Intermediate level independent study project. Typically, an independent study at this level builds on earlier work in this content area or with this topic. With the guidance of a faculty sponsor, the student developed a proposal identifying learning objectives related to the specific topic area. The proposal also described the resources necessary to complete the study and the criteria for demonstration and evaluation of learning. Students propose and register individually for the Independent Study through Web4U. Additional documentation on Fair 300 ISP >
Dan First Scout Rowe 3 credits
This course presents the cultural background and history of some American Indian celebrations. We will meet weekly to see videos, discuss short readings and to share, seminar style, what we have learned from our individual research. Guests may share their stories and provide insights. On selected Saturdays (see dates below) we will travel by public transportation, carpool, canoe, or horseback to Native celebrations in the region to observe and learn and enjoy. Students will arrange to attend "doin's" of their choice to meet the total hours required. Contacts will inform on such aspects as slahal (stick game), dress, dance and Native community initiatives. Students will write short response essays on readings, videos, and events. Each student will select a theme or topic for an individual research project involving library research, course materials, and possibly experiential learning. They will share their findings with the seminar at our final meeting/potluck.
The class will meet on Thursday afternoons every week beginning June 25 with the final meeting on July 30. We will meet from 5:00 PM to 7:00 PM at Fairhaven College to share videos, lectures, and discussion. The experiential learning portion of the class includes car pooling and traveling to celebrations in the area and observing such themes as music, dance, regalia, management, and protocols. This will support students' individual research projects in those areas or some other that they have chosen.
Some celebrations we may attend include:
As we become aware of other celebrations in the region that fit our course dates we may revise this list.
Julie Helling 4 credits
A look at the law behind the debate on marriage, the significance of Lawrence v. Texas and the restriction on gays in the military. Sexual orientation will be situated in the broader context of constitutional claims of discrimination. Evaluation: regular case briefs, keeping on top of the heavy reading load, short reaction papers, informed and thoughtful class participation, revised seven-page paper on topic related to sexual orientation using Westlaw to find law review articles, presentation of paper to class and no more than THREE absences allowed.
John Bower 3 credits
Course Meetings: 9am -1pm: Aug 9, 11 & 13 and 8am–6pm Aug 10 & 12.
In this one-week course students will learn the techniques needed to use their cameras to take great photographs of the natural world. We will cover basic photographic techniques that will improve the student’s ability to take high quality photographs (natural or not), including introductions to exposure, focus, light, depth of field, and composition. Other topics receiving attention will include close-up, flower, and wildlife photography. The class will meet three times in the classroom and will have two all-day field trips to spectacular natural settings, including considerable time spent in the Cascade Mountains. Students can use their own cameras or can check out cameras from the University. The class will include moderate, but not extreme, hiking.
John Bower 5 credits
Course dates: 2-5PM on August 10th and 12th, Camping trip is August 15–20.
Learn about the natural history and ecology of the Pacific Northwest through a six-day camping trip to the Olympic Peninsula. We will camp in the beautiful Hoh rain forest and the Elwha River valley, and visit many spectacular natural areas in the Olympic National Park. We will study the Elwah River dam removal project, hike in the majestic Hoh rain forest, explore mountaintops at Hurricane Ridge, watch sea lions and puffins at Cape Flattery, have an evening dinner at Rialto Beach, and spend an afternoon studying inter-tidal ecology at Tongue Point. We will also visit the Makah Museum, the showcase of Makah traditional culture using artifacts recovered from a coastal village that was buried in a landslide 500 years ago. We’ll be busy, but there will also be time to relax in the forest and at the beach, watch shooting stars from the side of a wild river, visit the Olympic hot springs, and play music around the campfire.
The goal of the course will be to learn about Pacific Northwest natural history, ecology, and environmental issues through hands-on experiences. Students will learn bird and plant identification, and will participate in a group scientific study on a topic that interests them. In addition, students who wish to can receive instruction in nature photography. The course satisfies either Fairhaven 206 or the upper level Fairhaven science core course requirements and may act as a Huxley College or Biology elective with permission of your advisor. The course will be taught by Dr. John Bower, a field biologist who specializes in ecology, animal behavior, and ornithology at Fairhaven College. For more information, contact John at 650-7217 or via e-mail at John.Bower@wwu.edu
John Riber 4 credits
THIS CLASS HAS BEEN CANCELLED.
This summer at Fairhaven, filmmaker, radio and music producer, John Riber shares a career in producing media that makes a difference. Riber, presently resident in Tanzania, has established production houses in Asia and Africa that harness the power of entertainment as a tool for behavior change, social transformation and global justice. Ribers award-winning feature films and radio serial dramas tackle complex subjects including HIV/AIDS prevention, gender equity, reproductive health and environmental protection. The course includes practical aspects of designing and producing film and radio programs; from concept development, script and proposal writing, budgets and financing, production, distribution and evaluation. John uses his films and associated documents, along with other examples from Africa and Asia to provide insights and opportunities for careers in international film, radio and music production.
Drue Robinson 5 credits
Few things are more fun than participating in an outdoor summer theatre camp! Pairing with Bellingham Children's Theatre, college interns interested in theatre education, youth outreach, and intergenerational community-building will have an opportunity to work and play with 30 young people, ages 8 - 17, during a five-week summer theatre camp. Campers will be performing one of BCT's original full-length productions: Schnuzik - a mow-town lip-synched dance rumble plot played out between the slow-food side of town wanting to keep things at a livable pace, and the espresso-fueled neighborhood wanting to capitalize and gentrify. (There are also geologists, NYC reporters, and aliens involved!)
Interns will gain hands-on experience working with talented highly-dramatic kids, and be responsible for coordinating theatre games, choreographing dances, organizing props and costumes, coaching voice and acting techniques, as well as providing technical support and coordinating parent volunteers. Learning how to publicize, market, and advertise a production will also be covered in this exciting, fun-filled summer session. Depending upon time and interest, there could even be a few acting roles filled by interns- great fun! The first week, interns will meet as a team, without campers, to learn the many preparatory details for making a theatre camp experience successful. The five remaining weeks will be hands-on interaction with campers 12:00 - 5:00, M-F all the way up until the camp's three performances: July 30 - August 1.
Interns are asked to arrive and to stay after camp an hour early, for preparation and review of the day's activities. BCT's summer camp is a fantastic opportunity for any intern wishing to gain teaching experience, learn more about the operational aspects of running a summer camp, and also provide leadership in the community. While campers build self-confidence, broaden their social as well as theatrical skills, interns will hold a place of creative mentorship and artistic collaboration.
Daniel Larner 4 credits
The workshop is a collaborative, supportive group experience. Students are expected to comment on, support, and participate in the work of their fellow students in the workshop. Initial exercises and rewriting work with each others' material will be followed by gradual development of each student's project for the term. We may also read a published play or screenplay and discuss it together, as well as attend at least one production or film showing during the term. The emphasis in 354 is to acquire a working sense of dramatic action and a feel for how storytelling works dramatically, in any medium. Experimentation and trial-and-error are encouraged. By the end of the term, students will be expected to complete a one-act play (20-30 minutes) or its equivalent in another medium. Attention will be paid to getting complete drafts of scripts finished, and then if time remains, to get them ready for production--screenplays for video production and showcasing here on campus, through the Projections Film Festival in Bellingham, and possibly beyond; stage plays for production here at Fairhaven, at the New Playwrights Theatre in the Theatre Arts Department, at iDiOM Theatre in Bellingham, at the Bellingham One Act Theatre (BOAT) Festival at the Bellingham Theatre Guild, and at new play festivals in Seattle, at Northwest Playwrights Alliance events, and other venues; and radio plays for production at KUGS.
Texts: Textbooks TBA, to be selected from PLAYWRITING: THE STRUCTURE OF ACTION by Smiley; SCREENPLAY: THE FOUNDATIONS OF SCREENWRITING by Field; STORY by McKee; THE DRAMATIST'S TOOLKIT by Sweet; J. THE COMPLETE BOOK OF SCRIPTWRITING by Staczynski; SCREENWRITING STRATEGIES ON THE INTERNET by Wehner; THE WAY OF THE SCREENWRITER by Buchbinder, and others. A play and/or a screenplay, TBA, may be required, as may attendance at selected film screenings and/or theatre productions.
Credit/Evaluation: Students are expected to complete at least a substantial one-act play (approximately 20-30 minutes in length), or its equivalent in another medium. Work must be brought to class regularly and shared with the group. A portfolio of selected writings done during the term will be due at the end of the course. Unfailing, dependable attendance; completion of assigned readings; progressively better informed, responsive and constructive participation in the workshop; and steady effort in rewriting and revising are required for credit. Writing will be evaluated for its aptness for the stage (or the appropriate medium) and the development of the writer during the term.
Babafemi Akinrinade 4 credits
This course is an introduction to public international law, which governs the relations of States and increasingly, other non-State actors, including individuals and organizations. The course will cover the basic doctrines of public international law and the international legal system. Topics to be covered include the law of treaties, international organizations, international courts and dispute settlement, international law and the use for force. Other topics include issues of self-determination, environmental protection, international human rights and international criminal law. These principles will be applied to contemporary issues of international law as it continues to evolve.
Drue Robinson 3 credits
The etymology of “enthusiasm” comes from the Greek expression, “to be filled with or possessed by God.” Enthusiasm for an art form, for humanity, or for a particular project, lends great presence to an undertaking. Enthusiasm is contagious, and it is a necessary ingredient to sustain the creative process. - Anne Bogart
“When in doubt, make a fool of yourself. There is a microscopically thin line between being brilliantly creative and acting like the most gigantic idiot on earth. So what the hell, leap!” – Cynthia Heimel
“There are people who have been into the forbidden areas of their imaginations and who have survived unscathed.” – K. Johnstone
“Lord, what fools these mortals be.” William Shakespeare
Clowns, Jesters, Tricksters are the faces of foolery that often lead people, through humorous means, to a greater wisdom, and a sense of joy. When we are caught in a Fool’s joke, we are revealed to ourselves, our perceptions of ourselves in the web of humanity change, we open to new ways of seeing the world. We awaken. In this course, we will develop a tight acting ensemble, and, as a group, practice the precise and loose art of clowning as a serious profession. We will be foolish. Our goal will be to spread joy and invite human interaction with those who have seemingly gone to sleep, or engage with those whom our society has forgotten. Many locals call Bellingham the “City of Subdued Excitement.” Through participation in this summer intensive, students will ‘slap’stick a new identity on Bellingham. Those who are interested in serious organized buffooning, Monty Pythonesque pranks, comical clown-based café crawls, long-nez’ing, stylistic improvisational theatrical romps, visits to retirement homes, hospitals, city hall, and places in need of more shared joy and happiness, this compact little course is for you. Each of us will devise a clown persona (collectively and individually), write and direct one another using in-class exercises and games, to come up with a base of routines and 10-minute scenarios which we will then legally play out in parks, restaurants, grocery stores, retirement homes, hospitals, and other places. Sourcework will include the study of Charlie Chaplin, Laurel & Hardy, Groucho Marx, Lucille Ball, Carol Burnett, as well as Bill Irwin, The SanFrancisco Mime Troupe, Theatre Du Soleil, and The Clown Conservatory.
Stan Tag 4 credits
This course meets for five weeks from June 22-July 22 We will explore the writing of nature, the nature of writing, nature's ways of writing, the writer's nature, the literary genre of nature writing, and what it means to be creatures of nature who write. The paths we will follow (or make) will be shaped by our readings, our writing, our discussions, our field excursions, and the continued presence of oxygen, water, earth, and sunlight (without which no course, nor university for that matter, would be possible). This is primarily a creative writing course, but each of you may also "write" nature through other mediums, such as drawing, painting, collecting, photography, song, recording, walking, and perhaps even cooking and eating. The point is to experiment with what it means to write nature, and to explore the limitations and illuminations other mediums bring to language and words.
Dominique Coulet du Gard 4 credits
Focuses on the basics of grant writing, including researching and seeking funding sources; reading and interpreting funding guidelines; developing and refining proposals, and tricks of the trade. Development of individual grant proposal required. Do you think of writing grants as begging for money? Do you have fears around money? This workshop will help you think of grant writing in a different way. Learning to prepare a good proposal allows you to help granting agencies find a way to spend the dollars they are required to spend to meet their own missions, either legislative or for tax related. You need the money. They need to spend it. Your challenge is to find a match between your need and theirs, and to persuasively articulate that match. In this workshop you will learn the basics of writing proposals to funding agencies, including how to find appropriate funding sources, how to read and interpret funding guidelines, funding restrictions, the steps for developing and refining proposals, including the budget. It is highly recommended you have identified a project and an agency before the course begins. See below for possible ideas or contact the instructor.
Texts: WINNING GRANTS STEP BY STEP by Carlson; STORYTELLING FOR GRANTSEEKERS by Clarke; and GUIDE TO WRITING A FUNDING PROPOSAL by Levine, http://www.learnerassociates.net/proposal/. Other assigned readings on Blackboard. Credit/Evaluation: Participants will be expected to develop and submit a grant request and a proposal to a foundation or other source of funding by the end of the course. These proposals might be directed toward funding your own work, or might be related to the work of a community non-profit agency. Attendance is critical. Evaluation will be based on participation in class exercises on a regular basis, the quality of feedback given in peer reviews, and the quality of the final proposals. I keep a daily log on attendance, participation, and required writing.