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Term
Time & Day Offered
Level
Credits
Course Duration

Quick Studies — DAN4144.02

Fall 2020
Instructor: Dana Reitz
Credits: 2
For each class, students will bring in short movement studies for performance that day. These can be made for solo or group exploration, and as soon as they are done, we will let them go and move on to the next work in the series. Throughout this practice, we will notice timing, spacing, and detail. By attending to the movement qualities, inherent technical challenges, and
Dance

Quliritaa: S/he tell a legend — VA4318.03

Spring 2023
Instructor: Yoko Inoue
Credits: 2
Alaska Native oral forms of education, history and legend benefit from a profoundly personal relationship-based approach to one of the most important ways we connect. Verbal communication is breathing, evolving, raw with vulnerability and very much rooted in a present form of communion. Reciprocity and relationships are foundational values of Yup’ik culture, and it makes sense
Visual Arts

Race and Gender in Franco-Maghrebi Literature and Film — FRE4806.01

Spring 2019
Instructor: Blase Provitola
Credits: 4
In the context of recent debates on multiculturalism and French national identity, this advanced course provides an introduction to some of the major issues impacting the French-speaking countries of North Africa and their diasporas in France. Through novels and auto-fiction, films, and other visual materials such as bandes dessinées, this course will encourage students to
Languages

Race and Mediation — MS4102.01

Fall 2019
Instructor: Brian Michael Murphy
Credits: 4
Media technologies, such as photography, were instrumental in establishing modern conceptions of race. But the reverse is also true—racial ideas deeply shaped our belief that media technologies have the ability to faithfully represent reality. In this advanced course, we will engage an exciting area of scholarship and artistic practice, located at the intersection of media
Society Culture and Thought

Race and the Poetic Avant-Garde — LIT4587.01) (cancelled 5/2/2024

Spring 2025
Instructor: Franny Choi
Credits: 4
How does one resist the imperative to tell a neat, digestible story about racial identity? What new stories become possible when poets conduct, in Haryette Mullen’s words, “an open-ended investigation into the possibilities of language?” In this advanced literature seminar, we will read works by BIPOC writers who employ innovative methods to question, disrupt, and reimagine

Race in Publishing — CS4389.01) (cancelled 8/6/2024

Spring 2025
Instructor: Mariam Rahmani
Credits: 4
This is a truly interdisciplinary opportunity for students to be part of a real-world project, develop data collection and analysis skills, and learn how to apply them to social problems in the humanities. That racialized and gendered pay gaps plague the arts and publishing, to say nothing of the broader U.S. American labor market, is well known. What is not well documented,

Race in Publishing — LIT4599.01

Fall 2024
Instructor: Carly Rudzinski
Credits: 4
That writers of color earn less than their white peers in advances and fees is anecdotally well known. But we lack exhaustive data. Gearing up for such data collection the next few years in a faculty-driven project at Bennington, this course provides an overview of the broader ethical and social landscape around diversity, equity, and inclusion (DEI) in publishing. Major
Literature

Race, Class, and Apartheid — POL4207.01

Spring 2016
Instructor: Eileen Scully
Credits: 4
This class examines the South African system of Apartheid, seeking to understand its origins, practice, and consequences. We will read from a wide range of sources including scholarly and political texts to understand how race and class structured South African society and how the transition to a post-Apartheid society has confronted the past. We will frame this discussion by
CAPA Society Culture and Thought

Race, Class, Environment — SCT4102.01

Fall 2018
Instructor: John Hultgren
Credits: 4
What is the relationship between racism, economic inequality, and environmental degradation? Are these modes of injustice the consequence of a single overarching structure (e.g. capitalism or colonialism) against which resistance should be aimed? Are they formed by overlapping, but relatively autonomous, structures that nonetheless form a Gordian knot of oppression? Or are they
CAPA Environment Society Culture and Thought

Race, Robots, and Asian American Literature — LIT2603.01

Spring 2024
Instructor: Franny Choi
Credits: 4
From Blade Runner to Ex Machina, visions of robotic futures are populated with Asian bodies, settings, and cultural forms. How is it that robots became so closely linked to the racialization of Asian/American people? What might we learn about the latter by examining how the former shows up in our cultural imagination? And how have Asian diasporic writers handled these
Literature Society Culture and Thought

Race, Robots, and Asian/American Literature — LIT2603.01

Spring 2023
Instructor: Michael Dumanis
Credits: 4
From Blade Runner to Ex Machina, visions of robotic futures are populated with Asian bodies, settings, and cultural forms. How is it that robots became so closely linked to the racialization of Asian/American people? What might we learn about the latter by examining how the former shows up in our cultural imagination? And how have Asian diasporic writers handled these
Literature

Racine — LIT4157.01

Spring 2015
Instructor: Dan Hofstadter
Credits: 4
During the seventeenth century France rose to unparalleled heights of literary creativity. We explore the historical context of this development, devoting some attention to classical models, particularly Euripedes' play Andromache. Jean Racine, who was at times in conflict with the royal court, offered his tragedies Andromaque, Phedre, Berenice, Iphigenie, and others, which we
Literature

Radio Journalism — APA2316.02

Fall 2017
Instructor: Thom Loubet
Credits: 1
While discovery, analysis, criticism, and creativity are essential pillars of the mission of an academic institution, the potential to transform that knowledge into public action is limited by the ability to powerfully and effectively communicate truth to the world.  With that in mind, this class will be an intense seven-week workshop geared towards creating information
CAPA

Radio Plays (Advanced): Making Theatre for Radio and Podcast — DRA4221.01

Spring 2023
Instructor: Dina Janis
Credits: 4
A performance-based course for folks interested in this medium who have completed Part One or have comparable experience. It is not necessary to have elaborate skill in sound design and editing, though students with this interest are welcome to enroll. All students will perform as actors in each other’s projects. Each week the class will listen to examples of current Radio Play
Drama

Radio Plays: Making Theatre for Radio and Podcast — DRA2305.01

Fall 2023
Instructor: Dina Janis
Credits: 4
A performance-based course for folks interested in this medium. It is not necessary to have elaborate skill in sound design and editing, though students with this interest are welcome to enroll. All students will perform as actors in each other’s projects. Each week the class will listen to examples of current Radio Play and Theatre Podcast content, writing up play reports and
Drama

Radio Plays: Making Theatre for Radio and Podcast — DRA2305.01

Fall 2020
Instructor: Dina Janis
Credits: 4
A performance-based collaborative course designed for actors, writers/playwrights, sound designers, directors and folks interested in developing skills in this medium. In this performance-based course we will investigate plays as well as create plays that are designed to be performed via radio or podcast. Content will include original plays and monologues written by recent
Drama

Radio Plays: Making Theatre for Radio and Podcast — DRA2305.01

Spring 2025
Instructor: Dina Janis
Credits: 4
A performance-based course for folks interested in this medium. It is not necessary to have elaborate skill in sound design and editing, though students with this interest are welcome to enroll. All students will perform as actors in each other’s projects. Each week the class will listen to examples of current Radio Play and Theatre Podcast content, writing up play reports and
Drama

Radio Plays: Making Theatre for Radio and Podcast — DRA2305.01

Spring 2021
Instructor: Dina Janis
Credits: 4
A performance-based course for folks interested in this medium. It is not necessary to have elaborate skill in sound design and editing, though students with this interest are welcome to enroll. All students will perform as actors in each other's projects. Each week the class will listen to examples of current Radio Play and Theatre Podcast content, writing up play reports and
Drama

Radio Plays: Making Theatre for Radio and Podcast — DRA2305.01

Spring 2026
Instructor: Dina Janis
Days & Time: MO,TH 3:40pm-5:30pm
Credits: 4

A performance-based course for folks interested in this medium. It is not necessary to have elaborate skill in sound design and editing, though students with this interest are welcome to enroll. All students will perform as actors in each other’s projects. Each week the class will listen to examples of current Radio Play and Theatre Podcast content, and discussion of weekly

Drama

Rakugo and Humor: The Art of Storytelling — JPN4505.01

Fall 2025
Instructor: Ikuko Yoshida
Days & Time: MO,TH 1:40pm-3:30pm
Credits: 4

Rakugo is one of the traditional Japanese art and storytelling entertainment that became extremely popular during the Edo period (1603-1868).  Rakugo is a rather unique storytelling performance because a storyteller sits on a seat on the stage called “kooza” and tells humorous stories without standing up from the seat.  Moreover,

Japanese

Rakugo and Humor: The Art of Storytelling — JPN4505.01

Fall 2024
Instructor: Ikuko Yoshida
Credits: 4
This is the fifth term Japanese course. Rakugo is one of the traditional Japanese art and storytelling entertainment which became extremely popular during the Edo period (1603-1868). Rakugo is a rather unique storytelling performance because a storyteller sits on a seat on the stage called “kooza” and tells humorous stories without standing up from the seat. Moreover, the
Cultural Studies and Languages