essay

ETHN 101: INTRODUCTION TO ETHNIC STUDIES – SPRING 2019

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INSTRUCTOR Dr. Nancy Quiñones

Office: CI 236

Office/Student Hours: Mon. 7:50- 8:20 a.m.

E-mail: [email protected]

CLASS INFORMATION

Class Times: M/W @ 8:30 a.m. – 9:50 a.m.

Class Room: LB 301

CRN # 21248– 3 Units

REQUIRED TEXT

Freire, P. (1970). Pedagogy of the oppressed. The Continuum International Publishing Group Inc. New York, NY.

For READINGS not found in the REQUIRED text, visit the library and ask a Citrus College LIBRARIAN

for help. You may also find some of the readings online.

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CITRUS COLLEGE MISSION STATEMENT

Citrus College delivers high quality instruction that empowers students to compete globally and to contribute to the economic growth of today’s society. We are dedicated to fostering a diverse educational community that supports student success in pursuit of academic excellence, economic opportunity, and personal achievement (italics mine).

COURSE DESCRIPTION This course is a historical and cultural survey of ethnic groups in the U.S.; from Native Americans to Americans with Asian, African, Latin@, Afro-Latino, Middle Eastern and European heritage. This course introduces you to the concept of ethnicity and how it relates to national identity, contemporary issues of identity, cultural, social and political dynamics. This course will also explore ways in which socio-political and cultural categories like class, gender, sexuality, and religion intersect with narratives of race and ethnicity to produce structures, policies and practices that have shaped and continue to shape social and political dynamics in the United States. Our objective is to learn to think and engage in new ways about the discourse/dialogue we have about, in-and-around and between race, ethnicity and nation.

STUDENT LEARNING OUTCOMES Students who successfully complete the requirements of this course will leave with the ability to:

 Demonstrate an understanding of issues surrounding people of color within the context of the United States.

 Critically examine and evaluate written text materials, lecture materials, and visual or audio aids such as films, internet or audio files.

 Develop and practice cultural awareness and social consciousness while critically examining and evaluating written text materials, lecture materials, classroom discussions, and visual aids.

 Analyze the historical and cultural experiences of the four major ethnic groups in the United States – Native people, African/Afro descent, Latin@s/Chican@s, Asian descent.

COURSE OBJECTIVES  Discuss the general history and development of intercultural relations in the U.S.

 Understand the historical and cultural experience of the four major ethnic groups in the U.S.

 Understand government policies affecting these core groups and discuss responses to these policies.

 Compare and contrast the experiences of the different ethnic groups by discussing similar topics across all four cultures.

 Promote a better understanding of ourselves and those around us in hopes of improving contemporary inter/intra-group relations and to accentuate the positive aspects of our multicultural society.

 To understand how media can influence perceptions about society in a positive or negative manner.

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POLICIES AND PROCEDURES

Students with Disabilities and/or Special Needs

The American Disabilities Act (ADA) requires that students with disabilities receive reasonable accommodations once they have provided verifiable notification approved by the Disability Resource Center (DRC). The DRC has been designated as the campus authority to verify disabilities and to prescribe specific accommodations for students with documented disabilities.

It is recommended that students, once admitted to the University, register with the DRC by scheduling an intake appointment to determine eligibility and services.

Student must NOTIFY me IN WRITING no later than 2nd day of class and I will make all reasonable efforts to accommodate your needs. Students who would like to learn more or request assistance may reach out to Student Services or also visit the website:

http://citruscollege.edu/stdntsrv/dsps/Pages/default.aspx

Sexual Misconduct Citrus Community College District is committed to providing an educational environment that is safe, friendly, accessible and free of all forms of discrimination, sexual harassment, and sexual misconduct, including sexual assault, domestic and dating violence and gender-based stalking. If you (or someone you know) has experienced or experiences gender- based violence (intimate partner violence, attempted or completed sexual assault, harassment, coercion, stalking, etc.), know that you are not alone.

Please be aware that all Citrus College faculty are responsible employees with reporting responsibilities and obligations. This means that if you tell me about a situation, I may have to report the information to the appropriate college administrator.

When you are ready to make a report, contact the following:

 626-914-8830 – Manager of Human Resources/

Staff Diversity & Title IX Coordinator

 626-914-8611 – Campus Safety Supervisor

 626-914-8635 – Health Center Nurse

 626-914-8250 – Glendora Police Department

For more information about sexual misconduct, please visit the Citrus College websites:

 Sexual Assault

http://www.citruscollege.edu/stdntsrv/healthcntr/Pages/Se

xualAssault.aspx

 Sexual Violence Prevention

http://www.citruscollege.edu/stdntsrv/studentdean/ab108

8/Pages/default.aspx

 Sexual Harassment

http://www.citruscollege.edu/admin/statements/Pages/Se

xualHarassment.aspx

 Citrus College Administrative Procedures and Board

Policies –

http://www.citruscollege.edu/admin/bot/Documents/Polici

es%20and%20Procedures%20(Updated)/Chapter%203%

20Community/Administrative%20Procedures%203/AP%2035

40%20Sexual%20and%20Other%20Assaults%20on%20Campus

.pdf

Internet Access, Electronic Media & Email

Access to the Internet – Limited or no access to the internet is not an acceptable excuse for late work.

Not having a personal computer is not an acceptable excuse for late work. If you do not have internet access and/or computer, please see me the first week of class.

 SUBMIT YOUR WORK ON TIME!  Submitting your work on time includes your FINAL. Should you miss the time of the FINAL as prescribed by the University, it will not be accepted.

Electronic Media – All cell phones, ipods, ipads, computers, laptops, tape recorders, video, or any electronic media must be TURNED OFF or put on silence while class is in session. No internet browsing, texting or instant messaging allowed while class is in session. I am not an electronic nanny so I will not nag you. HOWEVER, NOTE that each time I see a student using a device, I will deduct 5 points from her/his class participation total. Class participation is a choice you either make or don’t make.

Email – I will respond to email inquiries within 2 business days and expect respectful language and dialogue at all times. We will address one another formally and professionally (language and manner). When addressing me in-person or via email, you may call me Dr. Quiñones, Dr. Q, Professor Quiñones, Profa Quiñones, Doctora Quiñones, or Profa. I will ONLY

respond to emails that are appropriately addressed. Students Conduct & Academic Honesty

Pursuant to Citrus College Regulation 5139 - Student Conduct Disciplinary Action and Citrus Standards of Student Conduct, as stated on the schedule of classes, cheating and any form of plagiarism will not be tolerated and strictly enforced. Students are expected to follow the code of conduct as outlined in the

schedule of classes.

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Dr. Q’s B.A.S.I.C.s

BE STRATEGIC!

 SHOW UP FOR CLASS!

 COMPLETE ASSIGNMENTS!

 Read, Read, READ!

 The syllabus is your Guide to Success

 Plan well & follow directions

 Take notes & engage

 Give yourself time to write and RE-write.

ALWAYS THINK CRITICALLY!

 Come to class ready to be challenged.

 Approach class, your reading and assignments as a CRITICAL THINKER!

 Ask “WHY?” because I will.

 This course is designed to challenge YOU, YOUR ways of THINKING, UNDERSTANDING and KNOWING.

 If you do not agree, GREAT! – let’s engage in an academic debate!

 Class is always about more than the subject matter.

STAY CONNECTED!

 Class participation enhances your concentration and understanding.

 Take notes as you read, in class and when screening documentaries in class.

 If you have questions or clarifications, want to talk about your grade? Come see me during

office hours/student hours.

INITIATE CONTACT WITH YOUR PROFESSOR!

 Get to know your professor!

 DO NOT wait for WEEK 15 to make an appointment to visit your professor if you are confused, want more insight about an assignment, do not understand the work and/or when you are struggling with the course materials.

CELEBRATE & END THE SEMESTER WELL!

 Celebrate your successes.

 Take pride in having prepared your assignments with your best work ethic.

 IF YOU DID NOT COME TO CLASS, READ or DO THE WORK, NOT BE SURPRISED, MAD, RUDE OR BLAME your professor for the grade YOU have earned.

 Be HONEST, GRACEFUL & REFLEXIVE! Learn from your experience.

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Required Text, Course Evaluation & Grade Scale

You and you alone earn your grade. You will earn your grade based on the number of points you accumulate for each of the following:

ASSIGNMENT POSSIBLE POINTS 1. Engaged Attendance & Participation 70/ Form 30 100

2. Teaching Facilitation 40/Handout 30/Reflection Essay 30 100

3. Annotated Bibliography (5 @ 20 points each) 100

4. Cultural Artifact Art Project Draft 25/Finalized Art Project 75

100

5. Great Wall of L.A. Slam Poem Panel Selection 25/Finalized Poem 75

100

6. Exploration of Identity Analysis Paper Stamped Draft 20/Stamped Draft 20/Final 60

100

TOTAL 600

GRADE & % GRADE & %

A 95 – 100% 570 – 600

A- 90 – 94% 540 – 569

B+ 88 – 89% 528 – 539

B 84 – 87% 504 – 527

B- 80 – 83 % 480 – 503

C+ 78 – 79% 468 – 479

C 74 – 77% 444 – 467

C- 70 – 73% 420 – 443

D+ 68 – 69% 408 – 419

D 64 – 67% 384 – 407

D- 60 – 63% 360 – 383

F 59% & below 354 & below

Regarding Written Assignments

 ALL Written Assignments MUST be written in APA format. (NOTE: NO RUNNING HEAD, NO COVER PAGE, NO ABSTRACT REQUIRED, I AM INTERESTED IN YOUR IN-TEXT CITATIONS AND REFERENCE PAGE CITATIONS).

 ALL Written Assignments, including QUIZZES, MUST be typewritten in 12 pt. font Cambria, Courier or Times with 1- inch margins.

 Students MUST submit two (2) copies of all written assignments.

1. FIRST copy must be a hard copy at the beginning of class the day it is due.

2. SECOND copy must be an electronic copy submitted to Blackboard the day it is due.

 Good grammar, good spelling, good overall writing is expected. In other words, you must evidence that you have

taken the time to re-read and edit your papers.

 If there are excessive grammatical, spelling, run-ons, etc., you immediately jeopardized 20% of the possible total.

 No late assignment will be accepted more than one week after it is due. ALL late submission will suffer a 20%

deduction.

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GENERAL COURSE OUTLINE – FALL 2019 NOTE: Reading assignments, the course outline and the overall syllabus is subject to change at the instructor’s discretion. You MUST bring Reading Material to class.

WEEK by WEEK COURSE OUTLINE DUE ASSIGNMENTS (Assignments Due on MONDAY)

WEEK 1 – AUG. 26 & 28 – Welcome & Introductions

Introductions & Review Syllabus

SCREEN: The Immigrant (1917)

SCREEN: Hamilton: Immigrants, We Get the Job Done (2017)

SCREEN: Hasan Minhaj: Homecoming King (2017) 73 minutes

WEEK 2 – SEPT. 2 – HOLIDAY NO SCHOOL SEPT. 4

Facilitation Collective Work Day

WEEK 3 – SEPT. 9 & 11 – Oppression, The System and its Persistence

Freire, P. (1971). Pedagogy of the Oppressed. New York, NY: Continuum.

SCREEN: Paulo Freire Interview (1997)

WEEK 4 – SEPT. 16 & 18 – Critical Race Theory & Cultural Capital Lipsitz, G. (2006). The Possessive Investment in Whiteness. The possessive

investment in whiteness: how white people profit from identity politics. Philadelphia, PA. Temple University Press. p. 1-23.

Omi, M. and Winant, H. (1994). Racial Formation in the United States: From the 1960s to the 1990s. Routledge, New York. p. 52-76.

Yosso, T. J. (2005). Whose culture has capital? A critical race theory discussion of community cultural wealth. Race Ethnicity and Education. Vol. 8, No. 1. p. 69-91.

All Teaching Facilitation Handouts Week 4 Facilitators Present Annotated Bibliography

WEEK 5 – SEPT. 23 & 25 – Cultural Capital, Colonialism & Empire Bell, D. A. (1995). “Who’s Afraid of Critical Race Theory?” University of Illinois

Law Review. Issue 4, p. 893-910.

Delgado, R. & Stefancic, J. (2017). “Power and the Shape of Knowledge.” Critical Race Theory. New York: NYU Press: p. 77-101.

Cesaire, A. (1955). Discourse on Colonialism.

SCREEN: Orientalism (Edward Said, 1978)

ALL Teaching Facilitation Handouts

Week 5 Facilitators Present

Annotated Bibliography

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WEEK 6 – SEPT. 30 & OCT. 2

The Great Wall of Los Angeles Visit

WEEK 7 – OCT. 7 & 9 – Native Americans Deloria, P. J. (2004). “VIOLENCE: The Killings at Lighting Creek” in Indians in

Unexpected Places. Kansas City, KS, University of Kansas: p. 15-51.

Deloria, P. J. (2004). “REPRESENTATION: Indian Wars, the Movie” in Indians in Unexpected Places. Kansas City, KS, University of Kansas: p. 52-108.

Deloria, P. J. (2004). “CONCLUSION: The Secret History of Indian

Modernity” in Indians in Unexpected Places. Kansas City, KS, University of Kansas: p. 224-241.

SCREEN: One Word (Episodes)

Week 7 Facilitators Present

Annotated Bibliography

Slam Poem DRAFT

Cultural Artifact Art DRAFT

WEEK 8 – OCT. 14 & 16 – Americans of European Heritage

Anne Bonds, A. and Inwood, J. (2016). “Beyond white privilege: Geographies of white supremacy and settler Colonialism.” Progress in Human Geography. 40.6: p. 715–733.

McDermott, M. and Samson, F. L. (2005). White Racial and Ethnic Identity in

the United States. Annual Review of Sociology, Vol. 31, p. 245-261. SCREEN: White Like Me (2008) 68 minutes

Week 8 Facilitators Present

Annotated Bibliography

WEEK 9 – OCT. 21 & 23 – Americans of African Heritage

DuBois, W.E.B. (1903). The Souls of Black Folk (Audiobook). Retrieved from https://www.youtube.com/watch?v=uWEQOwbgyYk

Crenshaw, K. (1989). Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Antidiscrimination Doctrine. Feminist Theory, and Antiracist Politics, University of Chicago Legal Forum. 139-167.

SCREEN: Thirteenth (2016) 140 minutes

Week 9 Facilitators Present

Annotated Bibliography

WEEK 10 – OCT. 28 & 30

Slam Poem & Art Showcase

WEEK 11 – NOV. 4 & NOV. 6 – Film Screening

Comedic Blitz

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WEEK 12 – NOV. 11 HOLIDAY NO SCHOOL NOV. 13 – Facilitation Make-Up Day

Facilitation Make-Up Day – NOVEMBER 26 is ONLY for those who: 1 – Submitted their outline on the due date.

2 – Were present in class the week their presentation was due. 3 – Were unable to present due to time.

WEEK 13 – NOV. 18 & 20 – Americans of Chican@/Latin@ Heritage Anzaldúa, G. (1997) “How to Tame a Wild Tongue” in Borderlands/La

Frontera: The New Mestiza. San Francisco: Aunt Lute Books. Anzaldúa, G. (1997) “La Conciencia de la mestiza” in Borderlands/La

Frontera: The New Mestiza. San Francisco: Aunt Lute Books. Habell-Pallan, M. (2002). “Media Culture” in Latin@ Popular Culture. New

York, NY: New York University Press: p. 46-101. SCREEN: Harvest of Empire (2012) 93 minutes

Week 13 Facilitators Present

Annotated Bibliography

WEEK 14 – NOV. 25 & 27 – Americans of Asian & Pacific Islander Heritage Ancheta, A. (2010). “Neither Black Nor White” in Asian American Studies

Now, Rutgers University Press: Piscataway, NJ: p. 21-34. Zia, H. (2010). “Detroit Blues: ‘Because of You Motherfuckers’” in Asian

American Studies Now, Shen Wu, J. Y. and Chen. T. (Eds). Rutgers University Press: Piscataway, NJ: p. 35-54.

SCREEN: Vincent Who? Video Clips

Week 14 Facilitators Present

Annotated Bibliography

WEEK 15 – DEC. 2 & 4 – Americans of Middle Eastern Heritage Haddad, Y. (2004). Not quite American?: The shaping of Arab and Muslim

identity in the United States. Waco, TX: Baylor University Press. Salameh, F. (2010). “Arabism and Its Rivals” in Language, Memory, and

Identity in the Middle East: The Case for Lebanon. New York, NY: Lexington Books: p. 1-40.

SCREEN: Arab American Stories (2010s) cc

Week 15 Facilitators Present

Annotated Bibliography

WEEK 16 – DEC. 9

FINAL paper MONDAY, DECEMBER 9, 2019

@ 8:00 – 10:00 a.m.

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ENGAGED ATTENDANCE & PARTICIPATION – 70 POSSIBLE POINTS SIGNED AGREEMENT – 30 POSSIBLE POINTS

ENGAGED ATTENDANCE

I acknowledge that signing-in at the beginning of class is mandatory. If I forget to sign-in, I CANNOT sign-in retroactively.

I agree to not sign-in for any of my classmates and will not to ask anyone to sign-in for me. I understand that if I break this agreement, I forfeit ALL of my Engaged Attendance & Participation points for the term.

I acknowledge that attendance is mandatory. Dr. Quiñones acknowledges that life happens, so she has offered two (2) optional absences with no penalty. I will save my freebies for any emergency I may encounter throughout the semester. If I miss any additional classes, I will provide adequate documentation of illness or emergency.

I acknowledge that Engaged Attendance & Participation are essential to my academic performance in the class. I know that LATE ARRIVALS and/or EARLY DEPARTURES are detrimental and that TWO (2) late arrivals and/or early departures (or any combination) are considered ONE (1) absence. I know that if I miss more than two (2) class sessions, I cannot expect to receive an A for the course.

I acknowledge that respecting the classroom dialogue is essential. I recognize that TALKING and any use of ELECTRONIC DEVICES can distract me and others from the course discussion and dialogue. Talking while one of my fellow classmates and/or my professor is speaking, presenting and/or engaging in course discussion DOES NOT contribute positively to the academic environment of our course. Being on any electronic device (i.e. laptop, phone, tablet and any ear device) at any time (unless at the direction of the professor) is NOT acceptable. I know that each time I spent any class time on any electronic device means a .5-point deduction from my Engaged Attendance & Participation score.

PARTICIPATION AGREEMENT

Citrus College aims to cultivate student success through a diverse culture of experiential learning, discovery, and innovation. Our class is a microcosm of this scholarly community and I will make every effort to contribute to it.

The success of our scholarly community depends on my preparation and focus to engage in critical dialogue and discovery.

My voice and my insights are valuable and I will substantively contribute to the dialogue and discovery of our class.

I will attend class and be prepared to discuss the assigned readings.

When presenting my position, I will SPEAK WITH EVIDENCE to support my statements and will avoid INCOMPLETE, UNFOUNDED, PROBLEMATIC, SUPERFICIAL and UNCRITICAL EXCHANGES.

I will contribute to keeping our class a safe space for all questions or comments derived from our reading, discussions and related screenings.

I will respect different perspectives (regarding race, color, religion, national origin, sex, sexual orientation, marital status, pregnancy, age, disability, medical condition, and covered veteran status that differ from mine.

I will be conscientious when I speak and aim to avoid remarks that are, or could be, considered racist, sexist, homophobic or otherwise insensitive. I recognize that our classroom is a place of learning and unlearning and the impulse to chastise my classmates when they make comments, I may consider outrageous, is not appropriate but engaging in critical dialogue is.

STUDENT NAME: DATE:

SIGNATURE:

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TEACHING FACILITATION – 40 POSSIBLE POINTS TEACHING HANDOUT – 30 POSSIBLE POINTS REFLECTION ESSAY – 30 POSSIBLE POINTS You (as part of a group) will have the opportunity to teach and lead the class in an academic discussion based on the readings for one week of the semester.

POWERPOINT PRESENTATION 40/HANDOUT 30 Prepare a PowerPoint Presentation AND a 1.5 to 2-page single-spaced typed HANDOUT (NOT AN ESSAY) that…

1. Succinctly list and summarize the main (not minor) arguments/positions/ideas of the article or chapter.

2. Succinctly list and summarize the 3-4 ways the author supports their arguments/positions/ideas. 3. Succinctly defines 3-4 key terms, concepts and/or theories (not new terms to you but central to

the reading).

4. Succinctly connect the arguments/positions/ideas the author makes to larger socio-cultural, socio- political issues from your perspective.

5. Pose 2-3 “CRITICAL” discussion questions. discussion questions…

 are open-ended (do not ask a question that can be answered yes or no)

 refer to major themes of the reading (not minor points)

 include context that provides background &/or leads up to the question

 are able to complicate the content/the author’s perspectives

 make larger connections to other class readings and outside sources

 connect to larger socio-political, socio-cultural phenomena, your life, etc.

 create engaged class discussion and debate

6. PowerPoint MUST mirror your HANDOUT.

7. Teach the reading DO NOT READ your presentation!

 Be Creative! Each group has the option to meet with me the week or two BEFORE your presentation with your ideas and questions.

 Be Informative

 Be Critical

 Be Analytical

 Engage the Class!

 What is the “So What?” of your Reading?

REFLECTION ESSAY – 30 Write a 1.5 to 2-page double spaced REFLECTIVE ESSAY on your Teaching experience.

1. Provide an overall analysis of the reading.

2. Provide an overall analysis of your teaching experience.

3. Besides the obvious that you wanted the class to “understand” the material, EXPLAIN your intended purpose of your presentation and teaching: Why are these readings important? Why should they be included/not be included in the syllabus? Did your readings offer anything new? Why do you think I’ve included them for this class?

CRITICAL

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ANNOTATED BIBLIOGRAPHY (5 @ 20 Possible Points Each) An annotated bibliography is an organizing tool that is helpful when working on a research project. An effective annotated bibliography is used to compile research sources that will provide the researcher with quick access to the information contained in each source.

ELEMENTS AN ANNOTATION INCLUDES NOTE: There are two kinds of summarizing annotations: INFORMATIVE & INDICATIVE. The six items below combine the features of both. Except for item #1 BELOW, your ANNOTATED BIBLIOGRAPHY needs to be written as a SUMMARY PARAGRAPGH.

1. Your citations must adhere to APA format. Failure to follow APA format exactly will harm your grade. Visit the LIBRARY or PurdueOwl.com regarding more information on the APA format.

PARAGRAPH MUST INCLUDE: 2. A sentence or two that describes the author’s credentials, purpose, audience, critique of the

authority of the author, their methodology, the point of view or perspective from which the work was written. For instance, you may note whether the author seemed to have particular biases or was trying to reach a particular audience. You may also mention if the source is an ethnography or if the author employs a particular kind of theory.

3. Offer an explanation of the main points and/or purpose of the work—basically, its thesis—which demonstrates among other things that you have read and thoroughly understand the source. Give an overview of the arguments/focus of the books, the proofs/evidence addressed in the work and note the resulting conclusions. Comments on the worth, effectiveness, and usefulness of the work as it relates to your research and how it may inform your research project.

4. A sentence or two at the end of the summary that explains how this work link to work of other authors? Consider including comparison and/or connections with other course readings. If possible, establish connections to other works that offer similar arguments or to those offering opposing views.

Than, K. (2010). "Jacques Cousteau Centennial: What He Did, Why He Matters." National Geographic Daily News. National Geographic (June 11, 2010). Retrieved March 25 2012. http://news.nationalgeographic.com/news/2010/06/100611- jacques-cousteau-100th-anniversary-birthday-legacy-google/ This article for National Geographic News celebrates what would have been the 100th birthday of ocean exploration pioneer Jacques Cousteau. The article overviews five of Cousteau's major achievements: pioneering scuba equipment, creating underwater film footage to bring the ocean to millions of viewers, inventing underwater base camps, restricting commercial whaling, and helping to stop the underwater dumping of nuclear waste. The main point of the article is that Cousteau started out as an explorer, not an environmentalist. As he grew to further understand the ways that humans were harming the beautiful underwater world that he devoted his life to exploring, he became more outspoken about protecting it. He was one of the first to speak out about ocean preservation; even though he also contributed to harming ocean ecosystems earlier in his career, he ended up as a true activist.

This sentence

describes the

author’s

purpose &

audience.

Include sentences

that offer a summary of the article.

NOTE: Include a

sentence that

describes the authority

of the text.

Cite source in

appropriately in APA.

NOTE: This sample annotated bibliography

DOES NOT address #3 & #4 above. You MUST

dedicate portions of your annotated bibliography to address these.

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CULTURAL ARTIFACT ART PROJECT – 100 POSSIBLE POINTS DRAFT 25 POSSIBLE POINTS/FINALIZED PROJECT 75

Use yourself as a space for research. Consider what artifacts have had a cultural impact in and on your life. Cultural artifact are cultural symbols, religious symbols, pieces of art, television characters, icons, movies, music, family, foods, etc.

This assignment asks you to search through your creative practices and creative expression. For this Art Project, you will select any media (photography, drawing, painting, 3D, mixed media artistic practice) to create a Self-Portrait. This Art Project should reveal how it is that you chose to portray/express your SELF. How will you conceptualize your SELF in and through cultural artifacts? This Art Project asks that your combine or integrate the concepts and ideas from our class readings into your portrayal/expression of your SELF. This Art Project is open-ended. In other words, the sky is the limit. You project MUST evidence critical thought, planning and exceptional execution.

Keep in mind that this is NOT JUST an informational presentation. Your ART PROJECT should reflect you to those viewing your ART PROJECT. The installation of the artwork will include a caption or wall text.

You will develop your own in paragraph form (ONE paragraph). Make sure to include the following:

POINTS REQUIRMENTS

25 Submit Cultural Artifact Project DRAFT. You will earn 25-POINTS for submitting a DRAFT of your project. Your project must demonstrate significant progress and effort – it should be close to completion. If you do not submit a DRAFT, you forfeit 25 points and the maximum your poem can earn is 75-POINTS (C).

15 Clearly stated thesis, your intended messages of the piece is insightfully articulated.

20 Analysis is coherent, explicit and contains no inconsistencies. Wording is precise and academic terms are used correctly. Claims and positions demonstrate student’s understanding and application of course readings.

30 Connections to a minimum 3 course themes, concepts, theories are clearly and seamlessly integrated (source MUST be cited with a footnote citation).

Clearly and critically connected artifact and analysis to larger socio-political & socio-cultural matters. Consider the questions below as you make connections. (DO NOT be obvious, “My artifact is connected…” or “My artifact is significant because…” or “My artifact informs my worldview…”) BE CRITICAL and CREATIVE!!!

 How and why are you connected to this artifact?  How and why is this artifact significant?

 How has this artifact informed and impacted your worldview?

 How has it influenced your cultural perceptions?

 Is this artifact important to the world?

 How and why is this artifact important and/or significant today?

 How might others perceive your artifact?

10 Overall caption is clear, engaging and substantive.

100 TOTAL

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GREAT WALL OF L.A. SLAM POEM – 100 POSSIBLE POINTS

You are required to visit the Great Wall of Los Angeles. The visit itself can be a transformative experience. As you visit, select ONE (1) panel of the mural for your PROJECT. Select a panel with which you connect. Once you have selected your panel, you will research your chosen panel. What you learned with your cultural artifact will come in handy! Consider your background: where you were born, your history, your family’s history, your gender, the neighborhood in which you were raised, who raised you, schools you attended, primary language, religious practices, belief systems, traditions, other social factors and how these have shaped your worldview and your way of knowing the world – your epistemology. Begin your writing by considering WHY did you selected this particular panel? HOW and WHY is this panel significant to you and write a 2-3-minute SLAM POEM. Make sure to reflect and critically consider how and why our readings, our course themes, your experience intersect with The Great Wall Panel you selected. In other words, don’t just tell me about your life or the panel, tell me why your cultural background and the panel matter. How and why did you come to connect with it? Why does this panel have meaning to you?

NOTE: If your poem ONLY tells the history of the panel, you have not met the requirement for this assignment.

POINTS REQUIREMENT

25 You will earn 25-POINTS for having your draft read and reviewed by me. Your poem must demonstrate significant progress and effort – it should be close to completion. If I do not review your poem, you forfeit 25 points and the maximum your poem can earn is 75-POINTS (C).

10 Met 2-3-minute requirement.

10 The way you feel about the panel and its history is be evident in your poem.

10 Reflect on who you are and how the panel you selected helped inform and impact your ways of understanding self and the intersections with. larger socio-political, socio-cultural, socio-economic perspectives (education, immigration, national identity, justice, equity, crime, housing, politics, incarceration, racism, discrimination, etc.). Demonstrate why observations are important and significant.

10 Seamlessly connects and incorporates a minimum of 3 concepts, theories from our course readings.

10 Written poem is clear, engaging and substantive. Wording is precise; terms are used correctly; no spelling errors or typos.

15 TOTAL

14

EXPLORATION OF IDENTITY ANALYSIS PAPER Draft – 20/20 POSSIBLE POINTS EXPLORATION OF IDENTITY ANALYSIS PAPER Final – 60 POSSIBLE POINTS Write a 5–6-page FINAL Research Paper in APA. Your FINAL Research Paper/Exploration of Self Analysis Paper is an opportunity to educate your reader on your journey in this course.

Your Writing Center STAMPED DRAFTS (2 separate DRAFTS) must be at least 4 pages of writing to receive the full 20 Points.

Follow the RUBRIC below as you write your Research Paper to help you achieve the best possible score:

THESIS – POSSIBLE POINTS = 20 A thesis statement (TS) is a single sentence near the beginning of your paper that tells the reader how you will interpret the significance of the subject matter/your findings. A TS is a road map for the paper. It tells your reader what to expect from the rest of the paper. A thesis declares an interpretation of a subject, not the subject itself. The subject/topic of an essay might be World War II or Moby Dick; a thesis must offer a way to understand the war or the novel. A thesis often makes a claim that others might dispute. The rest of the paper, the body of the essay, gathers and organizes evidence that will persuade the reader of the logic of your interpretation.

This assignment asks you to analyze, interpret, compare & contrast, demonstrate cause & effect, and/or to take a stand on your findings. In other words, I am asking that you to develop a thesis that persuasively supports your findings and analysis. You will need to enter a critical thinking process to formulate your thesis. Before you develop an argument/thesis on any topic, you have to collect and organize evidence, look for possible relationships between known facts (such as surprising contrasts or similarities), and think about the significance of these relationships. Once you have thought through your findings, you will have a “working thesis” that presents an argument you think you can support with academic analysis, academic evidence and your own data.

FINDINGS & ANALYSIS (BODY of PAPER) – POSSIBLE POINTS = 60 In this section of your Paper, you MUST:

 demonstrate whose writings support your discovery/argument.

 demonstrate how you arrived at your Thesis Statement (TS) and why your findings are important.

 identify and analyze 3-4 major aspects/themes you found during the course (self-discovery)

 identify a minimum of three (3) academic references from our course readings and integrate to your analysis – you can have as many references as you can find, but MUST have three from our course readings.

 identify and analyze interesting aspects in your writing

 theorize how your life/findings connect/intersect with socio-political, media, cultural phenomena.

CONCLUSION & REFERENCES – POSSIBLE POINTS = 20 Concisely recount the major themes, commonalities and theorizing. Tell your reader how and why your findings are meaningful and significant.