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 about the specifics of this project are available online at http://www.wwu.edu/fairhaven/academics/isp/isp_instructions.shtml
Dan First Scout Rowe 4 credits
This course presents the cultural background and history of some American Indian celebrations. We will meet in class 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. We will observe and learn about slahal (stick game), traditional regalia, dances, and Native community initiatives. Students will arrange to attend three of their choice to meet the total hours required. Students will write short responses to readings, videos, and events. Each student will select a theme or topic for an individual research/teaching project involving observation, library research, and course materials to share with the seminar at our final meeting/potluck.
Some celebrations we may attend include:
· June 11 Lummi Nation Stommish Festival, at Lummi Nation. Although this event takes place before the course start date, if students arrange with me in advance I will meet there with them and can consider it one of their choices to fulfill the total hours required.
· June 25 Puyallup Sobriety Powwow In Puyallup Canoe Racing Competition
· July 9 Shoalwater Bay Powwow in Tokeland
· July 16 Nooksack Days Powwow in Everson
· July 25 Seafair Indian Days in Seattle
July 25-30Canoe Journey Landings at Swinomish Nation in LaConner
As we become aware of other celebrations in the region that fit our course dates we may revise this list.
Julie Helling 4 credits
The criminal justice system is a massive institution in our society, controlling the lives of millions of people. We will follow how a criminal case progresses in the system, from police stop to court to jail. The instructor is a former domestic violence prosecutor who provides a first-hand look at the process. Frequent guest speakers, including a criminal defense attorney and judge, plus videos allow for differing perspectives on the issues. Highlights of the course include field trips such as:
-A trip to watch courts in action
-A visit to the local jail*
-A ride-along with local law enforcement*
(*These activities require participants to be screened in advance by law enforcement)
The final project is a mock criminal trial held in the Whatcom County Courthouse. Students will play the role of attorneys and witnesses and a real attorney will preside. Community members will serve as mock jurors.
Texts: THE NEW JIM CROW: MASS INCARCERATION IN THE AGE OF COLORBLINDNESS, by Michelle Alexander, course manual created by instructor and any legal dictionary
John Bower 3 credits
Course Meetings: 10am -2pm: Aug 8, 10 & 12 and 8:00am–6:00pm Aug 9 & 11.
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:.2:00-5:00PM on August 8th and 10th, Camping trip is August 14–20.
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
Michael Burnett 4 credits
“To see what a “culture of sustainability” might really look like, pay a visit to Bellingham, Washington, recently named by the National Resources Defense Council as the # 1 “smarter” small city in the United States.” -- Worldwatch Institute, 2010: State of the World: Transforming Cultures.
In this course we will fan out across our community, with forays into the County, to interview local farmers, orchardists, craftspeople, restaurateurs, brewers, businesspeople and government officials to record their stories as they “pioneered an economic development strategy that is radically different from the traditional preoccupation with attracting and retaining global businesses….Bellingham has focused on nurturing its local businesses and organizing them into a powerful collaborative network to rebuild the community economy from the ground up.”
How did we get this way? Who was involved, and what happened along the way? What were the pitfalls, the roadblocks, the frustrations-- and what were the triumphs? What are the prospects for the future?
We will gather as many personal interviews of these local pioneers as possible, take photos of participants, and compile a booklet of these personal accounts. This booklet may find many uses, both within the local community and in outreach to other communities engaged in similar transformations. In addition, we will read numerous articles on sustainable Bellingham, and discuss the issues, challenges, and value of this movement, locally and globally.
Participants will gain skills in interviewing, editing, and compiling a small publication, investigate the issues of sustainable community building, and come to an insider’s view of the workings of Bellingham and environs.
Texts: Selected readings available on Blackboard
Requirements for Credit: Active, informed participation in class discussions and activities, interviewing two Bellingham community members, and collaboration in preparing a booklet of interviews for community use.
John Feodorov 4 credits
People all over the world have made use of discarded or found objects in the creation of meaningful art. In a culture obsessed with consumerism and mass production, some artists have chosen to make art from the discarded refuse of society. The expense or scarcity of commercial art supplies and the influx of new influences and materials have generated imaginative solutions to the essential urge for creative expression. Students will explore art from numerous cultures that utilize “found” or discarded materials in the creation of art. We will also explore examples from artists such as Pablo Picasso and Marcel Duchamp who shocked the Art World by using everyday objects in their art, as well as the work of numerous contemporary artists. In addition, students will give a brief class presentation on an artist of their choice who frequently uses found objects in their work. Students will work in class and at home creating sculptures, masks, large collages and other mixed media artworks incorporating found or recycled objects and materials.
Credit/Evaluation: Regular class attendance, informed class discussion and completion of all art projects on a timely basis are mandatory. Enthusiastic experimentation and willingness to push yourself is a must!
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.
Stan Tag 5 credits
This course meets for six weeks from June 21st - July 28th
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.
Texts: SISTERS OF THE EARTH (2nd ed.) ed. by Anderson; A TRAIL THROUGH LEAVES: THE JOURNAL AS A PATH TO PLACE by Hinchman; FATHER NATURE: FATHERS AS GUIDES TO THE NATURAL WORLD ed. by Piper
Michael Burnett 4 credits
Summer Stock, Fairhaven Style! This summer, we will mount a full production of William Shakespeare’s gender-bending comedy As You Like It on the Outback Stage, a perfect setting for the idyllic Forest of Arden. Filled with vivid characters, racy humor, and gorgeous poetry, the play offers a wide range of juicy parts, and its central character, Rosalind, is considered one of Shakespeare’s best roles for women.
We will study the play in detail, reading essays of background and analysis, and discussing themes, characters, images, poetic language, and interpretation. But our primary work will be the collaborative venture of developing a complete production of the play, to be performed August 26, 27, and 28. This collaboration will include actors, co-directors, musicians, production designers, stage managers, publicity, and all aspects of theatrical production: No experience is needed.
Texts: William Shakespeare, As You Like It, Signet edition, plus some readings available on Blackboard.
Requirements for Credit: Active, informed participation in discussions, one paper analyzing a central character or theme of the play, and full involvement in developing the production of the play.
Drue Robinson 4 credits
Staging the human condition — what are modern playwrights revealing to us about who we are and how we're relating? How might plays impact our psyches, cells, and imaginations as stories to be wrestled with, embodied, and read aloud? How do we approach plays with the vibrancy they demand, and learn to unlock their nuances, find their secrets, breathe life into the words we find on the pages of the script? How do plays grow our souls, challenge our ideals, rile us up, make us cry, teach us about beauty, strength, loneliness, love? What happens to human beings when they invite a character to "live inside," and are then witnessed by other human beings?
In this class, we will go to theaters and watch plays, sit outside and read plays, get out our pencils and analyze plays, break open our journals and attempt to write pieces of plays, stand up and put plays on their feet, and generally play around with plays. We'll learn how reading a play is different from reading essays, or poetry, or short stories. We'll explore our own biases and world views through many of the words the characters in the plays we read dare to speak. We'll consider each playwright's personal account of his or her creative process and what it means to "give voice" to characters who have something to say, and then we'll knock within to see if there are any characters inside each of us with something to say. We'll play with comedy, tragedy, drama, farce, and more!
Texts: Selected plays from these contemporary playwrights: Eve Ensler's (author of THE VAGINA MONOLOGUES) THE GOOD BODY; Sam Shepard's TRUE WEST, FOOL FOR LOVE; Paula Vogel's HOW I LEARNED TO DRIVE; Tony Kushner's ANGELS IN AMERICA; Martin Moran's THE TRICKY PART; Suzan- Lori Parks' TOPDOG/UNDERDOG, Theresa Rebeck's SPIKE HEELS, Adam Rapp's, STONE COLD DEAD SERIOUS; David Lindsay-Abair's FUDDY MEERS; and a handful of 10-minute plays.
Credit Evaluation: Attendance to every class and to see at least 3 performances: (Seattle Rep. Intiman. Headlines Theatre, Idiom, UpFront); participation in reading scripts aloud, and a willingness to set them on their feet (scripts in-hand); full engagement in discussions, writing exercises, and script analysis. A sense of humor, and a willingness to risk embarrassment on a minor scale. No readings-aloud will be done as performance outside of class, so even shy non-actor types are encouraged to enroll!
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.