Courses

Fairhaven College Course Descriptions

Below you will find our current course descriptions.  Previous quarter course descriptions are also available by selecting the quarter and year you are searching for.  Electronic course descriptions are available back to winter 2009.  For information on days and times as well as location please visit Classfinder.  To register for these classes log into Web4U. Important information about registration including deadlines and fees can be found on the Registrar's Office page.  For any questions about these course descriptions or for assistance with registration please call the Fairhaven College Office at 360-650-6680. For information on Fairhaven College Wait List Policies click here.

Fairhaven College Core Requirements:

Classes determined to satisfy a Fairhaven Core requirement will be identified using the following icons: 

required coreRequired Core  Humanities and the Expressive Arts II
Science and Our Place on the Planet II Society and Individual II

Non-Fairhaven Students

Most Fairhaven classes open to all WWU students who meet the prerequisites in Phase II of registration.

FAIR 101A Intro Interdisciplinary Study

Credits: 1

Instructor: McClure

This class aims to introduce students to Fairhaven College resources, practices, processes and possibilities in their first quarter of enrollment in our program. Our class activities will include small group workshops, introductions to Fairhaven resources and people, community-based activities and individual advising. We will introduce the educational practices used at Fairhaven (Writing Portfolio; Transition Conference; Independent Study, Interdisciplinary Concentration, Narrative Evaluations...) and share the essentials you need to proceed toward your chosen major and take charge of your education.

Texts: There are no textbooks. Course materials provided in class and on Canvas.

Credit/Evaluation: This Fairhaven College Core Class is a graduation requirement. Award of credit will be based on documented attendance, participation and completion of assignments as indicated in the class syllabus. Bring your your curiosity, your questions and your active engagement. The learning outcomes for FAIR 101a include understanding resources, degree pathways, requirements and pedagogy that are the mission and practice at Fairhaven College of Interdisciplinary Studies.

FAIR 201A Critical & Reflective Inquiry

Credits: 5

Instructor: Takagi

Theme: Journeys

In this section we will explore the different kinds of journeys Americans have been taking over the centuries, and how they make sense of those life travels, through texts, films and through class discussion.  In addition, we will embark on an intellectual journey, which will include developing and honing the skills, tools and knowledge to be a strong student and a productive, responsible member of the larger community.  For each class member, this part of the journey will include identifying and analyzing one’s voice and the privileges and burdens built into that voice, identifying and analyzing others’ voices and building respect for those diverse perspectives, and to critically assess all forms of information (oral, written and visual).

The main skill emphasized in this class will be writing.  During the quarter you will sharpen and hone your writing skills.  You will learn to construct an argument, gather evidence, shape your thesis to fit the audience, and organize your thoughts.  In addition, you will also learn to seminar, peer edit papers, and critically analyze materials.  Finally, you will learn to research and write a 6-8 page research paper with a minimum of 4 sources, proper citations and a bibliography. 

Required Reading

Readings on Canvas and on-line through library database

Additional requirements:

Regular attendance. 2 absences will reflect negatively on your evaluation.  3 absences and you will not receive credit for the class.  If there is a personal/family difficulty, please let me know as soon as possible.

Active participation in class and small group discussions. If you are uncomfortable with speaking in front of people, please see me as soon as possible.

Peer editing of writing plan.

 Paper requirements:

One biographical journey paper (2-3 pages, double-spaced) + proper citation.

One critical analysis (2 pages, double-spaced) + proper citation.

One reflection paper (2 pages, double-spaced) + proper citation.

One reflection paper (1-2 pages, double-spaced) no citations needed.

One synthesis paper (2 pages, double-spaced) + proper citation.

One research paper topic (1 page, double-spaced).

One Draft of Research paper (rough draft 6-8 pages) OR 3-4 pages well polished portion of the research paper.  Double-spaced + proper citation.

Final version of research paper (6-8 pages, double-spaced) + proper citations.

Writing plan for your e-portfolio draft and final version.

FAIR 201A Critical & Reflective Inquiry

Credits: 5

Instructor: Helling

This class will take a good look at what "civil rights" are in a legal sense and whether relying on them can achieve equality in our country.

What is the reach and promise of the law in securing equality?

Are there inherent obstacles in pursuing a legal strategy? How might we best go about fashioning a society that includes everyone fully? We will study key civil rights cases involving a variety of communities, including looking at the concepts of race, gender, sexuality, and disabilities.

Texts: THE NEW JIM CROW by Michelle Alexander; BETWEEN THE WORLD AND ME by Ta-Nehisi Coates; COURSE MANUAL prepared by instructor; any legal dictionary (BARRON'S is recommended). Credit/Evaluation: This is a seminar class that relies heavily on increasingly sophisticated discussions of privilege and law; thus, attendance is extremely important as concepts build on one another and class discussions cannot be replicated. Active participation in discussions informed by thoughtful reflection on the readings expected. Assignments include an educational autobiography, a visit to court, weekly reflection papers, and an oral presentation coupled with a ten-page research paper on a topic having to do with civil rights (in the broadest sense).

FAIR 202A Core: Humanities/Express Arts

Credits: 5

Instructor: Brown

Acts of Activism This course looks at the uses of performance to bring about social change such as protests, marches, walking tours, dance parties, digital media and public theatre. How have these tactics shifted over time and in response to specific historical moments? What is the role of the arts, specifically performance, in activism? Is it effective? By the end of our time together, you will have a strong understanding of the aesthetic tactics used by arts activists and will be able to discuss the ethics of using performance to influence politics. Students will be asked to construct a short activist performance of their own. Previous performance experience is not required.

FAIR 203A Social Relationshp/Responsibil

Credits: 5

Instructor: Pierce

This course explores food justice as a political movement and alternative model of food production in communities across the U.S. and globe. Discussion and analysis of food justice theories and practice will provide students a context for critically evaluating Western modern theories of property rights/ownership (i.e. GMO food, indigenous knowledge systems), community self-determination, food systems as colonial tools of dependency, and how neoliberal development policies promote racial and economic inequality at local and global levels. In reassessing modern ideas and values around freedom, equality, and justice, the class will examine the ways working class and communities of color have articulated how food injustice and insecurity are part of a longer history of colonization and racial and economic inequality. Questions the class take up include who/what actors are involved in creating the industrial food system of the U.S.? How do modern property laws prevent people and communities from having access to land? How "democratic" are decisions made around who/what can provide food options in communities? What are food deserts and food swamps? Course participants will also have the opportunity to apply theory to practice through the planning and experimentation of food justice projects in the Outback Farm. Specific attention will be given to ways the farm can connect with local communities experiencing food injustice and organizing around food production and access issues.

Learning Outcomes: Define and understand the principal assumptions of the industrial food system in the U.S.; Draw connections between modern notions of freedom, equality, development, and equality with food justice concerns; Understand and apply the concepts of food desert and food swamps to different community food systems; Gain a comprehensive understanding of both global and local debates around food justice and insecurity; Apply course knowledge to developing experimental food justice projects centered on the Outback Farm.

Required Texts:

Food Justice Robert Gottlieb and Anupama Joshi, Cambridge, MA: MIT Press (2013). Cultivating Food Justice: Race, Class, and Sustainability Allison Hope Alkon and Julian Agyeman (Eds.), Cambridge, MA: MIT Press (2011). Stolen Harvest: The hijacking of the global food supply Vandana Shiva, Cambridge, MA: South End Press (2000). More than Just Food: Food Justice and Community Change Garrett Broad, Berkeley, CA: University of California Press (2016).

Credit/Evaluation: Participation in class discussion and regular attendance; Timely and thoughtful completion of course readings and writing assignments; quality of writing assignments that use evidence from course readings; quality of praxis projects designed for the Outback Farm; critical and respectful engagement in class.

FAIR 203A Social Relationshp/Responsibil

Credits: 5

Instructor: Estrada

SOCIAL IDENTITY This section will explore the process of social identity formation in the United States through the lens of modern social theory. The goal of the class is to explore multiple perspectives on the formation of the state, individual rights within society, equality as well as the roles and responsibilities of individuals within their respective communities. The focus of the class will concern itself with the roots and application of Western ideals of freedom and equity that arguably form the basis for the United States’ liberal democracy. The seminar will outline the origins of the enlightenment and the basis for “natural” rights and freedoms in conjunction with the derived roles of society and government. We will then examine how the universalist ideals of the liberal enlightenment have implicitly or explicitly excluded those without property, people of color and women. We will also define what the “social compact” has meant in different periods of American history, and the relationship of various groups to this compact. Can liberal democracy really provide equal citizenship for workers, women and people of color? How have the movements of socialism, reconstruction, decolonization, ethnic identity and feminism tried to reformulate and transform the social order?

Texts: SELECTED READINGS on John Locke and Adam Smith; C.Lemert, 4th ed., SOCIAL THEORY:THE MULTICULTURAL &CLASSIC READINGS (Jackson, TN: Perseus Books, 2010); R. D’Angelo & H. Douglas, 8th ed., TAKING SIDES: CLASHING VIEWS ON CONTROVERSIAL ISSUES IN RACE & ETHNICITY (NY: Mc Graw Hill, 2009); M.J. Sandel, JUSTICE: WHAT’S THE RIGHT THING TO DO (NY: Farrar, Strauss, Giroux, 2009); Recommended Reading: Zinn, H. PEOPLE’S HISTORY OF THE UNITED STATES: 1492-PRESENT, (NY: Harper Collins, 2003)

Credit/Evaluation: Credit will be granted for regular attendance, evidence of preparation, satisfactory completion of 2-3 written perspective papers in addition to a group term project and class group presentation. Criteria for evaluation include informed and active engagement in class discussions; informative, relevant group presentation and a term project paper that illustrates a sound grasp of social theory and critical paradigms.

FAIR 206A Core:Science/Our Plc on Planet

Credits: 5

Instructor: Tuxill

Don’t let the cold temperatures and long nights fool you—the Pacific Northwest environment is full of life even in Winter.  In this course we examine firsthand how the plants and animals of our region persist and thrive during the winter months.  Our approach to learning will center on natural history:  the observation and study of living organisms, their evolutionary and ecological relationships, and the environments they inhabit.  Our field explorations will take us from seashores to snowfields as we investigate the diverse ecological communities and habitats present during winter in western Washington.  Among other things, we will learn how alpine plants and animals in the North Cascades handle one of the world’s largest annual snowpacks; why the Skagit Delta is a mecca for wintering migratory waterfowl; and how it is possible to grow and harvest a Northwest vegetable garden all year long.  We also will draw on our natural history studies to assess crucial environmental issues facing our region, including climate change, the conservation of biological diversity, the restoration of healthy ecosystems, and the sustainable management of natural resources.              

Texts:  Peterson Field Guide to the Birds of Western North America by Roger Torey Peterson;  and  Plants  of the Pacific Northwest Coast by Jim Pojar and Andy MacKinnon.  Additional readings will be made available on Canvas. \

Credit/Evaluation: Regular attendance on field trips, field labs, and informed contribution to class discussions is essential.  Students also will 1) keep a field natural history journal;  2) prepare a final research paper and presentation on a specific aspect of Pacific Northwest biodiversity;  and 3) write an advocacy paper/letter to an elected official on a regional environmental issue.        

FAIR 210A World Issues

Credits: 5

Instructor: O Murchu

Monday and Wednesday 3:30-5:50 and Wednesday 4:30-5:50

We are citizens of the world. As global citizens, what do we know and understand about global issues and ourselves in a world faced with complex issues, such as growing economic disparities, fragile democracies, environmental degradation, wars and militarism, civil liberties, racial profiling, and globalization? How do we become intelligently informed? What is our awareness of and participation in local and global efforts for positive social change?

This course explores the complex dynamics of our globalized world from a holistic, inter-disciplinary, and transnational perspective. Together we examine multiple world issues, such as global inequality and poverty, food security, human rights, water, energy, population growth, migration, cultural change, and public health, and our individual and community roles as agents of social change on local and global levels. This course is connected to the Wednesday World Issues Forum speaker series.

Note: For Winter 2018 the World Issues Forum meets at 4:30-5:50 on Wednesdays in the Fairhaven Auditorium.

Course Texts: GLOBAL POLITICAL PHILOSOPHY by Mattias Risse (NY: Palgrave, 2012) and selected readings for each speaker on Electronic Reserve or canvas.

Requirements for Credit: Faithful attendance, preparation for, and participation in class discussions; regular analysis papers on the World Issues Forums; an independent book review essay; and 2-3 hours participation in a global justice service learning project; and a final synthesis paper on the forums.

FAIR 215F The Asian American Experience

Credits: 4

Instructor: Takagi

This is an introduction to the history and experience of Asians in America.  This class will explore the factors for immigration, working and living conditions of Asian laborers in this country, and the social relations between the minority and majority, as well as those between the various Asian ethnic groups.

Reading Requirements:

Possible texts: Ronald Takaki, Strangers from a Different Shore and Yen Le Espiritu, Asian American Women and Men

Articles on Canvas

Written Requirements:

10 (annotated bibliographic sets).  These bibliographies are worth 33.3% of the total grade. (Total 100 points)

1 paper (10 pages) This is a joint project.  This paper is worth 33.3% of the total grade. (Total 100 points)

Take home exam.  This exam is worth 33.3% of the total grade. (Total 100 points)

For Fairhaven students, all bibliographic entries, papers, and exams will be evaluated.

FAIR 221J Interdisciplinary Writing

Credits: 4

Instructor: Simon

In the 21st century, innovators must explain their ideas clearly and compellingly, and in various forms, to suit our message-dense media environment.

This course is a craft / writing workshop in which students incorporate the art of storytelling to write creative personal essays (or other forms or hybrids - magazine features, memoirs, thought experiments, or interdisciplinary works, for example) based on their own interests, or on their work in their individualized majors or courses of study. Here, you can sharpen your chops for explaining, illustrating, and illuminating your ideas in writing, and use the crucial tools of elemental analysis and the creative writing workshop to hone your skills for persuasion through storytelling.

You will learn to report your findings in creative and compelling new ways that could work as pieces of long-form journalism, as blog posts, as nonfiction book chapters, radio programs, podcasts, or some other new or not yet imagined form. We will work in a few modes - which may include short story, personal essay, reportage, and basic argument.

Credit/evaluation: written assignments and revisions, written and oral critique of classmates' work, and regular attendance. Texts: Readings will be provided. Students will provide hard copies of their work for classmates.

FAIR 222G Literary Heroines

Credits: 4

Instructor: Friedland

Who are your female literary influences, what kind of lineage might you discern? What are some of the ways in which we can define, mend, and transform our thinking about women's writing? We will study works by women writers who wrote their female lineage into existence, while also exploring who our own heroines are, and how they inform our thinking and making.  In Writing As Woman, Luce Iriguray asked: “How can we govern the world as women if we have not defined our identity, the rule concerning our genealogical relationships, our social, linguistic, and cultural order?” In response to a perceived absence of a more visible female literary lineage, women writers have made influential personal heroines the topic of their books. Kate Zambreno's obsession with "difficult" women writers helps her to write through her own anxieties of being a “complex” writer. In Orlando, a love letter to Vita Sackville West, Virginia Woolf explores West's biography and character as a model for transgender and queer identity. These works frequently pay homage to, and also try to repair through innovative writing techniques, the silences surrounding our literary ancestors and their lives.

 

Texts:

Nathalie Léger (transl. Lehrer and Menon) Suite for Barbara Loden

Kate Zambreno Heroines

Virginia Woolf Orlando

Kelsey Porter Ervick: The Bitter Life of Bozena Nemcova

Audre Lorde Zami: A New Spelling of My Name

 

Credit/Evaluation: Close weekly readings and active participation in class discussions. Presentation of lineage project. A critical biographical essay, writing reflections, and creative writing engagements. Faithful attendance.

FAIR 223G Elements of Style

Credits: 1

Instructor: Tag

Fair 223G: Elements of Style What is a comma but a claw rending the sheet, the asthmatic's grasp? What is a question mark but what's needed to complete this thought? Punctuation: what is it, after all, but another way of cutting up time, creating or negating relationships, telling words when to take a rest, when to get on with their relentless stories, when to catch their breath?--Karen Elizabeth Gordon

If you care even the least whit about how you write, this is a class for you. We will certainly examine the rules and principles of English composition, including grammar, punctuation, word usage, sentence construction, and strategies for proofreading and revision. But such examinations are sometimes dull, stuffy, self-righteous, and boring. Ours will attempt a more stylish exploration of written style, like trying on hats in a haberdashery, or hounding the hobgoblins from our foolish consistencies, or swinging outward on a swaggering buccaneer's highest rope. Will it be dangerous? Of course! An education should be. So come all ye word-sick, word-loving, word-puzzled pilgrims. Bring your grammatical contusions and confusions. Your punctuated paralysis. Your fears of saying what you have to say, clearly and directly. Together we will try to unlock the mysteries of writing with style (or at least help decide when to use a dash-when parentheses). We will un-dangle our participles, un-awk our words. All are welcome to take this course. This will be a fun and challenging one-credit course, hopefully helping each of us get out of our one-horse towns, tilt at a few windmills, and learn what there is to learn in the wide, wide world of writing well.

Text: A DASH OF STYLE by Lukeman.

Credit/Evaluation: Faithful attendance. Active participation in all in-class writing exercises. Quality and completion of weekly writing exercises. Presentation of a special project.

FAIR 243T Sensing in Motion

Credits: 4

Instructor: Nichols

An Introduction to Sensing and Mobility

Movement is basic to all of life.  Movement of our bodies shapes our basic physical structure and experience, our perception, and our personalities.   Awareness within movement is paramount to understanding our relationship with personal and shared development, to perception, to body image and more.  Is it possible to understand our culture through understanding how we move?  Is our movement related to how we relate to people of other diverse ways of knowing the world?  Can we understand ourselves, our society, and ask relevant questions about social change by understanding the psychology of our movement?  This course will set the inquiry to ask these and other relevant questions.  This course is a comprehensive curriculum of evidence, exercises, and practices to raise awareness and to become conscious of our own movement, perceptions, and sensations, in relationship to our development within a variety of contexts.  This course will provide experiential learning opportunities for movement, dance, play, mindfulness and meditation, and will survey some of the literature of Somatics, Dance Movement therapy, human rights, and developmental psychology.  This course will also provide a supportive community of learning, practice, and fun to help develop awareness in movement, mobility, and connection.  It promises to be a refreshing and revealing experience that will spill into every aspect of your life.
Research is revealing that we develop throughout our life span, so as a child begins to crawl or an adult learns to play an instrument, we are learning through awareness and practicing movement. In developing awareness of movement we are engaging our embodied life at the edges of our nervous system, our developing edge, and at the edges of what is known and unknown.  Growth, mobility, and movement are interdependent and woven into the formation of the experience of our selves in relationship with our environments.  Mindfully playing in this experience supports a full participatory engagement with our life, our body, our deepest interests, and directions.  Basic actions shape how we are physically formed and are continuously forming: breathing, walking, posture, and gestures.  The basic unity of movement is a simple and profound interface, a window into our experience.   Embodied awareness or mindfulness is a way to deeply listen to our experience in the moment. The results of body awareness have a growing body of empirical evidence that suggests that it is a worthy domain of information to begin to include in our ways of being in the world.   

Credit/Evaluation:   
Regular and On time attendance, Informed & Engaged Discussion, Completion of Reading, Completion of all assignments.

Texts:
(2007)Blakeslee and Blakeslee; “The Body has a Mind of Its Own.”

 

FAIR 246 Mariachi Music/Perform&Culture

Credits: 3

Instructor: Miyake

Ever since its establishment as a centerpiece of Mexican popular culture in the first half of the 20th century, Mariachi music has acted both as a central expression of Mexican identity and also as one of the most widely recognized representations of Mexican people and culture for those outside of this community. Students in this class will explore this cultural and artistic movement through both academic engagement and hands-on experience in creating this music themselves. Class meetings will include sessions in which we will discuss academic and popular texts on Mariachi music and culture as well as participating in discussions with guest speakers and performers, and sessions in which class members will learn to perform Mariachi music in both individual and ensemble formats. No experience in performing Mariachi music is required for this class- all instruction and expected musical collaborations will be designed to fit the experience level of each individual student. This course is repeatable for up to a total of twelve (12) credits. Required Texts: Wade, Bonnie C. Thinking Musically: Experiencing Music, Expressing Culture. 3rd ed. New York: Oxford University Press, 2013. Sheehy, Daniel Edward. Mariachi Music in America: Experiencing Music, Expressing Culture. New York: Oxford University Press, 2006. Texts for this course will also include other articles, book chapters, and music as assigned by the instructor.

NB: Alternate readings will be provided for students who have already received credit for this course in an earlier quarter Credit/Evaluation: Evaluation will take account of regular attendance, evidence of critical reading, engagement in class discussion and completion of assignments.

FAIR 255Y Folk Music Experience: American Protest Music

Credits: 2

Instructor: Bower

This course combines playing folk music with the study of the contexts in which folk music has evolved.  For this quarter, we will study American protest music throughout American history, including civil rights, LGBTQ, anti-war, environmental, and other movements and perspectives. Students will be expected to participate in discussions on readings assigned during the first five weeks of the course.  Each student will be asked to introduce one song to the class that is relevant to the protest music genre and enriches our knowledge of folk music or the context within which folk music has been written and performed. Students will write a short research paper that forms the basis for their presentation on the song and its context.  Students will also be responsible for learning and practicing the songs that are presented to the class, including practice in small groups.  Students are encouraged to gain practice at playing one or more folk music instruments during the course, and are invited to join the course even if they are beginners at playing an instrument or if they prefer to just sing.

Texts: Texts will change from quarter to quarter.  For this course, texts have yet to be determined. 

Credit/Evaluation:  Regular attendance and participation in our weekly sing, informed participation in class discussions, one short research paper and song presentation, and practicing music in a small group.

FAIR 257V Basic Sewing and Design

Credits: 4

Instructor: S'eiltin

This class is designed for the novice as well as intermediate students who want to refine their sewing skills and techniques. The primary focus will be on basic techniques; which will include sewing terms and techniques, fabric selection, repurposing garments and fabric, pattern construction and garment and three-dimensional design. The class will begin with the introduction to sewing equipment and hand sewing techniques. Students will be required to complete approximately four projects. Projects will include the construction of garments and soft-sculpture. Students will be encouraged to take creative risks with the construction and design of garments and fabric sculptures. Required Text: Sewing Basics, All you Need to Know About Machine and Hand Sewing by Sandra Bardwell, Stewart Tabori and Chang Credit/Evaluation: Students will be required to complete approximately four projects. Projects will include the construction of garments and soft-sculpture. Students will be encouraged to take creative risks with the construction and design of garments and fabric sculptures. Students will be evaluated on their timely completion of every project, their ability to take creative risks as well as their efforts and genuine commitment to all class activities and assignments.

FAIR 270H Intro to Audio Recording

Credits: 4

Introduction to Audio explores the techniques, tools, and technology used in multi-track recording. From a beginner's perspective, this course follows the recording process starting with the tracking session, then the overdub session, and through the mix-down session. By examining the various pieces of the recording process students will learn the concepts and skills necessary to use studio equipment such as microphones (their characteristics and placement), mixing consoles (explained in detail), multi-track recorders (analog and digital), patch bays, signal and effect processors, headphone systems, and multi-track punching and bouncing. Each student is also expected to attend a weekly two-hour small group lab, held in the studio, giving the student a chance to experience multi-track recording in a hands-on manner. A detailed manual will be provided to each student so that each concept will be encountered first in an assigned reading, then in lab, and finally in the class meetings.

Texts: THE RECORDING ENGINEER'S HANDBOOK (3rd edition) by Owsinski and the Fairhaven Recording Studio Lab Manual. The lab manual text will be provided by the instructor and paid for with lab fees.

Credit/Evaluation: Students will be evaluated through a combination of participation, attendance (lab and lecture), research projects, and understanding gained from the material evaluated from a hands-on assessment. Additionally, students will be required to complete a creative project with the instructor in the studio as a final project.

FAIR 303A Core:Intrdisc Cncntrtn Sem

Credits: 5

Instructor: Miyake

What questions do you want to explore in your Interdisciplinary Concentration? (Are you asking questions, for example, about inequalities, ecology, musical cultures, or performance?) Why are these questions important enough intellectually, politically, socially or professionally to form the basis for your Interdisciplinary Concentration? Your challenge in the Concentration Seminar is a two- or three-fold one. First, you must answer the question of why your concentration matters to your own satisfaction. Second, you want to communicate the reasons why your concentration's questions matter to the mythical "average reader" in your rationale. Third, you must identify the set of courses, independent study projects, internships, or other forms of experiential learning that allow you to explore your underlying questions about your subject in the rest of your time at Fairhaven College. In practical terms, the seminar is designed to assist you with your development and writing of an interdisciplinary concentration. It will serve as a forum for discussion, guidance, and support during the proposal writing process. You will work collaboratively with your seminar, your instructor, and your concentration committee, to write your learning proposal and identify relevant courses and experiences to help you achieve your educational goals. Here are some of the practical questions this seminar will help to address: - What are the appropriate guidelines and requirements involved? - What exactly is it you want to achieve in your degree? - How can your intentions be given effective shape and form? - Who should be on your committee? - How do the parts of your concentration work together conceptually? - What are the best vehicles for your learning? - What should you put in and what should you leave out of your concentration? Text: Handbook on Canvas + Occasional Readings distributed in class Credit/Evaluation: Faithful preparation for and attendance at seminar; Steady work on your proposal; Contributions to the development of your group members' proposals. Credit for the course is granted when your completed committee-approved proposal has been filed with the Fairhaven Records Office and a regular self-evaluation form is submitted to the instructor.

FAIR 305A Writing & Transition Conferenc

Credits: 3

Instructor: Herring

The Writing Portfolio and Transition Conference are Core graduation requirements for all Fairhaven College students. Your Writing Portfolio will be a selective collection of your academic writing and an introductory statement of self-assessment about your writing at this point in your education. It will be reviewed and assessed by your Fairhaven faculty advisor. Your Transition Conference is a constructive mid-point conversation with advising resource people you invite to share your educational plans and collect advice officially moving you from the "Exploratory" stage of Fairhaven's program into the "Concentrated" stage of your educational plans, regardless of your choice of major. You should embark on these requirements when you and your faculty advisor agree you're ready for them. This is not a class, however you must attend one orientation meeting early in the quarter. Details about the orientation meeting schedule will be sent to all enrolled students via email and posted on the FAIR 305a class CANVAS site. In order to receive credit for FAIR305a you must: 1) Submit your Writing Portfolio prepared according to specifications to be provided at our orientation and on our class Canvas site. 2) Schedule and conduct a Transition Conference which includes writing and circulating a Transition Conference Statement to your invited participants prior to the conference. Additional details and instructions will be provided at our orientation and on our class Canvas site.

FAIR 314E Critical Pedagogy

Credits: 4

Instructor: Calderon

Introduction to Concepts in Educational Equity.

In this course we will draw from empirical research to examine the social, political, economic, and historical context of schooling for students of color in U.S. K-12 and higher educational systems. Students will be introduced to a set of ethnic studies concepts and theories from which to better understand the educational experiences and realities of historically underrepresented students. The course will also challenge students to reflect on their educational experiences and the schooling conditions of students of color in general, and to apply the concepts introduced in class to their own educational sexperiences.

More specifically, the course is intended to enable students to:

1.    Develop an understanding of the histories, concepts, perspectives, and theories used to examine the complex realities of historically underrepresented students;
2.    Articulate their understanding of concepts such as privilege, microagressions, institutional racism, whiteness, resistance, decolonization, and activism, and apply these concepts to their personal educational experiences and to the debate over educational (under)achievement, (in)equity, and the politics of education;
3.    Engage in inter-ethnic/racial dialogues about race and racism, the use of power and privilege to institutionalize inequity, methods for achieving social and educational change.

Texts: The main text for the course will include Is Everyone Really Equal? An Introduction to Key Concepts in Social Justice Education by Ozlem Sensoy and Robin DiAngelo, with accompanying blogs and media sources.

Credit/Evaluation: Evaluation will take account of regular attendance, evidence of critical reading, engagement in class discussion, and completion of assignments.

 

FAIR 328M American Lives: Henry David Thoreau and Terry Tempest Williams

Credits: 4

Instructor: Tag

I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived. I did not wish to live what was not life, living is so dear; nor did I wish to practice resignation, unless it was quite necessary. I wanted to live deep and suck out the marrow of life, to live so sturdily and Spartan-like as to put to rout all that was not life, to cut a broad swath and shave close, to drive life into a corner, and reduce it to its lowest terms, and, if it proved to be mean, why then to get the whole and genuine meanness of it, and publish its meanness to the world; or if it were sublime, to know it by experience, and be able to give a true account of it in my next excursion.--Henry David Thoreau (1854)

The human heart is the first home of democracy. It is where we embrace our questions. Can we be equitable? Can we be generous? Can we listen with our whole beings, not just our minds, and offer our attention rather than our opinions? And do we have enough resolve in our hearts to act courageously, relentlessly, without giving up--ever--trusting our fellow citizens to join with us in our determined pursuit of a living democracy? The heart is the house of empathy whose door opens when we receive the pain of others. This is where bravery lives, where we find our mettle to give and receive, to love and be loved, to stand in the center of uncertainty with strength, not fear, understanding this is all there is. The heart is the path to wisdom because it dares to be vulnerable in the presence of power. Our power lies in our love of our homelands. The heart embodies faith because it leads us to charity. It is the muscle behind hope that brings confidence to those who despair. Democracy depends on engagement, a firsthand accounting of what one sees, what one feels, and what one thinks, followed by the artful practice of expressing the truth of our times through our own talents, gifts, and vocations. Question. Stand. Speak. Act.--Terry Tempest Williams (2004)

This American Lives course explores the lives, writings, contexts, and legacies of two American writers--Henry David Thoreau and Terry Tempest Williams--each living in distinctly different time periods, and yet sharing similar spirits of engagement--with nature, with culture, and with what it means to be a citizen, to live deeply, and to let our vision penetrate the surface of things. We will read several of their books and essays, reflect on their ideas and experiences, and wrestle with our own places within the topographies of their imaginations and convictions. Please join us for a unique exploration, in a class being taught for the very first time. You will have plenty of space in this class to also do your own writing, and to create your own visions and projects in response to both Thoreau and Williams.

Texts: WALDEN by Thoreau; THE JOURNAL by Thoreau; REFUGE: AN UNNATURAL HISTORY OF FAMILY AND PLACE by Williams; WHEN WOMEN WERE BIRDS by Williams

Credit/Evaluation: Faithful attendance. Completion of weekly assignments, readings, reflection essays, group projects, as well as a journal, a place narrative, a political manifesto, and a final creative project.

FAIR 334J Genocide

Credits: 4

Instructor: Akinrinade

This course explores the meaning, origins, forms and causes of genocide. It will examine major cases of genocide up to the present century as a basis for understanding the phenomenon. Case studies will include the experience of Native Americans, the Armenians in the Ottoman Empire, the Nazi Holocaust, the Khmer Rouge period in Cambodia, as well as Rwanda and the Darfur region of The Sudan. To better understand the subject, the course will compare genocide, considered by many as the “ultimate crime” with other cases of mass murders, including war crimes and crimes against humanity – a recurring part of armed conflict in more recent times. The course will also explore ways in which this crime can be confronted and the role of international law in dealing with genocide.

Credit/Evaluation: Evaluation will take account of regular attendance, evidence of critical reading, engagement in class discussion, the quality of short reactions, and two assignments. THERE WILL BE NO COURSE CREDIT FOR ANYONE WHO MISSES THREE (3) CLASSES IN THE QUARTER.
Text: THE ROOTS OF EVIL: THE ORIGINS OF GENOCIDE AND OTHER GROUP VIOLENCE, by Staub, Ervin; Others TBA.

 

FAIR 334P Salish Sea Marine Bio

Credits: 5

Instructor: Bower

The Salish Sea is an international inland sea that includes the Strait of Juan De Fuca, Strait of Georgia, Puget Sound, and many smaller bays and inlets (such as Bellingham Bay).  These waters are fascinating and important biologically.  Eroding mountains provide and rivers deliver nutrients to the marine ecosystem, while complex currents, tides, and high winds mix nutrients throughout the water column, providing the life source for a highly productive and diverse food web featuring plankton, seaweeds, invertebrates, fish, birds, and marine mammals, and more. These waters have and continue to support many human communities, from Coast Salish and other tribes, to today’s ever-increasing human population.  Past and present resource use and pollution threatens the biological integrity of this marine system.  In this field course we will examine all of these things.  We will learn to identify common marine species, and will seek to understand how Salish Sea ecosystems function– from estuaries, to intertidal zones, to the deeper pelagic waters.  We will also consider the threats to the marine environment and evaluate what is being done to preserve and restore its biological integrity.

Texts:  To Be Determined – I will email students in December to let them know what texts I have chosen.

Credit/Evaluation:  Regular attendance and informed participation in classes and field trips, ability to learn to identify species of marine algae, invertebrates, birds, fish, and marine mammals.  Two drafts of a group scientific field research project based in the marine environment, and a presentation on marine environmental issues.

Note this class will meet for five-hour field trips on four Fridays during the quarter, and will also do at least two nighttime visits to tidepools (to be arranged).  We will not meet on the other six Fridays, although some of these Fridays may be used for doing group research.

FAIR 335B Global Inquiry

Credits: 2

Instructor: Brown

Global Inquiry This workshop is designed to help students consider their options for independent travel/study projects abroad. It seeks to help students achieve some clarity about why and how they want to travel and study outside of their country of origin at this point in time. One intended goal is to take the mystery out of applying for an Adventure Learning Grant. To that end, topics will include how to develop project ideas, the qualities of successful proposals and personal statements, and strategies for developing international connections. The core of the class, however, will be a series of guest speakers who will share their experiences with travel and research under a wide variety of conditions, and their thoughts about general principles for responsible global study and travel.

FAIR 335P Global Biodiversity Sci & Poli

Credits: 4

Instructor: Tuxill

This course studies biodiversity:  the variety and richness of life on earth.  Do you enjoy different kinds of fruits, vegetables, and spices in your daily diet?  Thankful for fast-acting medicine—or maybe a soothing herbal tea—when you’re sick?  Appreciate clean water, fertile soil in your garden, and clothes made from natural fibers and dyes?  Thank biodiversity for all of that.  Over the past two decades, biological diversity—including the variety of living organisms and ecological patterns in nature--has emerged as a key concept for how scientists, philosophers, and many others think about the environment and our place in it. The future that people determine for biodiversity will play a crucial role in the health of the planet and the sustainability of human society.  This course has three primary goals. The first is to learn how biological diversity is defined, measured, mapped, and understood through ecological science.  The second is to understand the benefits biodiversity provides for humankind and the ways that those benefits are increasingly placed at risk.  The third goal is to explore strategies and policies for conserving and sustaining biological diversity worldwide. In exploring threats to biodiversity and the policies and institutions designed to conserve it, we will examine underlying assumptions about globalization, sustainability, and environmental preservation.

 

TextsBiophilia by E. O. Wilson, available in the bookstore.  Additional readings and references will be available on-line at the course Canvas site.

 

Credit/Evaluation:  Regular attendance and informed contribution to discussions and field labs (including two Saturday field trips) is essential.  Students also will complete 1) online research assignments and field labs;   2) a mid-term essay exam (take-home, open-book);  and 3) a class presentation and final paper on a case study of biodiversity conservation.

FAIR 336B Historical and Philosophical Perspectives on Race/Class in Public Education

Credits: 4

Instructor: Pierce

The public education system in the U.S. has historically been considered the great “leveling” institution—one of only places people from all racial, ethnic, and class backgrounds have the best chance of achieving “the American Dream”. But what if this story about public education in the U.S. has never been true? How would we re-evaluate the public education in the U.S. if we viewed this official history against the grain, from the standpoint of communities who have systematically remained racially stigmatized and economically disadvantaged is U.S. society despite access to public education?  In exploring these and related questions, this class takes a historical and philosophical approach to reassess the goals and aims of the public education system in the U.S. by drawing on the Black Radical Tradition as well as decolonial and Marxist thinkers. The primary goal of this course is twofold. First, to gain a better understanding of who the public education system in the U.S. was designed to serve and in what ways. The second goal will be to link this analysis to contemporary debates and controversies around antiblackness and education, the preservation and persistence of white supremacy U.S. society and culture, and indigenous education movements rooted in decolonial projects. The course will also focus on how marginalized communities have created and practiced resistive models of education in the U.S. that point to alternative ways of learning and being in society outside of these power dynamics.   

Learning Outcomes: Ability to critically evaluate democratic assumptions of the public education system; Draw connections between white supremacy, colonization, and capitalism to the design of public schooling; gain competency in areas of research such as the Black Radical Tradition and decolonial thinkers.

Required Texts: TBA most likely supplied via course canvas page

Credit/Evaluation: Participation in class discussion and regular attendance; Timely and thoughtful completion of course readings and writing assignments; quality of writing assignments that use evidence from course readings; quality of student presentations; critical and respectful engagement in class.

FAIR 336B The Dysfunctional Family

Credits: 4

Instructor: Haizlip

The nuances of our family dynamics play an important role in understanding how we behave in other relationships and in our community. While we may not give it much attention, our concept of family has a great impact on individual and social psychology. As societies perception of family continues to grow and evolve, this course aims to normalize dysfunctional dynamics in all families, as well as differentiate between “Dysfunction and Abuse”.

Abuse is characterized by a person subjecting, or exposing, another person to behavior that may result in psychological trauma, including anxiety, chronic depression, or post-traumatic stress disorder. This course focuses on problems which emerge as a result of varying parenting practices and family constellation dynamics specifically. The course addresses a broad spectrum of issues including the definition of dysfunctional families, the factors which cause child maltreatment, families with substance abusing parent (alcohol, drugs, etc.), emotional abuse, physical abuse, financial abuse, sexual abuse, and treatment and prevention. We will also expand the topic into the investigation of abuse towards animals, looking at theoretical perspectives of the abused, as well as the abuser. As a result of the psychological trauma caused by abuse, the course will further investigate how victims of abuse cope, heal, and survive after experiencing abuse.

Evaluation/Assessment:  Students will participate in deeply personal reflective activities, growth groups, and academic debates. Evaluation and assessment will rely heavily on class participation, reflective journaling, and social learning projects.

Essential Readings:

Brown, L. (2008). Cultural Competence in Trauma Therapy: Beyond the Flashback. American Psychological Association.

Drozdek, B & Wilson, J. (Eds) (2007). Voices of Trauma: Treating Survivors Across Cultures. Springer.

van der Kolk, B.A., McFarlane, A.C., and Weisaeth, L., (Eds.) (2007). Traumatic Stress: The Effect of Overwhelming Experience on Mind, Body, and Society. Guilford Press: New York. 

FAIR 336B Black Psychology

Credits: 4

Instructor: Haizlip

Psychology is the study of human motivation, how human beings perceive themselves and others, how human beings behave, and how human beings change. This class will focus on psychological issues in the context of the African American community and Black experience. We begin the course with an overview of Black/African American psychology as an evolving field of study and consider the Black/African American Psychology paradigm as one of the key conceptual frameworks for understanding the psychological experiences of African Americans. In the second part of the course, we explore a range of topics that pertain to the psychological experiences of African Americans such as racism and discrimination, achievement and schooling, kinship and family, racial identity, religion and spirituality, and African American mental health. A focus of the course is the range of theoretical and methodological approaches that scholars have developed to conceptualize the thoughts, styles, and behaviors of African Americans. Finally, we conclude the course with discussions of current topics, controversies, and recent advances in African American psychology. Throughout the course, a primary objective will be to consider how our knowledge of African American psychological experiences can be used to promote African American psychological health and wellness.

In order to fully reflect upon privileges that are afforded as a result of social and cultural positionality, we must also deepen our empathy towards individuals and communities that experience various forms of disadvantage as a result of being the “other”. Otherism is the overarching term that describes various prejudices (i.e., racism, classism, sexism, ageism, etc.) and the experience of being different, odd, weird, and an outsider in various social contexts and settings. Upon completion of this course students will:

  • Demonstrate knowledge of the historical roots of psychology from an African centered perspective and be able to identify the development of Black Psychology as a distinct system of psychological thought and research.
  • Display knowledge of the African centered world views and its role in the psychological study of people of African descent.
  • Demonstrate an understanding of how the “Lived Black Experience” can aid in the overall understanding of the Black experience and provide a frame of reference for which to study the psychological experience of other people throughout the world.
  • Explore his or her world views as it relates to their personal psychological and social experiences.  

 

EVALUATION/ASSESSMENT:  This course will use a combination of didactic discourse, consciousness raising seminars, audiovisual literature, and extensive discussion focusing on the historical and cultural representation of psychology from an “othering” centered perspective.

Recommended Readings:

Parham, Thomas A., Ajamu, Adisa and White, Joseph, L,. (2011).The Psychology of Blacks: Centering Our Perspective In African Consciousness. Forth Edition, Prentice Hall

Wright, Bobby, E. (1984). The Psychopathic Racial Personality and Other Essays: Third World

            Press, Chicago (Book Provided by Instructor)

Optional Readings:

Russell, Kathy, Wilson, Midge, and Hall, Ronald, (1993). The Color Complex:

The Politics of Skin Color Among African- Americans. Anchor Books Division

of Random House, Inc.  New York

FAIR 336H Performance for Beginners

Credits: 2

Instructor: Brown

Performance for Beginners

Stage fright? Fear of public speaking? Hate giving presentations or even just speaking up in class? This workshop seeks to bolster students’ confidence in giving various types of performances in public from speeches and presentations to more aesthetic modes of performance like theater, acting on screen, or stand-up comedy. Together, we will explore a range of performance genres and their creative and practical application. While this is not a formal actor training course, we will explore various theater and performance methods that will help students craft more creative and expressive presentations and build foundational confidence skills.

FAIR 336M Non-Western Music

Credits: 4

Instructor: Sehman

Non-Western Music and Culture This course examines various music traditions of the world, along with their many surrounding cultural contexts. The study of specific musical styles and traits will be accompanied by an examination of its use in society, the role of the performer, performance settings, and other similar topics. The course will focus on various traditional and popular musics of India, Africa, Indonesia, and the Middle East.

Special focus will be given to ways of thinking about music that fall outside of the standard conceptions of Western music. This includes West African concepts of time in music, which are often cyclical rather than linear, or the Indian raga, which is an abstract concept with no Western analog that defines many fundamental aspects about how a song is performed.

Specific topics will include: South Indian Carnatic music Javanese and Balinese gamelan Indian Bollywood film music Indonesian puppet theatre (Wayang kulit) West African storytelling music of the Griot Shona mbira music

This course will also examine basic concepts surrounding ethnomusicology: the academic field involving the study of music in its cultural context. What are some common ethnographic methods for studying a culture and its music? What are the implications of the roles of outsider and insider with regards to a music and its surrounding culture?

Texts Worlds of Music, by Jeff Todd Titon (Schirmer Cengage) Thinking Musically, by Bonnnie C. Wade (Oxford University Press)

Requirements/Evaluation Students will be expected to complete all reading and listening, and actively participate in class discussions. Each student will present a reading/listening and lead class discussion at least once during the quarter. There will be occasional short writing assignments based on reading and listening assignments. Students will complete a research project on a topic of their choosing.

 

FAIR 336M DIY Music Business

Credits: 4

Instructor: Sehman

The DIY Musician and the New Music Business The music business has undergone staggering changes in recent years. Funding, production, promotion and distribution have become largely the artist's responsibility. While this has democratized music making in exciting ways, it has also placed new responsibilities on the musician.

This course will begin with an examination of the traditional aspects of the music business, such as copyright, royalties, distribution, licensing, publishing and record contracts. We will follow that with an extensive study of the new DIY music business. We will look at the practical methods required by today's musician, including directly engaging with listeners, creating an effective online presence, selfpromotion and contacting media, booking shows, and successful methods for releasing music (i.e. singles/EPs/LPs; physical vs. digital media formats).

We will also examine the complex social and artistic issues that are a result of the changes in the music business, such as the state of recorded music as a commodity in the 21st century, the value society places on musicians in the digital age, and the strain placed on the creative process as a result of the heavy work load of doing everything yourself.

Throughout the quarter, we will perform case studies of current artists, analyzing successful, innovative and creative techniques currently being used in the music business.

Requirements/Evaluation:

Students will be expected to complete weekly readings, viewings and writing assignments, and actively participate in class discussions that arise from them. Each student will also be asked to lead discussion at least once during the quarter. Students will complete a music business/entrepreneurship project on a topic of their choosing, which they will present to the class. All students are welcome to participate in this course, whether you are an active musician or are simply interested in the state of the current music business.

 

FAIR 336M Hip Hop Music and Culture

Credits: 4

Instructor: Miyake

Students in this course will examine hip hop music and culture as an artistic and social phenomenon with emphasis on historical, economic and political contexts. Discussions will include the social, economic, and cultural conditions that led to the founding of the music in New York City in the 1970s, the historical and continuing co-existence of various hip hop styles and their relationship to the music industry and broader cultural issues, and controversies resulting from the expansion of hip hop music and culture as a commodity for national and global consumption. Our work in this course will focus on the history of social and cultural issues as they relate to hip hop music and culture—it is not meant to be a music appreciation class. It is also the aim of this course to enable students to more clearly understand their own participation in this global music culture and to more closely consider the role of music in their own lives and cultural practices as well as in the lives of others both at home and far away.

Texts: Rap and Hip Hop Culture by Fernando Orejuela (2015), Rap Music and Street Consciousness by Cheryl L. Keyes (2004), and Hip Hop Africa edited by Eric Charry (2012)

FAIR 336V Life Drawing

Credits: 4

Instructor: S'eiltin

This course introduces students to techniques that will enable them to successfully draw the human figure. Primary coursework will be direct observation and subsequent drawings of the model with emphasis on achieving correct form and proportions.  In addition, drawing figurative (inanimate) objects and completing anatomical sketches/studies will be required as students will learn to “see” the human figure. Experimentation with a wide range of media; charcoal, pencil, chalk, conte crayon, markers, etc. will also enable students to identify their unique affinity for specific media and promote the development of personal aesthetic standards. To improve rendering skills, students will be introduced to gestural, grid, contour and emotive drawing techniques in class workshops and for coursework outside of class. Principles of design; value, color, proportion and composition, etc. will also be important class exercises and must be referenced in drawings throughout the quarter. The final assignment will require students to base a drawing or series of drawings on a specific subject matter of their choice.

Text: no text required

Credit/Evaluation: class and take-home drawing assignments will be evaluated on student’s ability to work with integrity, to become and remain engaged in the drawing process, to take aesthetic risks and to accept that each assignment represents a learning experience not a masterpiece. Four major take-home assignments as well as in class assignments will be critiqued throughout the quarter. Students will also be required to keep an “active” journal/sketchbook with approximately 100 entries made by quarter’s end. Perfect attendance, promptness, fluency in the artwork and active participation in group assignments and critiques will be essential for receiving credit.

FAIR 336V Arts as Therapy

Credits: 4

Course Description: This course explores arts therapies of visual art, music, drama, dance and poetry. Arts therapies are based on the concept that the use of imagination and creative expression is essential to health and well-being. Most arts therapists believe that the capacity for healing through arts stems from personal insights and guidance one gains from participating in a creative processes. Historically, the arts have long been used as a healing modality. Some key questions we explore in this course are: What are the creative arts therapies? How do they engage the mind, body and spirit? How have these therapies evolved? What have they become in our current culture and where have they found effective use? How does one become certified in an arts therapy? What challenges do arts therapists experience?

To guide the learning process, this course uses text and article readings, videos, class experiences and discussions, and presentations by certified arts therapists or practitioners.

Course Learning Objectives >to explore various art therapies including music, visual arts, poetry, story, drama, dance and integrated/expressive arts therapy >to examine the creative process and its relationship to health and wellness through personal experience and observations of others >to understand how peoples have developed and are using the arts to heal and gain critical personal insights

Course Requirements Fairhaven 202a or equivalent. No arts courses or skills are required. To gain greater understanding of arts as therapy, this course involves some experiential elements. Students taking this course should be comfortable and/or willing to explore their own creativity and experience arts therapy practices in a group setting. This course is not designed to provide therapeutic interventions or to resolve personal issues. Additionally, the course does not provide a certification to practice arts therapies, but does offer information about how one becomes a certified practitioner.

Required Texts Integrating the Arts in Therapy: History, Theory, and Practic by Shaun McNiff, 2009; Expressive Therapies edited by Cathy A. Malchiodi, The Guildford Press, 2005 Additional article and journal readings will be provided electronically.

Credit/Evaluation: Reliable attendance and active involvement are key requirements in this course. Students will be asked to complete the following demonstrations of learning: 1.complete all assigned readings 2.participate in class activities and experiential arts therapy demonstrations 3.write a response to experiential sessions 4.research, write and present to the class about a specific arts therapy, technique or related area of interest

FAIR 343U Embodied Futures

Credits: 4

Instructor: Nichols

The world has changed dramatically and is changing dramatically.
With the growing complexity of the world we need a radical new
inquiry, a new worldview, perhaps even a different conception of
self. Through an in depth 10 week course we will look through the
cross pollination of interdisciplinary studies that gives insight to this
new world. It is at the edges of academic disciplines that innovations
and discovery of new understanding occur. The ground that gives
continuity to this course will be the body, but more speciDically the
growing Dield of somatics. Soma is Greek for the “lived experience” or
the interdisciplinary investigation of life lived from the inside out.
Embodied Futures will investigate the edges of interwoven
relationships between our self, our communities, our world and
effects of media, technologies and science. The multitude of
disciplines will include, but are limited to; somatics, neuroscience,
psychophysiology, philosophy, neurobiology, and biopsychosocial
studies. Not only will this course be demanding on an academic
level, but also core to this investigation will be personal experiential
investigations. Understanding solution-based change will require
that we ask essential questions about our “lived experience” and
how we relate to the world. This class will explore how to support
change, growth and development in behavior, in learning, and in our
communities. The Soma is the interface of experience for the outer
world and must be studied in relationship to exponential complexity.
This is an unprecedented time in human history where we have
more access to inDinite forms of information/data/media and
technological power. How are we changing our behavior with these
new forces? Are these forces disembodying? How do we become
synthesizers of seemingly disparate information to create new order,
new patterns and learn to work in collaborative ways? We will be
exploring alternative ways to facilitate learning, understanding, and
empathy. This course is a radical re-orientation to learning and
sharing learning to inspire a shift in ourselves and in our world. This
is indeed an experimental course that will require each of us to take
a new positioning in the learning experience. We will work in
multimodal ways: lecture, cognitive, body centered, media,
movement, art, left and right brain, and collaboratively.

Texts: Will be in the form of a reader and will include, Thomas Lewis
et al, A General Theory of Love; J. Krishnamurti, Education and the
Significance of Life;

Credit/Evaluation: Regular attendance and
informed discussion. Weekly Journal and class blog entries.
Demonstration of synthesized information through three
collaborative group projects and Dinally a paper expressing one’s
learning.

“The creative edge of truth begins to shift from knowledge to wisdom...[thus
moving] on to the challenges of balance, perspective, sustainability and integration."
Charles M. Johnston

FAIR 353V Art in the Public Sphere

Credits: 4

Instructor: Feodorov

These days, public art is a common sight in American cities. Murals, sculptures, statues, and graffiti are easy to find. However, public art has also been the focus of much controversy, especially when public funds are used to support it. What role does public art play? Who does it serve? What are the considerations for both artist and community? Does it necessitate a "dumbing-down" of ideas or should public art "elevate" us from our ordinary everyday considerations? Must public art always be sanctioned? Who are the "public" in public art anyway? We will research the history and concepts behind public art, explore artists working in this field, and discuss issues involving working with communities and civic arts organizations. Discussions will also address ideas of Place and accessibility. Students are required to take part in a field trip to Seattle during the quarter (date to be determined).

Students will create two art projects to be installed or performed in public spaces. They will also create one mock-up proposal for a public art project, create a scaled-down model of that project, and present their proposal to the class. Students will also give a presentation on an artist who works in the field of public art. In addition these projects, students will also write short response papers to required readings and participate in class discussions and feedback sessions.

Credit/Evaluation: Credit will be based upon regular attendance, promptness, quality of projects and coursework, and their level of active and informed class participation.

Text: none, though required readings will be available as handouts and online.

FAIR 366E Comparative Cultural Studies

Credits: 4

Instructor: Rowe

Note: This class is cross-listed and meets with AMST 301. THIS COURSE MEETS THE UPPER-DIVISION SOCIETY AND THE INDIVIDUAL CORE REQUIREMENT.

This course draws on an interdisciplinary range of perspectives to arrive at a multi-vocal, multi-ethnic understanding of U.S. history, culture, and politics. It asks how racial categories and hierarchies have been created, inhabited, challenged, and transformed over time, with an emphasis on the intertwined social histories and contemporary contexts of African Americans, American Indians, Hispanic Americans, Asian Americans, and Arab Americans. Students will gain familiarity with key concepts and approaches used to study the interrelationships of race and racism, economic stratification, and gender and sexual identities and inequalities. Class time will consist of lectures, discussion, film screenings, and small group work.

Texts: Paula Rothenberg, ed., Race, Class, and Gender in the United States (tenth edition).

Credit/Evaluation: Evaluation will be based on consistent attendance, prepared and active participation in class sessions, and quality of written work. Assignments will include participation in small group discussion forums; weekly reading responses; midterm and final essay exams.

FAIR 369D American War Stories

Credits: 4

Instructor: Rowe

This seminar presents an exploration of the major stories (literature, cinema, arts) produced by American wars from the "Great War" (WWI) to the Iraq war. Rather than a traditional history of the wars aimed at discovering how and why someone lost and why others won, the seminar examines the impacts wars have had on veterans, their families, the arts, and society. We will learn how war affects people at the individual and family level, how movements of support and resistance develop and what have been the wars' major influences on popular culture. Texts: Required: Hull, Losing Julia; Heller, Catch 22; Marlantes, Matterhorn;

Recommended: Barker, Regeneration; Remarque, All Quiet on the Western Front; Jones, From Here to Eternity; O'brien, The Things They Carried; Powers, The Yellow Birds.

FAIR 370I Introduction to Pro Tools

Credits: 4

Prerequisites: 270H (before or during) or permission of instructor This class will introduce students to mixing and editing audio with Avid's Pro Tools 12 software. Covered topics will include: importing and recording audio into Pro Tools, editing and manipulating performances, MIDI, the use of plug-ins, and an overview of mixing processes such as compression/limiting, dithering and equalization. As this is primarily a mixing class, having already recorded material is useful but not required. Students will be expected to attend class regularly and demonstrate critical listening skills through critique of their classmates' work. Additionally, the Fairhaven Mixing Suite will be available for use all quarter and required for certain projects. Texts: Reprinted materials. Credit/Evaluation: Projects will be evaluated throughout the quarter by the instructor and the other members of the class.

FAIR 370J Studio Recording

Credits: 4

Instructor: Fish

Studio Recording I takes the concepts introduced in Intro to Audio and Intro to Pro Tools and allows the student to apply and practice them in a hands-on manner, with the goal of becoming familiar with and competent in the use of the equipment in the Champion St Studio. Students will complete at least four multi-track recording projects and will have the opportunity to work on other recording sessions as well. Through the students' work on these projects they will learn efficiency and speed in the techniques of tracking, overdubbing, and mixdown sessions. The recording projects will be evaluated by the instructor as well as the other students in the class. This course will also involve development of critical listening skills as well as the creative and imaginative expression possible in audio recording. Students will keep a detailed journal of their session work. This is a Pro Tools based course and enrolled students will gain access to the Fairhaven Studio, Mixing Suite, and Champion St Studios.

Texts: The Recording Engineer's handbook (3rd edition) by Owsinski

Credit/Evaluation: Each student must finish the assigned projects which will be critiqued by the instructor and peers based on sound quality, balance, clarity and realization. Overall evaluation will be made based on effort, participation and growth as an engineer.

FAIR 370K Advanced Studio Recording

Credits: 4

Instructor: Fish

This class will give students with advanced recording experience the opportunity to record and mix on an industry standard Pro Tools 12 HD system. Students will enhance their knowledge of Pro Tools and learn how to use this software in conjunction with a large-format analog mixing console. Topics such as drum sample replacement, audio quantization, convolution impulse responses, spectrum analysis, DSP processing and other advanced topics will be covered. Students will be expected to conduct at least three recording/mixing sessions throughout the quarter and prepare a final portfolio for in-class critique. Students will also learn how to properly configure Pro Tools HD hardware and software components, how to setup session templates and how to utilize each component of an HD/analog system. Enrolled students will gain access to the Fairhaven Studio, Mixing Suite, and Champion St Studios.

Texts: Reprinted materials.

Credit/Evaluation: Projects will be evaluated throughout the quarter by the instructor and the other members of the class.

FAIR 372F Race-Soc./Latino Caribbean

Credits: 4

Instructor: Estrada

Course Description

Populations from the Spanish speaking sectors of the Caribbean Basin (Cuba, Puerto Rico, the Dominican Republic) constitute one of the fastest growing populations within the United States.  In conjunction with existing Latinx communities and immigrants coming from Mexico and other parts of Latin America they are literally transforming and rejuvenating many U.S. communities and cities.  More and more the Caribbean is increasingly becoming a critical area of study and interest to researchers, academicians, theorists and others who wish to understand the historical fusion and growing nexus between the Latin@ Caribe and U.S. society. The normalization of relations between Cuba and the United States under the Obama administration speeded this process considerably, while retrenchment to previous hegemonic, international policy and isolationism has so far marked the tone of the Trump strategy toward Latin America as well as the Caribbean region.

The purpose of the course is to examine the past and present context of how race and cultural fusion have been experienced among peoples in and from the Latin@ Caribe. Particular emphasis will be placed on the various ways in which racial/cultural identities are complicated by questions of gender, class and sexuality both in the Caribbean as well as those Latin@ Caribe populations residing in the United States.

As an interdisciplinary course it will introduce students to the richness and diversity of the Latin@ Caribe cultures as well as the region’s turbulent history of conquest and colonization along with contemporary problems related to economic development, democratic reform and interracial conflict.  Themes included within the course will focus on immigration, U.S. hegemonic politics and the Caribbean, social/racial stratification within the Caribbean, cultural syncretism, as well as national/regional identity.  The course will utilize many different kinds of materials throughout the quarter inclusive of primary and secondary texts, fiction, art, video, and music to familiarize students with the vitality of the Caribbean and Latin American artistic expression history, life, and culture.

FAIR 381G Counternarratives

Credits: 4

Instructor: Friedland

In this class, we will read and discuss how contemporary authors are challenging History. We will look at works that juxtapose official history with unofficial history, personal suffering with public censorship, and investigate literature's capacity to redeem the human record.

Literature often resists official discourse and usurps and supplants dominant narratives with compelling counternarratives. Maxine Hong Kingston famously wrote in her memoir, "I am a reflection of my mother's secret poetry and hidden angers," challenging not just personal history but an entire identity of assimilation and oppression that marked her family’s immigration experience. Audre Lorde coined the term biomythography, "combining elements of autobiography, the novel, and personal mythology," thereby allowing historical absences to become opportunities for resistance. Most recently John Keene undertook a literary counter-archeology in his collection of novellas, Counternarratives, writing through speculative fiction, newspaper clippings and archival research to unveil the inner lives of those erased by Western slave history and colonial representations from the 17th century to the present day.

This class will be useful for students interested in documentary writing, memory studies, oral history and literatures of resistance.

 

Texts:

John Keene: Counternarratives

Karen Tei Yamashita: Letters to Memory

Svetlana Alexievich: Voices of Chernobyl

CD Wright: One Big Self

 

Criteria for Evaluation: Active participation in class discussions. Faithful attendance.

One presentation and final writing portfolio that includes a critical preface and selections from your own counternarratives. This course includes creative writing and critical reflection assignments.

FAIR 393B Rights,Liberties,Justice in Am

Credits: 4

Instructor: Majumdar

What is justice and how does it relate to the U.S. legal system? How do we balance the human need for "things to be made right" with the legal system's competing sets of interests? How does the U.S. Constitution attempt to balance our private rights with public ones? What does it mean to have a "right"? When is something a right and not a privilege? Cornel West says "Justice is what love looks like in public." In this class, we will explore how a few different thinkers give meaning to the concepts of "rights," "liberties", and "justice" while also considering how the U.S. legal system attempts to balance those in the court systems. We will also look at how practices like restorative justice and alternative dispute resolution attempt to resolve the same questions both inside and outside formal legal systems. Framing all of these discussions will be an exploration of the U.S. Constitution's Bill of Rights, as well as Washington State's and a few tribal constitutions to consider how the concept of rights changes depending on the culture of the community and region. TEXTS: This course will require some familiarity with the U.S. legal system, as well as some previous experience with reading and briefing cases. In addition to reading several U.S. Supreme Court and Washington cases and the U.S. Constitution, we will be reading: ~ Epstein and Walker's Constitutional Law for a Changing America: Rights, Liberties and Justice (EIGHTH Edition); and ~Anne Moody's Coming of Age in Mississippi

FAIR 403A Advanced Seminar

Credits: 4

Instructor: Akinrinade

ANNE TREAT, Spring 2007 grad, said: "There is no possible way I can give justice to the complexity of experiences, triumphs, pitfalls and challenges of my academic career in the course of this paper. This artifact of self-reflection is simply a pause in the broader conversation of my academic journey, an invitation for me to mindfully articulate the ways those things I've studied, read, discussed and experienced over the past four years have informed and challenged my personal development, and how I've chosen to integrate and express that knowledge through the actions of my life" This seminar is a wonderful opportunity to reflect on what you have been up to all these years of being educated--through writing, conversation, presentations, and listening to each other. You will read and discuss a book and other readings, co-facilitating at least one discussion; write and share a variety of short writing assignments, designed to help you complete your Summary and Evaluation, and provide a supportive community in which to summarize and critically reflect upon your Fairhaven (or Life) education. Each student will also present or teach something to the class from the heart of his or her educational experience. This course is one of our favorites to teach at Fairhaven because we learn so much about our students, and the many intriguing, complex, deep, creative and quirky ways there are to be human and to become educated. The class also illustrates the value of writing as a process of discovery, synthesis and meaning. We will all do our best to help you express most clearly what your education has been about, and are honored to learn from your stories, your minds, your creativity, and your lives. The course will be as significant as you make it. Be honest. It is your life, your education, so let us understand what it has meant and what it really means to you now.

FAIR 412D Global Justice

Credits: 5

Instructor: O Murchu

Tuesday 5:00-7:20 (Fair 340) and Wednesday 4:30-5:50 + 1hr Community Based Learning to be arranged

We cannot discuss world affairs—whether climate change, migration and refugees, the Euro crisis, or technological innovation—without discussing issues of poverty, inequality, and humanitarian aid. Hand in hand with the questions of policy are the ethical questions concerning global justice: What is justice in a globally interconnected world? How ought we as individuals, societies, and governments to respond to 1.5 billion people living in absolute poverty? Do we have different moral duties toward our neighbors or fellow citizens than we do toward foreigners? Is global inequality—whether defined in terms of income, capability, or health—a matter of justice? What is the role of human rights in securing global justice? Do our current global order and institutions harm the poor?

Global justice plays a central role in contemporary political philosophy, reflecting the world’s increasing political and economic interconnectedness. If it makes sense to speak of ‘justice’ in a global context, do we have to think differently about justice at the global level than at the domestic level? Do we have special obligations to compatriots? What obligations do we have to the distant needy? Political philosopher John Rawls tried to distinguish between our obligations to our fellow citizens and the rest of humankind in his Law of Peoples. But his distinction has been criticized by cosmopolitans and other thinkers. Exploring the debate surrounding distinctions between domestic and global obligations allows us to address a good number of the questions that have been central to recent reflection on global justice.

As well as a weekly seminar, this course has two additional dimensions: 1) It is linked to the World Issues Forum and the speakers for the quarter have been chosen to support this seminar; 2) Students are expected or strongly encouraged to engage in community based learning around subjects of global justice you are passionate about, such as immigration reform, climate ethics, or fair trade.

Course Texts: GLOBAL POLITICAL PHILOSOPHY by Mattias Risse (NY: Palgrave, 2012); WALLED STATES, WANING SOVEREIGNTY by Wendy Brown (New York: Zone Books, 2014); DEBATING THE ETHICS OF IMMIGRATION by Christopher Heath Wellman and Phillip Cole (NY: Oxford, 2011); DEBATING CLIMATE ETHICS by Steven M. Gardiner and David A. Weisbach (New York: Oxford University Press, 2016); and ECOVILLAGES: LESSONS FOR SUSTAINABLE COMMUNITY by Karen Litfin (Cambridge: Polity, 2013) Articles by Martha Nussbaum, Amartya Sen, Henry Shue, John Rawls and Thomas Pogge will be on Electronic Reserve

Requirements for Credit: Faithful attendance, preparation and participation in a weekly seminar; attendance at the World Issues Forum; short regular response papers; a term paper in global political philosophy; and 2-3 hours weekly participation in a Global Action service learning project.

FAIR 412E Criminal Law

Credits: 4

Instructor: Helling

Text: Joshua Dressler, Cases and Materials on Criminal Law (Sixth edition) (important to get the right edition) Prerequisites: Introductory course on the American legal or political system (or permission of the instructor). Description: This is a study of substantive American criminal law using a law school casebook. Topics include the theories of punishment and rehabilitation, intent, and defenses such as insanity and self-defense.

We will compare the common law and Model Penal Code versions of criminal law by looking at case studies of specific crimes. Requirements: Rigorous reading load, averaging 30 dense pages per class. Regular and punctual attendance required and students will be expected to come to class having read and briefed the legal cases. Weekly response papers and three papers of 4-6 pages of case analysis required.

No more than three absences allowed.

FAIR 412E Immigration Law

Credits: 4

This course is a study of substantive U.S. immigration & citizenship law, process and policy.

Through course readings and active class discussions, this course will explore these four broad questions:
• Who is a citizen of the United States? Why does it matter? What is the meaning of U.S. citizenship?
• Who else comes to this country lawfully? Or unlawfully?
• When and why can non-citizens in the United States be forced to leave?
• What is the right balance between openness to outsiders and national security?

Text: There is no assigned course Textbook. This course will use the U.S. Immigration and Nationality Act, Code of Federal Regulations, Foreign Affairs Manual, Federal Register, Policy Memoranda, Administrative Decisions and other associated Case Law. All required text will be downloaded by the student or handed out by the instructor.

Credit/Evaluation: No more than three absences allowed. Students are expected to come to class prepared to discuss assigned materials. All written assignments must be typed. Students will write several reflective essays / response papers. There will be one final project or a 15-page research paper to be presented in class at the end of the quarter.

FAIR 422K Advanced Legal Writing

Credits: 4

Instructor: Lopez

This is the cap-stone class in the Law, Diversity and Justice studies. Students will build on prior knowledge of law, research, and writing to produce an appellate brief on a current legal issue. Students will practice their legal advocacy skills during a moot court in front of local volunteer attorneys. This class requires extensive legal research, production of multiple drafts, and revising and editing skills.

Through this process, we will continue exploring the interdisciplinary relationships and power distribution between law and individuals.

Text:  The Winning Brief: 100 tips for Persuasive Briefing in Trial and Appellate Courts, by Brian Garner.  The LDJ purchased books that will be available for students’ use during the quarter, however, these books  must be returned at the end of the quarter. Students may choose to purchase their now copy to keep.

FAIR 423K Space, Place and Imagination: Clouds, Wind and Rain

Credits: 5

Instructor: Tag

In the deepest, darkest heart of winter, when the sky resembles bad banana baby food for months on end, and the witch measles that meteorologists call 'drizzle' are a chronic gray rash on the skin of the land, folks all around me sink into a dismal funk. Many are depressed . . . But I grow happier with each fresh storm, each thickening of the crinkly stratocumulus. 'What's so hot about the sun?' I ask. Sunbeams are a lot like tourists: intruding where they don't belong, promoting noise and forced activity, faking a shallow cheerfulness, dumb little cameras slung around their necks. Raindrops, on the other hand--introverted, feral, buddhistically cool--behave as if they live here. Which, of course, they do.--Tom Robbins

Raindrops do live here. Clouds live here, too. And wind sweeps through, swirling, dancing, pushing us around. So here we are, huddled on the edge of the continent, taking everything the skies throw at us and drop on us as the clouds bunch up against the Cascades. What does it mean to live in such a place? How do clouds, wind, and rain shape us? Shape the watersheds, forests, rivers, and cities we inhabit? How is global climate change shifting our lives? What is a warming climate doing to our communities, to the animals that live amongst us, to the trees that cover our yards, parks, hills, and mountains? What kind of personal relationships do we have with weather and the other meteorological forces that we live within? Our primary focus in this course will be to explore the nature of our local weather patterns, in particular three of the most common natural elements that shape Pacific Northwest coastal weather: clouds, wind, and rain. We will read historical accounts, personal narratives, stories, poems, scientific inquiries, journals, and anything else infused with weather-reflections. We will write our own stories, or make our own films, or create our own wet and soggy illustrations. We will get outside into it all, keep weather logs, and pay attention to the complexities of cloud-shapes, wind currents, and rainfall. Hope you will join us. Bring your raincoat.

Texts: THE INVENTION OF CLOUDS by Hamblyn; WRITING IN THE WIND by Rodenberger; RAIN: A NATURAL AND CULTURAL HISTORY by Barnett.

Credit / Evaluation: Your presence and participation are essential. Completion of weekly assignments, readings, group projects, and a weather log, as well as a critical essay, a personal narrative, and a final creative project.

FAIR 433P Advanced Topics in Evolution: Evolutionary Psychology

Credits: 3

Instructor: Bower

In this student-led seminar course we will explore the theory and empirical research in the field of evolutionary psychology.  Specific topics examined during the class will largely be determined by students, in consort with the instructor, and may include mental illness, love, sexual behavior, mating patterns, parental behavior, and violence. In studying these topics we will consider the theory and evidence for evolutionary influence on human behavior, with an overarching theme of assessing how biology and culture interact in shaping human behavior.  Seminar leaders will work in pairs (with the instructor’s help) to research topics, assign appropriate readings and lead class discussions.  It will be assumed that students entering the class have at least a basic working knowledge of evolutionary theory including natural selection and sexual selection or, with instructor approval, a plan to attain that knowledge early in the quarter.

Texts:  David Buss: Evolutionary Psychology - The New Science of Mind

Credit/Evaluation: Regular attendance in class, informed participation in class discussions, preparing for and leading one or two seminars (including doing extra research and preparing an annotated outline prior to leading the class), and a class journal for recording written responses to class readings and thoughts about class discussions.

FAIR 437A SE Asia Field Course:Thailand

Credits: 15