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 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.

SPRING 2018: This seminar will introduce students to the power of public art. Outdoor murals, painted poetry, poetry performed outdoors, anti-museum sculpture, and outdoor theater will be the focus of this seminar. How does public art make the very idea of art gain new dimensions such as art as an event (not an object) and art as a community intervention? Our starting point will be outdoor murals in Philadelphia and other very recent art reconsidering the meaning of public monuments. In addition to our focus on contemporary public art in Philadelphia, we will focus on the role of public art in the 1960s and 1970s Black Arts Movement. The seminar will unveil the power of outdoor space to create art that has urgency and the openness of radical experimentation.


See the Africana Studies Department's website at https://africana.sas.upenn.edu for a description of the current offerings.

This course explores a broad set of issues defining important aspects of the Black/African American experience. In addition to the "usual suspects" (e.g., race, socioeconomic status, poverty, gender, and group culture), we also think about matters of health and well-being, the family, education, and identity in Black/African American communities. Our goal is to gain a deeper sociological understanding and appreciation of the diverse and ever-changing life experiences of Blacks/African Americans.

"The nomad or immigrant who learns something rightly must always ponder travel and movement, just as the grief-stricken must inevitably ponder death. As does the artist who comes from a culture that is as much about harnessing life -joyous, jubilant, resilient life-as it is about avoiding death." Edwidge Danticat, Create Dangerously: The Immigrant Artist at Work What can we learn about the current migration crisis from literature and film? This course will first introduce students to histories of migration during the 20th and 21st centuries that have emerged from Cameroon, Canada, France, Haiti, South Africa, United Kingdom, United States, among others. Students will then study how these histories shape film and literature as much as how artistic works shape these histories. From studying artistic works by Raoul Peck, Dany Laferriere, Ousmane Sembene, NoViolet Bulawayo and Edouard Duval-Carrie we will approach a few questions. What is it like to lose your home and your homeland? How can we learn from the stories of emigres, exiles, expatriates, immigrants, migrants and refugees of their search for refuge? How have these experiences of migration been affected by race, gender and class? Finally, how have "immigrant artists," to borrow from Edwidge Danticat, negotiate the zone of comfort or discomfort necessary to create and recreate?


This course is open to students from all majors. No previous knowledge of literary studies or current affairs required. Course evaluations include weekly Canvas posts, oral presentations and creative, individualized projects.

We live in a country which places a premium on indivi dual accomplishments. Hence, all of you worked extremely hard to get into Penn. Yet, social factors also have an impact on life chance. This class provides an overview of how membership in social groups shapes the outcomes of individuals. We will look at a range of topics from the organizational factors which promoted racial inequality in Ferguson, Mo to the refusal of (mostly elite) parents to vaccinate their children. The experience of women and men in the labor market -- and the social factors that lead women to earn less than men -- is another interesting topic taken up in the course. Who gets ahead in America? Course requirements include a midterm, research paper (five to six pages), final and recitation activities. Students are not expected to have any previous knowledge of the topic. Welcome to the course!

We live in a country which places a premium on indivi dual accomplishments. Hence, all of you worked extremely hard to get into Penn. Yet, social factors also have an impact on life chance. This class provides an overview of how membership in social groups shapes the outcomes of individuals. We will look at a range of topics from the organizational factors which promoted racial inequality in Ferguson, Mo to the refusal of (mostly elite) parents to vaccinate their children. The experience of women and men in the labor market -- and the social factors that lead women to earn less than men -- is another interesting topic taken up in the course. Who gets ahead in America? Course requirements include a midterm, research paper (five to six pages), final and recitation activities. Students are not expected to have any previous knowledge of the topic. Welcome to the course!

We live in a country which places a premium on indivi dual accomplishments. Hence, all of you worked extremely hard to get into Penn. Yet, social factors also have an impact on life chance. This class provides an overview of how membership in social groups shapes the outcomes of individuals. We will look at a range of topics from the organizational factors which promoted racial inequality in Ferguson, Mo to the refusal of (mostly elite) parents to vaccinate their children. The experience of women and men in the labor market -- and the social factors that lead women to earn less than men -- is another interesting topic taken up in the course. Who gets ahead in America? Course requirements include a midterm, research paper (five to six pages), final and recitation activities. Students are not expected to have any previous knowledge of the topic. Welcome to the course!