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Morocco and Tunisia DOCUMENT RESUME ED 463 212 SO 033 635 TITLE Challenges of Globalization: Morocco and Tunisia. Curriculum Projects. Fulbright-Hays Summer Seminars Abroad Program, 2001 (Morocco and Tunisia). SPONS AGENCY Center for International Education (ED), Washington, DC. PUB DATE 2002-00-00 NOTE 171p.; Photographs, graphics, and some text may not reproduce adequately. "Hist 4231/6231--History of North Africa" (Michael B. Bishku) not listed in table of contents. PUB TYPE Collected Works General (020) Guides Classroom Teacher (052) EDRS PRICE MF01/PC07 Plus Postage. DESCRIPTORS *Cultural Context; *Curriculum Development; Developing Nations; Elementary Secondary Education; Foreign Countries; Higher Education; Social Studies; Teacher Workshops; Tourism; Units of Study; World Literature IDENTIFIERS Art Elements; Fulbright Hays Seminars Abroad Program; Globalization; *Morocco; *Tunisia ABSTRACT This publication contains a collection of curriculum projects developed by educators who were participants in the 2001 Fulbright-Hays Summer Seminars Abroad Program in Morocco and Tunisia. The 13 curriculum projects in the publication are entitled: "Women in Morocco, Artists and Artisans" (Virginia da Costa); "Cultures of Africa" (Joanna Casey); "Ethnic Diversity in Morocco" (Alma Thornton); "Morocco and Tunisia: Countries at the Crossroads" (Susan Evans); "Integrating the Study of Morocco in Humanities Honors Courses" (Enid Housty); "Africa through Its Literature; African Literature" (Immaculate Kizza); "Crossroads in the Maghreb: A Series of Workshops for K-12 Teachers" (Michele Cassavante, Ann Line, Madeline Uraneck); "Selected Units Designed to Represent Morocco and Tunisia in Humanities 2231 'Introduction to Africa'" (Dorothy Sauber); "Globalization and the Rule of Law" (Pamela Seay); "Giving 'Space' Context in Moroccan Literature" (Bettye Walsh); "Hist 4231/6231: History of North Africa" (Michael B. Bishku); "Tourism in Morocco and Tunisia" (Scott Youngstedt); and "Le Souk; Les Tapis et les Kilims du Maghreb" (Ann Line). (BT) Reproductions supplied by EDRS are the best that can be made from the original document. Challenges of Globalization: Morocco and Tunsia Curriculum Projects Fulbright-Hays Summer Seminars Abroad Program, 2001 (Morocco and Tunisia) Center for International Education Washington, DC Li) U.S. DEPARTMENT OF EDUCATION Office of Educational Research and hnprovernent EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) cf) O This document has been reproduced as ce) received from the person or organization 2 originating it. O Minor changes have been made to 0 improve reproduction quality. CA Points of view or opinions stated in this document do not necessarily represent official OER1 position or policy, BEST COPY AVAILABLE United States Department of Education Seminars Abroad Program 2001 CHALLENGES OF GLOBALIZATION: MOROCCO AND TUNISIA The Moroccan-American Commission for Educational and Cultural Exchange (Administering Agency) TABLE OF CONTENTS: PARTICIPANT CURRICULUM PROJECTS TITLE PARTICIPANT(S) PAGE Women in Morocco, Artists and Artisans Virginia da Costa 1 Cultures of Africa Joanna Casey 18 Ethnic Diversity in Morocco Alma Thornton 24 Morocco and Tunisia: Countries at the CrossroadsSusan Evans 30 Integrating the study of Morocco in Humanities Honors Courses Enid Housty 43 Africa Through its Literature African Literature Immaculate Kizza 50 Crossroads in the Maghreb: Michéle Cassavante, Ann Line, A Series of Workshops for K-12 Teachers Madeline Uraneck 63 Selected Units Designed to Represent Morocco and Tunisia in Humanities 2231 "Introduction to Africa" Dorothy Sauber 83 Globalization and the Rule of Law Pamela Seay 97 Giving "Space" Context in Moroccan Literature Bettye Walsh 109 Tourism in Morocco and Tunisia Scott Youngstedt 121 Le Souk Les Tapis et les Kilims Du Maghreb Ann Line 146 3 United States Department of EducationSeminars Abroad Program 2001 Women in Morocco andTunisia: Artists and Artisans LIMIlmelMrawivelswellanw.ve.I.M aeilamillloammaasumgmy1 Dr.Nirginia M. da.Costa Assistant Professor Art.Departrnent West:Chester University 1 Women in Morocco and Tunisia: Artists and Artisans ARH 419Women AOsts Spring 2002 Professor: Dr. Virginia M. da Costa Room: Mitchell Hall, 201 Days: Monday/Wednesday 2:00-3:15 pm Office: Mitchell Hall, 219 Hours: Monday/Wednesday 9:00-11:00 am Tuesday/Thursday 8:00-9:00 am and 1:00-3:00 pm Email: [email protected] TEXTBOOK: Slatkin, Emily. Women Artists in History: From Antiquity to the Present, Fourth Edition. New jersey: Prentice Hall, 2001. Reid, DOnna. Guide. to Writing. About Art History. New Jersey: Prentice Hall,,2000. SUPPLIES: A lined'or tinlinedjoUrnal or sketchbook 8:5 x ,1-1" ot 9 x 12"-hardbpund and new. Note: I-want Jourrials:tó be the same size. No spiral binding or regular notebooks. COURSE OBJECTIVES:. The course is based on slide lectures, small and larger group discussions, individual presentations, writing eXercises, mandatory nauseUrn visit (any museum that features the work of a woman 'artist). Thiscourse fulfils requirements for art studio, women's studies, and other interested majors within the university who wish to gain a more intensive study of the contributions of women artists. There are fotir basic 'objectives: 1. Students gain an understandingroftbe artistic contributions of European, American and Non-Westernfeinale artistS and ard thus able*to reSpond thoughtfully to diversity in terms of gender, sexual identity, sexuality, politics and social or cultural constrictions. 2. Students will consider the integral association of art, music, dance, literature and other societal practices that contribute to the creative process. 3. Students will compare the work of women from many cultures to ous own American contributions and be able to make value decisions, creative and ethical choices fa: themselves frOni the perSpective of their. particular major fields of study. There will be an emphasis on developing skills in writing about art in formal and informal ways. Critical and analytical thought, as well as the ability to communicate effectively are goals which every student is expected to meet. Students are expected to use proper terminology and Vocabulary in all writing tasks. 2 COURSE REQUIREMENT DETAILS: 1. [25%] Research paper on one woman artist taken from a list of assigned topics. The paper should be 10 pages in length, double-spaced with footnotes or endnote citations, good black and white or color photocopies of the works of art discussed in the paper. These illustrations should be referred to thepaper as (fig. 1), (fig. 2) and so marked beneath the actual work of art at the end of thepaper. The minimum number of sources should include seven articles or books. Studentsare encouraged to use the Interlibrary Loan Service at the FHG Libraryon campus. Papers are due during the 12th week of classes to allow for revisions to be made. There will be a peer review as well as my own review of the paper before the final grade is assessed. 2. [15%] Museum Report. A two page typed museum report will be dueon the 10th week of classes. The written report is not so much research oriented, as it is reflective and descriptive. The artist should be a different one than that chosen for the research paper. Be absolutely certain that the artist chosen is female; some foreign names sound feminine but are not such as Joan Miro, a male Spanish artist. 3. [25%] Journal. Students will keep a twice-weekly journal with two full pages ofa variety of writing styles: reflective; descriptive, critique, letter format, analytical, outline, biographical on different women artists. The artists may be identified in museum works of art, monographs (books about one particular artist), art journals', gallery exhibitions, interviews with female art professors in the Art Department (Belle Hollon, Donna Usher, Peggy Hill, Nancy Rumfield or any adjunct studio art teacher),newspaper or articles from the art section of the New York TiMes or Philadelphia Inquirer (both availableat the FHG library), the journal will be collected at midterm (week 8) andon the last day of class (week 15). 4. [15%] Reading assignments. Students should show up for lectures (preferably withan outline of the chapter) prepared to discuss the readings and offer questionsor answers pertinent to the chapter. This counts as class participation and attendance. Studentsare expected to stay the full class period. 5. [10%] Annotated bibliography. A selection of five sources (articleor book) about the artist chosen for the research paPer with annotation will be turnedon [week four]. The following is an example of the proper format: Waller, Susan. Women Artists in the Modern Era: A Documentary History. Metuchen, NJ: Scarecrow Press, 1991. Good sourcebook for the writings of women artists, reviews of their exhibitions, their abilities as artists, and records concerning women artists, societies, and schools. Texts date from the 1760s to the 1950s. 6. [10%] Final presentation. This is based on the researchpaper and will be limited to no more than 5 minutes. I will show in class "A Moment in Art History," produced by the Savannah College of Art and Design, several examples wherea work of art is discussed in 90 seconds to two minutes maximum. Please make two color photocopies of the work of art to be discussed which you will pass around for studentsto view. Each student will have a different woman artist to present, thus showcasingyour 3 expertise on your research topic. YOU wift hand in a One pagetyped, 'double spaced abstract (200 words) at
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