This graduate seminar offers an intensive, critical, and collaborative study of contemporary African film and media production. The past three decades have seen an unprecedented shift in the African media landscape. Not only has the wide availability of satellite media across the continent made international film and television programing part of African popular culture, but moreover the growing film industries within the continent, most notably Nollywood, have altered how Africans are carving an image of themselves on the big and small screens. In partnership with local, regional, and international film and media centers, we will study a range of films--features, shorts, documentaries, and television shows--paying close attention to the means and sites of production as well as the formal qualities that distinguish these works. Many of the films we will analyze stand out both for their exceptional aesthetic quality as well as their remarkable ability to confront pressing political and social themes. But we will also think about trash: what counts as trashy media, and for whom? Who watches it, where, and why? Other questions we will ask include: What particular indigenous modes of storytelling do African films employ? What categories begin to emerge under the umbrella category of "African film and media," and where do diasporan film and media practitioners and critics fit in this landscape? How are these films tackling some of the urgent questions of our times, including migration and globalization; ethnic, political, and economic polarization; gender and sexuality; and massive urbanization and industrialization sweeping Africa and other parts of the Global South? What role do festivals in various countries play in shaping media production and distribution? How important is the concept of authorship in this context? And how do these films challenge the dominant western trope of Africa as a spectacle, instead offering novel ways of picturing everyday African experiences that we rarely glimpse in western media? To explore these questions, we will visit multiple sites of film production, distribution, exhibition, and education, including Scribe Video Center in Philadelphia, Sankofa Films in Washington, D.C., and the College of Performing and Visual Art at Addis Ababa University in Ethiopia. Location and knowledge production are inextricably connected, and by considering African media production from these multiple sites, and collaborating with multiple stakeholders, this course offers a directly engaged pedagogy of the complex artistic, cultural, social, and political dynamics of African audiovisual creation. The travel component of this course entails a day trip to

How does Elizabeth Alexanders poem Praise Song for the Day, written for the inauguration of Barack Obama, relate to Amiri Barakas 9/11 poem Somebody Blew America? This seminar will explore the unnaming and experimentation that shape African American literature and theory in the early years of the 21st century. frameworks of the seminar will include the post-9/11 novel, the poetics of the black, black abstraction, twenty-first century practices of the black diaspora Age of Obama turn to the satirical. Critical texts such as How to See a Work Total Darkness and Abstractionist Aesthetics will be as central as cutting edgesuch as The Psychic Hold of Slavery and signature essays such as On Failing to the Past Present. This course will focus on the new literary voices that have the 21st century and, also, writers whose 21st century art is the late stage ofliterary trajectory. Special attention will be given to Toni Morrison, Colson Whitehead,Octavia Butler, Claudia Rankine, Mat Johnson, and Paul Beatty.

This course focuses on the historical and cultural relationship between Africans and their descendants abroad.

This course critically examines stereotype threat and impostor phenomenon as they relate to African Americans. Both stereotype threat and impostor phenomenon negatively affect African Americans. The apprehension experienced by African Americans that they might behave in a manner that confirms an existing negative cultural stereotype is stereotype threat, which usually results in reduced effectiveness in African Americans' performance. Stereotype threat is linked with impostor phenomenon. Impostor phenomenon is an internal experience of intellectual phoniness in authentically talented individuals, in which they doubt their accomplishments and fear being exposed as a fraud. While stereotype threat relies on broad generalization, the impostor phenomenon describes feelings of personal inadequacy, especially in high-achieving African Americans. This course will explore the evolving meanings connected to both stereotype threat and impostor phenomenon in relation to African Americans.

This graduate seminar examines the dynamic relationships among empires, nations and states; colonial and post-colonial policies; and anti-colonial strategies within a changing global context. Using the rubrics of anthropology, history, cultural studies, and social theory, we will explore the intimacies of subject formation within imperial contexts- past and present- especially in relation to ideas about race and belonging. We will focus on how belonging and participation have been defined in particular locales, as well as how these notions have been socialized through a variety of institutional contexts. Finally, we will consider the relationships between popular culture and state formation, examining these as dialectical struggles for hegemony.

James Baldwin, one of the greatest writers of the twentieth century, spoke to the issues of his times as well as to our own. This class will examine the intellectual legacy that Baldwin left to present-day writers such as Toni Morrison, Charles Johnson, Ta-Nehisi Coates, Thulani Davis, Caryl Phillips and others. We will spend time reading and discussing Baldwin's novels, short stories, plays and essays. In doing so, we will be considering the complex assumptions and negotiations that we make in our day-to-day lives around our identities and experiences built upon gender, sexual preference, the social-constructs called "race," and more. James Baldwin's life and work will be the touchstone that grounds our discussions. We will read Go Tell It on the Mountain, Another Country, The Fire Next Time, and Giovanni's Room and see films I Am Not Your Negro, The Price of the Ticket and The Murder of Emmett Till. Students will research subjects of their own choosing about Baldwin's life and art. For example, they may focus on the shaping influences of Pentecostalism; segregation; racism; homophobia; exile in Paris; the Civil Rights Movement; Black Power, Baldwin's faith, or his return to America.

The Accelerated Elementary Zulu course is intensive, and can be taken to fulfill a language requirement, or for linguistic preparation to do research on South Africa, Southern Africa/Africa-related topics. The course emphasizes communicative competence to enable the students to acquire linguistic and extra-linguistic skills in Zulu. The content of the course is selected from various everyday life situations to enable the students to communicate in predictable common daily settings. Culture, as it relates to language use, is also part of the course content. Students will acquire the speaking, listening, and writing skills at the ceiling of low intermediate level and floor of high novice level, based on the ACTFL scale. The low intermediate level proficience skills that the students will acquire constitute threshold capabilities of the third semester range of proficiency to prepare students for Intermediate Zulu I course materials.

Offered through the Penn Language Center

This seminar will be organized around three distinct pathways. First, it will serve as an introduction to Jazz Studies and thus be attentive to the ways that jazz music has sparked an interdisciplinary conversation that is wide-ranging and ongoing. Second, we will be partnering with the African American Museum of Philadelphia to consider jazz within the realm of visual art. In light of efforts to map the "black interior," how have visual artists (e.g. painters, sculptors, filmmakers, and photographers) sought to represent jazz? Third, we will endeavor to develop partnerships with the Philadelphia (and beyond) jazz community, especially as it pertains to creating and sustaining an archive that serves as way to understand jazz as an instrument of placemaking and also as a vehicle for jazz musicians to take ownership of their narratives. The seminar will meet at the African American Museum of Philadelphia and be team taught with members of the Museum staff. The course will culminate with a virtual exhibit of visual works and archival materials centering on Philadelphia's jazz community and (if funding is available) a free concert to be held at AAMP. Undergraduates are welcome to register for the course with permission of the instructor.