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Showing 25 Results of 7245

Decolonize Everything! Anthropology and Empire in the Global South and Global North — SCT4152.01

Instructor: David Bond
Days & Time:
Credits: 4
These days it seems there is a call to decolonize at every turn. What does this mean in the present? How does this call to decolonize everything connect to the armed struggles of the 20th century that dismantled European empires and secured the independence of nations across the Global South? After the postcolonial moment, where and how does the presence of empire remain?

Decolonizing Art Methods — FV4327.01

Instructor: Carly Rudzinski
Days & Time:
Credits: 4
In the last few years, decolonizing contemporary art has been a rallying cry, as a means of criticizing the cultural perspectives that established institutions promote, and which ones they put on mute. In this course we will unpack what this has meant for artists, looking at artistic bodies of work, institutional case studies, and readings to shape an ongoing conversation as

Decolonizing Ethnomusicology — MHI4306.01

Instructor: Joseph Alpar
Days & Time:
Credits: 4
What does it mean to decolonize a field of study? Ethnomusicologists are currently grappling with this question, rethinking how to research, write, teach, and listen in ways that engage with people and perspectives that have been historically suppressed, marginalized, and silenced. Social justice is at the heart of the decolonial project. How can ethnomusicology empower the

Deconstructing and Reconstructing Identity — JPN2108.01

Instructor: Ikuko Yoshida
Days & Time: TBA
Credits: 4
The Japanese pop culture has gained popularity in the US, and many American children watch various Japanese animations, while growing up. However, lack of Japanese cultural knowledge sometimes makes it hard for the American audience to fully understand whats going on in the Japanese characters mind. Therefore, in this introductory Japanese language and culture course, students

Deep Listening : The Music Of William Parker 1973- 2021 — MHI2111.01

Instructor: Michael Wimberly
Days & Time:
Credits: 1
In this course of Deep Listening students will become familiar with recordings outlining the trajectory of the recording career of bassist, composer, and multi-instrumentalist William Parker as a sideman and leader of select ensembles. William Parker’s recordings document some of free jazz’s most prominent innovators including, Cecil Taylor, Peter Brötzmann, David Ware, and

Deep Fakes: An Introduction to Oil Painting — PAI2109.01

Instructor: J Blackwell
Days & Time:
Credits: 4
Fake news, reality television, “IRL” - asserting the veracity of our perceptions is a constant preoccupation in contemporary culture. What is real? Realism is a widely used term with multiple connotations: verisimilitude, authenticity, objectivity, truth, fact. In this course we will consider how painting reflects and/or perverts “reality” by making imitations of historical

Deep Looking: An Introduction to Drawing — DRW2267.01

Instructor: Carly Rudzinski
Days & Time:
Credits: 4
Learning to draw is as much about learning how to use your hand as it is learning how to see. Drawing from observation fundamentally alters our experience of the everyday while also teaching us about ourselves: what we notice and overlook, what we find pleasure in and what we don’t, and so much more. In this course, students will practice and develop observational drawing

Deep Looking: An Introduction to Drawing — DRW2267.01

Instructor: Beverly Acha
Days & Time: TH 8:30am-12:10pm
Credits: 4

Learning to draw is as much about learning how to use your hand as it is learning how to see. The focus of this course is learning to draw from observation and developing close looking skills; to that end this course will expand your capacity to see and represent what you see by inviting you to explore an array of methods, materials, and techniques. 

Drawing

Deep Looking: An Introduction to Drawing — DRW2267.01

Instructor: Beverly Acha
Days & Time:
Credits: 4
Learning to draw is as much about learning how to use your hand as it is learning how to see. Drawing from observation fundamentally alters our experience of the everyday while also teaching us about ourselves: what we notice and overlook, what we find pleasure in and what we don’t, and so much more. In this course, students will practice and develop their observational drawing

Deep Looking: An Introduction to Drawing — DRW2267.01

Instructor: Beverly Acha
Days & Time: WE 8:30am-12:10pm
Credits: 4

Learning to draw is as much about learning how to use your hand as it is about learning how to see. The focus of this course is on learning to draw from observation and developing close looking skills. Drawing from observation fundamentally alters our day-to-day experience by heightening our attention to details and the specificity of our surroundings. In this course, you

Deep Looking: An Introduction to Drawing — DRW2267.01

Instructor: Beverly Acha
Days & Time:
Credits: 4
Learning to draw is as much about learning how to use your hand as it is learning how to see. In this course, students will practice and develop observational and representational drawing skills by looking closely at our subjects from life and using a variety of physical drawing materials. We will explore various approaches to drawing what we see and experience and discuss the

Delights of Ephemera — VA4313.01

Instructor: Anne Thompson
Days & Time:
Credits: 4
Delights of Ephemera considers the significance of mass-produced materials in the context of art exhibitions and events. Readings, lectures, assignments and other activities cover topics including traditional and experimental forms of ephemera; ephemera collections; and the function of ephemera as historical document and work of art. The goal is for students to develop a

Delights of Ephemera — VA4313.01

Instructor: Anne Thompson
Days & Time:
Credits: 4
Delights of Ephemera explores the significance of mass-produced materials in the context of art movements and exhibitions. Contrary to its definition, ephemera can have power and permanence, giving agency to marginal and marginalized groups and providing a record of actions outside institutional structures. A poster for an exhibition can be as important—or more important—as the

Delights of Ephemera — VA4128.01

Instructor: Anne Thompson
Days & Time:
Credits: 4
This course invites students to consider the pleasure and significance of ephemera—cards, posters, invitations, and other written or printed materials—in the context of art exhibitions and events. Readings, lectures and field trips cover topics including traditional and experimental forms of ephemera; the collection of ephemera; and the function of ephemera as historical

Delights of Ephemera — CUR2227.01

Instructor: Anne Thompson
Days & Time: MO,TH 10:00am-11:50am
Credits: 4

Delights of Ephemera explores the significance of mass-produced materials in the context of art movements and exhibitions. Contrary to its definition, ephemera can have power and permanence, giving agency to marginal and marginalized groups and providing a record of actions outside institutional structures. A poster for an exhibition can be as important—or, in terms of its

DeltasUNite: The United Nations Convention on Saving the River Deltas — APA2192.01

Instructor: Susan Sgorbati
Days & Time: WE 10:00am-11:50am
Credits: 2

This class will examine the current diplomacy and process of a new Convention for the United Nations on Conserving the River Deltas. We will hear from some of the lead partners on the project: The Transboundary Water In-Cooperation Network (TWIN), co-founded by CAPA and the Institute for Environmental Diplomacy and Security at the University of Vermont, and the African

Democracy in America: Tocqueville's Past, Our Present — POL2242.01

Instructor: crina archer
Days & Time: TBA
Credits: 4
Does a strong commitment to social equality undermine individual freedom? What kind of institutions and cultural practices are needed for flourishing of a healthy democracy? Are modern democratic states at risk of producing novel forms of tyranny and despotism? These are just a few of the questions raised by Alexis de Tocqueville's Democracy in America, the first empirically

Democracy on Film — FV2307.01

Instructor: Kate Purdie and Erika Mijlin
Days & Time:
Credits: 2
How do various forms of nonfiction media represent or challenge the notions of democratic ideals as we currently understand them? From filmed explanations of civic process, to behind-the-scenes footage of presidential campaigns, to election advertising itself - what does the idea of democracy look like on film? This 7-week course will consist of screenings and discussion of

Democracy Under Siege — APA2163.02

Instructor: Brian Campion Susan Sgorbati
Days & Time:
Credits: 1
Money in politics, disrespect for the Constitution, low voter turnout, attacks on the press, the office of the President...Is the American Democracy under siege? What are the signs that it is or isn’t? If it is, what signs should Americans be looking for? Can it survive? What is a true democracy and where does it exist in the world? This series will bring together artists,

Democratization in Africa — POL2250.01

Instructor: Rotimi Suberu
Days & Time:
Credits: 4
Since the 1990s, a “third wave of democratization” has swept the African continent, leading to the unraveling, opening or liberalization of previously authoritarian (one‐party, military, and/or strongman) political regimes. But democratization in Africa has produced divergent outcomes, including remarkable success stories (Benin, Ghana, and Senegal, for example), major failures

Demystifying Scenic Design — DRA2135.01

Instructor: Michael Schweikardt
Days & Time:
Credits: 4
Creating set designs for plays and musicals may seem like a great mystery, but the key to successful set design is always found in the authors original text. An understanding of that text is vital to creating an imaginative performance space that serves the storytelling. Once the essence of the original work is understood, the set designers creative process can begin. Students