FALL 2002

COURSE SYLLABUS: SENIOR SEMINAR HIST 490

AFRICAN CULTURAL HISTORY

3 SEMESTER CREDIT HOURS

I. LOCATOR INFORMATION

Instructor's Name: Dr. Dianne W. Oyler

Office Location: JKSA 115 Office Phone: 672-1946

Office Hours: Monday & Wednesday 3-6 and Tuesday & Thursday 2-4 p.m.

OR BY APPOINTMENT

Alternate phone:  Department Secretary 672-1573  Ms. Lashley

E-Mail: doyler@uncfsu.edu

II. COURSE DESCRIPTION:

This course is a study in the nature of human society through its cultural setting. The humanities will be the medium through which the diverse societies of sub-Saharan Africa will be explored in their similar approaches to uses of the environment; oral tradition; religion; myths and legends; visual arts; music; dance; and theatre which effect social policies and an individual culture's vision of its own future.

COURSE GOAL:

This is an interdisciplinary course which introduces and discusses with some depth a specified cultural setting. Like the more generalized humanities course, the topics covered are those broad-based aspects of culture and the arts that help the students improve their skills in thinking, understanding, and communicating aesthetic and ethical judgments about the world.  The student will be able to illustrate the cultural products that individual societies in this part of the world have regarded as aesthetically pleasing and the ways in which they were produced.

III. TEXTBOOKS:

Emecheta, Buchi. The Joys of Motherhood. Heinemann, 1994.

Laye, Camara. The Dark Child: The Autobiography of an African Boy. Farrar, Straus, and Giroux 1986.

Martin, Phyllis M. and Patrick O'Meara. (Editors) Africa. Third Edition. Indiana University Press. 1995.

Niane, D. T. Niane. Sundiata: Epic of Old Mali. G.D. Pickett Translator. Longman, 1994.

REQUIRED READINGS: RESERVE READINGS--Available in the Library

RESERVE READINGS FOR RESEARCH--Available in my office.

Arnoldi, Mary Jo, Christraud M. Geary, and Kris L. Hardin. African Material Culture. Indiana University Press, 1996.

Bravmann, René. Islam & Tribal Art in West Africa. Cambridge University Press, 1994.

d'Azevedo, Warren L. (Editor) The Traditional Artist in African Societies. Indiana University Press, 1989.

Gorer, Geoffrey. Africa Dances. Penguin Books, 1945.

Grinker, Roy Richard & Christopher B. Steiner. Perspectives on Africa: A Reader in Culture, History, & Representation. Blackwell Publishers, 1997.

Imbo, Samuel Oluoch. An Introduction to African Philosophy. Berman & Littlefield Publishers 1998.

Malkmus, Ligbeth and Roy Armes. Arab & African Film Making. Zed Books, 1991.

Nketia, J.H. Kwabena. The Music of Africa. W.W. Norton, 1975.

Waterman, Christopher Alan. Juju: A Social History and Ethnography of an African Popular Music

Willett, Frank. Introduction to African Art. Thames & Hudson, 1993.

IV. COURSE GOALS, BEHAVIORAL OBJECTIVES AND COMPETENCIES:

Upon completion of this course, a student will be able to analyze change and continuity overtime, organize historical evidence, and ask and answer critical questions about the past. The student will also be able to demonstrate knowledge of people and events across time, to be used as building blocks for critical interpretation and understanding of the past. In addition, a student will be able to identify the enduring themes of the historical experience and discuss history as a discipline. Moreover, the student will be able to demonstrate an understanding of the historical role of both common and diverse cultural traditions that constitute Western Civilization. Finally, the student will be able to illustrate the cultural products that past societies have regarded as aesthetically pleasing and the ways in which they were produced.

    In accordance with the University's Teacher Education Conceptual Framework which is aligned with NCATE Standards, upon completion of this course, the prospective facilitator of learning will:

Knowledge:

     --Demonstrate understanding of the subject matter, how it relates to other disciplines, and to their individual lives.

     --Demonstrate in-depth knowledge of African history and culture, and how it relates to the social studies in general and history specifically.

Technology:

     --Apply new technologies to teaching, learning, and research

Reflection:

     ---Reflect upon his/her knowledge of the history of the African continent and demonstrate a commitment to ongoing professional development by keeping abreast of current affairs in the region.

      SPECIFIC STUDENT OUTCOMES:  Students who complete this course with a C grade will
 Apply critical and analytical skills through the study of African culture; (DPI 1.1, 1.2,1.3, 1.4, 1.5),  (NCSS 2.1);

 Apply historical methodology by utilizing both primary and secondary sources including journals, monographs, and the plastic arts.    (DPI 1.5), (NCSS 2.1);

 Write critically and analytically (DPI 1.5), (NCSS 2.1);

 Discuss issues concerning multiculturalism (DPI 1.3); (NCSS 1.1, 1.4, 1.5, 1.6, 1.8, 1.9)

Explore the relationship of cultures found in sub-Saharan African with those of people of African descent in the diaspora and throughout the world;

  Identify African cultures, environments, and political states on appropriate maps (DPI 1.2, 1.3, 1.4); (NCSS 1.3, 1.4, 1.5, 1.6, 1.8, 1.9);

  Describe the scope and sequence of African history through sequenced course work (DPI 1.1, 1.4), (NCSS 1.2, 1.3, 1.6, 1.8, 1.9);

  Analyze Africa's global connection during periods of world history. (DPI 1.1, 1.4), (NCSS 1.6, 1.9);

Analyze and compare the universal aspects of human culture and interaction found in sub-Saharan Africa and within US cultures;

Demonstrate an ability to communicate with people of other cultures, especially as it relates to travel, the arts, literature, and occupations;

Analyze the essential aspects of culture whose similarities reduce the problems of diversity.

 Apply reflective decision-making skills to the medium of history (DPI 1.2, 1.5); (NCSS 1.2).
 

V. EVALUATION CRITERIA/GRADING SCALE:

A. Grades will be based on two examinations, writing assignments, and class participation. Each exam will be based on the units of study immediately preceding it and will be written in a blue book which may be purchased in the book store. The class may determine the size of the blue book to be used.

    Exams will each count 2 x 25% =   50%

    Individual Assignments                    20

    Paper + Oral Component                20

    Class Participation                            10

                                                          100%

B.    Rubric for History Essays 

Wow! A superior or excellent essay (A, B) 

Area 1:     Content, Ideas, Analysis, Interpretation: 

 1.    Focuses on what the question asks. Does specifically what the question
        requires: Fulfills the demand of the action verb: compare, synthesize,
        critique, evaluate, etc. 
 2.    Explains about people in the past (individuals and groups) and what they            did.  Incorporates the actual words of historical actors (primary sources) into
        your essay. 
3.    Attempts to explain (interpret) the key historical issues involved, such as
        causation, comparisons, 
4.    Briefly identifies the people mentioned and defines specialized or Spanish
        terms. 
5.    Optional: Incorporates and cites additional research beyond the assigned
        readings. 

Area 2:     Use and Citation of Historical Evidence 

1.    Supports all thesis statements (explanations, interpretations) with specific
        evidence (examples, illustrations, concrete historical actions). 
2.    Draws evidence (supporting examples) from ALL the required readings. 
3.    Appropriate inclusion of primary source (firsthand) direct quotations.
        Persons quoted clearly identified. 
4.    Includes statistical evidence (raw numbers, percentages, charts, graphs)
        when appropriate. 
5.    (Research paper only): All sources cited properly with end or footnotes and
        complete bibliography. 

Area 3:     Organization and Logic 

1.    Organizes ideas and themes into logical sequences and subtopics
        appropriate to the question. 
2.    Includes a brief, clear introduction that aptly summarizes the paper's major
        focus, most important points, and guides the reader on what to expect in the
        body? 
3.    Includes a final, logical summation or conclusion. This section may also point
        to important issues and questions that would require further research. 
4.    Each paragraph focuses on and supports a single idea; one topic per
        paragraph. Logical transitions between paragraphs create a clear flow from
        point to point through the essay. 
5.    Makes as complete an argument (analysis) as space permits. 

Area 4:     Writing Clarity and Correctness 

1.    Phrases ideas in direct, clear, concise sentences? Avoids unduly long,
        complicated sentences (25 words plus). 
2.    Expresses ideas in the active voice. 
3.    Exhibits strong sentence fluency--the language flows cleanly and clearly, like
        a good speech. 
4.    Employs strong, vigorous action verbs (in the simple past tense that show
        specifically what people did. 
5.    Includes correct spelling, grammar, and punctuation 

A     Competent, Developing Essay-on track- but aways to go (C) 

1.    Simply narrates events or tells a story, rather than explaining and
        interpreting. 
2.    Strays from the question; includes information, people, and events not
        directly related to what the question asks. 
3.    Fails to make a logical argument. Information is simply spewed forth in no
        particular order. 
4.    Fails to provide specific supporting evidence for every general statement. 
5.    Includes some evidence that is not relevant and/or factually correct 
6.    Does not show knowledge of ALL assigned readings? 
7.    Often expresses ideas in the passive voice. 

A draft or emerging essay- not yet there -needs
hard work (D, F) 

1.    Does not focus on nor answer the question asked. 
2.    Shows little knowledge or understanding of the assigned readings. 
3.    Most paragraphs lack historical specifics; few or no primary source
        quotations and/or overuse of quotations from secondary sources 
4.    Many simple assertions that lack relevant evidence or illustrations. 
5.    Entire essay overly general; no specific supporting examples; little evidence
        from the required readings; inadequate and/or incomplete citations. 
6.    Exhibits poor writing, such as typos, sentence fragments, subject-verb
        disagreements, considerable overuse of the passive voice, grammatical and
        word use errors. 
7.    Mixes past and present tenses. Write history in the simple past tense. 
8.    Often appears hastily written, as a first draft, with careless errors and little
        evidence of careful thought. 
http://social.chass.ncsu.edu/slatta/rubrics/rub4a.htm

NOTE: YOU SHOULD NEVER MISS A SCHEDULED EXAM. UNLESS THE ABSENCE IS EXCUSED WITH PROPER DOCUMENTATION, THE MAKE-UP EXAM GRADE WILL BE REDUCED BY ONE LETTER GRADE AS A PENALTY FOR ABSENCE. MAKE-UP EXAMS ARE AT THE SOLE DISCRETION OF THE INSTRUCTOR.

SPECIAL NOTE ON ACADEMIC HONESTY

Students should be aware that a university is a community of scholars committed to the discovery and dissemination of knowledge and truth. Without the freedom to investigate all materials, scrupulous honesty in reporting findings, and proper acknowledgment of credit, such a community can not survive. Students are expected to adhere to the highest traditions of scholarship. Any infractions of these traditions, such as plagiarism, are not tolerated. Though we do not anticipate any such occurrence, for the record, misrepresenting someone else's words or ideas as one's own, constitutes plagiarism. In cases where plagiarism occurs, the instructor has the right to penalize the student(s) as he or she thinks appropriate. One guide line holds that the first offence = failure of the assignment; the second offence = failure of the course.

Grades and their numerical equivalents are as follows:

Numerical Limits Letter Grades

    92 and above A

    83 - 91 B

    73 - 82 C    

    64 - 72 D

    63 and below F

1.     INSTRUCTOR POLICIES

        a. MAKE-UP WORK

            1. EXAMS: Unless the absence is excused with proper documentation, the     make-up exam grade with be reduced by one letter grade as a penalty for absence. Make-up exams are at the sole discretion of the instructor. Missed exams caused by an excused absence must be made up WITHIN ONE WEEK unless illness or emergency necessitates a longer absence from school.

        2. Missed due date of the assignment. This applies to writing assignments--SUBTRACT ONE LETTER GRADE.

        3. No make-up work will be accepted the last week of classes.

    b. EXTRA CREDIT may be earned through cultural reaction papers turned in with the exam.

    c. As a rule, I do not give an incomplete. If you choose not to complete the class please formally withdraw from it.

VI. COURSE REQUIREMENTS

Assignments:

Assignments for this class will include reading, writing, and special projects to include:

One Research Paper the focus of which will be a comparative paper on the indigenous vs. the contemporary African culture among one ethnic group of your choice.

One Oral presentation of Research Findings

One written/discussion leader presentation on an African author who writes in either French or English (may coincide with paper assignment)

Attendance and Punctuality:

Students are responsible for material covered and assignments.

Class Participation:

All students are expected to come to class prepared to discuss the assigned material, so it is important to complete all the assigned readings before coming to class. Any student may, at any time, be called upon to recite or to write a short essay on the assigned material. Short quizzes may be given on assigned materials at any time. Students are expected to understand the material, or at least have identified those items that they do not yet understand in order to ask question in class. The instructor will assume that students know the material and are prepared to discuss it. Students are responsible for all work assigned in this class, whether or not they are present. Assignments must be completed on time.  Students are expected to observe normal courtesy in class. They are expected to pay attention to the instructor, to take detailed notes, to refrain from personal conversations, and to avoid any other behavior which is disruptive and disturbing to others. A student who does not observe these courtesies may be asked to leave the room.  This course is designed to help improve your proficiency in note-taking, library skills, logical and analytical thinking and writing, and critical evaluation.

VII. TEACHING STRATEGIES

The mode of presentation for the course will be lecture/student discussion. There will be opportunities for cooperative learning. I encourage peer teaching and recommend students to work together through study groups. I want to emphasize the critical analysis of data--information you read and see on film/video and the communication of your ideas supported by facts. While these skills are important to the course work at hand, they are most important in your life's work where you read, listen, evaluate, articulate, communicate your understanding, ideas, and opinions on a daily basis. These activities will give you practice in these areas.

V. COURSE CONTENT OUTLINE--LECTURE AND DISCUSSION TOPICS AND READING ASSIGNMENTS:

PART I: THE CONTINENT AND THE CULTURE OF ITS INDIGENOUS PEOPLES

Aug. 22& 28         INTRODUCTION TO THE COURSE

 Aug. 26                   MYTHS AND REALITIES

                                SOURCES

                             PHYSICAL GEOGRAPHY; POLITICAL GEOGRAPHY

                                PEOPLES GEOGRAPHY

                                Martin/O'Meara Chapter 2, pp. 10-45.

Sept 3 & 5         EARLY & INDIGENOUS AFRICA HISTORY

Sept 9                Martin/O'Meara Chapter 3

                        Martin/O'Meara Chapter 4

Sept. 10 & 12     SOCIAL ORGANIZATION/POLITICAL ORGANIZATION

Sept 16               STATE SOCIETIES & STATELESS SOCIETIES

                            Martin/O'Meara Chapter 9

                        AFRICAN SYSTEMS OF THOUGHT

                        Martin/O'Meara Chapter 11

                        RESERVE READING:

                        From Asante, M.K. and K.W. Asante, African Culture:  The                  Rhythms of Unity, Chapter 3--Yansane, Aguibou Y., "Cultural,      Political, and Economic Universals in West Africa."

                    Chapter 8--Pennington, Dorthy L. "Time in African Culture"

Sept 17 & 19        RELIGION IN AFRICA

Sept. 30               A. Indigenous Religions

                    RESERVE READING:

                    From Bohannan, Paul and Philip Curtin. Africa & Africans, Chapter 10, African Religions

                            B. Islam in Africa

                    Martin/O'Meara Chapter 5

RESEARCH PROPOSAL DUE

                             AFRICAN ART

                      Martin/O'Meara Chapter 12

Sept 24 & 26        AFRICAN MUSIC AND DANCE

Sept. 30                Martin/O'Meara Chapter 13

                    RESERVE READING:

                    From: Asante, M.K. and K.W. Asante, African Culture: The Rhythms of Unity, Chapter 4 K. W. Asantea, "Commonalities in African Dance: An Aesthetic Foundation

                From Okpaku, Joseph, New African Literature and the Arts I, Judith Lynne Hanna, "What is African Dance?

         AFRICAN LITERATURE & ORAL TRADITION AS HISTORY AND AS PERFORMANCE

        RESERVE READING:

        From Asante, M.K. and K.W. Asante, African Culture: The Rhythms of Unity, Chapter 7 Boateng, Felix, "African Traditional Education: A tool for Intergenerational Communication

    Chapter 5 Boadu, Samuel Osei, "African Oral Artistry and the New Social Order"

     DISCUSSION: Sundiata: An Epic of Old Mali

Oct 3         EXAM #1 (includes Map)

PART II: EUROPE & AFRICA

IMPACT & LEGACY OF COLONIAL RULE

Oct. 8 & 10                     THE COLONIAL ERA

Oct. 14                                Martin/O'Meara Chapter 7

Oct. 9                         DECOLONIZATION

                                Martin/O'Meara Chapter 8

Oct 15 & 22         SOCIAL/POLITICAL/ECONOMIC CHANGE IN             CONTEMPORARY AFRICA

                    Martin/O'Meara Chapter 16

                    Martin/O'Meara Chapter 19

                    Martin/O'Meara Chapter 17

RESEARCH  OUTLINE  DUE  

Oct. 24 & 29  AFRICAN TRADITIONAL THOUGHT MEETS WESTERN SCIENCE

Oct. 28            RESERVE READING:

        From Grinker, Roy Richard and Christopher B. Steiner. Perspectives on Africa:; A Reader in Culture, History, & Representation, Chapter 17 E.E. Evans-Prtichard, "The Notion of Witchcraft Explains Unfortunate Events" and Chapter 19 Robin Horton, "African Traditional Thought and dWestern Science

                    RELIGION

                            A. Indigenous

                            B. Islam

                            C. Christianity

                        READINGS: 

        RESERVE READING:

        From Okpaku, Joseph, New African Literature and the Arts I, Emmanuel Odita, "Some Observations on Contemporary African Art."

            READINGS:

        Collins, John.  African Pop Roots:  The Inside Rhythms of Africa.  London:  W.   Foulsham & Co., Ltd., 1985:  p.. 73-93.

Oct. 31 & Nov. 5      CONTEMPORARY LITERATURE 

Nov. 4                         IN EUROPEAN LANGUAGES

                                    The Novel in English or French

                                READINGS:   Martin/O'Meara  Chapter 15

              Student Presentations: African Authors

                Dark Child

               Joys of Motherhood

RESEARCH ROUGH DRAFTS DUE

Nov. 7         Exam #2

Nov. 11

                                PART III: THE RESEARCH

Nov. 18

Nov. 19, 21, 26 , Dec. 3      PRESENTATION OF RESEARCH

Final Exam Day Dec 12

Nov. 27                     GRADUATING SENIOR FINAL DRAFTS DUE  

Dec. 4                         FINAL DRAFTS DUE

IX. REFERENCES

GENERAL:

Asante, Molefi Kete and Kariamu Welsh Asante, African Culture: The Rhythms of Unity

Awoonor, Kofi, The Breast of the Earth

Ayisi, Eric O., An Introduction to the Study of African Culture

Bohanan, Paul and Philip Curtin, Africa and Africans

Masolo, D.A., African Philosophy in Search of Identity

Radcliffe-Brown and Daryll Forde, African Systems of Kinship and Marriage

Sagay, Esi, African Hairstyles

Tefft, Stanton K., The Dialectics of Secret Society Power in States

Periodical: African Arts

Film Series: Africa with Basil Davidson (8 parts)

d'Azevedo, Warren L. (editor) The Traditional Artist in African Societies

Bascom, William, African Art in Cultural Perspective

Caraway, Caren, African Designs of Nigeria and the Cameroons

Museum for African Art, New York, African Art Portfolio

Poynor, Robin, Power Concealed; Power Revealed: The Arts of Africa

Thompson, Robert Farris, Flash of the Spirit: African & Afro-American Art and Philosophy

Willet, Frank, African Art

MUSIC:

Bebey, Francis, African Music: A People's Art

Nketia, J.H. Kwabena, The Music of Africa

Waterman, Christopher Alan, Juju: A Social History and Ethnography of an African Popular Music

DANCE:

Gorer, Geoffrey, Africa Dances

THEATRE:

Soyinka, Wole, Death and the Kings Horseman (play)

LITERATURE:

Okpaku, Joseph, New African Literature and the Arts

IN FRENCH:

Laye, Camara, Dark Child

Niane, D.T., Sundiata: An Epic of Old Mali

Senbene, Ousmane, God's Bits of Wood

IN ENGLISH:

Aluko, T.M., One Man, One Wife

Biko, Stephen, I Write what I like

Echebe, Chinua, Things Fall Apart

                        Anthills of the Savanna

                        A Man of the People

Ekwensi, Cyprian, Lokotown Stories

Emecheta, Buchi, The Joys of Motherhood

                            Second-Class Citizen

Head, Bessie, Maru

Mandela, Nelson, No Easy Walk to Freedom

Mphahlele, Ezekiel, Down Second Avenue

Ngugi wa Thiong'o, Petals of Blood

Oyfono, Ferdinand, The Old Man and the Medal

Ritter, E.A., Shaka Zulu

FILM:

African Film Makers such as Ousmane Sembene