New, Revised, and Special Topics Courses (Fall 2020)
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Global Dance: Fabricating Authenticities (PMA 3227)
Instructor: Byron Suber
Course Time: M/W 2:55 p.m.–4:10 p.m.
What roles do the body and the built domain perform in shifting political and cultural ideologies? How can a global studies–focus benefit from a comparison of modernities across spatial organizational practices such as the choreographed dancing or social body, architecture, and/or urban development? This course maintains a critical focus on the role of the moving body in the history of dance as it inhabits, and in part defines, nationalized urban and rural areas. In the process, comparisons will be revealed in the realms of theatre, film, and other forms of media and live performance. Although this course follows thematic structures rather than chronologies, a temporal span will reach from the 16th century to present day. Additionally, particular attention will be directed to the use of abstraction versus narrative and the role of process in the creation of body-centered works, or work made for the body to inhabit. Working both conceptually and chronologically, topics such as utopia, narrative impulse, technology, population densities, center and periphery, will enter the discussion while political and social theory will support these topics throughout the course. Attendance to live performances, film screenings, music concerts, museum visits, and architectural and urban site visits will be required.
Breadth Requirement (HB)
Distribution Category (LA-AS)
Course Subfield (HTC)
Cages and Creativity: Arts in Incarceration (PMA 4681)
Instructor: Bruce Levitt
Course Time: R 10:10–12:05
Cages and Creativity explores the presence of the arts in prisons in the United States and elsewhere and takes up many of the topics raised by Aylwyn Walsh: . . . what is “arts behind bars”? What are some of the intentions, and why would people do it? It also signals the range of practices that are to be found—from the development of needlework in male prisons through to participatory arts projects with young people in prisons to collaborative stage shows. Artists working in criminal justice have a wide range of intentions. For a few,there might be a frisson of the danger and caged energy behind bars that is stimulating to creativity and could add something to their own creative process. The model of art for prisoners—professional artists staging a show or doing an unplugged music event in a prison—can raise the profile of prisons and punishment.
Using video's, archival material, reading material from texts and articles from various web sources, and in-person or Zoom interviews, the class examines the increasing scholarship surrounding arts programs and their efficacy for incarcerated persons. The class will also look at art produced by incarcerated artists as well as art by those who are still practicing after returning home. And finally, the class will explore the increasing scholarship around the impact practicing the arts while incarcerated has on recidivism rates and preparation for re-entry.
(History, Theory, Criticism rubric)
Devised Performance (PMA 4801)
Course Time: M/W 7:30 p.m.–10:00 p.m.
Students in this course will partner with Civic Ensemble’s Re-entry Theatre Group to devise an original theatre piece to be performed in the Schwartz Center in February of 2021 and then at the Cherry Theatre in late February 2021. An additional 4 credits are available for the work in Spring of 2021.
(Embodied Performance or possibly History, Theory, Criticism rubric)
Minoritarian Aesthetics In/and Performance (PMA 6611)
Instructor: Karen Jaime
Course Time: T/R 11:40 a.m.–12:55 p.m.
In this seminar, students will critically examine the role of aesthetics in performances created by minoritarian subjects. Specifically, what are minoritarian aesthetics? how do these inform the production and reception of performance, broadly defined? how does attending to the aesthetics involved in the production of artistic and cultural productions open up new ways of critically understanding the world around us? As a way to answer these questions, amongst others, students will be introduced to theories and critiques that attend to the aesthetic dimensions of visual culture, scripted staged performances, performance art, and contemporary media created by Black, queer, Asian/American, Caribbean, and Latinx/Latin people. Drawing on the work of theorists Fred Moten, José Esteban Muñoz, Leticia Alvarado, and Sandra Ruiz and others, participants will interrogate the dialectical relationship between the artist’s subject position and their resultant creative and critical work.
(History, Theory, Criticism rubric)