This course introduces students to a range of physical techniques for creative expression in performance. Through a series of classroom exercises, readings and performances, students develop a process for reducing habitual tensions, enabling them to find maximum effect with minimum effort, connect their movement to imagery and text and increase the strength, flexibility and dynamic qualities of their physical expression. Techniques are drawn from a wide variety of movement pedagogies including, but not limited to, Zarrilli, Feldenkrais, Oida and Pisk.

This course will examine the materials and techniques used in building and operating theatrical scenery. It will include prop building, rigging, and welding for the theatre. Students will learn the skills to work in the scene shop interpreting scenic designs for department productions.

An introduction to the art and practice of lighting and sound design for the theatre. This course will cover the basic tools and techniques of designing light and sound and provide an understanding of the designer's role in the collaborative process of producing a show. Students will have the opportunity to create their own lighting and sound designs in the Black Box classroom and present them to the class.

This course will focus on basic Stanislavski techniques: concentration, imagination, relaxation, objective/action, and beats/scene analysis. Each student will apply these concepts to one open scene, one monologue and one realistic contemporary scene.

This course introduces the oral traditions, important playwrights, and aesthetic innovations in postcolonial literary theatre in some African societies. The oral theatre traditions of Africa are an example of the innate human quest to perform and will eventually be the basis for understanding some of the innovations made in African literary theatre. We shall also focus on writings by African writers and writers of African descent who deal with the post-colonial conditions of Black Africa and the African Diaspora.

As a conceptual framework which reconsiders the rituals, scriptures, and allegiances of religious black women, womanist thought has expanded the interdisciplinary canon of black and feminist religious studies. This course is a survey of womanist religious scholars from multiple religious traditions: Christianity, Islam, Buddhism, and Yoruba-Ifa -- as well as theorists who understand womanism as a "spiritual but not religious" orientation.

"Black Metropolis" refers to the more than half a million black people jammed into a South Side ghetto in Chicago at mid-twentieth century that featured an entrenched black political machine, a prosperous black middle class, and a thriving black cultural scene in the midst of massive poverty and systemic inequality. This course will follow the political, economic, and cultural developments of what scholars considered to be the typical urban community in postwar United States.

This course examines the discursive relationship between race, power and law in contemporary U.S. society. Readings examine the ways in which racial bodies are constituted in the cultural economy of American society where citizens of African descent dwell. We explore the rules and social practices that govern the relationship of race to gender, nationality, sexuality, and class in U.S. courts and other cultural institutions. Thinkers covered include W.E.B. DuBois, Kimberle Crenshaw, Derrick Bell, and Richard Delgado, among others.

African cities demonstrate the failure of models of development with the aim and ideal of industrialization. This course examines the empty promises of modernity through the lens of African urban history using fiction, film, and city archives. Beginning with Timbuktu and Cairo, the course explores the emergence and decline of trade entrepots, the rise of colonial cities, and the dilemmas of postcolonial economies and polities. Dar es Salaam, Nairobi, Kampala, Kinshasa, Harare, Johannesburg, Lagos, Accra, and Dakar are among the cities studied.

This reading- and writing-intensive course draws upon the intellectual traditions of African American, African, and African diasporic studies in order to explore the connections and disjunctures among people of African descent. While the course pays attention to national, regional, and historical contexts, it asks this question: what do African descended people have in common and when and how are their experiences and interests different? What can we glean from contemporary discourses grounded in the consideration of global black lives?