|
|
|
Arts and Ideas
Course
Descriptions |
|
 ILSA
ARTS 310 Courses |
|
Humanities
Linked ARTS Courses |
|
ILSA
Courses in Topical Clusters |
|
Approved
ARTS Studio/Workshop Courses |
| |
|
ILSA ARTS 310 Courses
 |
|
|
American Documentary Tradition |
The study of American
documentary fosters an appreciation for the use of mass media in shaping
civic discourse, creating public memory and framing social issues. The
course will focus on the use of photography, film and writing to reflect
major social upheavals during the 20th century, with particular emphasis
on the Depression. Study of individual works and artists will be
contextualized historically, with attention to issues of racism,
poverty, immigration and labor conditions. |
|
|
Art and Ideology |
From the ancients to the moderns, from first peoples to
post-moderns art has served to both reinforce and subvert dominant
cultural practices and political discourse. Drawing on the work of
cultural theorists and working artists, writers, poets and film makers,
this course explores how art has been used to resist hegemonic and
unjust regimes, as well, as in, self-conscious efforts to build
reflexive communities through an understanding of the complexity of the
human condition and political experience. The course also explores the
question of whether political art can move beyond propaganda and whether
art for arts sake is a liberal aesthetic ideal worth preserving. Works
by Bertolt Brecht, Murakami Haruki, Anna Deavere Smith, Michelangelo
Antonioni, and the photographer Robert Frank, among others, will be
studied, analyzed and emulated in field work assignments. |
|
|
Art and Politics |
The focus of this section will be to examine the
intersection of art, politics and culture. We will study a wide
variety of works from this perspective. We will look briefly and
occasionally at ancient and classical art, but focus primarily on
contemporary, American works. We will study literature, film,
theater, music, dance, and visual art. We will look at art whose
purpose is to create social change or promote a specific political
ideal. We will also examine the issue of censorship, the politics
of identity, the role of the artist as witness, public versus private
art, and the political content of mainstream art and popular culture.
In addition, we will occasionally explore some gentle art-making
processes that will deepen your understanding of the creative process
itself. |
|
|
Art and Religion |
This stimulating course focuses on Art and Spirituality,
primarily in the monotheistic world. We look at the ways art and
spirituality inform each other, and explore common impulses, themes,
techniques, possibilities, limitations, intentions and effects. We look
primarily at poetry and prose fiction from the Christian tradition, but
also visual art, drama, film, music and dance from world traditions.
Topics we investigate include: chaos and order (why do people need
religion and art), the relationship of craft to inspiration and
empirical to revealed knowledge, the artist as creator and the creator
as artist, art and religion as transformative (transcendent) experience,
the role of melancholy in the spiritual and artistic journeys, to what
degree and in what ways truth and beauty are absolute or relative, the
artist as prophetic voice of the divine, the nature of the divine, the
nature of evil, the feminine in the divine, and issues surrounding free
will, ethics, redemption, and authenticity. Finally we ask what a world
void of art or spirituality would look like. Required Texts: Dante's
Inferno / Milton's Paradise Lost / William Blake's Songs of Innocence
and Experience / Goethe's Faust Part I / Thomas Mann's Death in Venice /
Flannery O'Connor's Everything That Rises Must Converge / Miriama Ba's
So Long a Letter. Students write weekly prompts in class, one take-home
midterm, one take-home final and create a 10 minute power-point
presentation combining art, music and text. |
|
|
Art and the Apocalypse |
Since the begining of time, humans have had a
fascination with the end of time. Artists have struggled to make sense
of our apparent desire to embrace catastrophe. Beginning with early
interpretations of the book of Revelations, this class will examine art
in a variety of disciplines that take the Apocalypse as it's theme.
We'll look at paintings by Brueghels, William Blake and Michelangelo,
novels from the 'Left Behind' series, and Cormac McCarthy's current
best-seller, 'The Road', several post-apocalyptic films including 'Mad
Max', 'On the Beach' and '12 Monkeys', and graphic novels such as 'Y:The
Last Man' and 'Tank Girl'. We will pay particular attention to the
meaning modern people find in the Apocalypse, religious versus secular
understandings, and how apocalyptic art reflects our current ecological
crisis. We will examine how young people view the world they're
inheriting, and the role Art plays in their understanding of that world. |
|
|
Art as a Reflection of Self |
Artists use photos, films, paintings or words to express
their personal experience and shape the narrative of their life. We’ll
look at examples of autobiographical art and explore art-making
activities to better understand our own experiences and personal
stories. Through journaling, mixed media and digital storytelling, we
will approach art as a tool for self-reflection and self-identity. |
|
|
Art of Mindful Living |
What is Mindful living? Is it, as the word
suggests living with more mind, more thoughts, more intellectual
approach, or is it something altogether different? Living
mindfully starts with becoming Present. What you discover about
yourself when you do, may surprise you. This class begins the
discovery by exploring the question, who am I? In this class we
will explore who you are, what you value, and how you can wake up to the
Present to create lasting positive changes in your life and
relationships. Join us in a creative, expressive, meditative
experience. One thing for sure, Mindful living begins when you
take the first step. |
|
|
Art of Storytelling |
This course will focus on the art of storytelling as a
literary art form blending both creative writing and performance,
beneficial for all levels of experience. The examination of
folklore and fairy tales offers today’s lover of stories, tellers and
listeners alike, a wealth of eccentric characters, intricate plots, and
vivid settings. Students will discover and develop their own
style, choosing options from the stylistic continuum ranging from the
seated quiet delivery to more dramatic tellings. Comparative
analysis of stylistic elements researched in literary tales which differ
from oral traditions will offer deeper understanding of Story.
Creative writing opportunities will occur in classroom exercises
dealing with the basic constructs of fiction, point of view revisions,
dialogue exercises. To construct strong story structures and
characterizations, the students will transform a third person tale into
a first person narrative found in traditional English folklore. Weekly
readings from the texts will allow choices for story presentations as
students continue to develop and synthesize their delivery techniques
such as characterization, voice, gestures, and movement. |
|
|
Art on the Edge: Contemporary Artists Challenge
the Status Quo |
This section will focus specifically on art that
blatantly questions and undermines the status quo. We will begin by
focusing on works by activist artists of the 1960's--artists who
reflected the sentiments of the anti-war movement, the civil rights
movement, the women's liberation movement, etc. Our study will encompass
literature, music, theatre and visual arts. |
|
|
Art and the Young Child |
Explore literature, creative
drama, visual arts, movement, and music for young folks (preK-5).
Appropriate for people working with camps, church groups, school-aged
kids of their own, future teachers, and for folks who just want to have
fun! |
|
|
Arts and Community Development |
What is the role of artists in the community? In what
ways, can the arts help develop a community? Using experiential and
applied learning techniques, this course will examine the intersection
of the arts and community |
|
|
Body and Earth |
Body and Earth is a three credit course exploring
patterns and perceptions about the relationship of the human body to the
earth and the earth to the human body. The course will utilize
physical explorations, writing, reading and arranging bodies and other
things. |
|
|
Body Stories: Demystifying the Body |
First of all, Body Stories is NOT a dance class. It is a
class in which we examine the conceptions and misconceptions of human
potential and functional anatomy. Various approaches to learning are
included: factual information, personal stories, evocative and
descriptive images, guided movement explorations. The fruits of our
explorations and learning are evidenced in projects examining the
intersections of anatomy and the arts. |
|
|
Caribbean Arts |
This class can include a mixture of readings of essays,
artworks, attendance at outside performances and events, lectures,
classroom presentations and performances, informal discussion and
development of written responses. Each section will have a specific
topic that will serve as the focus of the semester. |
|
|
Celtic Arts |
In Celtic Arts, we will be exploring three primary
artistic arenas: literary arts, music, and visual arts. For the
literary arts, readings and original creative writing will lead us
through classical tales of heroes in Celtic mythology and immortals of
the Otherworld. The art of storytelling-the oral
tradition-transcends time, connecting legends and lore. In
studying Celtic music, we will examine primary instrumentation stemming
from Bardic traditions, folklore motifs in ballads, and creative sources
compelling contemporary songs/tunes. Visual art covers broad areas
such as fiber arts (weaving), tartans, smith craft, jewelry, and
architecture. Celtic symbols, interlacings, and knotwork found in
illuminated texts proved creative outlets for the ancient Celts.
Rich legends concerning holy grounds, sacred animals, and festival
traditions create overarching ties with superstitions and folkloric
beliefs. |
|
|
Contemporary Artists and Makers of WNC |
While tradition and history are often the focal point of discussions on
art and craft in this region, there are many artists producing work that
go beyond tradition and reflect contemporary ideas. Additionally, there
are many organizations that serve specifically to support and strengthen
the visual arts in this region. This course will explore a wide range of
contemporary artists and makers, as well as the organizations that
support them in the Western North Carolina region. The class will host a
number of guest speakers and will visit galleries, artist studios and
art organizations. |
|
|
Craft and the Machine |
What motivates us to make things by hand? Why do we need more? What is
sacrificed? William Morris states in 'Art and Socialism', "The wonderful
machines which in the hands of just and foreseeing men would have been
used to minimize repulsive labour and to give pleasure ... to the human
race, have been so used on the contrary that they have driven all men
into mere frantic haste and hurry, thereby destroying pleasure..." This
class will investigate the efficacy of machinery and its impact on
society. Using many forms of craft, or the handmade, as examples, we
will discuss architecture, furniture design, textiles, and pottery to
understand the affects of industrialization in 19th century England as
well as 21st century Asheville, NC. Readings and discussions will cover
the Great Exhibition of 1851 as well as Wal-Mart and small town America.
In addition to discussing handmade objects and commerce, we will work on
several in-class projects such as making books, dyeing cloth, and
designing gardens. |
|
|
Faust Legend in the Arts |
The legend of Faust is an ancient
one, but from the 17th
through the 20th
centuries this story of humanity’s dealings with inhuman powers has
become a metaphor for our age. The Faust story has been told in almost
every artistic medium during this period: drama, music, fiction, poetry,
painting, film and many others. During the semester we will explore the
nature of these various art forms using the Faust legend and its modern
significance as a common thread. We will see how the story evolved from
rumors about a historical character, to a children’s tale and puppet
show, to one of the central works in European culture of the last three
hundred years. Artists of many kinds have been fascinated with the
character of Faust, especially during the 19th
and 20th
centuries, when it seemed to many that we had made a Faustian bargain
with industrialization and technology. We will focus on five artistic
elements in our exploration of these themes: structure, color, space,
time, and line. |
|
|
From Temple to Bollywood: Religion and Dance in South Asia |
This course explores the performance of religion through
focusing on the mythology, ritual, history and aesthetics of Hindu
storytelling dances. The allied arts of music, theatre, and temple
sculpture are indispensible aspects included in our inquiry into
embodied religion. Indigenous theories of audience-receptivity,
Bollywood adaptations, transnationalism, and Western encounters
reflected in photography, literature, film and other arts illuminate
insider/outsider perspectives. |
|
|
Harlem Renaissance |
The Harlem Renaissance represents a flowering of the
arts in the African-American community following World War I that
included poetry, jazz, painting, sculpture and literature. This course
wil examine the art itself, and the underlying ideas that nourished
them. This is a Diversity Intensive class. |
|
|
History of Clothing |
A look at the history of clothing from ancient man to
early 20th century. We will explore clothing and its relationship to
historical events and world cultures. Through peer learning, students
will observe pictures of historical artifacts and artworks in order to
understand the lifestyle of people within the context of specific
periods in history. The objective of this course is for the students to
equip themselves with the skills required to recognize and analyze
costumes of various time periods. This course is also cross-listed as:
DRAM 358.001. |
|
|
Holocaust and the Arts |
Writers (probably artists in other media, too) have said
that it is impossible to write about the Holocaust—that what happened
during the Holocaust is beyond imagining. Yet literature and
artistic works in other media have been created in response to the
Holocaust—by victims, survivors, children and grandchildren of
survivors, and by others with no direct personal connection to the
Holocaust. How were the arts and artists treated during the Nazi
period? What kind of art was created as the events of the
Holocaust unfolded? How has the Holocaust been represented since
1945? Have artistic responses to the Holocaust changed as we’ve
gotten further from the event? As the body of art created in
response to the Holocaust has grown, do new works respond both to the
Holocaust itself and to the ways its been represented artistically?
What are we looking for when we seek out films, novels, works of visual
art and music on the Holocaust? These are some of the questions we’ll
consider this semester as we read, view, and listen to various works of
art having to do with the Holocaust. |
|
|
How We Danced |
The study and discussion of the ways that humans have
used movement to create and regulate their societies, commune with their
gods, to and order their life experiences—to celebrate and to mourn.
This course replaces DAN 331. Cross-listed as DAN 373.001 |
|
|
Japanese Culture/Outsider |
The outsider has always been an unavoidable subject in
Western literature, visual art, music, cinema, etc… due to its ability
to provide a somewhat objective window onto modern society, but also due
to its ability to shine a light on the difficult but necessary
relationship between individual and group. This class will examine the
concepts of both the artist and his or her characters as outsiders.
However, we will be looking at this phenomenon in Japan, through the
lenses of history and various media, to appreciate how the island nation
has naturally absorbed, reconfigured, and even then reintroduced this
subject to the West. |
|
|
Modern Arts and the End of Art |
This course will investigate the challenges posed by
modern art: What makes a work of art "art"? Is art finished? Is art
really important? We will study the beginnings of modern art and its
acceptance in Western Europe and its rejection in the Soviet Union.
Artists and musicians studied include Kafka, Rousseau, Satie,
Shostakovich, and many others. We will also read Milan Kundera's musings
on the previous questions. Emphasis will be placed upon music and
literature. Critical thinking on the subject is emphasized. |
|
|
Murder and Imagination |
In this course, we will examine the public’s appetite
for murder. From ancient times to modern – as religious sacrifice,
motivated by hatred, justice, greed, lust, insanity, or patriotism
– killing has always fascinated us. Through the examination of
visual art – photography by WeeGee and Robert Capa, paintings by Goya,
Picasso, Cezanne, and others – films such as Double Indemnity and The
Talented Mr. Ripley, television programs like CSI and Dexter, and works
of literature such as Oedipus Rex, Brutal Imagination, and Native Son,
we will look at how the taking of human life has triggered, stimulated,
and troubled the artistic imagination. We will discuss
government-sanctioned murder, as evidenced by war and the death penalty,
the taboos of patricide and matricide, and the glamorization and
fetishization of killing. |
|
|
Postcolonial Francophone Arts Experience |
We explore, in English, cultural, social, and political
dimensions of the postcolonial arts of poetry, drama, the novel, cinema,
the visual arts and music of francophone Asia, Africa and the Antilles.
Students prepare short oral reports, a mid-semester and final
exam, and a final paper or project on the postcolonial francophone
arts. |
|
|
The Arts of Southern Appalachian Settlement Schools |
This class will explore the rural settlement schools of
the Southern Appalachians by examining primary source research in the
Special Collections department of the Ramsey Library. The course will
focus on the creative and artistic energy of the founders of the
settlement schools, the social and civic mindedness of both the urban
and rural settlement movements, and the influences of the Arts and
Crafts Movement. The class will research the individual arts as they
were integrated into the educational and social programs of the
settlement schools. The course is particularly suited to education
majors. |
|
|
Under the Covers & Between the Sheets |
Students will explore books as sculptural art by using
mixed-media to create personalized texts, alter existing books, and
consider their own lives and experiences with the arts (visual art,
architecture, music, dance, theater) as "content". Includes several
field trips to off-campus sites; and a final project for display. |
|
|
Unleashing Your Creativity |
Julia Cameron, creativity guru and inspirational
teacher, shares her proven techniques of recovering our artist within.
This course will follow her teachings, as laid out in The Artist’s Way,
in the hopes of encouraging students to discover/uncover their artistic
natures then activate expression in a myriad of ways. Critical to
this technique are Morning Pages (2-3 pages written daily, long-hand in
a journal) and Artist’s Dates (solitary ventures into the world for
inspiration). The text provides additional TASKS to wade through
the layers of negative critiques that block our mental / spiritual
growth along our artist’s journey. This course will provide students
with tools to bring artistic endeavors into their everyday lives. |
|
|
World Music |
Course Objectives: To provide the student with an
understanding of the history and development of rock 'n' roll as a
musical style throught the following: (a) knowledge of basic musical
elements such as melody, harmony, rhythm, texture, and form (b)
knowledge of how rock music is constructed and performed (c) knowledge
of how rock music is performed, recorded, packaged, and promoted to the
general public (d) knowledge of general trends in rock music and the
major artists and music that pioneered those trends. |
|
|
Humanities Linked ARTS Courses
|
|
Arts Modern World:17-20th Century |
This course will investigate the challenges posed by
modern art: What makes a work of art "art"? Is art finished? Is art
really important? We will study the beginnings of modern art and its
acceptance in Western Europe and its rejection in the Soviet Union.
Artists and musicians studied include Kafka, Rousseau, Satie,
Shostakovich, and many others. We will also read Milan Kundera's musings
on the previous questions. Emphasis will be placed upon music and
literature. Critical thinking on the subject is emphasized. |
|
|
ILSA Courses in Topical Clusters
|
|
Cluster 3 (CL3) |
Technology, Society, and Culture |
|
ART 230 |
Ceramics I |
|
ARTH 201 |
Intro to Art History (Canejo) |
|
|
Cluster 4 (CL4) |
Perception: Senses, Self, and Society |
|
ARTH 202 |
Into to Art History II |
|
LIT 368/
LANG 368 |
Poetics of Indentity and Perception |
|
MMAS 222 |
Multimedia Designs I |
|
|
Cluster 5 (CL5) |
Transformations in Appalachia: Intersections
of Science and Culture |
|
ARTS 310 |
Community Arts Project |
|
POLS 374 |
ReStorying Community |
|
|
Cluster 6 (CL6) |
Caribbean Studies |
|
ARTH 381 |
Art in Latin America |
|
ARTS 310 |
Caribbean Studies |
|
ARTS 310 |
Postcolonial Francophone Arts (Malicote) |
|
|
Cluster 7 (CL7) |
Belief Systems in Our Universe |
|
ARTH 311 |
Greek Art (Rohner) |
|
ARTH 312 |
Roman Art (Rohner) |
|
ARTH 320 |
Medieval Art (Rohner) |
|
ARTH 330 |
Renaissance Art (Rohner) |
|
ARTH 385 |
African Art (Rohner) |
|
ARTS 310 |
Art and Religion (Dunn) |
|
CLAS 315 |
Greek Art |
|
CLAS 316 |
Roman Art |
|
MUSC 351 |
Music History and Literature to 1600 (McKnight) |
| |
*Note: MUSC 351 is a 2 credit hour course.
Students will need to complete one additional ILSA hour to fulfull the
ARTS requirement. |
|
|
Cluster 8 (CL8) |
The Greek Experience |
|
CLAS 393 |
Epic and Tragedy |
|
|
Cluster 10 (CL10) |
Identity and Its Expressions
|
|
ARTH 365 |
Art Since 1945 (Rundquist) |
|
ARTS 310 |
Art as a Reflection of Self |
|
DRAM 124 |
Stage Make-Up |
|
DRAM 212 |
Acting II |
|
DRAM 440 |
Costume Design |
|
LIT 368/
LANG 368 |
Poetics of Identity and Perception |
|
|
Cluster 13 (CL13) |
Black Creative Experiences
|
|
ARTS 310 |
Art and Artists of the Harlem Renaissance |
|
DAN 130 |
African Dance I |
|
DAN 230 |
African Dance II |
|
LIT 368 |
Poetics of Identity and Perception |
|
LANG 368 |
Poetics of Identity and Perception |
|
|
Cluster 14 (CL14) |
The Sensory Environment and Perceptual Systems |
|
ARTH 202 |
Introduction to Art History II |
|
MMAS 222 |
Multimedia Design I |
|
|
Cluster 15 (CL15) |
Mechanical, Electrical and Optical
Inventions: Science and Societal Impact |
|
MMAS 373 |
History of New Media |
|
|
Approved ARTS Studio/Workshop Courses
|
|
ART 400 |
BA Seminar (3.0) |
|
ART 490 |
Senior Exhibitions (3.0) |
|
DAN 135 |
Jazz I (1.0) |
|
DAN 138 |
Ballet I (1.0) |
|
DAN 235 |
Jazz II (2.0) |
|
DAN 238 |
Ballet II (2.0) |
|
DAN 338 |
Ballet III (2.0) |
|
DAN 372 |
Ballet Repertory (2.0) |
|
DAN 250 |
Concert Production (2.0) |
|
DRAM 106 |
Theatre Production (1.0) |
|
EDUC 315 |
Creative Arts of the Elementary Classroom (3.0) |
|
MUSC 111 |
Chorus (1.0) |
|
MUSC 121 |
Concert Band (1.0) |
|
MUSC 122 |
Jazz Band (1.0) |
|
MUSC 123 |
String Ensemble (1.0) |
|
MUSC 123 |
Flute Ensemble (1.0) |
|
MUSC 128 |
Percussion Ensemble (1.0) |
|
