CAST150: Introduction to Creativity, the Arts, and Social Transformation

CAST150: Introduction to Creativity, the Arts, and Social Transformation

Fall 2016

PROVISIONAL SYLLABUS AND CALENDAR

Instructor: Cynthia Cohen, Ph.D.

Director, Program in Peacebuilding and the Arts

International Center for Ethics, Justice and Public Life

Co-chair, CAST facultly committee

Office: ASAC (Abraham Shapiro Academic Complex) 3rd Floor, Room 321

Phone: 781-736-2133; Messages: 781-736-8577

Email:

Office hours: Most Wednesdays, 4:30 – 6, and by appointment.

Please make appointments by emailing

Teaching Assistant: Maggie Ziegel

Class:

Tuesdays, 2 – 4:50

Most sessions at Schiffman 002

Introduction

CAST150: Creativity, the Arts, and Social Transformation is an interdisciplinary exploration of theory and practice at the nexus of creative expression and social change. We will explore multiple forms of creative expression –story, music, theatre, visual arts, urban design, etc. – and several different social change frameworks, including resistance, humanization and reconciliation; human, economic, cultural and urban development; restorative social justice.

Why a course that explores the relationships among creativity, the arts, and social transformation? Throughout the world, artists, cultural workers, activists, and peacebuilding practitioners are incorporating the arts into efforts to strengthen relationships across difference, achieve social justice, and create less violent societies. They work in a wide array of art forms –music, literature, theater, visual arts, storytelling, digital art and broadcast media, architecture, conceptual art and folk expressions of all kinds. Their projects are intended to accomplish different goals, such as supporting communities in struggles against oppressions; helping enemies perceive each other’s humanity; supporting survivors to recover from trauma; inviting communities to empathize with each other’s suffering, to address injustices and to imagine a new future. They involve people as creators, performers, participants, audience members, witnesses, and critics.

Some of these initiatives operate on the level of the individual, some in single neighborhoods and some are international in scope. Some are one-time events; others involve creating sustainable institutions and processes that last for decades. Some initiatives are transformative because they are broadly inclusive and participatory; the transformative power of others can be found in virtuosity, and the skillful uses of aesthetic elements such as color, rhythm, texture, metaphor, imagery and narrative. Some arts-based and cultural social change initiatives are highly effective; we want to understand why, and how to maximize their effectiveness. Some are less effective, and some well-meaning arts-based initiatives even do harm. In this course, we will discuss risks of harm and identify ways to minimize them.

Although there is a great deal of activity in this field, until very recently, little has been documented, and there is no consensus yet about standards for excellence. This documentation would help policy-makers or practitioners understand the range of contributions, the accomplishments, and the limitations of interventions that incorporate the arts and cultural work. Rarely do the artist-change-makers who design such projects have the opportunity to reflect on them, to assess them honestly, and to explore the ethical questions that emerge from this kind of practice. Rarely do they understand the larger peace-building field or work in coordination with practitioners in other fields who are working toward similar goals. At Brandeis, including through this class, we are working to begin to fill these gaps.

This course is designed for students in the arts, peace, conflict and coexistence studies, politics, sociology, anthropology and international and global studies, and for students in sustainable development, and coexistence and conflict. It is for those already engaged in peacebuilding/cultural projects, for those who think of doing this kind of work in the future, and for those who may never work in this area but find our questions intriguing. It is for students who are practitioners (of the arts, development, conflict transformation, activism, etc.) and for those who might work as administrators, funders, advocates and/or policy-makers, or collaborate with artists and cultural workers from their positions in agencies of many kinds.

For students minoring in CAST (Creativity, the Arts, and Social Transformation) this course offers a set of frameworks that will support you to understand the relationship among the ideas and practices you will encounter in other courses in the minor as well as various co-curricular projects. For some minors, assignments in CAST 150 can be adapted to fulfill your capstone requirement. Please let the instructors know by the end of September if you wish to explore this option.

In the fall of 2016, the class will focus on:

•Developing skills of listening, performing, critical thinking, collaboration, and interdisciplinary inquiry.

•Understanding the moral imagination and creative approaches to reconciliation.

•Understanding the unique contributions of music to community building through engagement with the distinguished cultural worker, Jane Wilburn Sapp

•Exploring the significance of cultural heritage preservation

•Re-design of cities destroyed in war, with special attention to Aleppo, Syria

•Understanding aesthetic engagement in general and the unique contributions to social transformation of music, the visual arts, poetry, dance, and theater.

•Special topics of interest to each student.

Course Goals

Introduction to Creativity, the Arts, and Social Transformation engages students in exploring theory and practice at the nexus of creativity, the arts, and social transformation. We explore dilemmas and constraints as well as accomplishments and possibilities.

Specifically, students will:

•Prepare for, conduct, analyze, creatively synthesize and present an oral history interview with someone who is different from themselves across dynamics of power

•Participate actively in preparing for and synthesizing learning from a design lab that generates creative solutions to a real world problem by bringing different kinds of expertise into generative conversation

•Research artistic and cultural initiatives that are addressing the global challenges of migration, extremist violence, global health, social inequality and climate change.

•Produce and reflect on a creative work, or write a research paper, on a topic of the students’ choices

•Meet artists and cultural workers in class, watch films, listen to music, and read about theory and practice, all addressing a variety of art forms and approaches to social transformation, and write weekly reflections that raise questions and further learning

Course Requirements

CAST 150 requires students to:

• Prepare for and attend classes, including completing readings and other assignments and writing reflections 1–2 times/week. (20% of grade.)

• Complete assignment #1: Conducting and synthesizing learning from the process and content of an oral history interview, and offering to classmates and guests a creative presentation based on the interview. See assignment #1 attached. (20% of grade.)

• Complete assignment #2: Participating actively in planning for, documenting and assessing an design lab, involving artists, scholars, activists, experts and students. See assignment #2 attached. (20% of grade.)

•Complete assignment #3: Researching and presenting artistic and cultural initiatives that are addressing the global challenges of migration, extremist violence, global health, social inequality and climate change. See assignment #3 attached. (20% of grade.)

•Complete assignment #4: Synthesizing and extending learning through original inquiry and creative work exploring a topic, and sharing results in a medium of your choice. See assignment #3 attached. (20% of grade).

Course Readings and other Resources

Most readings, DVDs and CDs will either be posted on Latte (the electronic bulletin board) or are available online. In a few cases, books and DVDs will be available through the Reserve Desk at the Library (or can be purchased for shared or individual use). Instructions for accessing resources will be available on the class Latte site.

Course Policies

1. Attendance is required at all class sessions. Because everyone’s learning in the class is strengthened by the contributions of other members, please prepare thoroughly and ask to be excused only in cases of serious health or other emergencies. If you are unable to attend class, please inform the instructor before the beginning of class if at all possible.

Attendance at class sessions means being present to conversations and activities in the room. Research has shown that taking notes by hand results in more effective learning that taking notes on computers or tablets. Checking email or texting during class sessions is not allowed. Looking up information on the internet during class sessions is allowed only when specifically requested by the instructor.

2. You are welcome to confer with each other on papers, performances, projects and class presentations. Writing, however, should be your own. Please be sure to credit the source of any ideas borrowed from or inspired by others. For more information, the University policy on academic honesty is contained in section 5 of the Rights and Responsibilities handbook.

3. This class requires the use of tools that may disclose your coursework and identity to parties outside the class. To protect your privacy you may choose to use a pseudonym/alias rather than your name in submitting such work. You must share the pseudonym/alias with me and any teaching assistants as needed. Alternatively, with prior consultation, you may submit such work directly to me.

Note: If you are a student with a documented disability on record at Brandeis University and wish to have a reasonable accommodation made for you, please see the instructor before the third session of class.

Session and Date / Focus of Class Session / Readings
Due before class date (on Latte unless otherwise specified) / Assignments
Reflections due by 1 p.m on Sundays before class date unless otherwise noted
UNIT 1: / Frameworks for Understanding Art and Social Change
Session 1:
August 30 / Introductions/interviews and
listening/
overview of course and
assignments/
introduction to
creativity/arts/social transformation
Session 2:
September 6 / Oral history and agency
The moral imagination / Mary Marshall Clark, “Oral History, Art and Praxis” in Community, Culture and Globalization
John Paul Lederach, “Thoughts for a Preface” and Chapters 1 – 8 in
The Moral Imagination: The Art and Soul of Building Peace / Reflection #1 (due Wednesday, August 31st by 11:59pm): As soon as possible after our class session, but no later than midnight on August 31, write and post on Latte a 2 – 3 page reflection on our first class:

• What did you discover or affirm about what you want to learn from the class?
• What did you learn about yourself as a listener?
• What did you discover about building a sense of community through the sharing of stories?
• What did you experience as an interviewee that can help you become a better interviewer?

Reflection #2: 2 – 3 pages

• Choose one idea from “Oral History, Art and Praxis,” and write about why it stands out for you. Why is it important?
• Then, choose one of the four principles of Lederach’s conception of the moral imagination that you have experienced in the actions of others. How have you experienced this element of the moral imagination expressed in relationships, activities, activist or policy initiatives, or arts projects?
• Feel free to raise any objections or reservations about Lederach’s theory.

Session 3:
September 13 / Memory
Aesthetic engagement
Theories of change:
-Resistance
-Rehumanization
-Reconciliation
Seven elements of reconciliation
Reciprocity / Cohen, “Creative Approaches to Reconciliation”
Salomon Lerner-Febres, "Memory of Violence and Drama in Peru: The Experience of the Truth Commission and the Yuyachkani Theater Group"
Watch film: “Acting Together on the World Stage” / Reflection #3: (2 -3 pages)

• Choose one element from the seven elements listed in “Creative Approaches to Reconciliation,” and one image or story from the film “Acting Together on the World Stage,” and write about why these stand out for you. Do they connect to your experiences of seeking justice and/or rebuilding trust in the aftermath of violence?
• Dr. Salomon Lerner Febres argues that theatre is indispensable for justice in the aftermath of violence. Choose one sentence or one paragraph from his paper and indicate why you think it is important.

Session 4:
September 20 / Session led by Jane Wilburn Sapp, cultural worker, educator, and activist
Cultural Work and Community Cultural Development / Jane Wilburn Sapp biography
Selections from “I Hear Music Everywhere: The Jane Sapp Songbook”
Cynthia E. Cohen, “’Ain’t You Got A Right to the Tree of Life’: Facilitators’ Intentions Towards Community, Integrity, and Justice" [Focus on highlighted sections]
Watch film: “Third Ward TX” / Reflection #4: (2-3 pages)

• Choose one idea from “Ain’t You Got A Right to the Tree of Life,” that you would like to understand more about, and frame a question for Jane Sapp to answer when she visits the class.
• After watching the film “Third Ward TX,” reflect on Rick Lowe’s practice. What ideas and images stands out for you?
• What does Rick Lowe’s approach to community development have in common with Jane Sapp’s approach to cultural work?

Session 5:
September 27 / Music Unites US:
Performance and Presentation by Sandeep Das / About Silkroad Project
Sandeep Das biography
Watch clips: Sandeep Das performing (videos 1-3)
Watch film: “The Music ofStrangers: Yo-Yo Ma and the Silk Road Ensemble” / Reflection #5: (2-3 pages)

• What can be learned about a different culture by listening to its music? What questions would you like to ask Sandeep Das?
• Choose 1) an idea, 2) a musical moment and 3) an image from the film “The Music of Strangers.” Why do these stand out for you?

October 4 / Rosh Hashanah: NO CLASS / One page proposal for final project due by 1pm on Sunday October 2nd
Session 6:
October 11 / Broadway and Social Transformation
In-class presentations of Student Oral History Projects / Listen to interview with Oskar Eustis, artistic director of Public Theatre where the broadway hits Alexander Hamilton and Angels in America were ‘incubated’
Listen to selections from Hamilton
Watch selections from Angels in America / Reflection #6: (2-3 pages)
After listening to Oskar Eustis’ argument for the transformative impact of his work, watching excerpts from Angels in America and listening to excerpts from Alexander Hamilton, respond to thess question:

• Can Broadway productions contribute to social transformation?
• What is Eustis’ argument?
• What is the best case against his argument?
• What is your opinion?

Session 7:
October 18 / In-class presentations of Student Oral History Projects
Visitors:
Daniel Orth, University of San Diego
Elyum Erturk; Turkish Arts Administrator / Assignment #1 due by 1pm on Sunday October 16th
October 25 / Brandeis Monday:
NO CLASS / Reflection #7: (2-3 pages) Due October 23 at 1pm.

• After watching and listening to your classmates’ creative works based on their oral history interviews, what stories and images stand out for you and why?
• How would you assess the transformative potential of oral history/creative presentation projects like this? How could its impact be extended?
• About the presentations you selected in class: make three constructive suggestions for how it could be improved for presentation to a larger public.

Final project feedback response due by 1pm on Tuesday October 23.
UNIT 2: / Art, Culture, and Global Issues
Session 8:
November 1 / Introduction to Design Labs
Cultural Heritage as a Human Right
Urban Design in Conflict/Post-Conflict Zones
4 p.m.: Presentation from Eylum Erturk / TBD / Reflection #8: Due October 30
Session 9:
November 8 / Design Lab: Cultural Heritage Preservation in Aleppo, Syria
Visitors:
Kristin Parker; Director—Rose Art Museum
Reema
N.C based Architect / TBD / Reflection #9:
Session 10:
November 15 / Design Lab Wrap-Up
In-class Group Work / TBD / Reflection #10:
Session 11:
November 22 / Permeable Membrane
In class verbal update on final projects / Cohen, Varea and Walker. “The Permeable Membrane and Moral Imagination: A Framework for Conceptualizing Peacebuilding Performance,” Acting Together, Volume II Chapter 6 / Reflection #11:
Session 12:
November 29 / Group Presentations on Art and Global Issues / Reflection #12:
Session 13:
December 6 / Final Project Presentations / Reflection #13:

CAST 150: Fall 2016

ASSIGNMENT #1: ORAL HISTORY AS A CREATIVE APPROACH TO ENCOUNTERING DIFFERENCE

We listen, if we listen well, with our whole selves (body, spirit, intellect, eye, imagination) and respond, in conversational form, in a way that indicates to the person we are interviewing that we have really heard. If we have not really heard, that is painfully and immediately evident and the interview is a failure.

--Mary Marshall Clark, in Oral History: Art and Praxis, Adams and Goldbard, p. 87.

This assignment offers you an opportunity to engage in the processes of oral history as it is described and interpreted by Mary Marshall Clark in her essay “Oral History: Art and Praxis.” Her approach focuses on listening that is active, engaged, enlivening and respectful. It also offers an opportunity to engage with a personal narrative that might present challenges or new insights to your understanding of your own identity and the dynamics of power that surround it.

1. Read the essay “Oral History: Art and Praxis” by Mary Marshall Clark, available online. Take note of the four ways in which she links oral history and community cultural development; the “steps” she recommends; and the six principles and guidelines at the end of her chapter. Take good notes on this chapter or read it twice. Become familiar with her ideas.

1. Choose someone to interview who is different from you in a significant way, someone whose identity -- in terms of ethnicity, race, economic class, ability, or religion – is inscribed with dynamics of power different from your own identity. Choose a person whose narrative is likely to present challenges for you and your understanding of your own stories or community narratives or identity. Choose someone who represents a challenge for you at a level that you feel prepared to take on, and someone you are confident that you can listen to respectfully. AVOID choosing someone for this assignment who is related to you or whom you consider a close friend.
2. Check with that person to see if he or she would be willing to share their story with you in a recorded interview; find someone eager to participate, and someone who will not object to you sharing their story with your classmates and possibly with the Brandeis community. Check with your interviewee to see if they have any concerns about sharing their story. Let them know that, if they wish, they can ask you not to record certain portions, or to delete certain portions after the interview is complete.

1. Prepare yourself for the interview by exploring background information and creating a list of questions or topics you hope to learn about during the interview. You can conduct the interview using a tape recorder, your cell phone, or your computer. Test the equipment and be sure you are comfortable with it BEFORE THE INTERVIEW SESSION.
2. Conduct the interview in person at a time and place of mutual convenience. The place should be relatively private. The interview should last about 45–60 minutes, but definitely no less than 20 minutes and probably no more than 90 minutes. If you still have questions, you might be able to arrange a follow-up. It is more important to listen well than to cover all of the questions or topics on the list. Your job is to elicit the stories that your interviewee wishes to tell. Receiving your interviewee’s “map” of their experience is more important than covering all your questions.
3. Listen to the interview, focusing on the content. Make an outline of the content, as if you are taking notes on a meeting. Choose one brief story, or one portion of the interview (2 –3 minutes is sufficient) to transcribe word for word.

1. Consider whether there are any possible risks of harm to you or to the interviewee if certain of their stories would be shared. Think about ways to either avoid those stories or minimize risks of harm in your approach to sharing it.

1. Craft a creative presentation of one of the stories you heard for a presentation in class on October 11 or October 18. If you feel there are any possible risks to the interviewee, choose a way of presenting the story that minimizes risks of harm. Your presentation can be in the form of a storytelling performance, an ethno-poem (i.e. finding the poetry in the narrator’s words and crafting a poem using those phrases), a fictional short story, a short graphic novel, the script for a dialogue, the design for a mural, a series of visual images, a digital graphic presentation, a ballad, or some other creative form. Do NOT create a collage; in the past these have not been as powerful as other forms. Presentations should be 5 minutes in length. If your creative work is longer, choose an excerpt to present. If it is a visual work or a shorter presentation, you will respond to questions and/or share your reflections on conducting the interview and preparing your creative work.
2. Write a 2 –4 page reflection paper on the process and content of the interview and creating your presentation, linking to the ideas of Mary Marshall Clark.

o Why did you choose the particular person you interviewed?