Survey of major themes, events, and personalities in African history from the early nineteenth century through the 1960s. Topics include abolition of the slave trade, European imperialism, impact of colonial rule, African resistance, religious and cultural movements, rise of naturalism and pan-Africanism, issues of ethnicity and "tribalism" in modern Africa.

Survey of major themes, events, and personalities in African history from the early nineteenth century through the 1960s. Topics include abolition of the slave trade, European imperialism, impact of colonial rule, African resistance, religious and cultural movements, rise of naturalism and pan-Africanism, issues of ethnicity and "tribalism" in modern Africa.

Survey of major themes, events, and personalities in African history from the early nineteenth century through the 1960s. Topics include abolition of the slave trade, European imperialism, impact of colonial rule, African resistance, religious and cultural movements, rise of naturalism and pan-Africanism, issues of ethnicity and "tribalism" in modern Africa.

Survey of major themes, events, and personalities in African history from the early nineteenth century through the 1960s. Topics include abolition of the slave trade, European imperialism, impact of colonial rule, African resistance, religious and cultural movements, rise of naturalism and pan-Africanism, issues of ethnicity and "tribalism" in modern Africa.

Survey of major themes, events, and personalities in African history from the early nineteenth century through the 1960s. Topics include abolition of the slave trade, European imperialism, impact of colonial rule, African resistance, religious and cultural movements, rise of naturalism and pan-Africanism, issues of ethnicity and "tribalism" in modern Africa.

This course will introduce students to Pulitzer-prize winning plays such as Lynn Nottage's Sweat, groundbreaking plays such as Ntozake Shange's For Colored Girls, as well as less known plays that show the wide range of form and themes in 20th and 21st century African American drama. We will focus on performance as a mode of interpreting a script and performance as a way of understanding the intersections of race, class, and gender. In-class viewings of selected scenes in recorded productions of the plays will energize our analysis of the scripts. Short creative, performance-oriented writing assignments will produce the questions explored in the two critical essays. In addition to Sweat and For Colored Girls, our line-up may include Zora Neale Hurston's Color Struck, Anna Deavere Smith's Twilight: Los Angeles, 1992, Suzan-Lori Parks' 100 Plays for the First Hundred Days, August Wilson's Radio Golf, Lydia Diamond's Harriet Jacobs, Amiri Baraka's The Slave, and Claudia Rankine's The White Card.

This course examines how we as consumers in the "Western" world engage with musical difference largely through the products of the global entertainment industry. We examine music cultures in contact in a variety of ways-- particularly as traditions in transformation. Students gain an understanding of traditional music as live, meaningful person-to-person music making, by examining the music in its original site of production, and then considering its transformation once it is removed, and recontextualized in a variety of ways. The purpose of the course is to enable students to become informed and critical consumers of "World Music" by telling a series of stories about particular recordings made with, or using the music of, peoples culturally and geographically distant from the US. Students come to understand that not all music downloads containing music from unfamiliar places are the same, and that particular recordings may be embedded in intriguing and controversial narratives of production and consumption. At the very least, students should emerge from the class with a clear understanding that the production, distribution, and consumption of world music is rarely a neutral process.

This course examines how we as consumers in the "Western" world engage with musical difference largely through the products of the global entertainment industry. We examine music cultures in contact in a variety of ways-- particularly as traditions in transformation. Students gain an understanding of traditional music as live, meaningful person-to-person music making, by examining the music in its original site of production, and then considering its transformation once it is removed, and recontextualized in a variety of ways. The purpose of the course is to enable students to become informed and critical consumers of "World Music" by telling a series of stories about particular recordings made with, or using the music of, peoples culturally and geographically distant from the US. Students come to understand that not all music downloads containing music from unfamiliar places are the same, and that particular recordings may be embedded in intriguing and controversial narratives of production and consumption. At the very least, students should emerge from the class with a clear understanding that the production, distribution, and consumption of world music is rarely a neutral process.

This course examines how we as consumers in the "Western" world engage with musical difference largely through the products of the global entertainment industry. We examine music cultures in contact in a variety of ways-- particularly as traditions in transformation. Students gain an understanding of traditional music as live, meaningful person-to-person music making, by examining the music in its original site of production, and then considering its transformation once it is removed, and recontextualized in a variety of ways. The purpose of the course is to enable students to become informed and critical consumers of "World Music" by telling a series of stories about particular recordings made with, or using the music of, peoples culturally and geographically distant from the US. Students come to understand that not all music downloads containing music from unfamiliar places are the same, and that particular recordings may be embedded in intriguing and controversial narratives of production and consumption. At the very least, students should emerge from the class with a clear understanding that the production, distribution, and consumption of world music is rarely a neutral process.

This freshman seminar examines the homelessness problem from a variety of scientific and policy perspectives. Contemporary homelessness differs significantly from related conditions of destitute poverty during other eras of our nation's history. Advocates, researchers and policymakers have all played key roles in defining the current problem, measuring its prevalence, and designing interventions to reduce it. The first section of this course examines the definitional and measurement issues, and how they affect our understanding of the scale and composition of the problem. Explanations for homelessness have also been varied, and the second part of the course focuses on examining the merits of some of those explanations, and in particular, the role of the affordable housing crisis. The third section of the course focuses on the dynamics of homelessness, combining evidence from ethnographic studies of how people become homeless and experience homelessness, with quantitative research on the patterns of entry and exit from the condition. The final section of the course turns to the approaches taken by policymakers and advocates to address the problem, and considers the efficacy and quandaries associated with various policy strategies. The course concludes by contemplating the future of homelessness research and public policy.