DOCUMENT RESUME ED 378 099 SO 024 442 TITLE Fulbright-Ha)es Seminars Abroad Program, 1993. Morocco and Tunisia. Final Projects. INSTITUTION America-Midea3t Educational and,Training Services, Inc., Washington, DC. SPONS AGENCY Center for International Education (ED), Washington, DC. PUB DATE 93 NOTE 196p.; Last project may not reproduce clearly. PUB TYPE Guides Classroom Use - Teaching Guides (For Teacher) (052) Collected Works General (020) EDRS PRICE MFOI/PC08 Plus Postage. DESCRIPTORS Art; *Females; Feminism; Foreign Countries; Geographic Ccncepts; *Geography Instruction; Higher Education; *Islamic Culture; *Literature; *Social Studies IDENTIFIERS Fulbright Hays Seminars Abroad Program; *Morocco; *Tunisia ABSTRACT This collection of Fulbright seminar projects focuses on Morocco,and Tunisia. The first Project (Ruth Brent) gives a descriptive analysis of images from the perspective of .an interior design educato. The second project (Eileen Burchell) explores the theme of contivaity and change as it is reflected in the contemporary French literature of the Maghreb. The third project (Vernon Egger) is a preliminary essay on general characteristics of several of the Islamic movements found in North Africa. The fourth project (Jeanne B. Howard) is a master slide inventory of architecture, archaeology, visual arts, music and dance performances, literature and calligraphy examples, geographical sites, and resource individuals interviewed. The fifth project (Mary Murray) is a paper on English translations of the Francophane literature of Morocco, Algeria, and Tunisia. The sixth project (Nathalie Oppendahl) is a list in French of about 800 slides. The seventh project (Marie Rasmussen) is a slide lecture showing the continuity and change of mosaic patterns, and production, installation, and conservation techniques. The eighth project (Maurie Sacks) and ninth project (Jean Owens Schaefer) are syllabi on the cultures and art of the middle east. The tenth (Stephen Sylvester) reports on two video projects. The eleventh (Milton Turner) lists slides on women in Morocco and Tunisia. The twelfth (Meredeth Turshen) is a journal reflecting on the trip. The thirteenth (Robert Weaver) is a syllabus on women and African literature. The fourteenth (Carol West) is a collection of statistics and materials to illustrate a series of lectures. The fifteenth project (Gilbert B. Workman) attempts to incorporate experiences and materials from the seminar into courses taught. (DK) *********************************************************************** Reproductions supplied by EDRS are the best that can be made * from the original document. * *********************************************************************** 111.1110We 11141. SPNITIIONIT OF IIIIMMION M Itage64416661646 sod INVIOMINION Wig/CATION& Pi 0E 1.0011114411014- decum444 use 110 tootolltood Si how Ow wean 4444440 01.1404. 4 -CT Moot dams Mho Drain mots to mom toptOdttetton pushy Pews sit wowecomma sumo on mit meat do opt necssenty notrsent Om& OEM 0444a4 or pokey "PERMISSION TO REPRODUCE THIS MA RIAL HAS BEEN GRANTED BY TO THE EDUCATIONALRESOURCES INFORMATION CENTER (ERIC)" FINAL PROJECTS 1993 FULBRIGHT-HAYES SEMINARS ABROAD PROGRAM MOROCCO AND TUNISIA c-stCOPY AVAILABLE lic The following projects were submitted in compliance with the requirements of the 1992 Fulbright- Hayes Seminars Abroad in Morocco and Tunisia. They were collected and compiled by AMIDEAST, the administrating agency for this program. The projects are arranged in alpabeticai order according to participants' last names. Listed below are the participants' names and professional affiliations. 1). Dr. Ruth Brent, Professor and Chair, University of Missouri, Columbia, Missouri 2). Dr. Eileen Burchell, Associate Professor of French, Marymount College Tarrytown, Tarrytown, New York 3). Dr. Vernon Egger, Associate Professor of History, Georgia Southern University, Statesboro, Georgia 4). Ms. Jeanne Brubaker Howard, Humanities Instructor, West. Valley College, Saratoga, California 5). Mrs. Mary Murray, Assistant Professor of History, Heidelburg College, Tiffin, Ohio 6). Mrs. Nathalie Oppendahl, Assistant Professor, Carroll College, Helena, Montana 7). Mrs. Marie Rasmussen, Chair Fine and Performing Arts Department, Umpqua Community College, Roseburg, Oregon 8). Dr. Maurie Sacks, Associate Professor, Montclair State College, Upper Montclair, New Jersey 9). Dr. Jean Owens Schaefer, Associate Professor, University of Wyoming, Laramie, Wyoming 10). Dr. Stephen Sylvester, Professor of History and Chair, Northern Montana College, Havre, Montana 11). Mr. Milton Turner, French Teacher, Saint Ignatius High School, Cleveland, Ohio 12). Dr. Meredeth Turshen, Associate Professor, Rutgers University, New Brunswick, New Jersey 13). Dr. Robert Weaver, Professor of Business, Bethel College, St. Paul, Minneasota 14). Dr. Carol West, Associate Professor of English, Hendrix College, Conway, Arkansas 15). Mr. Gilbert Workman, Instructor, Canada Community College, Redwood City, California Rtitl)BteA The Meaning and Magic of Place in North Africa Based on a five-week Fuibright exploratory study program in Morocco and Tunisia. a descriptive analysis of images are given from the perspective of an interior design educator. This presentation examines ways in which the terms "cosmic," "classic," and "romantic" can be used to describe the meaning and magic of place. 1 The Meaning and Magic of Place in North Africa Cosmic, classic, and romantic are terms used by Christian Norberg-Schulz,in his book QtailaLOSALISIYlUiLLEZDQUICDSACIELCILISIthittIMIL tohelp describe meaning and spirit of place. When the essence and meaning of placeis captured, we have captured the magic, spirit, or genius loci. Here one may feel a sense ofbelonging, of home, of meaningful inhabitation. There is a rich embodiment of architectural parts or elements which contribute to one's relationship with place. These elements include statelymarble columns and arches; wide and highly decorative wood doors; and patterned light screens on windows that break harsh light into smaller facets. These columns, arches, doors, andwindows are also archetypal symbols. They are visual cues giving orientation andidentity which have meanings deeply embedded in our ethos, human nature, and our history. Theygive definition to how we as human beings relate to our built environment. Theyevoke emotions about fetqing welcomed, articulate historical and cultural rcy.3tedness, and convey nonverbal messages of comfort andsecurity. Moreover, they help us to transcend beyond the mundane stone of a column and arch, beyond the wood of a door, andbeyond the cut-out opening of a window in a solid wall. The location for this study, the North African countries of Morocco and Tunisia known as the Maghreb, was selected primarily because of its contrast with commonU.S. experiences and interior design textbook materials. Traditionally, our students begin their study of art and design with the pyramids and follow the evolution with the Greek and Roman Empires, through the Renaissance, and conclude with the present. The emphasis is on the Western. European, and Judeo - Christian heritage and little attention is given to Eastern cultures such as North Africa with Muslim ancestry. Going beyond this tradition, it is also important to illustrate art and design with greater cultural and religious diversity so students can examine similarities and differences in how people of 5 3 for second homes among Hollywood movie stars, the site of major resort hotels (e.g., including six Club Meds) for affluent individuals of many countries and a haven for artists today. One may therefore speculate that the meaning and magic of place continues to be experienced there. The five-week Fulbright study program in the Maghreb was an inductive learning process. Field notes accompanied slide documentation in this study of the human intention of enclosing space. The task was to begin to understand the seamless relationship between people and the physical world during this brief exposure to the culture. The intention was so analyze and go beyond immediate sensations so that design educators could consider the meaning of place. A follow-up ethnographic study could complement such preliminary examination to understand the meaning of place from the view of those who live there. The purpose of this presentation is to articulate and visually illustrate the meaning and magic of images experienced as the spirit of place in Morocco and Tunisia. It also demonstrates how the Fulbright mission is met by promoting international understanding in allowing us, as Senator Fulbright has said, "the possibility to see something in ourselves that we have not seer before." A homestay with a Muslim family and a visit to indigenous Berber village homes in the High Atlas mountains provided these opportunities for personal growth. Discussions that prompted this growth had to do with the meaning of "bled" (the word for home among Berbers), the role of Islam in shaping their environment, the physical closeness in space among strangers and casual friends, and lifestyle differences among genders. Slides Places that were observed were not necessarily an accurate cross-section sampling of places in Morocco and Tunisia. Tours emphasized significant mosques, museums, and monuments rather than the genre. The slides selected for review are based upon the 2 diverse societies manipulate the design elements and principles to accommodatehuman needs. Ideally, design would be taught with an ecological