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11 - 20 of 1087 results for: all courses

AFRICAAM 78: Art + Community: Division, Resilience & Reconciliation (CSRE 78)

Violence and trauma isolates and segregates us. Part of the healing process must be about coming back into community. Freedom is meaningful only insofar as it lifts all, especially those who have been done the most harm. In times of violence and polarization, art can heal and brings people together. In this course, we will explore how we make and sustain community, especially in the face of threats from within and without. We will do this especially through examining how artists and culture workers of color develop and advance practices that build mutuality, criticality, renewal, trust, and joy in the face of ongoing racial injustice and cultural inequity.
Last offered: Spring 2018 | UG Reqs: WAY-A-II, WAY-ED

AFRICAAM 101Q: Black & White Race Relations in American Fiction & Film (AMSTUD 42Q, CSRE 41Q)

Movies and the fiction that inspires them; power dynamics behind production including historical events, artistic vision, politics, and racial stereotypes. What images of black and white does Hollywood produce to forge a national identity? How do films promote equality between the races? What is lost or gained in film adaptations of books? NOTE: Students must attend the first day; admission to the class will be determined based on an in class essay.
Last offered: Winter 2020 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-ED

AFRICAAM 102B: Art and Social Criticism (AMSTUD 102, 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, immigrant rights and climate change? 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 resisting marginalization. For three decades more »
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, immigrant rights and climate change? 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 resisting marginalization. For three decades feminist artists Adrian Piper, 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 Occupy and the Movement for Black Lives. We will also consider the collective aesthetic activisms in the Post-Occupy era including Global Ultra Luxury Faction, Climate Justice art projects, and the visual culture of Trump era mass protests. Why are each of these examples successful as influential and enduring markers of social criticism? What have these socially responsive practices contributed to our understanding of American history?
Last offered: Autumn 2018 | UG Reqs: WAY-A-II, WAY-ED

AFRICAAM 112B: African Literature: From Chinua Achebe to Afrofuturism (ENGLISH 112B)

This course will be an exploration of the major writers and diverse literary traditions of the African continent. We will examine various elements (genre, form, orality, etc.) across a variety of political, social, and literary categories (colonial/postcolonial, modernism/postmodernism, gender, class, literary history, religion, etc.). We will also address issues such as African literature and its relationship to world literature and the question of language and of translation. Writers to be discussed will include Chinua Achebe, Wole Soyinka, Tsitsi Dangarembga, Fiston Mwanza Mujila, Kamel Daoud, Tayeb Salih, and NoViolet Bulawayo, among others.nThe class will be structured around the close-reading of passages from individual texts with an attempt to relate the details derived from the reading process to larger areas of significance within the field. Students should make sure to bring their texts to class with them and must be prepared to contribute to class discussions.
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II, WAY-ED
Instructors: Quayson, A. (PI)

AFRICAAM 117J: Race, Gender, and Sexuality in Contemporary American Film (AMSTUD 117, ASNAMST 117D, CSRE 117D, FEMGEN 117F)

This course introduces students to the theoretical and analytical frameworks necessary to critically understand constructions of race, gender, and sexuality in contemporary American film. Through a sustained engagement with a range of independent and Hollywood films produced since 2000, students analyze the ways that cinematic representations have both reflected and constructed dominant notions of race, gender, and sexuality in the United States. Utilizing an intersectional framework that sees race, gender, and sexuality as always defined by one another, the course examines the ways that dominant notions of difference have been maintained and contested through film in the United States. Readings include work by Michael Omi & Howard Winant, Patricia Hill Collins, Jodi Melamed, Stuart Hall, Lisa Duggan and bell hooks. Films to be discussed include Moonlight, Mosquita y Mari, Kumu Hina, Hustlers, and Crazy Rich Asians. To enroll in the course, please fill out the following form: https://forms.gle/RKqURW6niyB1LRyEA
Terms: Win | Units: 4-5 | UG Reqs: WAY-A-II, WAY-ED
Instructors: Gow, W. (PI)

AFRICAAM 127A: Can't Stop Won't Stop: A History Of The Hip-Hop Arts (CSRE 127A)

This course explores the history and development of the hip-hop arts movement, from its precursor movements in music, dance, visual arts, literature, and folk and street cultures to its rise as a neighborhood subculture in the Bronx in the early 1970s through its local, regional and global expansion and development. Hip-hop aesthetics, structures, and politics will be explored within the context of the movement's rise as a post-multicultural form in an era of neoliberal globalization. (This course must be taken for a letter grade and a minimum of 3 units to satisfy a Ways requirement.)
Last offered: Winter 2017 | UG Reqs: WAY-A-II, WAY-ED

AFRICAAM 133: Literature and Society in Africa and the Caribbean (AFRICAST 132, COMPLIT 133A, COMPLIT 233A, CSRE 133E, FRENCH 133, JEWISHST 143)

This course explores texts and films from Francophone Africa and the Caribbean in the 20th and 21st centuries. The course will explore the connections between Sub-Saharan Africa, the Maghreb and the Caribbean through both foundational and contemporary works while considering their engagement with the historical and political contexts in which they were produced. This course will also serve to improve students' speaking and writing skills in French while sharpening their knowledge of the linguistic and conceptual tools needed to conduct literary analysis. The diverse topics discussed in the course will include national and cultural identity, race and class, gender and sexuality, orality and textuality, transnationalism and migration, colonialism and decolonization, history and memory, and the politics of language. Readings include the works of writers and filmmakers such as Djibril Tamsir Niane, Léopold Senghor, Aimé Césaire, Albert Memmi, Patrick Chamoiseau, Leonora Miano, Leila Slimani, Dani Laferrière and Ousmane Sembène. Taught in French. Students are highly encouraged to complete FRENLANG 124 or to successfully test above this level through the Language Center. This course fulfills the Writing in the Major (WIM) requirement.
Terms: Aut, Sum | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-ED

AFRICAAM 145B: Africa in the 20th Century (HISTORY 145B)

(Same as HISTORY 45B. Students taking 5 units, register for 145B.) The challenges facing Africans from when the continent fell under colonial rule until independence. Case studies of colonialism and its impact on African men and women drawn from West, Central, and Southern Africa. Novels, plays, polemics, and autobiographies written by Africans.
Terms: Spr | Units: 5 | UG Reqs: GER:DB-SocSci, GER:EC-GlobalCom, WAY-A-II, WAY-SI
Instructors: Cabrita, J. (PI)

AFRICAAM 146D: New Keywords in African Sound (AFRICAST 146M, CSRE 146D, MUSIC 146M, MUSIC 246M)

This course identifies and considers new keywords for the study of contemporary African music and sound. Each week we will foster discussion around a keyword and a constellation of case studies. The sonic practices we will encounter range from South African house music to Ghanaian honk horns; from Congolese rumba bands to Tunisian trance singers; from listening to the radio in a Tanzanian homestead to making hip hop music videos on the Kenyan coast. By exploring the unexpected interconnections between contemporary African musical communities, we will discuss new keywords arising in current scholarship, including technologies like the amplifier and the hard drive, spaces like the studio and the city, and analytics like pleasure and hotness. We will also engage with established concepts for the study of postcolonial African cultures, including nationalism, cosmopolitanism, globalization, diaspora, and Pan-Africanism. This is a seminar-based course open to graduate students, upper level undergraduate students, and other students with consent of the instructor. Proficiency in music is not required. WIM at 4 units only.
Last offered: Winter 2019 | UG Reqs: WAY-A-II

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

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.*
Last offered: Autumn 2019 | UG Reqs: WAY-A-II, WAY-ED
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