UCC/UGC/ECCC
Proposal for Course Change
FAST TRACK
(Select if this will be a fast track item. Refer to Fast Track Policy for
eligibility)
If the changes included in this proposal are significant, attach copies of original and proposed
syllabi in approved university format.
1. Course subject and number: ARH 361
2. Units:
See upper and lower division undergraduate course definitions.
4. Academic Unit:
3. College:
Arts and Letters
5. Current Student Learning Outcomes of the
course.
3
Comparative Cultural
Studies
Show the proposed changes in this column (if
applicable). Bold the proposed changes in this
column to differentiate from what is not
changing, and Bold with strikethrough what is
being deleted. (Resources & Examples for
Developing Course Learning Outcomes)
In the process of participating in this course,
In the process of participating in this course,
students will have an opportunity to develop and students will have an opportunity to develop and
to demonstrate the following:
to demonstrate the following:




Demonstrate knowledge of southwest Native
American arts and their cultural contexts
Demonstrate proficiency in essential critical
reading and critical thinking
Demonstrate proficiency in effective research
and writing
Demonstrate proficiency in effective oral
communication
Effective Fall 2012

Demonstrate knowledge of twentieth century
and contemporary southwest Native North
American arts and their cultural contexts
 Demonstrate proficiency in essential critical
reading and critical thinking
 Demonstrate proficiency in effective research
and writing
 Demonstrate proficiency in effective oral
communication
Active engagement with the content of this
course will enable to student to:
1. analyze twentieth-century and contemporary
Native North American arts.
2. analyze the cultural contexts within which
twentieth-century and contemporary Native
North American arts have been produced and
circulated.
3. critically evaluate and compare and contrast
twentieth-century and contemporary Native
North American arts and the differing
cultures which have produced them and
within which they have circulated.
4. critically evaluate, analyze and communicate
effectively in writing an understanding of
how and why twentieth-century and
contemporary Native North American arts are
created and circulated and how their varying
forms work to produce and reinforce specific
world views and belief systems.
5. communicate orally an understanding of how
and why twentieth-century and contemporary
Native North American arts have been
created and how their varying forms have
worked to produce and reinforce specific
world views and belief systems.
6. Current title, description and units. Cut and
Show the proposed changes in this column Bold the
paste, in its entirety, from the current on-line
proposed changes in this column to differentiate
academic catalog* http://catalog.nau.edu/Catalog/. from what is not changing, and Bold with
strikethrough what is being deleted.
ARH 361 HISTORY OF NATIVE NORTH
AMERICAN ART (3)
Description: This course covers the history of
North American art from c.1500 to 1900. It also
includes significant precontact cultures of the
southwest and eastern woodlands (c.10001600). Cultural contexts are emphasized. Letter
grade only. Course fee required.
Units: 3
Requirement Designation: US Ethnic Diversity
Prerequisite: Junior Status
ARH 361 HISTORY OF TWENTIETH
CENTURY AND CONTEMPORARY NATIVE
NORTH AMERICAN ART (3)
Description: This course covers the history of
twentieth-century and contemporary
North American art from c.1500 to 1900. It
also includes significant precontact
cultures of the southwest and eastern
woodlands (c.1000-1600). Cultural
contexts are emphasized. Readings are
paired with examination of artworks and
discussion of their contexts of production
and reception. Letter grade only. Course fee
required.
Units: 3
Requirement Designation: US Ethnic Diversity
Prerequisite: Junior Status
*if there has been a previously approved UCC/UGC/ECCC change since the last catalog year, please copy the approved
text from the proposal form into this field.
7. Justification for course change.
The Department of Comparative Cultural Studies has a similar course, ARH 145 Introduction
to Native North American Art, and we wish to offer a 300-level course that is significantly
different and does not duplicate the 100-level course.
8. Effective BEGINNING of what term and year?
See effective dates calendar.
Fall 2015
IN THE FOLLOWING SECTION, COMPLETE ONLY WHAT IS CHANGING
Effective Fall 2012
CURRENT
Current course subject and number:
PROPOSED
Proposed course subject and number:
Current number of units:
Proposed number of units:
Current short course title:
Proposed short course title (max 30 characters):
NATIVE NORTH AMERICAN ART
20 CENTURY/CONTEMP NATIVE ART
Current long course title:
Proposed long course title (max 100 characters):
HISTORY OF NATIVE NORTH AMERICAN
ART
TWENTIETH CENTURY AND
CONTEMPORARY NATIVE NORTH
AMERICAN ART
Current grading option:
letter grade
pass/fail
or both
Current repeat for additional units:
Proposed grading option:
letter grade
pass/fail
or both
Proposed repeat for additional units:
Current max number of units:
Proposed max number of units:
Current prerequisite:
Proposed prerequisite (include rationale in the
justification):
Current co-requisite:
Proposed co-requisite (include rationale in the
justification):
Current co-convene with:
Proposed co-convene with:
Current cross list with:
Proposed cross list with:
9. Is this course in any plan (major, minor, or certificate) or sub plan (emphasis)? Yes
No
If yes, describe the impact. If applicable, include evidence of notification to and/or response
from each impacted academic unit.
Comparative Cultural Studies BA (elective), Museum Studies Minor (elective), Native American
Studies Minor (elective).
This course may be used to meet credits required for the art history minor. This change will
have no significant impact on the minor or any other program.
10. Is there a related plan or sub plan change proposal being submitted?
Yes
If no, explain.
These course title and description changes do not require any related plan changes.
No
11. Does this course include combined lecture and lab components?
Yes
If yes, include the units specific to each component in the course description above.
No
Answer 12-15 for UCC/ECCC only:
12. Is this course an approved Liberal Studies or Diversity course?
If yes, select all that apply.
Liberal Studies
Diversity
Effective Fall 2012
Yes
Both
No
13. Do you want to remove the Liberal Studies or Diversity designation?
If yes, select all that apply.
Liberal Studies
Diversity
Yes
No
14. Is this course listed in the Course Equivalency Guide?
Yes
No
15. Is this course a Shared Unique Numbering (SUN) course?
Yes
No
Both
FLAGSTAFF MOUNTAIN CAMPUS
Scott Galland
12/1/2014
Reviewed by Curriculum Process Associate
Date
Approvals:
Department Chair/Unit Head (if appropriate)
Date
Chair of college curriculum committee
Date
Dean of college
Date
For Committee use only:
UCC/UGC Approval
Date
Approved as submitted:
Yes
No
Approved as modified:
Yes
No
EXTENDED CAMPUSES
Reviewed by Curriculum Process Associate
Date
Approvals:
Academic Unit Head
Date
Division Curriculum Committee (Yuma, Yavapai, or Personalized Learning)
Date
Effective Fall 2012
Division Administrator in Extended Campuses (Yuma, Yavapai, or Personalized Learning)
Date
Faculty Chair of Extended Campuses Curriculum Committee (Yuma, Yavapai, or
Personalized Learning)
Date
Chief Academic Officer; Extended Campuses (or Designee)
Date
Approved as submitted:
Yes
No
Approved as modified:
Yes
No
Effective Fall 2012
CURRENT SYLLABUS
OLD SYLLABUS
NORTHERN ARIZONA UNIVERSITY
College of Arts and Letters
Department of Comparative Cultural Studies
ARH 361: Native North American Art
[3 credit hours]
Day/Time:
Professor:
Office Phone:
E-mail:
TuTh 9:35 – 10:50 AM
Dr. Jennifer McLerran
928-523-5623
jen.mclerran@nau.edu
Building/Rm:
Office:
Office Hrs:
Riles Room 205
Riles Room 117
TuTh 3:45 – 4:45 pm
Course Prerequisites: Junior status.
Course Description and Objectives:
This course covers the arts of Native peoples of the American southwest, concentrating on the metalwork, lapidary arts,
painting, basketry, ceramics, and textiles of the Navajo, Hopi and Zuni and the painting and ceramic arts of the Pueblo
tribes. Readings are paired with examination of artworks and discussion of their contexts of production and reception.
Students will be required to write five 4-6 page papers and a final, 10-12 page research paper on an assigned topic and
give a classroom presentation on their research. Students are expected to complete all assigned readings prior to the day
listed on the syllabus and actively participate in classroom discussions. The professor will provide students with
discussion questions to guide their reading and to provide a focus for each day’s discussion.
Student Learning Expectations/Outcomes for this Course:
In the process of participating in this course, students will have an opportunity to develop and to demonstrate the
following:
 Demonstrate knowledge of southwest Native American arts and their cultural contexts
 Demonstrate proficiency in essential critical reading and critical thinking
 Demonstrate proficiency in effective research and writing
 Demonstrate proficiency in effective oral communication
Course Structure/Approach:
The course will be taught as lecture and discussion. The instructor will provide students with discussion questions that
will guide their reading and serve as the focus of class discussions. Students will be expected to complete all readings
before the day on which they are listed on the syllabus and come to class prepared to discuss them. Assignments will be
designed to develop effective writing skills. Attendance is mandatory.
Textbook and Readings:
Art History 361 class readings posted on BlackBoard.
COURSE OUTLINE:
(Readings are to be read prior to and discussed during the day indicated.)
_____________________________________________________________________________________
Week 1
Day 1, 8/28
Introduction
Day 2, 8/30
Introduction
Effective Fall 2012
_____________________________________________________________________________________
Week 2
Day 1, 9/4
Overview
Readings:
Nabhan, Gary Paul, Patrick Pynes and Tony Joe, “Assessing Levels of Biocultural Diversity on the
Colorado Plateau in Relation to Other Regions,” in Center for Sustainable Environments, Northern
Arizona University, et al., Safeguarding the Uniqueness of the Colorado Plateau: An Ecoregional
Assessment of Biocultural Diversity (Center for Sustainable Environments, NAU; Grand Canyon
Wildlands Council, and Terralingua: Partnerships for Linguistic and Biological Diversity, 2002), p. 711.
Pynes, Patrick and Gary Paul Nabhan, “Ethnolinguistic Diversity: Restoring the Native Languages to the
Colorado Plateau, Center for Sustainable Environments, Northern Arizona University, et al.,
Safeguarding the Uniqueness of the Colorado Plateau: An Ecoregional Assessment of Biocultural
Diversity (Center for Sustainable Environments, NAU; Grand Canyon Wildlands Council, and
Terralingua: Partnerships for Linguistic and Biological Diversity, 2002), p. 49-58.
Day 2, 9/6
Overview
_____________________________________________________________________________________
Week 3
Day 1, 9/11
Overview
Readings:
Maffi, Luisa, “What is Biocultural Diversity?” in Luisa Maffey and Ellen Woodley, Biocultural Diversity
Conservation: A Global Sourcebook (London: Earthscan, 2010), p. 3-11.
Maffi, Luisa, “Why Is a Biocultural Approach Relevant for Sustaining Life in Nature and Culture”in
Luisa Maffey and Ellen Woodley, Biocultural Diversity Conservation: A Global Sourcebook (London:
Earthscan, 2010), p. 13-20.
L. Frank Manriquez, “Silent No More: California Indians Reclaim Their Culture—and They Invite You to
Listen,” in Luisa Maffi, ed. On Biocultural Diversity: Linking Language, Culture and the Environment
(Washington, D.C.: Smithsonian Institution Press, 2001), p. 540-545.
Day 2, 9/13
NO CLASS
____________________________________________________________________________________
Week 4
Day 1, 9/18
Navajo Art and Culture Overview
Readings:
Gill, Sam D., “Navajo Views of Their Origin,” in Alfonso Ortiz, ed. Handbook of the North American
Indian, vol. 10 (Washington: Smithsonian Inst., 1983), 502-5.
Roessel, Robert A., Jr., “Navajo History, 1850-1923,” in Alfonso Ortiz, ed. Handbook of the North
American Indian, vol. 10 (Washington: Smithsonian Inst., 1983), 506-23.
Witherspoon, Gary, “Navajo Social Organization,” in Alfonso Ortiz, ed. Handbook of the North American
Indian, vol. 10 (Washington: Smithsonian Inst., 1983), 524-35.
Roessel, Ruth, “Navajo Arts and Crafts,” in Alfonso Ortiz, ed. Handbook of the North American Indian,
vol. 10 (Washington: Smithsonian Inst., 1983), 592-604.
Day 2, 9/20
Navajo Weaving and Other Traditional Women’s Arts
Readings:
Tapahonso, Luci, “Ode to the Land: The Dine View,” New Mexico Magazine 73 (August 1995): 60-69.
Tapahonso, Luci, excerpts from ““Sháá Áko Dahjiníleh: Remember the Things They Told Us”
Harrison Begay and Leland Wyman, The Sacred Mountains of the Navajo in Four Paintings by Harrison
Begay (Flagstaff, Ariz.: Museum of Northern Arizona, 1967).
Hedlund, Ann Lane, “Give-and-Take: Navajo Grandmothers and the Role of Craftwomen,” in American
Indian Grandmothers: Traditions and Transitions, Marjorie M. Schweizer, ed. (Albuquerque:
University of New Mexico Press, 1999), 53-78.
Schwarz, Maureen Trudelle, “The Biil: Traditional Navajo Female Attire as Metaphor of Navajo
Aesthetic Organization, Dress 21 (1994): 75-81.
Effective Fall 2012
Kennedy Museum of Art, Process Notebooks from Weaving Is Life (“Sheep,” “Shearing, Sorting &
Cleaning,” “Carding & Spinning,” “Plant Dyes & Dyeing,” “Yarns,” “Loom & Weaving Tools,”
“Weaving.”
4-6 page paper covering weeks 2 & 3 due
_____________________________________________________________________________________
Week 5
Day 1, 9/25
Navajo Basketry and Ceramics
Readings:
Kennedy Simpson, Georgiana, Navajo Ceremonial Baskets: Sacred symbols, Sacred Space
(Summertown, Tenn.: Native Voices, 2003), excerpts.
Edison, Carol, “Contemporary Navajo Baskets on the Utah Reservation,” Utah Historical Quarterly, vol.
74, no. 3 (Summer 2006), 241-258.
Brugge, David, et al, Navajo Pottery, Plateau, vol. 58, no. 2 (1992), 1-end.
Day 2, 9/27
Navajo Jewelry and Twentieth-Century Navajo Painting
Readings:
Jernigan, E. W. White Metal Universe: Navajo Silver from the Fred Harvey Collection (Phoenix: Heard
Museum, 1981), excerpts.
Bernstein, Bruce, “Art for the Sake of Life: Dorothy Dunn and a Story of American Indian Painting,” in
Bruce Bernstein and W. Jackson Rushing, Modern by Tradition: American Indian Painting in the
Studio Style (Santa Fe: Museum of New Mexico Press, 1995), 3-25.
_____________________________________________________________________________________
Week 6
Day 1, 10/2
NO CLASS
Day 2, 10/4
Week 7
Day 1, 10/9
Day 2, 10/11
Week 8
Day 1, 10/16
Day 2, 10/18
Zuni Arts and Culture Overview
Readings:
Woodbury, Richard B., “Zuni Prehistory and History to 1850,” in Alfonso Ortiz, ed. Handbook of the
North American Indian, vol. 9 (Washington: Smithsonian Institution, 1983), 467-73.
Eggan, Fred and T. N. Pandey, “Zuni History, 1850-1970,” in Alfonso Ortiz, ed. Handbook of the North
American Indian, vol. 9 (Washington: Smithsonian Institution, 1983), 474-81.
Tedlock, Dennis, “Zuni Religion and World View,” in Alfonso Ortiz, ed. Handbood of the North
American Indian, vol. 9 (Washington: Smithsonian Institution, 1983), 499-513.
Zuni Carving
Reading:
McManis, Kent and Laurie McManis, Zuni Fetish Carvers of the 1970s (Santa Fe: Wheelwright Museum
of the American Indian, 2006), 9-36.
4-6 page paper covering weeks 4 & 5 due
Zuni Lapidary, Silverwork and Ceramics
Reading:
Rodee, Marian, “Historic and Contemporary Jewelry,” in Zuni: A Village of Silversmiths, James Ostler,
Marian Rodee and Milford Nahohai, eds. (Zuni: A:shiwi Publishing, 1996), 52-70.
Zuni Ceramics
Reading:
Lanmon, Dwight and Francis H. Harlow, with the assistance and cooperation of the people of Zuni
Pueblo, The Pottery of Zuni Pueblo (Santa Fe: Museum of New Mexico Press (Santa Fe: Museum of
New Mexico Press, 2008), 39-59, 421-445.
Zuni Painting
Reading:
Effective Fall 2012
Enote, James and Jennifer McLerran, A:shiwi A:wan Ulohnanne: The Zuni World (Zuni, NM: A:shiwi
A:wan Museum and Heritage Center, 2011), 4-27.______
Week 9
Day 1, 10/23
Day 2, 10/25
Week 10
Day 1, 10/30
Day 2, 11/1
Week 11
Day 1, 11/6
Pueblo Painting
Readings:
Schaafsma, Polly, “Landscape and Painted Walls: Images in Place,” in Painting the Cosmos: Metaphor
and Worldview in Images from the Southwest Pueblos and Mexico, MNA Bulletin 67, Kelley HaysGilpin and Polly Schaafsma, eds. (Flagstaff: Museum of Northern Arizona, 2010),19-40.
4-6 page paper covering weeks 6, 7 and 8 due
Pueblo Painting and Ceramics
Hays-Gilpin, Kelley, Elizabeth Newsome and Emory Sekaquaptewa, “Siitalpuva, ‘Through the Land
Brightened with Flowers’: Ecology and Cosmology in Mural and Pottery Painting, Hopi and Beyond,”
in Painting the Cosmos: Metaphor and Worldview in Images from the Southwest Pueblos and Mexico,
MNA Bulletin 67, Kelley Hays-Gilpin and Polly Schaafsma, eds. (Flagstaff: Museum of Northern
Arizona, 2010), 121-138.
Brody, J. J., “Pueblo Fine Arts,” in Alfonso Ortiz, ed. Handbook of the North American Indian, vol. 9
(Washington: Smithsonian Institution, 1983), 603-608.
Hopi Art and Culture Overview
Readings:
Brew, J. O., “Hopi Prehistory and History to 1850,” in Alfonso Ortiz, ed. Handbook of the North
American Indian, vol. 9 (Washington: Smithsonian Institution, 1983), 514-23.
Dockstader, Frederick J., “Hopi History, 1850-1940,” in Alfonso Ortiz, ed. Handbook of the North
American Indian, vol. 9 (Washington: Smithsonian Institution, 1983), 524-32.
Clemmer, Richard O., “Hopi History, 1940-1974,” in Alfonso Ortiz, ed. Handbook of the North American
Indian, vol. 9 (Washington: Smithsonian Institution, 1983), 533-38.
Hopi Painting
Readings:
Hays-Gilpin, Kelley, ed. We Are Here: Pueblo Painting & Place, Plateau, vol. 2, no. 2 (Fall/Winter
2005/2006)._______________________________________
Hopi Ceramics and Basketry
Readings:
Frederick, E. C., ed. Hopi and Hopi-Tewa Pottery, Plateau, vol. 49, no. 3 (1977): 1-33.
Allen, Laura Graves, “Wicker Plaiting and Coil,” Plateau, vol. 53, no. 4 (1982): 4-7.
Day 2, 11/8
Hopi Katsinas and Jewelry
Readings:
Sekakuku, Alph, “Authentic Hopi Katsina Dolls,” in Katsina: Commodified and Appropriated Images of
Hopi Supernaturals, Zena Pearlstone, ed. (Los Angeles: UCLA Fowler Museum of Cultural History,
2001), 162-165.
Mangum, Richard and Sherry, The Hopi Silver Project of the Museum of Northern Arizona, Plateau, new
series, number 1 (1995): 1-41._____________
Week 12
student presentations
4-6 page paper covering weeks 9, 10 and 11 due
Week 13
student presentations
Week 14
student presentations
Effective Fall 2012
Week 15
student presentations
______________________________________________________________________________
FINAL PAPERS DUE: Tuesday, December 11, 5:00 p.m., e-mailed to professor
__________________________________________________________________________________
ASSESSMENT OF STUDENT LEARNING OUTCOMES
Methods of Assessment:
1) Discussion/attendance (10% of total grade)
2) Five 4-6 page papers covering weeks 2-10 (10% each x 5 = 50% of total grade)
3) Class presentation on material covered in final research paper (15% of total grade)
3) Final 10-12 page research paper (25% of total grade)
Timeline for Assessment:
Week 4, day 2, 9/20:
Week 6, day 1, 10/2:
Week 8, day 1, 10/16:
Week 9, day 2, 10/23:
Week 11, day 2, 11/8:
To be assigned:
To be determined:
first 4-6 page paper due
second 4-6 page paper due
third 4-6 page paper due
fourth 4-6 page paper due
fifth 4-6 page paper due
classroom presentation on research paper topic
final 10-12 page research paper due
Grading System:
ALL assignments must be completed in order to pass the course, unless you provide the instructor with a valid
written medical or institutional letter discussing why this will not be possible. With proper documentation, your
remaining grades will be averaged together.
The grading scale for the course is as follows:
90%-100% =A
80%-89% =B
70%-79%=C
60%-69%=D
Below 59%=F
Grading Criteria:
See attached grading form with detailed description of evaluation criteria for papers.
COURSE POLICIES:
Late Assignments: There will be NO makeup writing assignments or makeup tests unless there is a valid medical
written excuse (from the doctor, hospital, etc), or a valid institutional excuse presented (or notification that it will be
forthcoming) within 24 hours of the missed assignment. A missed assignment will be counted as a zero.
Attendance Policy: Given the structure of the course, which is based partly on class discussions, it is imperative that you
attend each class, participate actively, and demonstrate your knowledge of the assigned readings both verbally and in
writing. Any more than two unexcused absences (those without a valid medical excuse or a valid institutional excuse) will
result in a reduction of the student’s letter grade by one-third (i.e., from an A to an A-).
Effective Fall 2012
Statement on Plagiarism and Cheating: The Department of Humanities, Arts, and Religion considers cheating and
plagiarism serious issues and deals with them severely. Any student found cheating or plagiarizing will fail the exam or
assignment, and may be removed from the class.
Cell Phones and Other Electronic Devices: ALL cell phones, pagers, beeping watches and any other form of electronic
device MUST BE SWITCHED off BEFORE you enter the classroom. If one of these devices goes off, you will be asked
to leave the class for the remainder of the period.
University policies: See the NAU website for the Safe Working and Learning Environment, Students with Disabilities,
Institutional Review Board, and Academic Integrity policies.
Effective Fall 2012
PROPOSED SYLLABUS
NEW SYLLABUS
NORTHERN ARIZONA UNIVERSITY
College of Arts and Letters
Department of Comparative Cultural Studies
Twentieth-Century and Contemporary Native American Art
[3 credit hours]
Day/Time:
Professor:
Dr. Jennifer McLerran
Office Phone: 928-523-5623
E-mail:
jen.mclerran@nau.edu
Building/Rm:
Office: Riles Room 117
Office Hrs:
Course Prerequisites: Junior status.
Course Description and Objectives
This course covers twentieth-century and contemporary Native American art. Readings are paired with examination of
artworks and discussion of their contexts of production and reception. The course is taught as lecture and discussion. The
professor will provide students with discussion questions that will guide their reading and serve as the focus of class
discussions. Students will be expected to complete all readings before the day on which they are listed on the syllabus and
come to class prepared to discuss them. Tests and writing assignments develop effective writing skills and group
presentations develop the ability to communicate orally.
Students are given a map quiz, a mid-term essay exam and a comprehensive final essay exam. In addition, ten one-page
weekly papers demonstrating an understanding and ability to articulate the content of the assigned readings are required.
ARH 361 also fulfills the University’s Diversity requirement in the U.S. Ethnic Diversity category.
Student Learning Expectations
Active engagement with the content of this course will enable to student to:
1. analyze twentieth-century and contemporary Native North American arts.
2. analyze the cultural contexts within which twentieth-century and contemporary Native North American arts have been
produced and circulated.
3. critically evaluate and compare and contrast twentieth-century and contemporary Native North American arts and the
differing cultures which have produced them and within which they have circulated.
4. critically evaluate, analyze and communicate effectively in writing an understanding of how and why twentiethcentury and contemporary Native North American arts are created and circulated and how their varying forms work to
produce and reinforce specific world views and belief systems.
5. communicate orally an understanding of how and why twentieth-century and contemporary Native North American
arts have been created and how their varying forms have worked to produce and reinforce specific world views and
belief systems.
Assessment of Student Learning Outcomes
I. Attendance and Participation (maximum of 100 points):
Because of the nature of this class, it is imperative that you attend classes,
bring texts under discussion to class, and have completed the assigned
Effective Fall 2012
readings prior to their discussion in class. Participation means preparing
for class and engaging in thoughtful discussion. Attendance is mandatory.
Daily attendance is taken. Arrive on time and remain for the full class
session. Tardiness and early departures may count as partial absences.
Frequent departures during class are disruptive.
This rubric addresses and satisfies learning expectations #1-3 and #5
insofar as such analysis and comprehension is reached through active
participation in class discussions.
Attendance and Participation points are earned as follows:
Outstanding attendance (no classes missed) and performance:
Good attendance (1 class missed) and performance:
Regular attendance (2 classes missed) and performance:
Undistinguished attendance (3 classes missed) and performance:
Disruptive or non-performance:
More than 3 classes missed:
Maximum Attendance and Participation Points
100 points
40 points
60 points
40 points
0 points
-2 points per absence
100
II. Written Assignments (maximum 200):
Effective communication in writing is measured through completion of
ten weekly two-page papers that summarize and respond to each
weekly reading assignment and demonstrate an understanding of their
content. Each paper is worth a maximum of 20 points. See attached
evaluation criteria for the scoring of papers.
This rubric addresses and satisfies student learning expectations #1-4.
Maximum Written Assignment Points
200
III. Presentations (maximum 100 points):
The ability to analyze, critically evaluate, compare and contrast and
communicate orally regarding twentieth-century and contemporary Native
North American arts, the cultural contexts within which they have been
produced and circulated, and the ways in which their varying forms have
worked to produce and reinforce specific world views and belief systems
is measured through completion of two group presentations (4-5 students
per group) on assigned weekly readings. Each presentation is worth a
maximum of 50 points. See attached evaluation criteria for the scoring of
presentations.
This rubric addresses and satisfies student learning expectations #1-3
and #5.
Maximum Presentation Points
100
IV. Tests and Exams (600 points maximum)
The ability to analyze, critically evaluate, compare and contrast and
communicate effectively in writing regarding twentieth-century and
contemporary Native North American arts, the cultural contexts within
which they have been produced and circulated, and the ways in which
their varying forms have worked to produce and reinforce specific world
views and belief systems is measured through a map test, a mid-term
exam and a final, comprehensive exam.
This rubric addresses and satisfies student learning expectations #1-4
A. Map Test (100 points maximum) Students will identify the
geographic locations of Native North American cultures through
completion of a map test.
Effective Fall 2012
This rubric addresses and satisfies student learning expectations #2 and
#3 by identifying the relative locations of interacting Native North
American cultures.
Map Test Maximum Points
100
B. Mid-Term Essay Exam (200 points maximum) Students will complete
a mid-term take-home essay exam (100 points maximum on each) on course
content.
This rubric addresses and satisfies student learning expectations #1-4.
Test Maximum Points
200
C. Final Essay Exam (300 points maximum) Students will complete a final
essay exam on course content.
This rubric addresses and satisfies student learning expectations #1-4.
Final Essay Exam Maximum Points
300
IV. Summary and Grade Scale:






Attendance/Participation
10 Writing Assignments
1 Map Test
Two Group Presentations
Mid-Term Essay Exam
Final, Comprehensive Essay Exam
100 pts
200 pts
100 pts
100 pts
200 pts
300 pts.
1,000 pts total
Grading Criteria:
See attached grading forms with detailed description of evaluation criteria for papers and presentations.
The grading scale for the course is as follows:
90%-100% =A
80%-89% =B
70%-79%=C
60%-69%=D
Below 59%=F
Timeline for Assessment:
Every Tuesday:
Every Thursday, beginning week 4:
Week 2, Day 2, Thursday, 1/23:
Week 8, Day 1, Tuesday, 3/44:
Week 18, Friday, 5/9:
two-page papers on current week’s readings due
student-led discussion on current day’s readings
map test
mid-term essay exam due
final essay exam due
Textbook and Readings:
Art History 361 class readings posted on BlackBoard.
COURSE OUTLINE:
(Readings are to be read prior to and discussed during the day indicated.)
Week 1 Introduction
Day 1
Introduction
Day 2
Film: Weaving Worlds
____________________________________________________________________________________________________________
Effective Fall 2012
Week 2
Day 1 Tradition in Native American Art
weekly two-page paper due (covering week 2 readings) (This rubric addresses and satisfies student learning
expectations #1-4.)


Day 2
King, J. C. H., “Tradition in Native American Art,” 64-92, in Edwin L. Wade, ed., The Arts of the North American Indian:
Native Traditions in Evolution (New York: Hudson Hills Press, 1986).
Maurer, “Determining Quality in Native American Art,” 142-155 in Edwin L. Wade, ed., The Arts of the North American
Indian: Native Traditions in Evolution (New York: Hudson Hills Press, 1986).
The Cosmic Tree
map test (This rubric addresses and satisfies student learning expectations #2 and #3 by identifying the relative
locations of interacting Native North American cultures.)

Vastokas, Joan, “The Shamanic Tree of Life,” 92-117 in Anne Trueblood Brodsky, et al., eds., Stones, Bones and Skin: Ritual
and Shamanic Art (San Francisco: Society for Art Publications, 1977).

Pasztory, Esther, “Shamanism and North American Indian Art,” 7-30 in Zena Matthews and Aldona Jonaitis, eds., Native
North American Art History (T.H. Peek Publications, 1982).
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Week 3
Day 1 The Southwest
weekly two-page paper due (covering week 3 readings)(This rubric addresses and satisfies student learning
expectations #1-4.)




Day 2


Tapahonso, Luci, “Ode to the Land: The Dine View,” New Mexico Magazine 73 (August 1995): 60-69.
Tapahonso, Luci, excerpts from “Sháá Áko Dahjiníleh: Remember the Things They Told Us,” Harrison Begay and Leland
Wyman, The Sacred Mountains of the Navajo in Four Paintings by Harrison Begay (Flagstaff, Ariz.: Museum of Northern
Arizona, 1967).
McLerran, “Textile As Cultural Text: Contemporary Navajo Weaving,” American Indian Art Magazine, vol. 32, no. 1
(Winter 2006): 38-49, 78.
Schwarz, Maureen Trudelle, “The Biil: Traditional Navajo Female Attire as Metaphor of Navajo Aesthetic Organization,”
Dress 21 (1994): 75-81.
The Southwest
Edison, Carol, “Contemporary Navajo Baskets on the Utah Reservation,” Utah Historical Quarterly, vol. 74, no. 3 (Summer
2006), 241-258.
Brugge, David, et al, Navajo Pottery, Plateau, vol. 58, no. 2 (1992), 3-23.
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Week 4
Day 1 The Southwest
weekly two-page paper due (covering week 4 readings) (This rubric addresses and satisfies student learning

Day 2

expectations #1-4.)
Hays-Gilpin, Kelley, ed. We Are Here: Pueblo Painting & Place, Plateau, vol. 2, no. 2 (Fall/Winter 2005/2006), 6-59.
The Southwest
student-led discussion #1 (4-5 students; covering day 2 readings) (This rubric addresses and
satisfies student learning expectations #1-3, and #5).
Ostler, James, Marian Rodee and Milford Nahohai, eds., Zuni: A Village of Silversmiths, (Zuni: A:shiwi Publishing, 1996),
16-51, and 52-70.
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Week 5
Day 1 The East
weekly two-page paper due (covering week 5 readings) (This rubric addresses and satisfies student learning

Day 2
expectations #1-4.)
Townsend, Richard F., “American Landscapes, Seen and Unseen, 14-35 in Richard F. Townsend and Robert V. Sharp, eds.,
Hero, Hawk and Open Hand: American Indian Art of the Ancient Midwest and South (Chicago: The Art Institute of Chicago
and New Haven: Yale University Press, 2004).
The East
Effective Fall 2012
student-led discussion #2 (4-5 students; covering day 2 readings) (This rubric addresses and satisfies student
learning expectations #1-3.)

Reilly, F. Kent III, “People of Earth, People of Sky: Visualizing the Sacred in Native American Art of the Mississippian
Period, 125-137 in Richard F. Townsend and Robert V. Sharp, eds., Hero, Hawk and Open Hand: American Indian Art of the
Ancient Midwest and South (Chicago: The Art Institute of Chicago and New Haven: Yale University Press, 2004).
 Lankford, George E., “World on a String: Some Cosmological Components of the Southeastern Ceremonial Complex,” 207217 in Richard F. Townsend and Robert V. Sharp, eds., Hero, Hawk and Open Hand: American Indian Art of the Ancient
Midwest and South (Chicago: The Art Institute of Chicago and New Haven and London: Yale University Press, 2004).
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Week 6
Day 1 The East
weekly two-page paper due (covering week 6 readings) (This rubric addresses and satisfies student learning
expectations #1-4.)


Day 2

Phillips, Ruth B. “Like a Star I Shine: Northern Woodlands Artistic Traditions,” 17-50 in Glenbow Museum, The Spirit
Sings: Artistic Traditions of Canada’s First Peoples (Toronto: McClelland and Stewart, 1987).
Oberholtzer, Cath, “Propitiation, Instruction, Commission: Survival Arts of the James Bay Cree,” 92-102 in J. C. H. King and
Christian F. Feest, Three Centuries of Woodlands Indian Art, European Review of Native American Studies Monographs 3,
2007.
The West
student-led discussion #3 (4-5 students; covering day 2 readings) (This rubric addresses and satisfies student
learning expectations #1-3.)
Brasser, Ted J., “By the Power of Their Dreams: Artistic Traditions of the Northern Plains,” 93-131 in Glenbow Museum,
The Spirit Sings: Artistic Traditions of Canada’s First Peoples (Toronto: McClelland and Stewart, 1987).
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Week 7
Day 1 The West
weekly two-page paper due (covering week 7 readings) (This rubric addresses and satisfies student learning

Day 2


expectations #1-4.)
Berlo, Janet, “Creativity and Cosmopolitanism: Women’s Enduring Traditions,” 96-147 in Emil Her Many Horses and
Colleen Cutschall, eds., Identity by Design: Tradition, Change and Celebration in Native Women’s Dresses (Washington,
D.C.: National Museum of the American Indian, 2007).
mid-term essay exam handed out (This rubric addresses and satisfies student learning expectations #1-4.)
The West
student-led discussion #4 (4-5 students; covering day 2 readings) (This rubric addresses and satisfies student
learning expectations #1-3.)
McCoy, Ronald, “A Shield to Help You Through Life: Kiowa Shield Designs and Origin Stories Collected by James
Mooney, 1891-1906,” American Indian Art Magazine, vol. 28, no. 3 (Summer 2003): 70-81.
Greene, Candace S. “Buffalo and Longhorn: A Medicine Complex Revealed,” American Indian Art Magazine, vol. 38, no. 4
(Autumn 2013): 42-53.
Week 8
Day 1 The West
weekly two-page paper due (covering week 8 readings) (This rubric addresses and satisfies student learning
expectations #1-4.)
mid-term essay exam due (This rubric addresses and satisfies student learning expectations #1-4.)


Day 2
Bol, Marsha “Defining Lakota Tourist Art, 1880-1915,” 214-228, 364-65 in Ruth B. Phillips and Christopher B. Steiner,
Unpacking Culture: Art and Commodity in Colonial and Postcolonial Worlds (Berkeley: University of California Press,
1999).
Cohodas, Marvin, “Louisa Keyser and the Cohns: Mythmaking and Basket Making in the American West,” 88-133 in Janet
Berlo, ed., The Early Years of Native American Art History: The Politics of Scholarship & Collecting (Seattle: University of
Washington Press and Vancouver: University of British Columbia Press, 1992).
The North
student-led discussion #5 (4-5 students; covering day 2 readings) (This rubric addresses and satisfies student
learning expectations #1-3.)

Thompson, Judy, “No Little Variety of Ornament: Northern Athapaskan Artistic Traditions,” 133-168 in Glenbow Museum,
The Spirit Sings: Artistic Traditions of Canada’s First Peoples (Toronto: McClelland and Stewart, 1987).
Effective Fall 2012
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Week 9
Day 1 The North
weekly two-page paper due (covering week 9 readings) (This rubric addresses and satisfies student learning


Day 2
expectations #1-4.)
Inuit Art Quarterly, vol. 10, no. 3 (Fall 1995): 6-30:
o Lalonde, Christine, “How Can We Understand Inuit Art,” 6-14.
o Berlo, Janet, “An Introduction to the Arts of the Western Arctic,” 15-21.
o Berlo, Janet, “Drawing and Printmaking at Holman,” 22-30.
Driscoll, Bernadette, “Pretending to be Caribou: The Inuit Parka as an Artistic Tradition,” 169-200 in Glenbow Museum, The
Spirit Sings: Artistic Traditions of Canada’s First Peoples (Toronto: McClelland and Stewart, 1987).
The Northwest Coast
student-led discussion #6 (4-5 students; covering day 2 readings) (This rubric addresses and satisfies student
learning expectations #1-3.)

Reid, Martine, “Silent Speakers: Arts of the Northwest Coast” 207- 236 in Glenbow Museum, The Spirit Sings: Artistic
Traditions of Canada’s First Peoples (Toronto: McClelland and Stewart, 1987).
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Week 10 Spring Break
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Week 11
Day 1 The Northwest Coast
weekly two-page paper due (covering week 11 readings) (This rubric addresses and satisfies student learning
expectations #1-4.)
student-led discussion #7 (4-5 students; covering day 2 readings) (This rubric addresses and satisfies student

Day 2


learning expectations #1-3.)
Wardwell, Allen, Tangible Visions: Northwest Coast Shamanism and Its Art (New York: The Monacelli Press with The
Corvus Press, New York, 2009): 32-77.
The Northwest Coast
MacNair, Peter, “From the Hands of Master Carpenter,” 82-125 in Daina Augaitis, et al., Raven Traveling: Two Centuries of
Haida Art (Vancouver: Vancouver Art Gallery, Vancouver: Douglas & McIntyre and Seattle: University of Washington
Press, 2008).
Lee, Molly, “Appropriating the Primitive: Turn-of-the-Century Collection and Display of Native Alaskan Art,” Arctic
Anthropology, Art and Material Culture of the North American Subarctic and Adjacent Regions, vol. 28, no. 1 (1991): 6-15.
Week 12
Day 1 Institutional Influences on Twentieth-Century Native Art
weekly two-page paper due (covering week 12 readings) (This rubric addresses and satisfies student learning
expectations #1-4.)

Day 2

Wyckoff, Lydia. Visions and Voices: Native American Painting from the Philbrook Museum of Art (Tulsa: The Philbrook
Museum of Art, 1996), 19-38.
Institutional Influences on Twentieth-Century Native Art
student-led discussion #8 (4-5 students; covering day 2 readings) (This rubric addresses and satisfies student
learning expectations #1-3.)
Bernstein, Bruce, “Art for the Sake of Life: Dorothy Dunn and a Story of American Indian Painting,” 2-25 in Bruce
Bernstein and W. Jackson Rushing III, Modern by Tradition: Native American Painting in the Studio Style (Santa Fe:
Museum of New Mexico Press, 1995).
 McLerran, Jennifer, “The History and Progress of the Navajo People: Dual Signification in Gerald Nailor’s Council
Chambers Murals,” American Indian Art Magazine, vol. 37, no. 4 (Autumn 2012): 40-49.
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Week 13
Day 1 Institutional Influences on Twentieth-Century Native Art
weekly two-page paper due (covering week 13 readings) (This rubric addresses and satisfies student learning
expectations #1-4.)
Effective Fall 2012


Day 2
Bernstein, Bruce, Santa Fe Indian Art Market: A History of Native Arts and the Marketplace (Santa Fe: Museum of New
Mexico Press, 2012), 17-36, 47-71.
Gritton, Jay, “Cross-Cultural Education vs. Modernist Imperialism: The Institute of American Indian Arts,” Art Journal, vol.
51, no. 3 (Autumn 1992): 28-35.
Contemporary Native Art: D. Y. Begay and Denise Wallace
student-led discussion #9 (4-5 students; covering day 2 readings) (This rubric addresses and satisfies student
learning expectations #1-3.)
 D. Y. Begay, The Weavings of D.Y. Begay (Davis, Calif.: C. N. Gorman Museum, 2013).
 Dubin, Lois Sherr, Arctic Transformation: The Jewelry of Denise and Samuel Wallace (Easton Studio Press, 2005), 57-63.
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Week 14
Day 1 Contemporary Native Art: New Tribe: New York
weekly two-page paper due (covering week 14 readings) (This rubric addresses and satisfies student learning

Day 2
expectations #1-4.)
McMaster, Gerald, ed. New Tribe: New York/The Urban Vision Quest (Washington, D.C.: National Museum of the American
Indian, 2005), excerpts.
Contemporary Native Art: Brian Jungen and Susan Point
student-led discussion #10 (4-5 students; covering day 2 readings) (This rubric addresses and satisfies student
learning expectations #1-3.)

Augaitis, Daina, “Prototypes for New Understandings,” 4-25 in Daina Augaitis, Brian Jungen (Vancouver: Douglas &
McIntyre, 2010).
 Wyatt, Gary, et al. Susan Point: Coast Salish Artist. Douglas & McIntyre, 2000, excerpts.
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Week 15
Day 1 Contemporary Native Art: Kent Monkman and James Luna
weekly two-page paper due (covering week 15 readings) (This rubric addresses and satisfies student learning
expectations #1-4.)
student-led discussion #11 (4-5 students; covering day 2 readings) (This rubric addresses and satisfies student
learning expectations #1-3.)

Katz, Jonathan D., “Miss Chief is always interested in the latest European fashions,” 16-24 in Michèle Thériault, et al.,
Interpellations: Three Essays on Kent Monkman (London: Periscope Publishing Ltd., 2012).
 Hill, Richard W., “Kent Monkman’s Constitutional Amendments: Time and Uncanny Objects,” 50-57 in Michèle Thériault,
et al., Interpellations: Three Essays on Kent Monkman (London: Periscope Publishing Ltd., 2012).
 Martin, Lee-Ann, “Cross Over with Mr. Luna: Distinguished Artist,” 24-37 in James H. Nottage, ed., Diversity and
Dialogue: The Eiteljorg Fellowship for Native American Fine Art, 2007 (Indianapolis: Eiteljorg Museum of American
Indians and Western Art, 2008).
Day 2 Contemporary Native Art: Alan Michelson and Will Wilson
 Ash-Milby, Kathleen, “Alan Michelson (Mohawk) Landscapes of Loss and Presence,” 20-31 in Jennifer Complo McNutt and
Ashley Holland, eds., We Are Here: The Eiteljorg Contemporary Art Fellowship, 2011 (Indianapolis: Eiteljorg Museum of
American Indians and Western Art, 2011).
 Vigil, Jennifer. “Will Wilson (Diné), Fellowship Artist,” 94-107 in James H. Nottage, ed., Diversity and Dialogue: The
Eiteljorg Fellowship for Native American Fine Art, 2007 (Indianapolis: Eiteljorg Museum of American Indians and Western
Art, 2008).
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Week 16
Day 1 Contemporary Native Art: Marie Watt and Wendy Red Star
weekly two-page paper due (covering week 16 readings) (This rubric addresses and satisfies student learning
expectations #1-4.)

Berlo, Janet, “Back to the Blanket: Marie Watt and the Visual Language of Intercultural Encounter,” 110-119 in James H.
Nottage, ed., Into the Fray: The Eiteljorg Fellowship for Native American Fine Art, 2005 (Indianapolis: Eiteljorg Museum of
American Indians and Western Art, 2005).
Effective Fall 2012

Day 2

Nordstrand, Polly, “Wendy Red Star (Crow): Beauty and the Blow-Up Beast,” 80-93 in James H. Nottage, et al., eds., Art
Quantum: The Eiteljorg Fellowship for Native American Fine Art, 2009 (Indianapolis: Eiteljorg Museum of American
Indians and Western Art, 2009).
Contemporary Native Art: Truman Lowe and Lorenzo Clayton
student-led discussion #12 (4-5 students; covering day 2 readings) (This rubric addresses and satisfies student
learning expectations #1-3.)
Ortel, Jo, “Truman Lowe, Ho-chunk,” 38-43 in John Vanausdall, ed., Contemporary Masters: The Eiteljorg Fellowship for
Native American Fine Art, Volume 1 (Indianapolis: Eiteljorg Museum of American Indians and Western Art, 1999).
 Ash-Milby, Kathleen, ”Lorenzo Clayton, Navajo,” 44-49 in John Vanausdall, ed., Contemporary Masters: The Eiteljorg
Fellowship for Native American Fine Art, Volume 1 (Indianapolis: Eiteljorg Museum of American Indians and Western Art,
1999).
Final Essay Exam Handed Out (This rubric addresses and satisfies student learning expectations #1-4.)
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Week 17 Reading Day and Finals Week
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________________
Week 18 Finals Week
Final essay exam due _____________, e-mailed to professor by 5:00 p.m.
(This rubric addresses and satisfies student learning expectations #1-4.)
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COURSE POLICIES
Late Assignments: There will be NO makeup tests unless there is a valid medical written excuse (from the doctor, hospital, etc), or
a valid institutional excuse presented (or notification that it will be forthcoming) within 24 hours of the missed assignment. A
missed assignment will be counted as a zero.
Attendance Policy: Given the structure of the course, which is based partly on class discussions, it is imperative that you attend each
class, participate actively, and demonstrate your knowledge of the assigned readings both verbally and in writing. Any more than two
unexcused absences (those without a valid medical excuse or a valid institutional excuse) will result in a reduction of the student’s
attendance and participation score by 2 points per absence.
Statement on Plagiarism and Cheating: The Department of Comparative Cultural Studies considers cheating and plagiarism serious
issues and deals with them severely. Any student found cheating or plagiarizing will fail the exam or assignment, and may be
removed from the class.
Cell Phones and Other Electronic Devices: ALL cell phones, pagers, beeping watches and any other form of electronic device
MUST BE SWITCHED off BEFORE you enter the classroom. If one of these devices goes off, you will be asked to leave the class
for the remainder of the period.
Effective Fall 2012