AFRICAAM 180S:The Black Music 1980s: Turntables, Beat Machines and DJ Scholarship
This course focuses on the regional rhythms and aesthetic trends of Black popular music of the Americas in the 1980s, a period of Black cultural production largely ignored by the academy. Students will investigate how technology, economic shifts, AIDS, and the War on Drugs impacted communities who produced, created, and danced to music in the face of hostile political terrain. Students will develop and employ careful listening practices that encompass the study of sampling, digging through crates of vinyl, analyzing album cover art, and closely reading liner notes. The musical forms we will cover range from New Jack Swing to Quiet Storm Music to Synthesizer Soul. Figures we will study include nontraditional scholars and practitioners, artists, activists, music journalists, and cultural critics. Finally, students will map the digital movement of music, people, and ideas through post-human platforms such as computer-based home recording studios, portable sound systems, beat-making equipment, keytars, turntables, and sampling machines. 3 units.
AFRICAAM 389C:Race, Ethnicity, and Language: Pedagogical Possibilities
This seminar explores the intersections of language and race/racism/racialization in the public schooling experiences of students of color. We will briefly trace the historical emergence of the related fields of sociolinguistics and linguistic anthropology, explore how each of these scholarly traditions approaches the study of language, and identify key points of overlap and tension between the two fields before considering recent examples of inter-disciplinary scholarship on language and race in urban schools. Issues to be addressed include language variation and change, language and identity, bilingualism and multilingualism, language ideologies, and classroom discourse. We will pay particular attention to the implications of relevant literature for teaching and learning in urban classrooms. 3 units.
CSRE 195:U.S. Latinx Art (ARTHIST 194, CHILATST 195)
This course surveys artworks made by Latina/o/x artists who live and work in the United States, including Chicanos, Nuyoricans, and others of Latin American and Caribbean descent. Students will study the diversity that comprises the U.S. Latinx demographic while considering artists' relationships to issues of race, ethnicity, gender, and sexuality. They will also explore national debates, such as immigration and national security, that affect artists and their work. Special attention will be paid to cross-cultural and cross-racial exchanges between artists. 4 Units.
Studies in Music, Media, and Popular Culture: The Soul Tradition in African American Music (AMSTUD 147J, CSRE 147J, MUSIC 147J, MUSIC 247J)
The African American tradition of soul music from its origins in blues, gospel, and jazz to its influence on today's r&b, hip hop, and dance music. Style such as rhythm and blues, Motown, Southern soul, funk, Philadelphia soul, disco, Chicago house, Detroit techno, trip hop, and neo-soul. Soul's cultural influence and global reach; its interaction with politics, gender, place, technology, and the economy. Pre-/corequisite (for music majors): MUSIC 22. (WIM at 4 units only.) UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-ED Grading: Letter or Credit/No Credit Units: 4
Students from diverse dance styles (ballet to hip-hop to contemporary) participate in the dance-making/remix process and collaborate with musicians, visual artists, designers and spoken word artists, to co-create a multidisciplinary finished production and installation. Students of all dance or athletic backgrounds are welcome to audition on Wednesday (9/26) and Monday (10/1) during class time. Visual artists, musicians and dancers may also contact the instructor for further information at firstname.lastname@example.org. UG Reqs: WAY-CE Grading: Satisfactory/No Credit Units: 2
Introduction to English III: Introduction to African American Literature (AMSTUD 12A, ENGLISH 12A)
(Formerly English 43/143). In his bold study, What Was African American Literature?, Kenneth Warren defines African American literature as a late nineteenth- to mid-twentieth-century response to the nation's Jim Crow segregated order. But in the aftermath of the Jim Crow era and the Civil Rights movement, can critics still speak, coherently, of "African American literature"? And how does this political conception of African American literary production compare with accounts grounded in black language and culture? Taking up Warren's intervention, this course will explore African American literature from its earliest manifestations in the spirituals and slave narratives to texts composed at the height of desegregation and decolonization struggles at mid-century and beyond. UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-ED Grading: Letter (ABCD/NP) Units: 5
This class is an arena for physical and artistic exploration to fire the imagination of dance improvisers, cultivate sensation and perception within and without studio practice and to promote interactive intelligence.nStudents will learn to harness and transform habitual movement patterns and dance trainings as resources for new ways of moving: expand their awareness of being a part of a bigger picture, while being attentive to everything all at once: and to use visual, aural and kinesthetic responses to convert those impulses into artistic material. Class will be accompanied by live and recorded music and include weekly jam sessions. Open to students from all dance, movement, athletic backgrounds and skill levels. Beginners welcome. UG Reqs: WAY-CE Grading: Letter or Credit/No Credit Units: 2
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. Films to be discussed include Coco, Get Out, Moonlight, Mosquita y Mari, and The Grace Lee Project. UG Reqs: WAY-A-II, WAY-ED Grading: Letter (ABCD/NP) Units: 5
Roots Modern Experience - Mixed Level (DANCE 128)
In this course students will be introduced to a series of Afro-contemporary dance warm ups and dance combinations that are drawn from a broad range of modern dance techniques, somatic practices and dance traditions of the African diaspora with a particular focus on Afro Brazilian, Afro Cuban and Haitian dance forms. Our study of these dance disciplines will inform the movement vocabulary, technical training, class discussions, and choreography we experience in this course. Students will learn more about the dances and rhythms for the Orishas of Brazil and Cuba, and the Loa of Haiti with an additional focus on other African diaspora dance forms such as, Cuban Haitian, Palo, Samba and Samba-Reggae. Dance combinations will consist of dynamic movement patterns that condition the body for strength, flexibility, endurance, musicality and coordination. Through this approach to our warm ups and class choreography, we will deepen our analysis and understanding of how African diaspora movement traditions are inherently embedded in many expressions of the broadly termed form known as contemporary dance. UG Reqs: way_ce Grading: Satisfactory/No Credit Units: 1
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"? 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.* UG Reqs: WAY-A-II, WAY-ED Grading: Letter or Credit/No Credit Units: 4
Conjure Art 101: Performances of Ritual, Spirituality and Decolonial Black Feminist Magic (CSRE 160J, DANCE 160J)
Conjure Art is a movement and embodied practice course looking at the work and techniques of artists of color who utilize spirituality and ritual practices in their art making and performance work to evoke social change. In this course we will discuss the work of artists who bring spiritual ritual in their art making while addressing issues of spiritual accountability and cultural appropriation. Throughout the quarter we will welcome guest artists who make work along these lines, while exploring movement, writing, singing and visual art making. This class will culminate in a performance ritual co-created by students and instructor. UG Reqs: Grading: Letter or Credit/No Credit Units: 2
UG Reqs: Grading: Letter or Credit/No Credit Units: 5
May be repeated for credit. Prerequisite: consent of instructor. UG Reqs: Grading: Letter or Credit/No Credit Units: 5