The course is designed to focus on the range of visual means that people use to convey ideas and stories, non-literary forms that make ideas accessible to a wide audience. Textiles, puppets and masquerades, when viewed within their cultural matrix, are powerful tools for capturing the less visible aspects of communities in which the written word may not be the primary mode of information sharing. Graffiti, tagging, and muralling, which move in the direction of public art, are more contemporary means of visual communication in our own communities. Likewise, sketching, electronic imagery and graphic novels are powerful tools for documentation and story-telling for contemporary artists. From a simple symbol placed on a wall or a parchment to the more complex structure of masquerades and electronic moving images, human communities have sought to tell their own - and others' stories  - and to convey opinions and messages in endless evocative and creative ways. What can we learn from these various forms of visual communication? This course is not a “making” class per se, but proposes to explore some of these means of visual communication, both historically and currently, in a variety of cultural contexts.

Elective

The course is designed to give students an overview of Mexico’s historic and contemporary art, from the cultural legacy of the pre-columbian states (the Olmecs to the Aztecs) to the Spanish conquest of Tenochtitlan (Mexico City). It will explore the political, economic and cultural contexts which gave rise to the Mexican revolution and its cultural impact on the development of such movements as the estridentismo and on the muralist period; we will look at the impact of Indigenous styles on the history of Mexican art and beyond, and the continuous role of regional traditional creativity on modern art and architecture in Mexico. The course will use both an ethnographic perspective, and an aesthetics approach to explore the complex trajectory of Mexican art.
Elective

The course is designed to focus on the range of visual means that people use to convey ideas and stories, non-literary forms that make ideas accessible to a wide audience. Textiles, puppets and masquerades, when viewed within their cultural matrix, are powerful tools for capturing the less visible aspects of communities in which the written word may not be the primary mode of information sharing. Graffiti, tagging, and muralling, which move in the direction of public art, are more contemporary means of visual communication in our own communities. Likewise, sketching, electronic imagery and graphic novels are powerful tools for documentation and story-telling for contemporary artists. From a simple symbol placed on a wall or a parchment to the more complex structure of masquerades and electronic moving images, human communities have sought to tell their own - and others' stories  - and to convey opinions and messages in endless evocative and creative ways. What can we learn from these various forms of visual communication? This course is not a “making” class per se, but proposes to explore some of these means of visual communication, both historically and currently, in a variety of cultural contexts.

Elective

The course is designed to give students an overview of Mexico’s historic and contemporary art, from the cultural legacy of the pre-columbian states (the Olmecs to the Aztecs) to the Spanish conquest of Tenochtitlan (Mexico City). It will explore the political, economic and cultural contexts which gave rise to the Mexican revolution and its cultural impact on the development of such movements as the estridentismo and on the muralist period; we will look at the impact of Indigenous styles on the history of Mexican art and beyond, and the continuous role of regional traditional creativity on modern art and architecture in Mexico. The course will use both an ethnographic perspective, and an aesthetics approach to explore the complex trajectory of Mexican art.
Elective

Sacred Architecture has always been distinct from secular and vernacular architecture and is associated with a variety of belief systems, sacred texts and iconography. From forest groves, caves, and other natural habitats barely transformed by the human hand, to monumental constructions, such as pyramids, cathedrals and mosques, human beings have devoted their creativity and immense resources to spaces where spiritual forces can be revered, housed, appealed to and placated. This course will focus on sacred indigenous architecture in the Americas, with a few comparative examples drawn from other parts of the world, particularly in the introduction segment of the class. Whether it be a pilgrimage site in Mexico, a Hopi kiva or a Plains ceremonial "lodge", various cultural expressions of the sacred in its architectural manifestations will be presented and contextualized.

Elective

Sacred Architecture has always been distinct from secular and vernacular architecture and is associated with a variety of belief systems, sacred texts and iconography. From forest groves, caves, and other natural habitats barely transformed by the human hand, to monumental constructions, such as pyramids, cathedrals and mosques, human beings have devoted their creativity and immense resources to spaces where spiritual forces can be revered, housed, appealed to and placated. This course will focus on sacred indigenous architecture in the Americas, with a few comparative examples drawn from other parts of the world, particularly in the introduction segment of the class. Whether it be a pilgrimage site in Mexico, a Hopi kiva or a Plains ceremonial "lodge", various cultural expressions of the sacred in its architectural manifestations will be presented and contextualized.

Elective

This course is designed to acquaint students with some of the basic methods and tools that are part of the discipline of ethnography, and learn to feel comfortable in settings that might be unfamiliar to them. Apart from using the technology available to anthropologists and ethnographers, such as cameras and audio recording equipment, many ethnographers find themselves engaged in fieldwork in communities where their very presence is questioned, and the use of equipment such as cameras/cell phones is unacceptable or logistically difficult. In such circumstances, ethnographers turn to tools that are easily available, learn to respect cultural norms, allow for the sharing of viewpoints, and work through the ethical considerations of our discipline. Artists and designers might find equally challenging contexts in cultural settings in which they wish to engage in dialogue in a more participatory manner. We will explore some of these basic "fieldwork" tools, concepts, ethics, cultural and contextual considerations, interviewing skills, the use of sketching and other ways of learning about new settings.

Prerequisite: HPSS-S101 for Undergraduate Students

Elective