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GE-018-034, TH 425/425A, COMMUNITY-BASED THEATRE
INTERDISCIPLINARY SYNTHESIS COURSE – AREA C or D
CALIFORNIA STATE POLYTECHNIC UNIVERSITY, POMONA
ACADEMIC SENATE
GENERAL EDUCATION COMMITTEE
REPORT TO
THE ACADEMIC SENATE
GE-018-034
TH 425/425A, COMMUNITY-BASED THEATRE
INTERDISCIPLINARY SYNTHESIS COURSE – AREA C or D
General Education Committee Date: 5/26/04
Executive Committee
Received and Forwarded Date: 6/23/04
Academic Senate Date: 9/22/04
First Reading
10/20/04
Second Reading
Background
The College of Letters, Arts, and Social Sciences is proposing TH 425/425A Community-Based Theatre as a General Education Interdisciplinary Synthesis course for Area C4 or D4.
Resources
Bernardo Soldano
Discussion
This course was presented to the General Education Committee on March 29, 2004.
Community-Based Theatre is the collaboration between artists and members of a given community that examines social/political/historical/philosophical issues of importance and creates a theatrical portrait by, with, or for that community. It synthesizes GE subareas C1 and either C2 or C3, and subareas D2 and D3. At the suggestion of the GE subcommittee reviewing the course the author has added a justification statement to the Expected Outcomes section of the ECO, and has modified the Assessment section to specifically refer to GE assessment. The course has both oral and written assignments.
Recommendation
The GE Committee has found this course to be in compliance with the interdisciplinary synthesis course guidelines for GE sub-areas C4 or D4. There were no comments on the Undergraduate Studies website. The course was approved by the GE Committee on May 26, 2004 and is now forwarded to the Academic Senate for consideration.
California State Polytechnic University Course Title: Community-Based Theatre
Pomona Date Prepared: October 2003
Prepared By: Bernardo Solano
Could also be taught by Bill Morse.
Revised May 2004
Course Outline
Catalogue Description
TH 425/425A Community-Based Theatre (3/1)
A course examining the development of Community-Based Theatre in the United States and its effect on social/political dialogue within communities. Examination of its development, history and cultural significance within the broad spectrum of U.S. society through performance techniques.
Fulfills GE Synthesis Area C4 or D4. Three hours lecture, one hour service learning activity. Prerequisite: Completion of GE Area A, and sub-areas C1 and either C2 or C3, and sub-areas D2 and D3.
Required Background or Experience
Completion of GE Area A, and sub-areas C1 and either C2 or C3, and sub-areas D2 and D3.
Expected Outcomes
Community-Based Theatre (CBT) is the collaboration between artists and members of a given comunity that examines social/political/historical/philosophical issues of importance and creates a theatrical portrait in essence, “by, with and for” that community. In this course, students will examine how CBT is influenced by and can directly influence democratic ideals such as civic dialogue and the right to free speech, and how it can educate and empower members of that community by providing the tools to articulate their voices through the form. This course will explore the contributions and influence of the Federal Theatre Project of the 1930’s, Luis Valdez’ Teatro Campesino to the present work of such artists as John O’Neal, Liz Lerman, and Cornerstone Theater Company, as well as the cutting-edge national “Animating Democracy Initiative” and “Community-Arts Network.” Students will learn how CBT invites the participation of social activists, educators, community planners, sociologists, political scientists, historians, philosophers and others who feel that communities are the glue that keeps societies whole and healthy. The course seeks to redefine the role of art in society, the relationship of theatre and community, and to strengthen the belief that cultural meaning, expression and creativity resides within a community. Case studies include the groundbreaking work of Cornerstone Theatre and their residencies in rural and urban communities across the nation, Flint Youth Theatre in their grappling with issues of youth violence, John O’Neal’s Junebug Productions “Color Line” projects dealing with the history of racial discrimination and the Civil Rights Movement, John Malpede’s collaborations with Skid Row homeless men and women in Los Angeles, Norma Bowles’ work with Gay, Lesbian, Bisexual and Transgender youth, and other representative CBT projects.
By its very nature, this hands-on, learn-by-doing course gives its students the opportunity to go out in the field, interact and create with members of a given community, thereby enriching both the student and the community s/he collaborates with, not to mention the forming of new communities between CPP and the region at large. One of the most far-reaching benefits of the course lies in the fact that it invites students to look at the issues facing our myriad communities and challenges them to become part of the solution. Community-Based Theatre’s unique processes require students to develop oral and written communication skills, as well as critical thinking (GE Area A, 1-3) and via students’ research and engagement with a variety of communities, encourages a deeper understanding of History and Political Science (D2), Philosophy (C2), Literature (C3), as well as Sociology, Anthropology and Ethnic & Gender Studies (D3).
Upon completion of this course, students will be able to:
Explain the history and theory of Community-Based Theatre in the United States.
Describe the contribution of CBT to principles of Democracy.
Describe how CBT is a process that requires a broad base of knowledge and skills in the theatre arts.
Describe how areas of study within the Humanities such as Fine and Performing Arts and Philosophy, and within the Social Sciences such as American Ideals, Political Science, Sociology, Anthropology and Ethnic and Gender Studies contribute to a successful Community-Based Theatre project.
Apply writing, critical thinking, and communication skills and interdisciplinary perspectives on a large range of social, political and philosophic issues.
Apply analytical and creative thinking to draw inferences from observations, discerning internal structures and patterns within results of collaboration with chosen communities.
Recognize relevant issues and be able to construct original ideas that speak “by, with and for” said communities.
Describe how CBT can be a powerful symbolic and expressive medium for analysis and an agent of social change.
Text and References
Note: The nature of the following texts deal directly and constantly overlap with social, political, philosophical, and performing arts issues within communities.
Core Text:
Kuftinec, Sonja, Staging America: Cornerstone and Community-Based Theater, (Southern Illinois University Press, 2003)
Texts used for this course will include:
Sociology:
Burnham, Linda Frye, Telling and Listening in Public: Factors for Success, (Community Arts Network, 2001)
Mason, Susan, Finding the Edge: Multiple Community Goals, (Community Arts Network, 1999)
Gener, Randy, Who Will Speak for the Children?, (American Theatre Magazine, 2002)
Berson, Misha, Take This Job and Show It, (American Theatre Magazine, 2002)
Political Science:
Cohen-Cruz, Jan, An Introduction to Community Art and Activisim, (Community Arts Network, 2002)
Nelhouse, Tobin and Haedicke, Susan C., Performing Democracy, (University of Michigan Press, 1999)
Burnham, Linda Frye, The Artist as Citizen, (Community Arts Network, 2001)
Brennan, Moira, Toward a Theatre of Action, (American Theatre Magazine, 2002)
Burnham, Linda Frye, A More Perfect Union, (American Theatre Magazine, 2002)
Building America’s Communities II, (Americans for the Arts, 1997)
Colby, Anne, Educating Citizens: Preparing America’s Undergraduates for Lives of Moral and Civic Responsibility, (John Wiley & Sons, Inc. 2003)
Korza, Pam and Assaf, Andrea and Bacon, Barbara Schaffer, Inroads: The Intersection of Art and Civic Dialogue, (Americans for the Arts, 2002)
Philosophy:
Fletcher, John, Identity and Agonism: Tim Miller, Cornerstone, and the Politics of Community-Based Theatre, (Theatre Topics/Johns Hopkins University Press, 2003)
Performing Arts:
Leonard, Robert H. and Kilkelly, Ann, Knowing the Secrets Behind the Laughter: Findings of The Grassroots Ensemble Theater Research Project, (Community Arts Network, 2003)
Rhod, Michael, Theatre for Community, Conflict and Dialogue, (Heinemann Press, 1998)
Wood, Sue, My Soul to Take: Case Study Flint Youth Theatre, (Americans for the Arts, 2003)
Carey, Allison, Steelbound, (Cornerstone Theatre, 1993)
Solano, Bernardo, Growing Home, (Cornerstone Theatre, 2000)
Howard, Peter, Zones, (Cornerstone Theatre, 2002)
Internet Resources:
Alternate ROOTS www.alternateroots.org
Membership organization of artists and arts companies in the Southeast U.S. committed to the developing art with and inside communities. Training in arts for social change.
American Festival Project www.appalshop.org
Alliance of artists and performing arts companies who work with communities, utilizing culture and the arts as a grounding place and a means for social change. Training and mentoring in community-arts techniques.
Americans for the Arts www.AmericansForTheArts.org/AnimatingDemocracy
Advocacy organization supporting arts education and community development through the arts; includes online research and policy database. Includes Animating Democracy Initiative.
Art and Community: www.artandcommunity.com
Association of creative leaders from business, government and the arts who have succeeded in building bridges between the arts and a wide range of community, public and private sector interests.
Community Arts Partnership: www.capinstitute.org
A consortium of six sets of partnerships between higher education arts schools and community-based organizations that serve youth.
Community Relations Service: www.usdoj.gov/crs
Community Relations Service: Federal agency dedicated to racial and ethnic issues and resolving tensions with and among different ethnicities.
Institute for the Study of Civic Values: www.iscv.org
The Institute for the Study of Civic Values was established to promote civic idealism--the philosophy of all those who work to bring citizens and government together to achieve our historic civic ideals.
National Conference of Community & Justice: www.nccj.org
Data and analysis of the evolving study of intergroup relations; and, its public policy works with government leaders and advocates policies that reflect understanding and respect.
Community Arts Network: www.communityarts.net
Information exchange, research and critical dialogue within the field of community-based arts.
Videos:
HBO Films, Cornerstone Theater, 2000.
Cornerstone Theatre, Steelbound and Growing Home
Fringe Benefits Alliance, Friendly Fire
Minimum Student Materials
Writing Materials
Optional: Tape Recorder and blank audio tapes, DV, High8 or VHS video camera.
Minimum College Facilities
Lecture or Classroom
Video Projection System or Video Monitor with VHS Recorder
DV camera, blank tapes
Tape Recorders and blank audio tapes
Course Outline
Introduction of course and history of Community-Based Theatre (CBT) in the United States. Federal Theatre Project. Living Theatre. Teatro Campesino. Cornerstone Theatre.
Theoretical underpinnings of CBT. Why is it important? What are its goals?
What is Community? An exploration of the many ways to define community. Identifying communities which students feel a part of and why.
Defining CBT in relation to American Ideals and Political Science.
Defining CBT in relation to History, Sociology, and Philosophy.
The power of story. Who has stories? What they represent.
Ingrediants of a successful CBT Project: Purpose. Inclusion. Place Base. Structure. Leadership. Goals. Process. Learning. Respect.
Ingrediants of a successful CBT Project: Trust. Ethical Sensitivity. Equity. Power Sharing. Access. Communication. Language. Evaluation. Documentation.
The role of a Cultural Organizer in CBT. The role of the artist in CBT. The role of the community in CBT.
Case studies of successful CBT projects (and failures.) Screening of videos highlighting various CBT projects.
Selecting Collaborating Communities. Identifying and making contact with community collaborators.
Setting Project Goals. Students conceptualize final project and articulate goals.
The Interviewing Process: Goals and Methods. “Do’s and Don’ts” of one-on-one and spontaneous interviews. Students perform in-class mock interviews and discussion.
Story Circles. Why putting a group of people in a room and asking them to share stories is a powerful tool of CBT.
Field Research. Students conduct interviews and/or story circles with community collaborators, using audio and/or video documentation.
Presentation of Field Research data to class and discussion.
Interpretation of Field Research data. Discussion of what findings may mean in relation to Sociology, History, Philosophy, Political Science and Performing Arts.
Exploration of artistic/theatrical modes of interpreting data. In class writing exercises, screening of videos, demonstrations.
The Politics of Community-Based Artmaking. The highs and lows of the political landscape of CBT.
Final Project Presentations. Students perform and/or present final projects using theatre as the primary medium, although photography, dance, music, film, cyber art, performance art and other forms of artistic expression are welcome and encouraged.
Instructional Methods
Lecture and Demonstration
Video and Discussion
Readings and Discussion
Oral and Written Assignments
Service Learning Community Collaboration / “Learn by doing” (Interviewing techniques, identifying community collaborators, field research, translating research material into theatre, final project integrating Theatre with each student’s area of study)
Evaluation of Outcomes
Written responses to reading assignments to assess skills in textual analysis.
Midterm examination to assess mastery of basic knowledge and broad thematic developments in Community-Based Theatre history/theory and the ability to synthesize interdisciplinary analyses.
Evaluation of transcriptions of field research to assess listening and writing skills in terms of interview training and accuracy.
Final Project to measure critical thinking, writing skills, and interpretation, and the ability to conduct independent and interdiscplinary research synthesizing areas of Humanities and Social Sciences.
Class participation, discussion and demonstration to develop oral presentation skills and critical thinking skills.
Assessment
In either oral or written assignments, or both, the student will be required to address the following questions:
In what ways did this course draw upon one or more of the fields in the Humanities and the Social Sciences as covered in your lower division courses [GE Area C: 1)Written Communication, 2) Philosophy & Civilization, 3) Literature & Foreign Language. GE Area D: 1)U.S. History, Constitution, American Ideals, 2)History, Economics, Political Science; 3)Sociology, Anthropology, Ethnic & Gender Studies]
To what extent did this course provide you with a deeper understanding of a particular area of the Social Sciences and Humanities, and with the ability to apply concepts of the Social Sciences or the Humanities to different problems and situations?
To what extent did this course promote critical thinking, problem solving, and reasoning skills [GE Area A: 1)Written Communication, 2)Oral Communication, 3)Critical Thinking]
Do you have any other suggestions for improving the course?