Reading and composition in connection with the study of dramatic literature. R1A satisfies the first half of the Reading and Composition requirement, and R1B satisfies the second half.

“Art history must be rewritten to include the Indigenous presence” - Denilson Baniwa This is a reading and composition course that will primarily focus on teaching student skills for successfully writing essays for their university courses, conduct research, and will also encourage students to build critical and careful vocabularies around race, gender, and non-Western art practices. We will be looking at a number of Indigenous art practices—including poetry, film, dance, photography, and textiles - from across South, Central, and North America. Moving across the Americas we will look at Anishinaabekwe artist Rebecca Belmore’s 1991 performance Ayum-ee-aawach Oomama-mowan: Speaking to Their Mother, Baniwa artist Denilson Baniwa’s Nada que é Dourado Permanece, to Mojave poet Natalia Diaz’s Postcolonial Love Poem. Across these regions we will consider how these makers, artists, writers, and activists use various methods of art practice to consider themes of land, life, story, Indigenous futures. To not homogenize or collapse Indigenous art practices, we will address each artist's specific nation, important Indigenous histories, and political activism occurring alongside the production of art at that time. Lastly, this course approaches performance and identity through an intersectional framework.

Requisites

• Previously passed an R_A course with a letter grade of C-or better. Previously passed an articulated R_A course with a letter grade of C-or better. Score a 4 on the Advanced Placement Exam in English Literature and Composition. Score a 4 or 5 on the Advanced Placement Exam in English Language and Composition. Score of 5, 6, or 7 on the International Baccalaureate Higher Level Examination

Repeat Rules

Course is not repeatable for credit.

Requirements class fulfills