Year 1: BCULST 500 Formations in Cultural Studies (5 credits)
T 5:45 - 10 pm, Susan Harewood (SLN #11311)
Year 2: BCULST 510 Engaging Cultural Studies (5 credits)
T 5:45 - 10 pm, Ben Gardner (SLN #11312)
BCULST 592A Topics in Cultural Research: Black Arts North/West (5 credits)
M 5:45 - 10 pm, Jed Murr
This course explores what theorist and poet Fred Moten calls the “autonomous aesthetic thrust of Black radicalism” as it has taken shape in multiple formations on the West Coast of the U.S. and in the Pacific Northwest from the 1960s to the present. Drawing on interdisciplinary scholarship that resituates African American and Black diasporic life and politics in comparative and transnational frames, the course seeks to (1) collectively investigate this new body of scholarship with a specific focus on the Pacific Northwest; (2) provide students opportunities to do place-based research, writing, and/or community-engaged scholarship on political and aesthetic movements; and (3) explore together recent Black Digital Humanities projects as examples of public-facing, accountable, participatory, and accessible scholarship.
BCULST 592B Topics in Cultural Research: Alternate Economies (5 credits)
Th 5:45 - 10 pm, S.Chaursheela (SLN #11315)
How do we imagine and create a world beyond capitalism? This course aims to experiment creatively with answers to this question. We will work on projects for change with students from Ambedkar University Delhi. Sample project themes include: A) Anti-racist movements (Dalit movement in India/Black Lives Matter in US); B) Movements for sustainable food pathways; C) Households, care, and provisioning; D) Urban poverty and homelessness (Delhi and Seattle); E) Media interventions and the politics of popular culture; F) The University in neoliberal times in India and the US.
Year 1: BCULST 502 Cultural Studies Research Practices (5 credits)
T 5:45-10:00 pm, Thea Quiray Tagle
Year 2: BCULST 511 Portfolio and Professional Development (1 credit)
T 5:45-10:00 pm, Dan Berger
BCULST 584 Topics in Media and Culture: Decolonizing Film Knowledges (5 credits) W 5:45-10:00 pm, Susan Harewood
Film has long been central to imperial thinking, part of the imperial practices of defining colonized and colonizer, self and other. Many of the films that we watch and enjoy today produce colonial relations of races, sexuality, gender, nationhood, and land discursively. Nevertheless, film has also been extremely important to anti-imperialist efforts and racial politics. In this class we will explore the films of decolonizing movements of the past and link them to decolonizing visual media practice today. What artistic and ideological moves have filmmakers previously made, and how might they be deployed in the present? How do new technologies and creative practices today articulate contemporary calls for decolonization? Students will experiment with both textual and visual methods of analyzing and producing decolonial knowledge through film.
BCULST 593 Topics in Cultural Studies: Human Rights/ Freedom of Movement (5 credits), MW 545-745 pm, Maryam Griffin
This course explores current debates related to the human right to freedom of movement. Movement and mobility are implicated in a variety of concepts central to the study of human rights. These include state sovereignty and citizenship, rights, borders, popular resistance, and the influence of international law on everyday life. We will use a focus on the freedom of movement to explore these concepts in context. Students can expect to learn about the stakes of many pressing contemporary global issues and the struggle to control or assert the autonomy of human mobility at their heart.
Year 1: BCULST 501 Cultural Studies as Collaboration (5 credits)
T 5:45-10:00 pm, Ron Krabill (SLN#11064)
Year 2: BCULST 512 Cultural Studies and its Publics (10 credits)
Th 5:45-10:00 pm, Amoshaun Toft (SLN#11065)
BCULST 587 Topics in Cultural and Arts Practice: Performing Community (5 credits)
Th 5:45-10:00 pm, Naomi Macalalad Bragin (SLN#11067)
This course studies embodied practices of community trans/formation: how can performance help us think more expansively about how people enact, improvise, choreograph, view, make/do community? How do performance theories of repetition and difference, embodiment and affect, permanence and ephemerality, articulate tensions of diversity and inclusion inherent in the ways people understand and perform community?