Africana Studies 485: Blacks in the Arts
The Black Arts Movement: Then and Now
Spring 2016
TH 6-8 pm
Malcolm X Library
5148 Market Street
San Diego, CA
Schedule #: 20123
Phone: (619) 594-6532 or 594-6531
Office: AL 373A
Office Hours: TTH 10-11, W 10-12 and by appointment ctoombs@mail.sdsu.edu
Instructors: Dr. Antwanisha Alameen-Shavers, Dr. Adisa Alkebulan, Prof. Ajani Brown,
Prof. Delores Fisher, Monique Gaffney, Dr. Francis Nesbitt, Dr. Charles Toombs
Required Texts:
Reading Assignments are posted on Blackboard under Course Documents
Catalog Description:
AFRAS 485.
Blacks in the Arts (3)
Prerequisite: Completion of the General Education requirement in
Foundations of Learning II.C.; Humanities. Academic and artistic perspectives on Black participation in and contributions to the creative and performing arts. May be repeated with new content. See Class Schedule for specific content. Maximum credit six units.
Course Description:
AFRAS 485 studies the history, traditions, rituals, and experiences of the Black Arts Movement of the 1960s and 1970s and today, as we celebrate the 50 th anniversary of BAM. The course examines scholarship and creative/artistic production and assesses and critiques the most frequently used and useful concepts, theoretical frameworks, and perspectives that explain and reveal the importance of BAM to the discipline of Africana Studies. The course studies the relationship between black cultural expression and cultural production as a vehicle for the liberation of black people from various oppressions and as a way for black people to authentically express who they are. The Black Arts Movement, which is overtly political, breaks from its immediate past of protest and civil rights literature and takes a major leap to Black Power and
Black Revolutionary thinking and action. Various artistic genres are studied.
The mode of presentation is lecture-discussion.
Goals and Objectives:
1. Explain the different intellectual perspectives within Africana Studies relating to black art
2. Identify and assess the cultural reconstruction taking place throughout the African World relating to black artistic production
3. Explain and assess the major principles and values of Africana worldview and culture and black art
4. Explain the role of Africana worldview in contemporary society as it relates to black art and black liberation
5. Analytically present and support an argument
6. Critique the ideas and opinions of others as these relate to various black arts topics
7. Write and present a cohesive argument demonstrating knowledge of research techniques,

documentation, organization, and the mechanics of writing in a course essay on a particular black arts topic or creative presentation. Requires meeting with Dr. Toombs
8. Argue from multiple perspectives about black art in black liberation in contemporary society that have personal and global relevance.
10. Demonstrate the ability to approach complex problems and ask complex questions drawing on knowledge of black family scholarship and its major ideas, perspectives
Grading and Testing for students enrolled for credit:
Research Paper/Creative Presentation 40%
Critical Reading Responses (Eight)
Class Participation
45%
15%
__________________________________________________________
Total 100%
A (95-100); A- (90-94); B+ (86-89); B (83-85); B- (80-82); C+ (76-79); C (73-75); C- (70-72);
D+ (66-69); D (63-65); D- (60-62); F (0-59)
CRITICAL READING RESPONSE
Each student will write a Critical Reading Response for each week of assigned readings (some weeks have more than one chapter). The purpose of a critical reading response is to examine, explain, and defend your personal reaction to reading. It obligates you to go beyond whether you like it or not, and it requires you to specifically articulate the significance and relevance of the information. It compels you to apply your examination of the reading to your own life. You must demonstrate an understanding of the text by clearly explaining and supporting your commentary with SPECIFIC examples. To that extent, your response should not contain a lengthy summary of the reading; rather, it should incorporate analysis that leads to logical and reasonable conclusions.
Each response should stake a CLAIM . What is your thesis? Please highlight your thesis in bold text. Include EVIDENCE that is properly cited, and articulate your RATIONALE (analysis).
Your scholarly voice should resonate. Each response should be cogent, fluid, and mechanically sound. It should be typed using 12-point font and double-spaced. It shall not exceed one-two typed pages. Submit it to turnitin.com by 6:00 PM on the due date.
CRITICAL READING RESPONSE RUBRIC
5 – Articulates a comprehensive understanding of the reading; stakes a CLAIM; offers 5 or more concrete details (EVIDENCE); provides substantive RATIONALE, very cogent, EXCELLENT mechanics, spelling and grammar.
4 - Articulates some understanding of the reading; stakes a CLAIM at times; offers 4-5 concrete details (EVIDENCE); provides some RATIONALE; offers GOOD mechanics, spelling and grammar.
3 – Articulates some understanding of the reading; inconsistently stakes a CLAIM; offers 3-4 concrete details (EVIDENCE); provides some RATIONALE; offers GOOD mechanics, spelling and grammar
2 Articulates little understanding of the reading; rarely stakes a CLAIM; offers 1-2 concrete details (EVIDENCE); provides little RATIONALE; offers FAIR mechanics, spelling and grammar.

1 - Does not articulate an understanding of the reading; does not stake a CLAIM or offer specific
EVIDENCE; no RATIONALE, not cogent, POOR mechanics, spelling and grammar.
RESEARCH PAPER/CREATIVE PRESENATATION
Each student will produce a research paper OR GIVE A Creative Presentation on a topic related to “The Black
Arts Movement”. Dr. Toombs must approve your topic. The research paper should be 8-10 pages, and you should adhere to appropriate MLA guidelines. Detailed assignment guidelines for this essay will be posted on
Blackboard.
A research paper is more than a summary of information you’ve collected about a particular topic. It is more than a review of the literature. A research paper, in addition to including a summary of relevant research, it provides an analysis and commits to a position; it uses the research to support the writer’s own unique perspective
If you elect to do a creative presentation, you will need to write up all aspects of it and then present it to the class at the last class meeting. This might include any area of the arts: original dramatic piece, original song, poem (s), painting or other fine art, etc. Dr. Toombs must approve your creative presentation before you proceed.
ATTENDANCE/PARTICIPATION
Participation in this class is essential. We will make it our practice to engage in the art of conversation. Each of you will be responsible for initiating and responding to questions and observations. Conversations will occur in small and large group discussions.
You can do your part by coming to class on time, remaining alert, and being willing to ask questions and share ideas. You should also keep in mind that participating in an inappropriate manner or refusing to participate in class activities will considerably lower your course grade. Many students refrain from commenting during class discussions out of fear that they will give the wrong answer or say something embarrassing. I encourage each of you to risk sharing opinions that you are not entirely sure of. Since none of the readings can be said to have a
“perfect” interpretation, your comments can only assist the class in its primary goal of critically exploring the ideas presented in the various texts we will read.
Attendance is crucial to your success in this class. Attendance is recorded at each class meeting. If you arrive after attendance has been taken, it is your responsibility to come up to the professor at the end of class to change your absence to a tardy . No absence will be changed after the day you come late.
TARDINESS/LEAVING EARLY
Unless you have made prior arrangements with me, you are expected to be in class on time and remain until class is over. Unexcused incidents of leaving early will be counted as an absence for that day. Arranging with the professor to arrive late or leave early should be the exception not the rule.
CHEATING/PLAGARISIM
“Cheating shall be defined as the act of obtaining or attempting to obtain credit for academic work by the use of dishonest, deceptive, or fraudulent means. Examples of cheating include, but are not limited to (a) copying, in part or in whole, from another’s test or other examination; (b) discussing answers or ideas relating to the answers on a test or other examination without the permission of the instructor; (c) obtaining copies of a test, an examination, or other course material without the permission of the instructor; (d) using notes, cheat sheets, or

other devices considered inappropriate under the prescribed testing condition; (e) collaborating with another or others in work to be presented without the permission of the instructor; (f) falsifying records, laboratory work, or other course data; (g) submitting work previously presented in another course, if contrary to the rules of the course; (h) altering or interfering with the grading procedures; (i) plagiarizing, as defined; and (j) knowingly and intentionally assisting another student in any of the above.
2.2 Plagiarism shall be defined as the act of incorporating ideas, words, or specific substance of another, whether purchased, borrowed, or otherwise obtained, and submitting same to the University as one’s own work to fulfill academic requirements without giving credit to the appropriate source. Plagiarism shall include but not be limited to (a) submitting work, either in part or in whole, completed by another; (b) omitting footnotes for ideas, statements, facts, or conclusions that belong to another; (c) omitting quotation marks when quoting directly from another, whether it be a paragraph, sentence, or part thereof; (d) close and lengthy paraphrasing of the writings of another; (e) submitting another person’s artistic works, such as musical compositions, photographs, paintings, drawings, or sculptures; and (f) submitting as one’s own work papers purchased from research companies.
Academic and Punitive Sanctions : Cheating and plagiarism in connection with the academic program at The
University may warrant two separate and distinct courses of disciplinary action that may be applied concurrently in response to a violation of this policy: (a) academic sanctions, such as grade modifications; and
(b) punitive sanctions, such as probation, suspension, or expulsion. Academic sanctions are concerned with the student’s grades and are the responsibility of the instructor involved. Punitive sanctions are concerned with the student’s records and status on campus and shall be the responsibility of the University President or designated representative. The Coordinator of Judiciary Procedures shall be the President’s representative in matters of student discipline.” http:/senate.sdsu.edu/policy/pfacademics.html
ACCOMMODATION OF DISABILITY
If you are a student with a disability and believe you will need accommodations for this class, it is your responsibility to contact Student Disability Services at (619) 594-6473. To avoid any delay in the receipt of your accommodations, you should contact Student Disability Services as soon as possible. Please note that accommodations are not retroactive, and that I cannot provide accommodations based upon disability until I have received an accommodation letter from Student Disability Services.
OTHER COURSE POLICIES
1.
Treat other students and me with respect. Students are expected to
refrain from behavior that interferes with the learning of other students.
2. Come to class prepared.
3. Except during group work, only one person at a time may address the class. You are expected to listen attentively and refrain from conversation while another person is speaking.

4. No cell phones or other electronic equipment may be operated in class. Do not surf the Internet or text message a friend. You are welcome to use your computers to record notes, but please do not surf the Internet.

Dates
2/4/16
2/11/16
2/18/16
2/25/16
3/3/16
3/10/16
3/17/16
3/24/16
3/31/16
4/7/16
Dr. Toombs
TENTATIVE COURSE CALENDAR
Faculty Readings/Assignments
Dr. Toombs
Introduction to class
Black Aesthetic
Theory/Beginnings of Black Arts
Movement: Fuller, Neal, Gayle,
Karenga. CRR on these readings
DUE 2/11/16
Selected Poems by Evans,
Knight, Sanchez, Jordan,
Rodgers, Madhubuti, Giovanni
Dr. Alkebulan
Dr. Alameen-Shavers
CRR DUE 2/18/16
African Aesthetics
African Art, Oral Tradition, and the Spiritual and Philosophical
Foundation for African
Languages
CRR DUE 2/25/16
Blaxploitation Era in Film
Chapter 3: “Now that you’ve
Seen the Rest . . . Make Way for the Biggest and the Best and
“The Black Action Film: The
End of the Patiently Enduring
Black Hero”
Monique Gaffney
Dr. Nesbitt
Monique Gaffney
Professor Fisher
No Class – Spring Break
Professor Brown
CRR DUE 3/3/16
Art and Activism: Selected Play
Excerpts
CRR DUE 3/10/16
Fine Art and the Evolution of a
Black Aesthetic
Reading: Sharon Patton, African
American Art,
CRR DUE 3/17/16
Art and Activism: Black Dance
Movement
CRR DUE 3/24/16
Music as Sonic Backdrop for the
Works of The Last Poets and Gil
Scott Heron
CRR DUE 4/7/16
African American Cartoonists

4/14/16
4/21/16
No Class
Last Day of Class and Comic Book Artists
CRR DUE 4/21/16
Research Papers and/Creative
Presentation DUE and CRR