careers. We spend time critically examining the philosophies and works of Black artists including James Baldwin, Octavia Butler, RZA (Wu-Tang Clan) and Nayyirah Waheed, in order to explore new visions for the artist as activist, as futurist and as spiritual healer. We then use a mixture of these ideas and our own¿along with meditation and mindfulness experiences¿to begin conjuring and manifesting intimate relationships with our art practice and ourselves. Student-artists will develop creative confidence, formulate game plans for success, and begin to find balance between the uncertainty and ultimate freedom that life as an artist can bring.
Terms: Aut | Units: 3
Instructors: Holt, A. (PI)

AFRICAAM 54N: African American Women's Lives (AMSTUD 54N, CSRE 54N, FEMGEN 54N, HISTORY 54N)

Preference to freshmen. We will examine the struggles of African American women to define their own lives and improve the social, economic, political and cultural conditions of black communities. Topics will include women¿s enslavement and freedom, kinship and family relations, institution and community building, violence, labor and leisure, changing gender roles, consumer and beauty culture, social activism, and the politics of sexuality.
Terms: Win | Units: 3 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-ED
Instructors: Hobbs, A. (PI)

AFRICAAM 154: Black Feminist Theory (FEMGEN 154)

This course will examine black feminist theoretical traditions, marking black women's analytic interventions into sexual and pleasure politics, reproduction, citizenship, power, violence, agency, art, representation, and questions of the body. Exploring concepts like intersectionality, matrices of violence, the politics of respectability, womanism, and other contours of a black feminist liberation politic, we will look to black feminist scholars, activists, and artists from the 19th century to today.
Last offered: Spring 2016

AFRICAAM 166: Introduction to African American History - the Modern Freedom Struggle (AMSTUD 166, CSRE 166, HISTORY 66, HISTORY 166)

Using the unique documentary resources and publications of Stanford's Martin Luther King Jr. Research and Education Institute, this course will utilize multi-media materials to shed light on the relationship between grassroots activism and King's visionary leadership.
Terms: Aut | Units: 3-5 | UG Reqs: GER:DB-SocSci, GER:EC-AmerCul
Instructors: Carson, C. (PI)

AFRICAAM 176B: Documentary Fictions

More and more of our best fiction, plays, and comics are being created out of documentary practices such as in-depth interviewing, oral histories, and reporting. Novels like Dave Egger¿s What is the What and plays like Anna Deavere Smith¿s Let Me Down Easy act as both witnesses and translators of people¿s direct experience and push art into social activism in new ways. This course takes a close look at a diverse range of these contemporary works and explores how to adopt their research and aesthetic strategies for work of your own. We start with a brief look back at the recent origins of this trend and look at excerpts from forerunners such as Richard Wright, Truman Capote, and Bertolt Brecht. We then turn to the rise of documentary fictions in the last few decades and read works by Eggers, Adam Johnson, G.B. Tran, Maria Hummel, and Daniel Alarcon and watch performances by the Tectonic Theater Project and Elevator Repair Service. Students write one analytic essay and then conduct or study interviews to design a work of their own. The course will feature class visits by a number of our authors and a special half-day workshop with Smith.
Last offered: Autumn 2015

AFRICAAM 194: Topics in Writing & Rhetoric: "We Gon Be Alright": Contemporary Black Rhetorics (PWR 194AJ)

Does not fulfill NSC requirement. What does the difference between Kendrick Lamar's "We Gon Be Alright" and older movement anthems like "Let Nobody Turn Us Around" tell us about differences in perspective held by contemporary Black activists and those of other eras? What strategies are people engaged in various kinds of work to "assert their collective humanity" and "gain acceptance for ideas relative to Black survival and Black liberation" using in the pursuit of those goals? What debates are taking place inside Black communities about activism? About community itself? What is it about twitter, vines and memes that have made those spaces such rich spaces for Black expressive cultures? What stylistic or aesthetic features mark those communicative efforts? Finally, what do young people themselves have to say about activism in this moment? This course will examine Black rhetoric from overtly persuasive political and activist discourse to Scandal watch parties and everyday conversation. Prerequisite: first level of the writing requirement or equivalent transfer credit. For topics, see https://undergrad.stanford.edu/programs/pwr/courses/advanced-pwr-courses.
Last offered: Winter 2016 | UG Reqs: WAY-A-II, WAY-ED

AFRICAST 135: Designing Research-Based Interventions to Solve Global Health Problems (AFRICAST 235, EDUC 135, EDUC 335, HRP 235, HUMBIO 26, MED 235)

The excitement around social innovation and entrepreneurship has spawned numerous startups focused on tackling world problems, particularly in the fields of education and health. The best social ventures are launched with careful consideration paid to research, design, and efficacy. This course offers students insights into understanding how to effectively develop, evaluate, and scale social ventures. Using TeachAIDS (an award-winning nonprofit educational technology social venture used in 78 countries) as a primary case study, students will be given an in-depth look into how the entity was founded and scaled globally. Guest speakers will include world-class experts and entrepreneurs in Philanthropy, Medicine, Communications, Education, and Technology. Open to both undergraduate and graduate students.
Terms: Win | Units: 3-4

AFRICAST 235: Designing Research-Based Interventions to Solve Global Health Problems (AFRICAST 135, EDUC 135, EDUC 335, HRP 235, HUMBIO 26, MED 235)

The excitement around social innovation and entrepreneurship has spawned numerous startups focused on tackling world problems, particularly in the fields of education and health. The best social ventures are launched with careful consideration paid to research, design, and efficacy. This course offers students insights into understanding how to effectively develop, evaluate, and scale social ventures. Using TeachAIDS (an award-winning nonprofit educational technology social venture used in 78 countries) as a primary case study, students will be given an in-depth look into how the entity was founded and scaled globally. Guest speakers will include world-class experts and entrepreneurs in Philanthropy, Medicine, Communications, Education, and Technology. Open to both undergraduate and graduate students.
Terms: Win | Units: 3-4

AMSTUD 54N: African American Women's Lives (AFRICAAM 54N, CSRE 54N, FEMGEN 54N, HISTORY 54N)

Preference to freshmen. We will examine the struggles of African American women to define their own lives and improve the social, economic, political and cultural conditions of black communities. Topics will include women¿s enslavement and freedom, kinship and family relations, institution and community building, violence, labor and leisure, changing gender roles, consumer and beauty culture, social activism, and the politics of sexuality.
Terms: Win | Units: 3 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-ED
Instructors: Hobbs, A. (PI)

AMSTUD 102: Art and Social Criticism (AFRICAAM 102B, ARTHIST 162B, CSRE 102A, FEMGEN 102)

Visual artists have long been in the forefront of social criticism in America. Since the 1960s, various visual strategies have helped emergent progressive political movements articulate and represent complex social issues. Which artists and particular art works/projects have become key anchors for discourses on racism, sexism, economic and social inequality, and immigrant rights? We will learn about a spectrum of political art designed to raise social awareness, spark social change and rouse protest. The Art Workers¿ Coalition¿s agit-prop opposing the Vietnam War and ACT-UP¿s emblematic signs and symbols during the AIDS/HIV crisis of the 1980s galvanized a generation into action. Works such as Judy Chicago¿s The Dinner Party (1979), Fred Wilson¿s Mining the Museum (1992), and Glenn Ligon¿s paintings appropriating fragments from African-American literature all raised awareness by excavating historical evidence of the long legacy of marginalization and modeled ways of resisting that marginalization. For three decades feminist artists Barbara Kruger and the Guerilla Girls have combined institutional critique and direct address into a provocative form of criticality. Recent art for social justice is reaching ever broadening publics by redrawing the role of artist and audience exemplified by the democratization of poster making and internet campaigns of the Occupy and #BlackLivesMatter movements. Why are each of these examples successful as influential and enduring markers of social criticism? We will also consider the visual culture of new protest strategies in the Post-Occupy era. What have these socially responsive practices contributed to our understanding of American history? We will conclude with an investigation into large-scale transnational participatory projects, including Tania Bruguera¿s Immigrant Movement International and Ai Weiwei¿s @Large on Alcatraz Island.
Terms: Aut | Units: 5 | UG Reqs: WAY-A-II, WAY-ED
Instructors: Hertz, B. (PI)
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