ART 0020. Raku Ceramics
Units: 3
Hours: 90 (36 lecture, 54 laboratory)
Introduction to Raku, a traditional ceramics process. Explores origins and cultural developments and their application to the contemporary world. Includes fabrication techniques, glaze chemistry, firing techniques, and design theory. (CSU, UC)
ART 0020 - Raku Ceramics
http://catalog.sierracollege.edu/course-outlines/art-0020/
Catalog Description Hours: 90 (36 lecture, 54 laboratory) Description: Introduction to Raku, a traditional ceramics process. Explores origins and cultural developments and their application to the contemporary world. Includes fabrication techniques, glaze chemistry, firing techniques, and design theory. (CSU, UC) Course Student Learning Outcomes CSLO #1: Critique class projects for craftsmanship and aesthetic outcomes individually and in groups. CSLO #2: Compare and contrast the functional and aesthetic differences between Eastern and Western ceramic processes, their outcomes and intended uses. CSLO #3: Formulate and employ the most appropriate building methods suited to execute a desired ceramic form/project using the raku resources. CSLO #4: Identify and manipulate a variety of ceramic surfaces and firing styles/techniques. CSLO #5: Load and unload a raku kiln firing using appropriate safety measures and techniques. Effective Term Fall 2024 Course Type Credit - Degree-applicable Contact Hours 90 Outside of Class Hours 72 Total Student Learning Hours 162 Course Objectives Lecture Objectives: 1. Compare and contrast the functional and aesthetic differences between high-fire and low-fire ceramic processes, their outcomes, and intended uses; 2. compare and contrast the functional and aesthetic differences between Eastern and Western ceramic processes, their outcomes, and intended uses; 3. formulate and employ the most appropriate building method suited to execute a desired ceramic form/project using the raku process; 4. critique class projects for craftsmanship and aesthetic outcomes individually and in groups; 5. examine and discuss the historical aspects of both design and techniques in forming ceramics; 6. explain and demonstrate the process of loading and unloading of a bisque kiln; 7. explain and demonstrate the specialized process of loading and safely unloading of a raku kiln firing; 8. demonstrate proper usage of glaze and bisque ware carts; and 9. identify and manipulate a variety of ceramic surfaces. Laboratory Objectives: 1. apply raku principles and techniques to create individual works of art and craft by a process of conception, design, construction, finish, presentation, and critique; 2. demonstrate the ability to control ceramic media with coil, slab, pinch, and wheel techniques through the application of Raku principles; 3. formulate and employ the most appropriate building method suited to execute a desired ceramic form/project; 4. demonstrate proper usage of glaze and bisque ware carts; 5. identify and manipulate a variety of ceramic surfaces using Raku techniques. General Education Information Approved College Associate Degree GE Applicability AA/AS - Fine Arts CSU GE Applicability (Recommended-requires CSU approval) Cal-GETC Applicability (Recommended - Requires External Approval) IGETC Applicability (Recommended-requires CSU/UC approval) Articulation Information CSU Transferable UC Transferable Methods of Evaluation Classroom Discussions Example: Students will discuss raku glaze recipies and finishes and provide insight to the discussion by referencing glaze mixing process and raku firing techniques Objective Examinations Example: Students will complete evaluation rubrics (the written objective exam for each project) that evaluates each project of criteria such as: craftsmanship, creativity, surface treatment, and effort Projects Example: Students will create a series of forms all of which will be glazed or fired in different ways from each other. Reports Example: Students will analyze works of raku art in an exhibition and present in either oral presentation or written format. Skill Demonstrations Example: Students will demonstrate an understanding of the proper and safe methods for conducting Raku firings; students will participate as a team in such firings Repeatable No Methods of Instruction Laboratory Lecture/Discussion Distance Learning Lab: Instructor will demonstrate and lead a discussion on safety procedures, tool use, and material storage. The included safety video will be followed by a safety quiz. No student will proceed until satisfactory completion of safety evaluation during a demonstration. Lecture: Instructor will give a lecture on contemporary ceramics along with a lecture on various raku processes. Student will bring idea development/drawings on pieces they will build inspired by an artist & combined firing method. Distance Learning Visually oriented slide presentation demonstrating the creation of a vessel from the mining of clay, through processing, creating and firing in using the raku process. Video examples of contemporary artists using raku firing in their artworks. Students will then be guided through a step by step process of creating pinch pots and eventually vessel forms to be fired. Students submit progress to the instructor for feedback. Projects in the wet/leather hard stage are posted to the discussion board and critiqued through written format using appropriate vocabulary and terminology pertaining to the basic elements and organizing principles of three-dimensional art. Active and relevant participation includes students responding to each other's comments in the discussion board. Typical Out of Class Assignments Reading Assignments 1. Read various library resources on one historic raku technique and artist and a contemporary raku technique and artist. Students will then discuss the differences in the historic and contemporary practices. 2. Read the safety handout in preparation for a quiz. Writing, Problem Solving or Performance 1. Maintain a notebook of lecture material and a sketchbook of ideas and designs for class projects. 2. Design and execute all of the class projects as indicated in the course content. 3. Apply appropriate surface designs to all of the class projects. 4. Gallery report. Other (Term projects, research papers, portfolios, etc.) 1. Mid-term & Final critique portfolio review. 2. Self-critique student self-assessment 3. artist research and reflection Required Materials Raku Firing: Advanced Techniques Author: Bill Jones Publisher: American Ceramic Society Publication Date: 2009 Text Edition: 1st Classic Textbook?: OER Link: OER: Mastering Raku Author: Steve Branfman Publisher: Lark Books Publication Date: 2013 Text Edition: Classic Textbook?: OER Link: OER: Raku Pottery Author: Robert Piepenburg Publisher: Pebble Press Publication Date: 1998 Text Edition: Classic Textbook?: OER Link: OER: The Unknown Craftsman Author: Soetsu Yanagi Publisher: Kodansha USA Publication Date: 1972 Text Edition: revised, 2013 Classic Textbook?: OER Link: OER: The Japanese Pottery Handbook Author: Penny Simpson, Lucy Kitto, Kanji Sodeoka Publisher: Kodansha USA Publication Date: 2014 Text Edition: 2nd Classic Textbook?: OER Link: OER: Contemporary Raku Author: Stephen Murfitt Publisher: The Crowood Press Publication Date: 2022 Text Edition: 1st Classic Textbook?: OER Link: OER: Mastering Raku Author: Steven Branfman Publisher: Lark Books Publication Date: 2009 Text Edition: revised Classic Textbook?: OER Link: OER: Other materials and-or supplies required of students that contribute to the cost of the course. safety glasses, leather gloves, cotton / natural fiber clothing, close-toed shoes
AAD 0020 - Portfolio Development and Presentation
http://catalog.sierracollege.edu/course-outlines/aad-0020/
Catalog Description Advisory: Completion of AAD 70, 75, or 85 with grade of "C" or better Hours: 72 (36 lecture, 36 activity) Description: Function and use of the portfolio as a marketing device for artists and designers. Styles, materials, resources in portfolio design. Evaluation of professional goals and image building. Students create and present both a print and digital portfolio of their work as a final project. For advanced students. (CSU) Course Student Learning Outcomes CSLO #1: Investigate and identify the necessary elements that make a professional portfolio. CSLO #2: Design and synthesize materials into a cohesive professional portfolio with a specific target audience. CSLO #3: Present a portfolio in a professional manner for critique and feedback that demonstrates an understanding of professional practices and presentational skills. CSLO #4: Evaluate and critique the portfolio and presentation of peers. Effective Term Fall 2019 Course Type Credit - Degree-applicable Contact Hours 72 Outside of Class Hours 90 Total Student Learning Hours 162 Course Objectives Lecture Objectives: 1. Summarize in writing personal career aspirations and, research information on potential employers to fulfill those goals. 2. Identify orally or in writing several portfolio styles and their appropriate use. 3. Research and identify best practices for creating an artist's statement and a professional resume. 4. Identify format for portfolio presentation; hard copy and/or digital. 5. Compile and display artwork in attractive, functional and cohesive hard copy or digital portfolio. 6. Communicate effectively through oral presentations. 7. Identify best practices for portfolio submissions. Activity/Laboratory Objectives: 1. Assess portfolio needs including portfolio goal and target audiences; target media; art work to be included; resource list; create to do list; develop timeline; determine format. 2. Write an artist statement and prepare a professional resume including sections on skills, education, work experience, and personal interests using correct grammar and spelling. 3. Create mockup format of portfolio including thumbnail drawings of layout and design; selection of images. 4. Prepare images for digital presentation through the use of scanning; demonstrate understanding of sizing, scaling and image enhancement. Prepare images for a portfolio project. 5. Create a portfolio of work and present portfolio to class; target audience; content; professional presentation. 6. Evaluate own and other portfolios in terms of overall design, creativity, impact, size, format, focus, and utility. 7. Identify basic business practices; contacts; copyright issues; professional image. General Education Information Approved College Associate Degree GE Applicability CSU GE Applicability (Recommended-requires CSU approval) Cal-GETC Applicability (Recommended - Requires External Approval) IGETC Applicability (Recommended-requires CSU/UC approval) Articulation Information CSU Transferable Methods of Evaluation Projects Example: Create a portfolio of work and present portfolio to class as target audience showing content as a professional presentation. Rubric Graded. (Course Objective 5) Skill Demonstrations Example: Assess portfolio needs including portfolio goal and target audiences, target media, art work to be included,resource list, create to do list, develop timeline, determine format. Rubric Graded. (Course Objective 1) Repeatable No Methods of Instruction Lecture/Discussion Distance Learning Lecture: The instructor will provide lecture overviews of how to successfully complete projects relating to the student's creation of a portfolio of their work. Instructor demonstrates the correct research and selection processes for selecting a target audience and image selection for portfolio. Students are expected to actively participate in the lecture. Students will be divided into groups and the instructor will support and direct group discussions that utilize correct terminology. Instructor will bring the class back together to address questions that came up in group discussions, and students will then be assessed in a short quiz on the material. Distance Learning The instructor will provide a presentation on “Messaging and the Professional Portfolio” in which topics such as clarity of message, quality of work samples, demonstration and presentation of skills, and clarity of goals is outlined. Students will then be asked to evaluate online portfolios of other creative makers in their field, assessing them on these tenets. Prompts such as “Is this the portfolio of an amateur, a professional, or a student? How can you tell?” will be responded to during the assessment. The typed assessment will be shared, along with screen captures and links to the online portfolio. Typical Out of Class Assignments Reading Assignments 1. Read assignments from class textbook on portfolio preparation for hands-on demonstration/tutorials by instructor in class and for examinations on course content and terms. 2. Develop themes for a portfolio through library and internet-based research focusing on content, and preparation of written objectives using the concepts and terminology for successful completion of the assignment. Writing, Problem Solving or Performance Assignment: Artist's Statement - An artist's statement is a short piece written by the artist to accompany a particular piece of art or body of work. An artist's statement shouldn't be dismissed as insignificant or dashed out in a hurry as it's a vital selling tool, promoting and explaining your work to people looking at your paintings, whether they're potential buyers, exhibition curators, critics, fellow artists, or casual browsers. At its best, an artist's statement reads easily, is informative, and adds to your understanding of the artist and the painting. At its worse, an artist's statement is difficult to understand or rambles on, is pretentious, and irritates rather than informs (or, even, provokes laughter). Working with the material on Writing An Artist's Statement that has been provided or using other appropriate sources as a guide, prepare an artist's statement that reflects how you view yourself and your work. You can find many additional sources of information by doing a Google search, artist's statement + writing. You will want to tailor your statement to fit your interests and what your portfolio will cover. The first step is to produce a draft statement for discussion at our next meeting. Your paper should be well written and typed. Remember, you are making the first step and it may feel difficult to do. Your artist's statement is not going to be perfect right out of the box, this is a process that will most likely require rewrites for clarity, focus and direction. It will take time and require revision as you receive feedback from others that you consult. Be gentle on yourself and understanding. Assignment: Creating Your Portfolio The last project for this class is the creation and presentation of a portfolio. You have been developing, in a semester-long process of research, audience focus, artist's statement and resume, the insight to reach this point of completion. The most critical element, selection of examples of your work to show, may still seem uncertain. Do remember that a portfolio is an organic process and you will reshape your "book" many times in your career as you create new work. So take a deep breath, relax and put something wonderful together with what you have now that reflects, this is me....this is my work. The presentation must have the items listed below included in the sample, although you have tremendous leeway in how you might design a format for presenting your work. You can use a three ringed binder with photo sleeves to hold your examples or create something with strong visual interest, that reflects what the final portfolio will be like. Format: You may present your material in any way you wish, do keep in mind that a clean, will organized portfolio, even a draft version, always makes a stronger impression. If you should choose the binder option, you must include drawings, pictures or other examples of the real portfolio's shape, size and materials used in construction. If you plan to create a format for presentation, you may choose to do a full size or scaled version. Examples of work: There is to be a minimum of 8, and not more than 10 examples of your work. You may use an original work or photographs of the artwork as placeholders. If you choose the photo option, you may shoot hi-res images or use snapshots of the examples taken with a digital camera. The photographs do not need to be of professional quality. Slides in slide sheets are also acceptable. Artist's Statement: Your completed Artist's Statement must be part of the portfolio. Again, presentation is important. Type your statement and use spell check. Resume: Your resume must be part of the package. However, do present it as a separate document that might be left behind. Other: You may have thoughts on adding additional pieces to your portfolio. Be selective and keep in mind the axiom "less is more." Other (Term projects, research papers, portfolios, etc.) Required Materials How to Create a Portfolio and Get Hired Author: Fig Taylor Publisher: Laurence King Publishing Publication Date: 2013 Text Edition: 2nd Classic Textbook?: No OER Link: OER: The Breakthrough Portfolio Author: Ken Thurlbeck Publisher: Thomson/Delmar Learning Publication Date: 2007 Text Edition: 1st Classic Textbook?: No OER Link: OER: Portfolio Design Author: Howard Linton Publisher: W. W. Norton and Company Publication Date: 2012 Text Edition: 4th Classic Textbook?: No OER Link: OER: Designing Creative Resumes Author: Greg Berryman Publisher: Crisp Publications Publication Date: 2002 Text Edition: 1st Classic Textbook?: No OER Link: OER: Other materials and-or supplies required of students that contribute to the cost of the course.
ENGL 0020 - Creative Writing (Poetry)
http://catalog.sierracollege.edu/course-outlines/engl-0020/
Catalog Description Prerequisite: Eligibility for ENGL 1A Hours: 54 lecture Description: Writing poetry, with reading assignments of literary models in classical, modern, and contemporary poetry. Includes analysis of the models as well as discussion and criticism, in a workshop mode, of original student poems. (CSU, UC) Course Student Learning Outcomes CSLO #1: Identify, interpret, and analyze the fundamentals of poetry, through a variety of forms, styles, and historical periods. CSLO #2: Analyze literary elements, devices, and forms of poetry to create college-level works of original poetry. CSLO #3: Describe, critique, edit, and revise original poetry through peer review workshops. Effective Term Fall 2017 Course Type Credit - Degree-applicable Contact Hours 54 Outside of Class Hours 108 Total Student Learning Hours 162 Course Objectives Upon successfully completing English 20, students will be able to: 1) Identify, interpret, and analyze the fundamental elements of poetry; 2) Analyze selected works of poetry from a variety of genres, forms, and historical periods; 3) Apply analysis of literary elements, devices, and forms of poetry to the creation of college level works of original poetry in a variety of forms and styles; 4) Apply knowledge of genres and sub-genres to creation of imaginative works of poetry; 5) Identify and apply common practices of editing and peer review in the creative writing process; 6) Interpret, analyze, and evaluate published poetry in English and in translation; 7) Assimilate literary concepts and critical standards into the interpretation, analysis, and evaluation of classmates' and students' own work through peer review workshops and readings; 8) Identify and apply the editorial process to select, revise and assess published and original works of poetry. General Education Information Approved College Associate Degree GE Applicability AA/AS - Fine Arts CSU GE Applicability (Recommended-requires CSU approval) CSUGE - C2 Humanities Cal-GETC Applicability (Recommended - Requires External Approval) IGETC Applicability (Recommended-requires CSU/UC approval) Articulation Information CSU Transferable UC Transferable Methods of Evaluation Classroom Discussions Example: During a class workshop, students use a "whip" discussion to take turns sharing a "plus," a "minus," and an "interesting" after reading and annotating a student poem. Essay Examinations Example: Student will be asked to provide a three paragraph evaluation of the use of rhyme, rhythm, and alliteration in John Donne's "The Flea." Objective Examinations Example: Through an objective or short-answer test, students will identify and define literary terms and concepts and apply literary terms and concepts to brief interpretations and analyses of individual poems and the works of individual poets. Projects Example: Student will submit all drafts of original poems (15 - 20 pages), and final drafts (6 - 12 pages) of original poems revised through workshops and consultation with instructor. Poems will be presented in a portfolio suitable for submission to a college-level journal or magazine. Reports Example: Student collects information on a contemporary poet for a class "author wall" bulletin board. Skill Demonstrations Example: Student will write an over-20-line non-rhyming poem about a body of water that demonstrates use of figurative language and imagery. Repeatable No Methods of Instruction Lecture/Discussion Distance Learning Lecture: Instructor uses a Prezi presentation to highlight elements of imagery for students, ending with a poem from the anthology that features extensive sensory imagery. Students select a sensory image from the poem and discuss its use or effect. Instructor presents elements of Brian Wilkie and Kevin Prufer’s essays on sentimentality. Students discuss definitions of and attitudes towards sentimentality in poetry. Two poems, “Dog’s Death” by John Updike and “The Pardon” by Richard Wilbur serve as evaluative models for a continued discussion on avoiding sentimentality. Distance Learning Students view videos of Shane Coyczan’s “Beethoven” and Mark Doty’s “The House of Beauty.” Afterward, students discuss different approaches to public performances of poetry in these two clips in a discussion board. Typical Out of Class Assignments Reading Assignments 1. Read Moore's "Poetry" and Strand's "Eating Poetry." Compare and contrast the speaker in each poem. Be ready to discuss the ideas in class. 2. Read Pound's "Station of the Metro," H.D.'s "Heat," and Williams' "This Is Just To Say." Analyze each as an example of Imagist poetry, and be ready to discuss specific lines that place each poem within the Imagist poetic ideal. 2a. Read all of the poems in Chapter One. Select five which best demonstrate Frost's notion that writing free verse is like "playing tennis with the net down." Writing, Problem Solving or Performance 1. Write a 2-page narrative draft based on an event or adventure a grandparent or mature friend experienced. Using a traditional ballad form such as xaxa and iambic trimeter, shape the narrative into a ballad of at least five quatrains. See Frost's "Stopping By Woods," Dickinson's "Because I could not stop for death" and Emile Verhaeren's "The Miller" for examples. 2. Write a free verse "letter poem" of at least 15 lines in the first person, directly addressing a second character. Use concrete detail, stanza breaks, and careful enjambment. See Pound's "River Merchant's Wife: A Letter," and Momaday's "Simile" for examples. Other (Term projects, research papers, portfolios, etc.) Complete a final portfolio of original poems that demonstrate a thorough knowledge of college-level poetry writing suitable for publication in a college journal or magazine. Required Materials The Crafty Poet: A Portable Workshop Author: Diane Lockward Publisher: Terrapin Books Publication Date: 2016 Text Edition: Classic Textbook?: OER Link: OER: The Art of the Poetic Line Author: James Longenbach Publisher: Graywolf Press Publication Date: 2008 Text Edition: Classic Textbook?: OER Link: OER: The Poets Laureate Anthology Author: Billy Collins Publisher: U.S. Library of Congress Publication Date: 2010 Text Edition: Classic Textbook?: OER Link: OER: Western Wind: An Introduction to Poetry Author: John Frederick Nims and David Mason Publisher: McGraw-Hill Publication Date: 2005 Text Edition: 5th Classic Textbook?: OER Link: OER: The Best American Poetry 2016 Author: David Lehman Publisher: Scribner Poetry Publication Date: 2016 Text Edition: Classic Textbook?: OER Link: OER: Other materials and-or supplies required of students that contribute to the cost of the course.
ETHN 0020 - Introduction to African American Studies
http://catalog.sierracollege.edu/course-outlines/ethn-0020/
Catalog Description Formerly known as SSCI 20 Hours: 54 lecture Description: Introduces students to Ethnic Studies and the diverse institutional, cultural, and historical issues relating to the present life circumstances of African Americans in the United States. The course is interdisciplinary in nature and presents an overview of the cultural, economic, historic, social, and political issues in the life of African Americans in the United States centering African American voices. It will expose students of all ethnic backgrounds to the issues pertinent to the experience of African Americans. (CSU, UC) Course Student Learning Outcomes CSLO #1: Deconstruct the social, economic, political, psychological and cultural factors that have influenced and shaped the African American experience. CSLO #2: Explain the extensive contributions that African Americans have made to the formation of the U.S. CSLO #3: Analyze and investigate the diversity within the African American experience. CSLO #4: Describe how struggle, resistance, the history of dissent, social justice, solidarity and liberation as experienced by African Americans are relevant to current issues and anti-racist practices. Effective Term Fall 2023 Course Type Credit - Degree-applicable Contact Hours 54 Outside of Class Hours 108 Total Student Learning Hours 162 Course Objectives 1. Analyze and articulate concepts such as race and racism, racialization, ethnicity, equity, ethno-centrism, eurocentrism, white supremacy, self determination, liberation, decolonization, imperialism, and anti-racism as analyzed in African American Studies. 2. Contrast and compare the diversity within the African American experience, and the relationship between African ethnicity and racism in the formation of African America. 3. Identify the social, economic, political and cultural factors that have influenced and shaped the African American experience. 4. Assess the cultural practices and changing social transformations that compelled African Americans to face adversity while maintaining and redefining identity and social structures. 5. Apply theory and knowledge produced by African American communities to describe the critical events, histories, cultures, intellectual traditions, contributions, lived experiences, and social struggles with special emphasis on agency and group affirmation. 6. Critically review how struggle, resistance, racial and social justice, solidarity, and liberation, as experienced and enacted by African Americans is relevant to current issues such as national politics as, for example, reparations. 7. Assess the extensive contributions that African Americans have made (and make) to the formation of the United States. 8. Differentiate and analyze the concepts of individual and institutional racism, cycles of oppression, color-blind society/color-conscious society, matrix of domination and politics/policies of exclusion. 9. Describe how struggle, resistance, the history of dissent, social justice, solidarity and liberation as experienced by African Americans are relevant to current issues. 10. Describe and actively engage with anti-racist and anti-colonial issues and the practices and movements in African American communities for a just and equitable society. General Education Information Approved College Associate Degree GE Applicability AA/AS - Ethnic Studies AA/AS - Multicultural Studies AA/AS - Social Sciences CSU GE Applicability (Recommended-requires CSU approval) CSUGE - D3 Ethnic Studies CSUGE - F Ethnic Studies Cal-GETC Applicability (Recommended - Requires External Approval) IGETC Applicability (Recommended-requires CSU/UC approval) IGETC - 4C Ethnic Studies IGETC - 7 Ethnic Studies Articulation Information CSU Transferable UC Transferable Methods of Evaluation Objective Examinations Example: Students will take four objective exams that include multiple choice and short answer questions that apply to the content of the course. Example: Identify one of the European colonizing countries that were in South Africa? (Objectives 1, 2 and 7) Projects Example: Students will identify and investigate the life of a notable African American whose family was a part of the great migration from the south. Students will create a presentation that focuses on the individual selected. Rubric Grading. (Objective 7) Reports Example: Students write critiques of two cultural/social/political movements from the perspective of Critical Race Theory, Identity Theory, Standpoint Theory, and Conflict Theory that are studied during the semester. The paper will be assessed on a three-level system: outstanding, competent and unacceptable. A rubric describing each of the three categories will be included in the course syllabi. (Objectives 5 and 10) Repeatable No Methods of Instruction Lecture/Discussion Distance Learning Lecture: Using contemporary films and current events (for example, Gangs of New York, Boyz in the Hood, Miss Representation, Anatomy of Hate), instructor will introduce Critical Race Theory and facilitate a student discussion about its application to an African American experience. Distance Learning Instructor will post a lecture slide presentation on related course theories (for example, Conflict Theory). Students will read/watch the lecture along with related film clips that demonstrate theory. Students will compare and contrast course theories in discussion board interactions with classmates. Instructor will facilitate online discussions on the history and methods of dissent using activities such as the 'Drawbridge' that illuminates structural power dynamics. Typical Out of Class Assignments Reading Assignments 1. The Great Migration, The Harlem Renaissance and The Civil Rights Movement Readings: The Great Migration-- The Long-Lasting Legacy of the Great Migration, Smithsonian Magazine by Isabelle Wilkerson, September 2016; The New Negro (ed), Art and Activism, Harvard Magazine by Adam Kirsch, March-April 2018; Mapping the Margins: Intersectionality, Identity Politics, and Violence Against Women of Color, Jstor, by Kimberle Williams Crenshaw, 1993 Upon completion of the identified readings, students will construct a research project that traces the life of an African American individual whose origins were a part of the Great Migration. Individuals such as those that participated in the Harlem Renaissance are prime candidates for the assignment. (Objective 5) 2. Slavery and Religion Readings: The Great Stain-- How Christian Slaveholders Used the Bible to Justify Slavery, Time.com, February 2018 by Noel Rae Quakers and Slavery: Some Considerations on the Keeping of Negroes, Early Protests, Radical Quaker Women, Bryn Mawr College African Americans noted the hypocrisy that characterized white Christianity, pointing out the contradiction between God's Word and slaveholders' cruelty and inhumanity. "Slaveholders hide themselves behind the Church. . . . A more praying, preaching, psalm-singing people cannot be found than the slave holders of the South," declared William Wells Brown (1814-1884). The Reverend William H. Robinson (b. 1848) offered mock family prayers: "grant us all a large increase of slaves . . ." and a mock sermon to slaves: "God's wisdom is displayed in the system of slavery." Many objected to the oft-repeated recommendations of obedience to the established order. Assignment: Read The Great Stain. Also read the Quakers position on slavery and their anti-slavery movement. Watch the video (below), The Bible and the Gun, to understand the political use of religion as a tool for enslavement. Write a letter to Rev. William H. Robinson explaining the contradictions of Christian's support of slavery. Cite historical references from the video and the readings to support your claim. (Objective 1, 2, ,3) Writing, Problem Solving or Performance 1. Post at least one full comment and two responses to the comments of other students on the Discussion Board that analyzes the five rationales for the continued military participation of African Americans in spite of the long history of marginalization and brutalization within the U.S. For the principles of democracy, African Americans have fought and died in every U.S. war without exception. The following quote is from Representative Ron Dellums regarding the Vietnam War. There are currently similar comparisons being made regarding the Iraq War. The latest polls indicate that 72% of Americans disapproved of U.S. presence in Iraq and felt betrayed by the reasons originally given for the invasion. The Iraq War has lasted longer than both WWI and WWII. Identify three similarities and three differences between the Iraq War and the Vietnam War. Does Rep. Dellums comment, "understand the connection between waging war and spending billions of dollars on military apparati that detracted from the priorities of this country" apply to today's conflict? How? Or why not? "And a number of people said to me, well, you know, the black community's not interested in the Vietnam War. And my response was that black people in America, historically, carried the burden of racial and economic oppression, they do not have to carry the burden of ignorance. And to be in public life, you have to be part of the educative process and my job is to go out there and help people understand the connection between waging war and spending billions of dollars on military apparati that detracted from the priorities of this country." — Ron Dellums, 1994 (Objective 6,7,8) 2. Read the assigned articles that details the plight of the Katrina survivors and respond to the following question: Did race and/or socio-economic class play a role in the disastrous response to Hurricane Katrina and the similar response in Puerto Rico? Why/why not? While your opinion can be incorporated in the response, it is crucial to site evidence to support your assessment of the situations. (Objective 1, 10) Other (Term projects, research papers, portfolios, etc.) Students are required to attend two cultural events that can be Field Trips, Cultural Excursions, Guest Speakers, etc. A two-page reflection paper is a requirement for the assignment. (Objectives 4, 5, 7, 10) Required Materials The Warmth of Other Suns Author: Wilkerson, Isabelle Publisher: Vintage Publication Date: 2011 Text Edition: 1st Classic Textbook?: OER Link: OER: How to be an Anti-Racist Author: Kendi Publisher: One World Publication Date: 2019 Text Edition: 1st Classic Textbook?: OER Link: OER: The African-American Odyssey, Combined Volume Author: Clark-Hine, Darlene; Hine, William C.; Harrold, Stanley Publisher: Pearson Publication Date: 2018 Text Edition: 7th Classic Textbook?: OER Link: OER: The New Jim Crow Author: Alexander, Michelle Publisher: The New Press Publication Date: 2012 Text Edition: 1st Classic Textbook?: OER Link: OER: Racial Formation in the United States Author: Omi and Winant Publisher: Routledge Publication Date: 2014 Text Edition: 3rd Classic Textbook?: OER Link: OER: Other materials and-or supplies required of students that contribute to the cost of the course.
HUM 0020 - Introduction to the Hebrew Bible
http://catalog.sierracollege.edu/course-outlines/hum-0020/
Catalog Description Advisory: Eligibility for ENGL 1A Hours: 54 lecture Description: Introduction to the texts of the Hebrew Bible ("Old Testament" or "Torah") and associated writings from the Ancient Near East. Analyzes the texts in their historical and cultural context, and surveys their various genres (poetry, prophecy, law, mythology, history, wisdom, etc.) Explores the relationship between Hebrew Scriptures and archaeology, literature, history, current Biblical scholarship, and women's studies. (CSU, UC) Course Student Learning Outcomes CSLO #1: Identify and describe the composition of the Hebrew Bible as well as the origination of its various books. CSLO #2: Analyze and explain the relationship between the Hebrew Bible and its relationship to history, art, literature and philosophy. CSLO #3: Compare and contrast the various books of the Hebrew Bible within and/or across cultural traditions. CSLO #4: Communicate effectively orally or in writing on a topic about the Hebrew Bible related to its study in the Humanities. Effective Term Fall 2022 Course Type Credit - Degree-applicable Contact Hours 54 Outside of Class Hours 108 Total Student Learning Hours 162 Course Objectives Students will, through oral and written work: 1. Define relevant and integral terminology including but not limited to "Torah," "Pentateuch," and "Old Testament" and discuss the political and cultural ramifications of each title; 2. Identify and describe the J, E, D and P authorship styles as found in the Torah/Pentateuch; 3. Evaluate interpretations of the two creation stories found in Genesis I and II with regards to consistency of interpretation with the ancient texts as a whole and the ramifications of these interpretations for women's roles, men's roles, and conceptions of human nature; 4. Discuss the relationship between archaeology and history with the events and mythologies expressed in the Ancient texts; 5. Identify and describe the stories of the major figures of the Torah, Old Testament and Apocrypha; 6. Evaluate contemporary interpretations of these major figures and their stories; 7. Chart the history of the Hebrew people throughout the Torah and Old Testament; 8. Explain and evaluate both literal and metaphorical interpretations of the importance of the figures and events expressed in the Torah, the Old Testament and the Apocrypha; 9. Identify and explain the various literary forms found in the Torah, Old Testament and Apocrypha; 10. Discuss the laws and rituals described in the sacred texts and their relationship to historical and cultural settings; 11. Identify, describe and evaluate the relationship between the Torah, the Old Testament and the Apocrypha on contemporary societies. General Education Information Approved College Associate Degree GE Applicability AA/AS - Literature & Language CSU GE Applicability (Recommended-requires CSU approval) CSUGE - C2 Humanities Cal-GETC Applicability (Recommended - Requires External Approval) IGETC Applicability (Recommended-requires CSU/UC approval) IGETC - 3B Humanities Articulation Information CSU Transferable UC Transferable Methods of Evaluation Classroom Discussions Example: After learning about the Documentary hypothesis (J, E, D, and P authorship hypothesis), students will be invited to discuss the characteristic differences between J, E, D and/or P authorship styles. Based on these discussions, (2) students will write two paragraphs identifying characteristic differences between the Jahwist (J) and Elohist styles. Submitted paragraphs will be evaluated by whether they include relevant concepts and coherent reasoning. Essay Examinations Example: In a short essay, evaluate the two creation stories found in Genesis I and II with regards to consistency of interpretation. Explain whether, in your view, the Documentary hypothesis resolves the inconsistencies. Use examples and passages from relevant readings and instructional material to help explain and support your ideas. Objective Examinations Example: A. Students will take a multiple-choice examination on the Documentary hypothesis. For example: According to the Documentary Hypothesis, the story of Adam and Eve (Gen. 2:4ff) was most likely penned by which author? (A) The Yahwist ("J"); (B) The Priestly Source ("P"); (C) The Elohist Source ("E"); or (D) The Deuteronomist ("D"). Projects Example: Create a poster board that charts and describes interpretations of the two creation stories found in Genesis I and II with regards to what these interpretations mean for women's roles, men's roles, and/or conceptions of human nature. Repeatable No Methods of Instruction Lecture/Discussion Distance Learning Lecture: Using a slide-presentation for an on-ground lecture, the instructor will explain the J, E, D, and P authorship hypothesis. Through an interactive discussion, students will be invited to discuss the characteristic differences between J, E, D and/or P authorship styles. Distance Learning Students will watch a video of the instructor explain the Documentary hypothesis (J, E, D, and P authorship hypothesis). In a discussion board assignment, students will be presented with passages from Genesis 2:4ff and invited to identify and describe its likely author and provide support for their claims referencing the instructional material in the unit. Students will reply to peers reviewing their interpretation and support for their claims. Typical Out of Class Assignments Reading Assignments 1. Read "Read Chapter 1 in Michael Coogan's "The Old Testament: A Historical and Literary Introduction to the Hebrew Scriptures," and be prepared to discuss the literary traditions of Yahwist, Elohist, and Priestly strains. 2. Read the book of Genesis 3, and be prepared to discuss the ways stories can have meaning without necessarily being an historical fact. Writing, Problem Solving or Performance 1. Pick one of the Minor Prophets and write a 6-8 page essay describing the historical, political and religious context to which he is responding. 2. Read Exodus chapters 1 – 14 carefully, a couple of times through. When you think you have an accurate and complete understanding of the narrative, watch the film The Prince of Egypt (1998) by DreamWorks Animation. The goal of the assignment is for you to address the question of whether or not the film has changed the story in critical ways. For your assignment, write a 4-6 page paper analyzing elements of the story which the film has 1) Added; 2) Omitted; and 3) Kept the same. Give what you think are the three most important examples of each (you’ll discuss nine topics total), and provide arguments justifying why the elements you chose are important for understanding how DreamWorks has re-told the story. In your concluding section, discuss whether or not the film has faithfully reproduced the story. In other words, is it enough if someone has seen the film without ever having read the Exodus version? Why or why not? Other (Term projects, research papers, portfolios, etc.) Required Materials The Old Testament: A Historical and Literary Introduction to the Hebrew Scriptures Author: Michael D. Coogan, and Cynthia R. Chapman Publisher: Oxford University Press Publication Date: 2017 Text Edition: 4th Classic Textbook?: OER Link: OER: The Jewish Study Bible Author: Berlin, Adele and Marc Svi Brettler Publisher: Oxford University Press Publication Date: 2013 Text Edition: 2nd Classic Textbook?: OER Link: OER: The Living Torah (English edition) Author: Aryeh Kaplan Publisher: Moznaim Pub Corp Publication Date: 2003 Text Edition: 4th Classic Textbook?: OER Link: OER: The Bible Unearthed: Archaeology's New Vision of Ancient Israel and the Origin of Its Sacred Texts Author: Israel Finkelstein, Neil Asher Silberman Publisher: Free Press Publication Date: 2001 Text Edition: Classic Textbook?: OER Link: OER: The Apocrypha Author: Edgar J. Goodspeed and Moses Hadas Publisher: Vintage Publication Date: 1989 Text Edition: Classic Textbook?: OER Link: OER: Other materials and-or supplies required of students that contribute to the cost of the course.
KIN 0020 - Multi Self Defense System
http://catalog.sierracollege.edu/course-outlines/kin-0020/
Catalog Description Formerly known as PHED 80 Hours: 36 activity per unit Description: A multi combat self defense system combining the martial arts of Escrima (stick and knife fighting), Jujitsu, and Kenpo. Focus on teaching application of principles leading to utilizing ordinary items to help defend oneself. Emphasis on strengthening the body and improving endurance. (CSU, UC-with unit limitation) Course Student Learning Outcomes CSLO #1: Examine Jujitsu techniques in a simulated performance. CSLO #2: Demonstrate stick and knife skills that apply to De Cadena two man training drills. CSLO #3: Diagram the proper Escrima defense of the twelve strikes and blocks. CSLO #4: Examine safety guidelines for Self-Defense. CSLO #5: Examine the physical demands on the body when performing Self-Defense skills. Effective Term Fall 2019 Course Type Credit - Degree-applicable Contact Hours 18-72 Outside of Class Hours 9-36 Total Student Learning Hours 27-108 Course Objectives 1. Practice proper Escrima defense of the twelve strikes and blocks. 2. Demonstrate the courtesies of the Escrima system. 3. Describe and assess the three different systems (Escrima, Jujitsu, and Kenpo) and explain how each can be applied to the other. 4. Compare and contrast the strengths and weaknesses of each system. 5. Demonstrate the twelve strikes and their defense and summarize how each applies to the other. 6. Apply the basic Jujitsu falling, rolling and throwing techniques in a simulated performance. 7. Differentiate between the various double stick techniques and assess their use in double defense, pinki pinkis two man pattern drills and De Cadena two man drills. 8. Demonstrate stick and knife skills and apply to De Cadena two man training drills. 9. Apply forms and self defense techniques of Escrima, without weapons, to the Kenpo empty hands system. 10. Utilize all three systems in combination with each other in a demonstration setting. 11. Demonstrate safe practices in the performance of stick and knife techniques. General Education Information Approved College Associate Degree GE Applicability AA/AS - Health Ed/Physical Ed CSU GE Applicability (Recommended-requires CSU approval) CSUGE - E2 Physical Activity Cal-GETC Applicability (Recommended - Requires External Approval) IGETC Applicability (Recommended-requires CSU/UC approval) Articulation Information CSU Transferable UC Transferable Methods of Evaluation Essay Examinations Example: Students will be required to successfully pass an essay exam. Example: Compare and contrast Filipino stick defense to Kenpo defense. Essays will be evaluated based upon completeness and accuracy. Objective Examinations Example: Students will be required to successfully pass a thirty five question objective exam. Example: List four differences in stances between Escrima and Kenpo. Repeatable No Methods of Instruction Activity Activity: The instructor will facilitate a class debate in which small student groups must compare and contrast the various self defense systems and techniques. Instructor will facilitate a group discussion activity in which theoretical information presented in class will be discussed by students. Students will assess the value of theories presented and will brainstorm practical applications of Escrima. Typical Out of Class Assignments Reading Assignments 1. Read Chapter from the assigned text Filipino Combat and be prepared to discuss the background of Escrima. 2. Read an instructor supplied handout on Escrima and be prepared to discuss the history of Jujitsu. Writing, Problem Solving or Performance 1. Keep a journal or self-reflection diary analyzing and evaluating how reading assignments and class participation relate to Escrima standards such as improving basic stances, footwork and self defense techniques. 2. Write a three to five page reaction paper assessing the fundamental presuppositions regarding the self defense techniques and De Cadena in the practice of Escrima. Other (Term projects, research papers, portfolios, etc.) Required Materials Balintawak Eskrima Author: Sam L. Buot Sr. Publisher: Tambuli Media Publication Date: 2015 Text Edition: 1st Classic Textbook?: OER Link: OER: Other materials and-or supplies required of students that contribute to the cost of the course.
Course Identification Numbering System (C-ID)
...0140 ARTS 100 ART 0002 ARTS 101 ART...0002 PHIL 130 PHIL 0020 PHIL 140 PHIL...
Humanities
http://catalog.sierracollege.edu/departments/humanities/
...in Art ARHI 0150 History of Asian Art...Introduction to Atheism HUM 0020 Introduction to the...
