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by: Professor Judith F. Baca Expressive Arts Track in the Ph.D. Program 1/31/12

UCLA Csar E. Chvez Department of Chicana/o Studies Community Cultural Development in Public Art: Fall 2013 Hours: Thursday, 4:00p.m.-6:50p.m., 4 units UCLA@SPARC DIGITAL MURAL LAB 685 Venice Blvd. Venice, CA 90291 Office hours: UCLA@SPARC DIGITAL MURAL LAB, Tuesday 4:00-6:00pm


From the Neighborhood to the Global Professor Judy Baca
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TIE Code: SEM Instructional Format: SEM with LAB Applicable Caminos: III (History, Culture, and Language of the Americas)

Short Description A course in artists approaches to transformations of local and global communities through aesthetic practices in; visual arts, spoken word, visual performance, music, and dance that include participatory audience inclusion and foster civic dialogue and community advocacy and activism. A course on the issues of cultural democracy based in cultural retention and affirmation. Case studies of artists projects in Community Cultural Development will provide contemporary examples of an evolving field of work and the basis for critical analysis. Required Texts Cleveland, William. Art and Upheaval. Oakland, California: New Village Press. 2008. Print. Cleveland, William. Art in Other Places: Artists at Work in Americas Community and Social Institutions. Westport, Connecticut: Praeger Publishers. 1992. Print. Adams, Don, and Arlene Goldbard. Community, Culture and Globalization. New York, NY: Rockefeller Foundation, Creativity & Culture Division, 2002. Print. Bringhurst, Robert. A Story As Sharp As a Knife: The Classical Haida Mythtellers and Their World. Vancouver: Douglas & McIntyre, 1999. Print.

Submitted by: Professor Judith F. Baca Expressive Arts Track in the Ph.D. Program 1/31/12

UCLA Csar E. Chvez Department of Chicana/o Studies Community Cultural Development in Public Art: Fall 2013 Silko, Leslie M. Almanac of the Dead: A Novel. New York: Simon & Schuster, 1991. Print. Chicana/o Artivism: Judy Baca's Digital Work with Youth of Color. MacArthur Foundation Digital Media and Learning Initiative, The, 2008. Internet resource. Garfield, Joey. Steve Powers. Juxtapoz May 2012: 36-47. Boal, Augusto, and Adrian Jackson. The Aesthetics of the Oppressed. London: Routledge, 2006. Print. Beyerbach, Barbara, and R D. Davis. Activist Art in Social Justice Pedagogy: Engaging Students in Global Issues Through the Arts. New York: P. Lang, 2011. Print. Broyles-Gonzlez, Yolanda. El Teatro Campesino: Theater in the Chicano Movement. Austin: University of Texas Press, 1994. Print. Cockcroft, Eva S, and Holly Barnet-Snchez. Signs from the Heart: California Chicano Murals. Venice, Calif: Social and Public Art Resource Center, 1993. Print. Baca, Judy. "La Memoria De Nuestra Tierra: Colorado."Aztlan: a Journal of Chicano Studies. 30.1 (2005): 195. Print.

UCLA Csar E. Chvez Department of Chicana/o Studies Community Cultural Development in Public Art: From the Neighborhood to the Global Dear, M J, and J D. Dishman. From Chicago to L.a: Making Sense of Urban Theory. Thousand Oaks: Sage Publications, 2002. Print. Lippard, Lucy R. The Lure of the Local: Senses of Place in a Multicentered Society. New York: New Press, 1997. Print. Doss, Erika L. Spirit Poles and Flying Pigs: Public Art and Cultural Democracy in American Communities. Washington: Smithsonian Institution Press, 1995. Print. Vega, Marta M, and Cheryll Y. Greene. Voices from the Battlefront: Achieving Cultural Equity. Trenton, N.J: Africa World Press, 1993. Print.

Submitted by: Professor Judith F. Baca Expressive Arts Track in the Ph.D. Program 1/31/12

UCLA Csar E. Chvez Department of Chicana/o Studies Community Cultural Development in Public Art: Fall 2013 Lacy, Suzanne. Mapping the Terrain: New Genre Public Art. Seattle, Wash: Bay Press, 1995. Print. Felshin, Nina. But Is It Art?: The Spirit of Art As Activism. Seattle: Bay Press, 1995. Print. Dear, M J. Geohumanities: Art, History, Text at the Edge of Place. London: Routledge, 2011. Print. Requirements 20% Bi-Weekly: 1-page single-spaced analytical papers on readings will form the basis of case studies with citations of artists projects, critique and analysis (via Artist interviews and site visits) of the success of the work. Case study reports on local, national or international artists working in the field will be due every other week and include; analysis of the social issue the artist intends to address, interdisciplinary methodology and approach to the problem via the arts, intended audience, anticipated outcome, aesthetic outcome, success of the artwork both in process and product. 50% Lab work: Research project proposal including project description with interdisciplinary methodology and intended audience, outcome analysis in two artistic disciplines i.e. spoken word, visual arts, music. 30% Public presentation: of student designed Community Cultural Development project that includes an abstract with analysis of community and issue, project outline/methods, proposal/aesthetic outcome, annotated bibliography, and audience analysis, economics, proposed methods of evaluation. WEEK ZERO THURSDAY, September 26th Community Cultural Development What defines it? Review of Practices that have engaged community in the process of art making across discipline. Common elements through varied approaches to: The social purpose The participatory practice for audience inclusion The transformational outcome The economics of the production The teaching moments The democraticization of artistic process The examination of the myth of the sole creator.

Submitted by: Professor Judith F. Baca Expressive Arts Track in the Ph.D. Program 1/31/12

UCLA Csar E. Chvez Department of Chicana/o Studies Community Cultural Development in Public Art: Fall 2013 Review of case studies: Each week a case study will be reviewed from list provided along with student researched case studies. Artists invited to speak, as they are available. Readings: Community, Culture and Globalization; Chapters 1-6 Americans for the Arts: Institute for Community Development and the Arts; selected readings
http://www.artsusa.org/information_services/research/institute_community_development/default.asp Downloadable PDFs Arts Programs for At-Risk Youth: How U.S. Communities are Using the Arts to Rescue Their Youth and Deter Crime Building Creative Economies: The Arts, Entrepreneurship, and Sustainable Development The Arts in Times of Trauma Cultural Development in Creative Communities

WEEK ONE THURSDAY, October 3rd Collaboration What is the proper role for the issue and audience? When is it a marketing tool and when is it authentic? The single author in-group process: the monument builder, medieval-renaissance The artist parachuted in to a trouble spot: The celebrity model The teacher proselytize: The missionary model The human megaphone: The artist as a tool for amplification for local voice The artist as teacher: The artist as peace activist locally and internationally The artist as a facilitator Case Study: The Great Wall of Los Angeles J.R.; Graffiti artist Film: Exit Through the Gift Shop Readings Steve Powers. Juxtapoz article. WEEK TWO THURSDAY, October 10th The Ethics of the Collection of the Human Narrative Who owns it? Who has the right to propagate it?

Submitted by: Professor Judith F. Baca Expressive Arts Track in the Ph.D. Program 1/31/12

UCLA Csar E. Chvez Department of Chicana/o Studies Community Cultural Development in Public Art: Fall 2013 Case Study: A Window between Worlds (AWBW): using art to help end domestic violence. Since 1991, AWBW has provided creative expression as a healing tool for over 74,000 battered women and their children in crisis shelters, transitional homes, and outreach centers throughout the United States. Guest speaker: Cathy Salser: is an artist, overcame severe battering experience and founded Window between Worlds. Kathy will show the work of battered woman and children. From the Neighborhood to the Global Readings: A Story Sharp as a Knife the Classical Haida Mythtellers and their World Haida Guai Reader Native American Oral Traditions and Archeology Article Artivism Student Activity Students continue to present their own research in a media rich method. WEEK THREE THURSDAY, October 17th The Issue of Quality What does quality in aesthetics entail in collaborative process? Who judges it? Is quality a euphemism for non-inclusion of artists of color who deviate from the art world canon in aesthetic or concept? Is the worst design a design by committee? Incorporation of multiple voices in a single design. Conflict meditation as inherent in the creative process. Process versus object critique Case Study: Los Angeles Poverty Department Student Activity Presentations of the epiphany workshop in teams. Readings: The Aesthetics of the Oppressed. Selected readings.

Submitted by: Professor Judith F. Baca Expressive Arts Track in the Ph.D. Program 1/31/12

UCLA Csar E. Chvez Department of Chicana/o Studies Community Cultural Development in Public Art: Fall 2013 UCLA Csar E. Chvez Department of Chicana/o Studies Community Cultural Development in Public Art: From the Neighborhood to the Global WEEK FOUR THURSDAY, October 24th Evaluation What are effective ways of evaluating the successful product and/or the outcomes of such work? Where does the story go from here? New methods of art criticism incorporating process versus stand alone object. Beyond the story, what is the benefit to those involved? Can art change lives? How? What models become sustainable? Case Study: Meirle Ukeles, NYC Sanitation Dump work, Garbage Truck Ballet Vik Muniz, Waste Land Readings: Activist Art in Social Justice Pedagogy. Selected readings. WEEK FIVE THURSDAY, October 31st Community Art What is Community Art? Is Community Art bad art? Can works by children be public monuments? Do we need 99% bad art to propagate one percent brilliant? What is the equation? Art Education models for student generated work. Case Studies: The art of the Chicano Movement: Posters, Murals, Teatro Liz Lerman and Lerman Dance Company Readings: Teatro Campesino Theater in the Chicano Movement. Selected readings. Signs From The Heart: California Chicano Murals. Selected readings.

Submitted by: Professor Judith F. Baca Expressive Arts Track in the Ph.D. Program 1/31/12

UCLA Csar E. Chvez Department of Chicana/o Studies Community Cultural Development in Public Art: Fall 2013 WEEK SIX THURSDAY, November 7th The Excavation of the Land and Memory from the Conceptual Model by Judy Baca The engagement of analytical research to define the history of the site back to its geological formation i.e. the current agricultural fields of Central Coast of California formed by glacial movement formulating a valley are among the most fertile in the world. The site is also home to Chumash burial sites and to 90% Hispanic farm working population living below the poverty level and working full time in the Guadalupe Fields. Whose memories matter? Contested spaces Constructed realities UCLA Csar E. Chvez Department of Chicana/o Studies Community Cultural Development in Public Art: From the Neighborhood to the Global Case Study: La Memoria de Nuestra Tierra. Denver International Airport, Denver, CO. Chicano Park. Barrio Logan, San Diego, CA. Readings: La Memoria de Nuestra Tierra. Atzlan Journal. Chicago to LA: making sense of urban theory, Post border City: Cultural Spaces of Bajalta California, and The Postmodern Urban Condition. Selected readings. WEEK SEVEN THURSDAY, November 14th The Spirit of the Site Examination of a process of the excavation of land and memory. The spirit of the site includes the environmental and human history of living creatures and events of the site. In the Guadalupe example the site was populated by Chumash and considered sacred. How is memory honored? The ethical issues artists face in public projects. Erasing to construct? Case study: Guadalupe, California

Submitted by: Professor Judith F. Baca Expressive Arts Track in the Ph.D. Program 1/31/12

UCLA Csar E. Chvez Department of Chicana/o Studies Community Cultural Development in Public Art: Fall 2013 Appleshop: Appalachian music, performance The Nahualt University and Mascarones theater company of Mexico Readings The Lure of the Local. Selected readings. Spirit Poles and Flying Pigs. Selected readings. WEEK EIGHT THURSDAY, November 21st Ethics and the Role of the Artist Current enactments on the site; i.e. the current enactments on the California fields of Guadalupe California site are agribusiness cultivation of year round bumper crops. A shopping mall is proposed to replace an agricultural site and an artist is sought to do a public artwork for the mall to mitigate community outrage at the development. What is the artists role? How can an artist become a spokesperson for the community? What are the implied ethics? Readings: Voices from the Battle Front. Selected readings. Whose Monument Where? Public Art in a Many-Cultured Society. p. 131-138 WEEK NINE THURSDAY, November 28th Thanksgiving Holiday WEEK TEN THURSDAY, December 5th Artists intervention at the site What is the artist vision for the site? The land as a canvas for an individual: the contrasting works of James Turrell, Edgar Heap of Birds, Patricia Johanson and others Post apocalyptic visions in the build environment Case Study: James Turrell, Roden Crater Edgar Heap of Birds at the Wadsworth Anthenuem

Submitted by: Professor Judith F. Baca Expressive Arts Track in the Ph.D. Program 1/31/12

UCLA Csar E. Chvez Department of Chicana/o Studies Community Cultural Development in Public Art: Fall 2013 Patricia Johanson, Cyrus Field Readings: But is it Art: the Spirit of Art as Activism. Selected readings. Geohumanties: Art, History, Text at the Edge of Place. Selected readings. From the Neighborhood to the Global Community Cultural Development Projects Poetry for the People By June Jordon Teatro Campesino The San Francisco Mime Troupe Art of the Chicano art movement: Posters, Poetry, murals, Liz Lerman and Lerman dance company LAPD Los Angeles Poverty Department: John Malpede Activism Chela Sandoval, Gabriel works of Judy Baca in the Digital mural lab The Great Wall of Los Angeles Mural Project Contemporary Graffiti Work JR and supergraphics in Latin American favelas Banksy various international works Retna and Mac in Los Angeles Digital story telling by Joe Lambert Appleshop: Appalachian music, performance The Nahualt University and Mascarones theater company of Mexico A Window Between Worlds: Works of battered Women Artist Kathy Selzer Meirle Ukeles: NYC Sanitation Dump work. Garbage Truck Ballet

Submitted by: Professor Judith F. Baca Expressive Arts Track in the Ph.D. Program 1/31/12

UCLA Csar E. Chvez Department of Chicana/o Studies Community Cultural Development in Public Art: Fall 2013

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