In this lesson, students will consider how Germans resisted what the Berlin Wall symbolized during the Cold War by examining the musical cultures that developed in East and West Germany. To do this, students will watch clips from CNN Soundtracks and analyze primary and secondary historical sources such as newspaper articles, cartoons, interviews, and photographs.

In this lesson, students examine how Crosby, Stills, Nash, and Young's "Ohio," Merle Haggard's "Okie From Muskogee" and Edwin Starr's "War" articulated the divisive feelings Americans had about the war in the late 1960s and early 1970s. To supplement these songs, students will also watch clips from CNN Soundtracks and analyze polling data, news articles, and photographs from the era.

Students will watch clips from CNN's Soundtracks to identify historic details of NASA's Apollo program. Students will then identify poet and musician Gil Scott-Heron's critical view of the Apollo program through his song, "Whitey On The Moon" and participate in a structured academic controversy activity to debate the controversy of the program.

In this lesson, students will identify the origins of Third Wave Feminism and explore the diversity of the movement's demands, attitudes, and tactics by immersing themselves in three musical cultures from the 1990s: the Riot Grrrl punk rock scene exemplified by the band Bikini Kill, the female-fronted hip hop scene exemplified by Salt-N-Pepa, and the Tejano music sphere exemplified by Selena.

In this lesson, Barack Obama's second inaugural address serves as a launching point for classroom discussions on how the Stonewall Riots might be comparable to other seminal moments in the ongoing fight for equality in the United States. To supplement these discussions, students will analyze Rod Stewart's "The Killing of Georgie" as a poetic account of LGBTQ+ discrimination in the United States, and compare primary source documents from the Women's Rights, Civil Rights, and LGBTQ+ Rights movements.

Students will consider how Germans resisted what the Berlin Wall symbolized during the Cold War by examining the musical cultures that developed in East and West Germany. To do this, students will watch clips from CNN Soundtracks and analyze primary and secondary historical sources such as newspaper articles, cartoons, interviews, and photographs.

Taking as its starting point the works of one of Britain's most respected, prolific—and funny—living dramatists, this seminar will explore a wide range of knowledge in fields such as math, philosophy, politics, history and art. The careful reading and discussion of plays by (Sir) Tom Stoppard and some of his most compelling contemporaries (including Caryl Churchill, Anna Deveare Smith and Howard Barker) will allow us to time-travel and explore other cultures, and to think about the medium of drama as well as one writer's work in depth. Some seminar participants will report on earlier plays that influenced these writers, others will research everything from Lord Byron's poetry to the bridges of Konigsberg, from Dadaism to Charter 77. Employing a variety of critical approaches (both theoretical and theatrical), we will consider what postmodernity means, as applied to these plays. In the process, we will analyze how drama connects with both the culture it represents and that which it addresses in performance. We will also explore the wit and verbal energy of these contemporary dramatists…not to mention, how Fermat's theorem, classical translation, and chaos theory become the stuff of stage comedy.

Unlike film, theater in America does not have a ratings board that censors content. So plays have had more freedom to explore and to transgress normative culture. Yet censorship of the theater has been part of American culture from the beginning, and continues today. How and why does this happen, and who decides whether a play is too dangerous to see or to teach? Are plays dangerous? Sinful? Even demonic? In our seminar, we will study plays that have been censored, either legally or extra-legally (i.e. refused production, closed down during production, denied funding, or taken off school reading lists). We'll look at laws, both national and local, relating to the "obscene", as well as unofficial practices, and think about the way censorship operates in American life now. And of course we will study the offending texts, themselves, to find what is really dangerous about them, for ourselves.

Focuses on the production of visual art for public places outside the gallery/museum context. Readings and discussions that engage aesthetic, social, political, and urban issues relevant to this expanded public context complement studio production. Traditional approaches of enhancement and commemoration are contrasted to more temporal and critical methodologies. Historical models are studied and discussed, including Russian Constructivist experiments, the Situationists, Conceptual Art, and more recent interventionist tactics.

In Part One of this lesson, students are introduced to apartheid in South Africa. They watch clips from Steven Van Zandt and Arthur Baker's Sun City documentary to learn about apartheid, and attempt to experience what life might have been like during apartheid through a classroom activity. Then, students consider ways in which apartheid could be fought, and whether elements of apartheid in South Africa also existed in the history of the United States.

In Part 2 of this lesson, students view clips from the Sun City documentary and explore how musicians united to challenge apartheid. In a group setting, students will consider the various strategies activists, corporations, and other governments used to isolate the South African government and hasten the end of apartheid. Finally, students consider how apartheid relates to segregation in the United States.

Opportunity for the study of theater arts topics not covered by regular subject listings, including experimental subjects offered by permanent and visiting faculty. Students seeking an individual program of study with a faculty member must also obtain the approval of the Director of Theater Arts. Consult Theater Arts Office for departmental form.

Students explore different ways to change a simple sentence and melody to understand the concept of theme and variation.

This multidisciplinary lecture / workshop engages students in a variety of approaches to the study and practice of performance as an area of aesthetic and social interaction. Special attention is paid to the use of diverse media in performance. Interdisciplinary approaches to study encourage students to seek out material histories of performance and practice.

This course explores the forms, contents, and context of world traditions in dance that played a crucial role in shaping American concert dance. For example, we will identify dances from an African American vernacular tradition that were transferred from the social space to the concert stage we will explore the artistic lives of such American dance artists as Katherine Dunham, Pearl Primus and Alvin Ailey along with Isadora Duncan, Martha Graham, George Balanchine, and Merce Cunningham as American dance innovators. Of particular importance to our investigation will be the construction of gender and autobiography that lie at the heart of concert dance practice, and the ways in which these qualities have been choreographed by American artists.

SPARK follows Joe Goode as he and the dancers of the Joe Goode Performance Group develop, rehearse, and perform a dance theatre work called Folk. This Educator Guide addresses the history and form of dance-theatre as an artistic genre.