Creative Courses to consider in Spring 2011

Registration is upon us. Students are more than likely combing through the course catalog and Spring Semester Schedule for ideas. Students often look to each other for recommendations. Even the Brown and White Newspaper editorial board wrote a feature on the Registration process and offered their perspective and advise.

No matter your chosen major, or undeclared path of inquiry, here are some courses not listed in the 2010-2011 Catalog that might peak your interest. Why these courses? There is a hands-on component to each of them that will reveal your personal creative process. The featured courses also offer a global perspective through different lenses of artistic or creative disciplines. Some may reveal a complex world of ideas, right on Lehigh’s front door in South Bethlehem.

Many contemporary theorists on developing creativity will say that broad exposure to different ideas, cultures and ways of thinking help to nurture an individual’s creative capacity. We hope you consider the many possibilities Lehigh University offers students to help them build a greater sense of the world through multiple learning experiences.

AAS 196 (MUS 196) – African American Music: An Introduction (4)
This course explores multiple dimensions of African American musical expression, including popular music (from jazz to hip-hop); religious expressions (gospel); symphonic music, opera, the musical avant garde; and folk music stemming from rural practices including work songs and children’s game songs and dances. Focus on North American cultural contexts will be complemented by comparative consideration of music in black communities in Caribbean and Brazilian cultures. Films that illustrate personalities, styles, and social issues associated with African American music. Kaye (HU)

ARCH 297 (ASIA 297, REL 297) – China Bridge Project: Theory and Practice (5)
Studio/seminar explores the cultural, theoretical, and practical implications of the famous Chinese Rainbow Bridge and use it to design and construct a model of a 21st century interpretation. There are two components of course, one that focuses on the literal bridge (with related landscape and pavilion/temple design) coordinated by Professor Viscardi. The second component will be coordinated by Professor Girardot and will focus on the cross-cultural, interdisciplinary, and metaphorical “bridges” found in both Chinese and Western history. Viscardi / Girardot (HU)

Art 052 – Intro to Video Recording & Editing (4)
We will consider the interaction of image, sequence, motion, time and audio with video to create associative, abstract, documentary and narrative videos. Workshops in camera use, editing, concept development, lighting, sound and DVD authoring. Chupa (HU)

Art 196 Drawing as Expression (4)
Drawing exists beyond representation. This will be a multi-pronged approach to drawing involving theory, studio and practice for creative students from across disciplines interested in exploring the potential of expressive applications of drawing.  The end products will be ‘solutions’ born from conceptualization and exposure to both art historical context and visual culture. Students will convert ideas into cohesive, compelling and expressive form(s). (HU) Boothe /Gans

Art 197 Sculpture Installation (4)
South-Side Partnership/store front installation. Installation art is one that is site specific, three-dimensional and transforms our perception of space. In this course students will partner with artists and south side businesses to create a temporary, site-specific installation in the windows of one of the prominent businesses on 3rd street in Bethlehem. Students will work in teams and have the opportunity to showcase their work in April at the first Friday celebration in South Bethlehem. Prerequisites: Des 4, or Art 13 or permission of instructor Gans (HU)

Art/Lat 298 Latino Visual Arts and Culture in the USA  (3-4)

The course explores the phenomenon of contemporary Latino and Latin American art in the US.  Since art has no country, but the artist does, is contemporary art a product of globalization?  Is Latino and Latin American art, culture and art criticism a nationalistic platform, or a contemporary enterprise of sorts?  Who’s who in the current Latino and Latin American art world?  The class will be divided into teams to research works from the LUAG teaching collection and interview an artist at his or her studio or by telephone conference, for a final creative essay and/or media project. Course meets Thursday 1:10-4:00 p.m.  ZA 110 Viera / Prieto (HU)

CHIN 097 (ASIA 097, REL 097) – Brush with Peace (2)
Achieve a state of inner balance and well being through the practice of Chinese calligraphy. An internationally famous professor of calligraphy from Shanghai, Prof. ZHOU Bin will teach a studio on the art of balancing white and black space to create Chinese words. No Chinese or art prerequisites. Zhou Bin (HU). Contact Prof. C. Cook for more information.

HIST 396 (ANTH 396) – Documentary Story Telling (3-4)
Students will learn the full spectrum of skills needed to complete video documentaries. We will explore the history, art and craft of documentary film and the ethical and moral obligations when documenting the lives of others. Students will experience hands on training in the use of cameras, sound equipment, and video editing software. Using oral history videos collected in Public History courses, students will write, direct and produce a short 10- to 15-minute documentary video. Maserjian (SS)

JOUR 198 – Multimedia Reporting (4)
An introduction to visual media literacy and basic storytelling production across multimedia platforms such as video, audio, digital images, social media, and written narrative, with an emphasis on complementary story packaging and publishing.  Course features smaller technical and storytelling instruction assignments as well as in-depth team reporting project.  Littau (ND)

JOUR 325 – New Media and Social Change (3-4)
Interactive Web tools allow people to organize themselves in new ways at the expense of traditional institutions, which often survive by perpetuating old problems rather than solving them. Examine theory and practice of these movements, the product of an unusual alliance between socially conscious hackers, backpack producers, and cyberpunk libertarians. Littau

Thtr 95, Introduction to Technical Theatre (4)
The materials, methods and techniques used by theater designers and technicians to build, rig and execute theatrical productions. Practical experience in various areas of production. Milet

Thtr 97 (ENG 97) Introduction to Playwriting (4)
An introduction to writing for the stage, with an emphasis on creating characters, maintaining tone, shaping metaphor, and using the resources available to theater artists to a writer’s best advantage. This course combines in-class exercises with seminar-style discussion of the student’s own work. Cortinas (HU)

Thtr 195, Costume Design (4 )
The art and practice of designing costumes for the stage.  Script and character analysis, research methods, history of theatrical costume design, rendering the figure, textiles and accessories.  Prerequisite, Thtr 087. Hoelscher

THTR 196 (GCP 196, GS 196, THTR 196) – The Playwright as Traveler (4)
In the contemporary theater, there seems to be new vogue for “travel plays”, plays in which the audience follows the travels of a protagonist, sometimes within his own nation, sometimes outside of it. These trips can be motivated by a desire to learn, a desire to conquer or trade, or sometimes a desire to just be a tourist, but most usually the trips result in an act of self-discovery. Scholars of literature have long been interested in unpacking so called “travel writing”, but have generally focused on novels and prose writing, not on writing for the stage. This class will combine readings of play scripts (I am my own Wife by Doug Wright, Homebody / Kabul by Tony Kushner) with seminal critical essays (excerpts from Orientalism by Edward Said, “Traveling to Write” by Peter Hulme) to discern how contemporary playwrights navigate the tricky ethical and artistic enterprise that is travel.

We will be particularly interested in aesthetic devices employed by the playwright that either try to foreground or obscure questions of politics, race, gender and class. This is a writing intensive course. Cortinas (HU)