16.00 Credits
Faculty: Andrew Buchman (music), Stephanie Kozick (human development) Major areas of study include music, dance, performing arts and cultural studies. Class Standing: Sophomores or above; transfer students welcome. Have you ever wondered how living in a city changes a person's consciousness about arts and culture What is it about urban environments that can promote open, positive and creative attitudes, or burden people with alienation and fear How do artists grow and learn in cities What special advantages do they enjoy, and what special problems do they face Themes of this program include considerations of individual and group identity, the impact on the planet's ecology of urbanization (90% of which is currently occurring in the developing world), and the phenomenon Alan Lomax called "cultural grey-out." He argued that many art forms, languages and cultures are disappearing-unless we preserve them somehow in a rapidly changing world. Students in this program may find a mission, a research project, and/or a spring internship engaged in this vital work. As the pace of technological and social change has quickened, cities have become centers for migrants from elsewhere who come together to create new kinds of polycultural artistic forms, cuisines, communities, families and relationships. Old musics blend into new musics, dreams blend with realities, and dance is ever reinvented-all, often, in the cities. Why is this becoming a globe of urban dwellers How will inhabitants of cities retain their connections to the natural world and remain conscious of the need to conserve and protect it What aspects of the interrelated history of the arts and cities offer patterns for our own creative work and our own conceptions of a better world Thinking about cities engages interdisciplinary learning about history, urban studies, specific arts (movement, music, performance), literature, cultural studies and social movements. In weekly workshops, we will learn to use our voices, play instruments, stretch, move, compose, choreograph, write and perform dramatic scenarios and dialogues. Students will work regularly in small groups, collaborating to create a series of original performance projects (presented in class) reflecting themes from our studies. We will do lots of writing, too, including play scripts, musical compositions, dance scenarios, expository essays, observational field notes, and research assignments using maps, tables and graphs. In the fall, we will establish a common base of historical artists, genres, themes, styles and approaches to analyzing performances. Whether students have a little background in the arts or a lot, after this quarter's work they will have acquired new, interdisciplinary perspectives on the performing arts and culture. We will study the role of an artist's cultural time and place in their work, and how cities developed historically. We'll examine contemporary cities in both the industrialized and developing world. For example, we might examine various versions of the Orpheus myth, including contemporary performances set in Paris, New York and Rio de Janeiro. In the winter, we'll dive into serious studies of the myths and realities of life in Chicago and New York, via evocative works of art and ethnographic studies. We will study the arts and cultures of successive waves of migrants to North America. In addition to discussing exceptional artists, we'll be discussing the role of music and dance in people's everyday lives: in childhood, lifecycle rituals, work, play, worship and politics. In the spring, all students will be expected to pursue an arts and/or community internship, a major research project and continuing studies of artworks chosen by students as well as the faculty. Group or individual research might involve comparing the modern histories of Beijing and Shanghai, or Chicago and Berlin, or closer to home, examining the needs of Seattle and Portland. Total: 16 credits fall and winter quar