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Course Criteria
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3.00 Credits
An examination of one of the most turbulent periods in American history, with special emphasis on the changing status of Afro-Americans during the era. During the war years, we shall study both the war itself and homefront conditions: military, naval, political, economic, and especially social aspects will be examined in some detail. Our study of Reconstruction will concentrate on the evolution of federal policy toward the Southern states and the workings out of that policy in the South, particularly as it relates to the freedmen.
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3.00 Credits
Non-honors candidates do a regular winter study project offered by the program or a "99." Candidates for honors in Africana Studies must do W30 for the winter study period following 491 or prior to taking 492.
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3.00 Credits
Non-honors candidates do a regular winter study project offered by the program or a "99." Candidates for honors in Africana Studies must do W30 for the winter study period following 491 or prior to taking 492.
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3.00 Credits
Africana Studies independent study
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3.00 Credits
Africana Studies Independent Study
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3.00 Credits
This introductory video production course focuses on how contemporary artists engage their historical moment. We will look ways in which the moving image can be used to reckon with the force that historical events and conditions have on us as art makers, and the ways in which we might hope to have force on historical events. We will focus on U.S. makers and events in the present and recent past, with comparative attention to international and transnational work. The course will give special consideration to particular forms of artist-made film and video: the essay film, activist/grassroots/social media, and performance-based and narrative media that reflect on historical events and the ongoing present. We will look at work by Adam Curtis, Adele Horne, The Yes Men, Anna Deveare Smith, Patty Chang, Peter Watkins, Haskell Wexler, Adam McKee, Catherine Bigelow, and collectives including Asco, TVTV, ACT UP, and Occupy Wall Street. Readings will include work by Meg McLagen, Gregg Bordowitz, George Lipsitz, Kimberle Crenshaw and Gary Peller, Judith Butler, David Graeber, George Lipsitz, and others.
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3.00 Credits
The idea of a distinct category of individuals identified as "biracial," "multiracial," or "mixed-race" has become increasingly prominent over the past few decades, despite the inescapable fact that the existence of children of interracial couples is by no means new. Indeed, historically speaking, notions of "racial purity" are a relatively recent invention--what might now be called "race-mixing" is older than the concept of "race" itself. Why, then, has the figure of the mixed-race person been receiving so much attention? Why is this figure imagined as somehow novel or unprecedented? Is there something different about the contemporary social experience of children of interracial couples? Why do people who do not share this experience take so much interest in it? Our pursuit of these questions will take us back to earlier periods in U.S. history, and to different figures appearing at the borders of established racial categories, such as the "tragic mulatta" or the "passing" figure. Most of our readings will be drawn from African American literature and works by other writers of color, but you should also expect a substantial amount of scholarly writing on theories and histories of race. These readings will lead to some highly charged discussions--which will not always end comfortably, or with everyone in agreement. Because this course is writing-intensive, we'll spend significant time developing writing skills, with an emphasis on collaborative learning.
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3.00 Credits
This introductory seminar investigates the relationship between three major schools of thought in contemporary Africana social and political philosophy, namely the African, Afro-American, and Afro-Caribbean intellectual traditions. We will discuss a range of thinkers including Aime Cesaire, Angela Y. Davis, Edouard Glissant, Lewis R. Gordon, Kwame Gyekye, Paget Henry, bell hooks, Charles W. Mills, Nkiru Nzegwu, Lucius Outlaw, Oyeronke Oyewumi, Tommie Shelby, and Sylvia Wynter. A primary goal of the course is to provide students with the intellectual resources to decipher problems central to philosophical discourse and to allow students an opportunity to apply what they learn to critical issues in current geopolitics. This seminar is part of the Exploring Diversity Initiative, and as such we shall investigate--via the authors mentioned--comparative philosophical analyses, critical theorization, and the plurality of global thinking in contemporary social and political philosophy.
Prerequisite:
Open to all
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3.00 Credits
The many variations of the detective novel--from the British "cozy" to The many variations of the detective novel--from the British "cozy" to American "hardboiled" thrillers--have long been staples of popular culture. While the intricate plot may play a large role in attracting readers, other formal elements of detective fiction have attracted many writers, some who would transgress the genre itself. In this class, we will read and discuss works by various American ethnic writers and their use of the forms and conventions of the mystery novel to ask: how do we understand the relationship between racial/ethnic identities, histories, experiences and the genres, conventions, and other elements of detective fictions? What is the relationship of form, genre, narrative to cultural politics and history? How do the different writers use conventions of detective fictions, and to what effects and purposes? To this end, we will be readings works that are recognizable "detective fictions" as well as works that complicate and push the boundaries of the genre, to the extent that they become nearly unrecognizable. This is not to suggest that these boundaries are strict or stable. As we will see, the question of what does or does not constitute "detective fiction" will become less central as we investigate multiple ways in which the novels/authors stretch, disrupt, and play with the forms and elements of detective fictions.
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3.00 Credits
This course will examine protest and freedom songs and music from the 1950s and 1960s Civil Rights Movement with an emphasis on the music of John Coltrane (1926-1967). We will begin with a brief historical look at protest and freedom songs from the 1800's through the 1950's, including genres such as jazz and Black classical music. We will focus on the Civil Rights era, and we will ask why the music of John Coltrane became identified with the 1960's movement. Avery Sharpe, a distinguished jazz bassist, spent over 20 years performing with John Coltrane's pianist McCoy Tyner. He will provide for students a first-hand experience with this revolutionary music and its practitioners. He will take students to Harlem, where they will tour the historic Apollo Theater, visit the Abyssinian Baptist Church, and attend a jazz club performance. They will also be given the chance to do original oral interviews with Aisha Tyner and other intimates of the Coltrane circle. Students will also study and experience a public performance of Avery Sharpe's new work based on the life of Sojourner Truth,famous abolitionist, political activist, and freedom fighter. This EDI course explores the musical expressions of the culturally diverse peoples of African descent in the New World, as well as the myriad ways in which representations of jazz and protest music challenge institutional power and dominant U.S. and/or European hierarchies of race, gender and class.
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