Accessibility is frequently the last thing course and website developers want to think about when creating an online content. There is extra time involved up front, but it can help prevent problems down the line. I think most of us in higher education care about all students and want to help them to our best ability. There are also laws protecting the rights of individuals with disabilities to have access to programs and services that institutions of higher education offer. Section 504 of The Rehabilitation Act of 1973 says that public institutions receiving federal funds, this includes student financial aid, need to ensure that people with disabilities can participate in programs & activities and have the same benefits that people without disabilities have. It requires academic adjustments and accommodation to ensure full participation. Section 508 is an amendment that requires electronic information and technology, such as websites and online courses be accessible. The American with Disabilities Act of 1990 expands the Rehabilitation Act of 1973 to private as well as public institutions of higher education. The newest is The 21st Century Communications and Video Accessibility Act of 2010. It requires modern communications to be accessible to people with disabilities. This includes VOIP services, electronic messaging, video conferencing, video communications and mobile browsers.
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We come to art from various locations. Some are out for a stroll, stumbling upon objects that grab their attention. Others are equipped with guidebooks, methodically approaching and regularly revisiting both actual and virtual works. Still other viewers revel in the familiar, remaining attentive to the details and information that cement life-long friendships.
African art is no different. For some, it may initially hold few clues that help unpack its meaning. Those viewers may have little knowledge of Africa or could actually be African–from a different part of the continent, a totally different culture, or members of a religion that distances them even from a work their own hometown produced.
No art is completely transparent, letting us understand all of an artist’s constraints, thoughts, choices, or associations. But if we are not privy to all of an artist’s perceptions and interpretations, we can lessen the differences in our understanding–and this is a process that creates human pleasure in both cerebral and sensual ways. By familiarizing ourselves with art, learning its visual vocabulary and grammar, assessing our taste for it, and placing it within the contexts of its makers and users, we expand our world.
You don’t have to like every work you see, even when someone labels it a masterpiece. You may develop a love for a piece made for tourists or one that seems flawed. That’s fine. The goal for anyone studying art is to develop knowledge and refine your own taste. Art is a window that permits vision within and without, and as such, it allows you to become a seer whose perceptions and comprehension lead to revelations.
This book aims to act as your map through the world of African art. As such, it will help you define the competencies you need to develop–visual analysis, research, noting what information is critical, asking questions, and writing down your observations–and provide opportunities for you to practice these skills until you are proficient. It will also expose you to new art forms and the worlds that produced them, enriching your understanding and appreciation.
In the world of engaged learning, teachers are inspired by students. I teach primarily classes in African American literature, many of which answer requirements for General Education credit. Because General Education enrollment consists of students from colleges across the university, I have the opportunity to introduce a diverse group of students to the works of Charles Chesnutt, whom I describe as “the most famous Cleveland writer you’ve never heard of.” Inevitably, despite their diverse academic majors, all agree that what they are learning needs to be shared with teachers in the Cleveland Metropolitan school system. Yet while there are numerous websites devoted to Charles Chesnutt, few pay more than passing attention to his association with Cleveland, where Chesnutt was born in 1858, returned in 1883, built one the city’s most successful court reporting businesses, and wrote continuously until his death in 1932.
In the sections of Chapter 1, we’ve included interactive learning content to test your knowledge over Theater history and production, with many knowledge checks over Theatrical Worlds, Edited by Charles Mitchell, as well as Playhouse Square theaters and productions, and other theater content. This content can be used by Theater students anywhere in the world, but will be helpful to those reading Theatrical Worlds.
In Chapter 2, there are analyses of local live performance, written by CSU Theater students and Heather Caprette. They serve as examples of exemplary work for the open assignment 2, as well as provide information about performances of interest to the public theater goers. * A Note of Caution: These analyses can not be copied by other Theater students to satisfy the requirement for an assignment in a course, but will give an idea of what a well written analysis paper looks like. Copying of these assignments to turn in as your own assignment constitutes plagiarism and academic misconduct.
Chapter 3, is an example of how a group of students working together on the recreation of a scene or small part of a play can share their ideas. The part should be less than 10% of a play. The example is being produced by Heather Caprette, MFA, but in the assignment, different students would work on various aspects of the theater production. Elements recreated include: dialogue, character design, set design, stage lighting, costume design, and sound design.
At this time, it’s best to view the Pressbook in Chrome browser, due to some display issues caused by a recent upgrade.
This book combines the Introduction to Writing in College by Melanie Gagich and ENG 102: Reading, Writing and Research by Emilie Zickel, which were both supported by Cleveland State University’s 2017 Textbook Affordability Small Grant.
Welcome to our Introduction to Theater – Learning Resources Spring 2018 book. The purpose of this book is to provide open educational resources for those who study Theater. It’s being authored by many helpful Cleveland State University Theater students, as well as Lisa Bernd, PhD, and Heather Caprette, MFA. In the spirit of open, it’s our desire that any alterations of the assignments be shared openly with others, at no charge, but realize we can’t control for this and there’s not always an easy way for someone to share publicly. Many authors of OER generate resources to freely help students and teachers because they realize the challenges students are facing with affording an education and educational materials. We realize this challenge and it’s our desire that these resources be provided for free.