Offered through the Penn Language Center

An introductory course for students with no previous knowledge of Amharic. Amharic belongs to the southern branch of Hemeto-Semitic languages which is also referred to as "Afrasian." Amharic is the official language of Ethiopia and is spoken by 14 million native Amharas and by approximately 19 million of the other ethnic groups in Ethiopia. The goals of this course are to introduce students to the culture, customs, and traditions of the Amharas. Students will develop communicative skills through listening, speaking, reading, and writing.

In his 1995 documentary Black Is, Black Ain t Marlon Riggs traces a black cultural tradition while simultaneously destabilizing the very notion of blackness itself. He testifies that: Black is black, and black is blue. Black is bright. Black is you. Black can do you in. In Riggs configuration, black is a color, black is a feeling, black is a sound, black is materiality, and black is a life sentence. In an effort to raise critical questions around blackness, performance, race, and feeling, this course follows in the tradition of Riggs work. In other words, this graduate level course examines the notion of blackness through theorizations of performance. It pursues the following questions: What is blackness? How is blackness embodied, felt, heard, represented, and seen through performance? How is black performance political? Discussions and written work will interrogate the slipperiness of, desire for, and policing of blackness in order to trouble conceptions of race as a biological essence. Organized by keywords in the field of Black Performance Theory - and exploring varying performance forms (the play, the dance, the film, the photograph, the performance of everyday life, the television program, the exhibit, and even the tweet) - This course foregrounds the micro-politics through which black racialized subjects are shaped in the realm of culture. Performances will be consulted each meeting which we will use to interpret and complicate the day's readings. In examining blackness through a number of performance mediums, we will consider the politics of black creative labor and the processes of racialization produced through black bodies.

Arabic language is used by many societies not only in communication but also in correspondence and in documenting the affairs of their daily lives. Arabic script is adopted by many groups whose native languages are not Arabic, in writing their languages before some moved to the Roman alphabet. In many historical documents specific style of writing and handwriting are dominant. This specificity is influenced by the dialectical variations, the historical development of each region and the level of Arabic literacy and use. The aims of this course which will focus on the Arabic writing tradition of Africa and the Middle East are as follows: (1) Reading and interpreting hand-written Arabic documents from Africa and the Middle East with focus on different historical eras. (2) In-depth understanding of the historical and language contexts of the selected documents. (3) Examining different handwriting styles that are in vogue in Africa and the Middle East.

On the stage of modern world history, Haiti plays the unique role as both the exceptionally victorious and tragic character. This course interrogates archival documents, oral histories, historical texts, and prose created within the nation and her diaspora in order to establish a nuanced image of the projection of Haiti's modern history. Using two classic Haitian texts, Marie Vieux-Chauvet's Love, Anger, Madness (1968) and Michel-Rolph Trouillot's Silencing the Past: Power and the Production of History (1995),this course examines how, why,and to what end Haiti's history and popular narratives about the country have served to construct and dismantle global movements, popular culture, and meanings of race, gender, and citizenship in the Americas. In our historical examination, we will question some of the iconic representations of Haiti through literature that deepen the affective historical profile of Haiti with interrogations of culture, sexuality, political, and media performance. Students will become familiar with the post -colonial history of Haiti and the region, meanings of race, and the production of history. The course is a research and historical methods seminar. Students will conduct archival research and write narratives from primary source material. This course qualifies as a "methods" course for Africana Studies undergraduate majors and minors.

This course is an examination and analysis of the changing images and achievements of African Americans in motion pictures and television. The first half of the course focuses on African-American film images from the early years of D.W. Griffith's "renegade bucks" in The Birth of a Nation (1915); to the comic servants played by Steppin Fetchit, Hattie McDaniel, and others during the Depression era; to the post-World War II New Negro heroes and heroines of Pinky (1949) and The Defiant Ones (1958); to the rise of the new movement of African American directors such as Spike Lee (Do the Right Thing), Julie Dash (Daughters of the Dust), Charles Burnett, (To Sleep With Anger) and John Singleton (Boyz N the Hood). The second half explores television images from the early sitcoms "Amos 'n Andy" and "Beulah" to the "Cosby Show," "Fresh Prince of Bel Air," and "Martin." Foremost this course will examine Black stereotypes in American films and television--and the manner in which those stereotypes have reflected national attitudes and outlooks during various historical periods. The in-class screenings and discussions will include such films as Show Boat (1936), the independently produced "race movies" of the 1930s and 1940s, Cabin in the Sky (1943), The Defiant Ones (1958), Imitation of Life (the 1959 remake) & Super Fly (1972).

Topics vary: Black Feminist Approaches to History & Memory - The term black feminism emerged in public discourse amid the social, political, and cultural turbulence of the 1960s. The roots of black feminism, however, are much older, easily reaching back to the work of black women abolitionists and social critics of the nineteenth century. The concept continued to grow and evolve in the work of twentieth century black women writers, journalists, activists, and educators as they sought to document black women's lives. Collectively, their work established black feminism as a political practice dedicated to the equality of all people. More recently, black feminism has been deployed as a tool for theoretical and scholarly analysis that is characterized by an understanding that race, class, gender, and sexuality are inextricably interconnected. Using materials such as slave narratives, social criticism, and archival sources, this course will explore the theoretical and practical applications of black feminist thought in nineteenth and twentieth century North American culture and politics. In particular, we will consider the symbols and practices (storytelling, myth-making, art, archival research) that black women use to document lives. We will ask: how do these methods of documentation inform our understanding of the past and the production of historical knowledge? How can we understand black feminism as both theory and practice? And what are the implications of black feminist approaches for current research and scholarship? We will give particular attention to concepts such as gender, race, memory, the archive, and embodied knowledge to complicate our understanding of historical documentation, epistemology, and authenticity. The course material will include scholarship by Harriet Jacobs, Audre Lorde, Saidiya Hartman, Hazel Carby, Hershini Young, Evelyn Brooks Higginbotham, Toni Morrison, and others. (Image: From In Praise of Shadows, Kara Walker (2009).

This course will focus on the urban history and cultural politics of contemporary Cuba with an emphasis on contemporary art and contemporary developments in the city of Havana. Students will learn about the Spanish influence on early colonial art, the development of formal academic art training and the changes to art instruction and the form and content of art created since the Revolution.