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    Internationalizing the curriculum for STEAM (STEM + Arts and Humanities): From intercultural competence to cultural humility
    (Sage Publications, 2019-11-18) de la Garza, Armida; Higher Education Authority
    Internationalization of the Curriculum (IoC) has proved essential to realize the potential of internationalization as a driver of quality in Higher Education. The broadening of topics, bibliographic materials and other resources that result from it improve the breadth and depth of the content, making it more comprehensive, updated, and relevant. Moreover, the Internationalization at Home (IaH) strand that seeks to mobilize the informal and the hidden curriculum to bring stay-at-home students an international experience similar to that of those going abroad widens access. However, both IoC and its IaH subset have centered mostly around individual disciplines. This article proposes an alternative view of IoC that focuses on interdisciplinary and transdisciplinary approaches to reviewing the curriculum, in particular STEAM, including indigenous knowledge as it does not separate the arts and humanities from science (STEM). Using case studies and quoting instances of best practice, the article demonstrates that the interdisciplinary and transdisciplinary approaches advocated are better suited to pursue the learning outcomes sought by IoC.
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    Com Defeito de Fabricação e a "Estética do Plágio" de Tom Zé: um "Manifesto Antropófago" pós-moderno/pós-colonialista
    (Taylor & Francis Group, 2007-06-26) Rollefson, J. Griffith
    Em seu CD lançado em 1998, Com Defeito de Fabricação, o cantor e compositor Tom Zé articula os discursos da pós-modernidade e do pós-colonialismo. Mais do que simplesmente tocar em vários aspectos “pós”’, Zé elabora a partir deles um manifesto atualizado, tomando como premissa o “Manifesto Antropófago” de Oswald de Andrade, de 1928. O ex-músico da Tropicália propõe uma “Estética do Plágio” como forma de apropriação e posterior reformulação dos produtos do tecnocapitalismo ocidental. Nesta discussão, defenderei que o compositor reconfigura os tropos modernista e colonialista do primitivismo e da antropofagia de maneira pós-moderna e pós-colonialista subversivamente “tecnofílica” – uma contestação encarnada na figura do “andróide defeituoso” do disco.
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    Tom Zé's Fabrication Defect and the “Esthetics of Plagiarism”: a postmodern/postcolonial “Cannibalist Manifesto”
    (Taylor & Francis Group, 2007-06-26) Rollefson, J. Griffith
    On his 1998 album Fabrication Defect the Brazilian composer-performer Tom Zé articulates the discourses of postmodernity and postcoloniality. More than simply touching on various aspects of ‘‘post-ness,’’ Zé forges from them an updated manifesto premised on Oswald de Andrade’s 1928 ‘‘Cannibalist Manifesto.’’ The former Tropica´lia musician proposes an ‘‘Esthetics of Plagiarism’’ as a way to appropriate and then reformulate the products of Western techno-capitalism. In this discussion, I will argue that the composer reconfigures the modernist and colonial tropes of primitivism and cannibalism in a subversively technophilic postmodern and postcolonial fashion - an oppositionality embodied in the album’s ‘‘defective android’’ figure.
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    The "Robot Voodoo Power" thesis: Afrofuturism and anti-anti-essentialism from Sun Ra to Kool Keith
    (Center for Black Music Research - Columbia College Chicago and University of Illinois Press, 2008-03) Rollefson, J. Griffith
    In the 1990s the term Afrofuturism emerged to describe a vein of science fiction inspired artistic production that repositions black subjects in a purportedly race free future that is nonetheless coded as white. While ostensibly about the future, Afrofuturism in fact works dialectically with an equally overwritten past to critique the reified distance between racialized fictions of black magic and white science. This study examines this dialectic by focusing on three Afrofuturist musicians: the experimental jazz bandleader Sun Ra, the funk bandleader George Clinton, and the hip hop artist MC Kool Keith. Using the concepts of Ra’s myth-science, Clinton’s P-Funk, and Keith’s robot voodoo power, the article tracks a historical continuity of collapsing fictions of both past and future in Afrofuturist music. Following from Paul Gilroy’s discussion of the unsatisfactory nature of the two critical positions most commonly taken with regard to black identity—the essentialist and anti-essentialist arguments—the article proposes that such Afrofuturist constructions reflect strategic versions of what Gilroy refers to as anti-anti-essentialism. The robot voodoo power thesis thus recognizes in Afrofuturism a dialectical third way out of the double binds and unproductive debates about racial essence and non-essence.
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    “He’s calling his flock now”: black music and postcoloniality from Buddy Bolden’s New Orleans to Sefyu’s Paris
    (University of Illinois Press, 2015-11) Rollefson, J. Griffith; Freie Universität Berlin; Deutscher Akademischer Austauschdienst; American Council of Learned Societies
    This article constitutes a close reading and sonic analysis of the Senegalese-Parisian rapper, Sefyu’s “En noir et blanc.” It performs an intertextual and musical analysis as a way to bring into form the historical and discursive continuities between double consciousness and postcoloniality that we can hear in the sonic contours and performed histories of “black music.” The article makes the argument that by listening closely to European hip hop we can hear that double consciousness is the particular African American form of the global experience of postcoloniality. By tackling such a large question through the lens of a single piece of music, we can see in detail how, through musical performance, hip hop births a new consciousness both attuned to this continuity and calibrated to undermine the asymmetries that both double consciousness and postcoloniality describe.