Music for Global Human Development - Fall 2016 schedule

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Week 1

Thurs Sep 1

PROTEST MUSIC! A musical session with local blues legend and doctoral student Kat Danser.


Please complete this assignment for next time (due by 9 am Sep 6 via eClass)

(note: all assignments are due by 9 am, prior to class ; that way we can discuss in class)

Week 2

Tues Sep 6

  • Sanitation and Safe Water project - see http://bit.ly/songsspd and scroll down (http://bit.ly/sanitationtitles is the music video , http://bit.ly/sanitationdoc is the documentary)
  • Introductions
  • What is Ethnomusicology, applied ethnomusicology? operating outside the academy.
  • What is Music for Global Human Development (M4GHD)? Aims and methods. Big problems. Racism, war. Music as (re)connection. Listen to this nay. PAR. Some sample projects. This class as M4GHD project.
  • Introduction to CSL and the CSL Certificate. Set up via portal. 20 hours of CSL during the term, replacing other work.
  • Collaborations:
  • Protest music - how does it fit as M4GHD? Songs from last week? (learn to sing them!)
  • Old Arabic song: Ya Banat Iskandariyya
  • Project brainstorming! Sustainable modules you'll create.
  • Special dates to note: Thursday, Kat Danser; Sep 15 and 22: Daniel Stadnicki will teach techniques of drum circle (and teach how to teach). Oct 14 (symposium and concert), Nov 26 (MENAME concert)
  • Course syllabus
    • Topics: Ethnomusicology, applied ethnomusicology, development, M4GHD, PAR, fieldwork, ethics...
    • Requirements, grading
    • Homework due by 9 am (see eClass). Discussion in class.

Thurs Sep 8

announcements:

To do for today:

  • Read Ethnomusicology: A Very Short Introduction by Prof. Tim Rice (UCLA), pp. 1-10 (Chapter 1) (a good introduction also to a course entitled "Introduction to Ethnomusicology"!)
  • Bring to class: one idea about how ethnomusicology can create positive changes in the world. (rather than being just a domain of study, it is also a domain of action)
  • Optional - have a look at the Sanitation and Safe Water project - see http://bit.ly/songsspd and scroll down (http://bit.ly/sanitationtitles is the music video , http://bit.ly/sanitationdoc is the documentary)
  • Review Ya Banat Iskandariyya: Ya Banat Iskandariyya
  • Kat Danser returns with more music! Please bring your instruments if possible - if you play (and no worries if you don't!).


Today:

Week 3

Tues Sep 13

In our regular meeting room, HCL2...

Before class:

Please watch/read the following on Applied ethnomusicology. Jot down some of the main ideas and submit one short paragraph on eClass: what is applied ethnomusicology? how can you define it, within ethnomusicology more broadly? what is its scope? what is its aim? what are its methods?



In class:

Note: eClass now contains...

  • Announcements Forum: announcement from me, mainly.
  • General class discussions Forum: use this one to discuss anything you like among yourselves.
  • Wiki called "How can ethnomusicology create positive changes--human development--in the world?"..... here I'd like everyone to add something to the discussion: Please feel free to comment on and add to each other's entries, and sign your work.
  • Wiki called "Project ideas" where you can jot ideas and share with others, or comment on theirs...
  • Sites for CSL music projects Wiki: I'll update with location and time info.
  • Lynn Sutankayo from CSL will join us at 10:30 to talk about the process of registering on the CSL portal.

Let's discuss "applied ethnomusicology"

  • "Ethnomusicology" vs. "Applied ethnomusicology"
    • What is the difference?
    • Stress on: "broadening" music studies (music, context, disciplines)
    • Fieldwork components: interview, participant-observation, lessons, recording (AV and fieldnotes)
    • Ethnocentrism (chronocentrism...)
    • Emic (insider) vs. etic (outsider) [derived from linguistics: phonemic vs. phonetic]. Emic theory; perspectives; histories should be your focus.
    • Critical review: combining an understanding of a work as both source and reference. (Treating an object as a reference means you consider it as telling true things about the world. Treating an object as a source means you consider it as a phenomenon in itself, within a larger context that can help explain it through critical reasoning, but not necessarily with anything true to say about the world.
      • Example: "Primitive Music" by Richard Wallaschek (1893). "The part taken by women in music and song among primitive people is therefore a fairly large and exceptional one, more especially because of the intimate relationship between music and dancing, to which the women are everywhere passionately devoted. For this reason I purpose speaking in a later chapter (" Music and Dancing") of the part which woman plays in primitive music." (p. 75) Taking this statement as "reference" means we take it as a true statement about the world. Taking this statement as "source" means we take it as something that Wallaschek said, which tells us something about him, and his world, but possibly with zero truth value in itself. So if we wish to review Wallaschek's book we need to (a) treat it as reference - what does he say, what topics does he cover, and what are his assertions? (b) treat it as source - how can we understand them as statements that he uttered? Most works need to be regarded in both perspectives.
      • Critical assignment for Thurs: evaluating a M4GHD project ("Giving voice to hope"). Note: if you didn't get a copy just review the website: http://bit.ly/buducd
    • What can applied ethnomusicology accomplish in the world of development? What are its limitations?
    • SEM vs. ICTM approaches
    • Fieldwork ethics. Informed consent.
  • The PAR approach
    • collaborative: aim for everyone to be on an equal footing, even if you’re not all contributing equally or in the same ways
    • start by observing and listening, then reflecting:  what do people seem to want or need?  what is the aim of the action? transformation and development happen on both sides.
    • then:  plan/act/observe/reflect:  perform these stages together to the extent possible (with children you may work with parents, teachers…)
    • learning together:  everyone is transformed ("global human")
  • M4GHD in this class



NOTE: next class (Thurs) will be held in Studio 27! (2-7 Fine Arts Building - cross the bridge from HUB and it's on your left, with the big stairway on the right)

Thurs Sep 15

In Studio 27, Fine Arts Building...

Before class:

Please review the CD I gave you "Giving Voice to Hope: Music of Liberian Refugees", by reading the notes, listening to the tracks, considering text and music, and observing the artwork and photos. How does this sort of project fit into the "applied ethnomusicology" framework? What might be the social impact of such a CD? Here in Canada? In Liberia? Elsewhere? Prepare a 2 paragraph CD review and submit on eClass. For this and all reviews: the first paragraph should simply summarize the "work" (CD) while the second paragraph should offer your critical appraisal. Which artists/tracks/texts do you think are most impactful and for whom - and why? If you didn't get a copy please review the website instead (you can read most of the text and listen to track excerpts on the website, http://bit.ly/buducd)

In class:

Daniel Stadnicki's presentation and percussion workshop!

Note: We'll meet in Studio 27 until further notice!

Week 4

Tues Sep 20

Meet in Studio 27!

Before class

  • Read:
  • Write: 2 paragraphs and submit on eClass
  1. In brief: What is multiculturalism and what is interculturalism and how do they differ, according to Cornwell & Stoddard? According to Charles Taylor? How do the authors differ? What is your own opinion on the relative social value of multiculturalism and interculturalism, in Canada, or elsewhere? Which works better to advance broad social progress, and why?
  2. How could music (m4ghd) help enable either, in theory and in practice (provide an example)?

In class (studio 27, Fine Arts Building)

  • System and lifeworld - and the colonization of the lifeworld; an illustration from a current news item. How do people send others for torture, or torture themselves? The breakdown of the lifeworld in which we recognize others as human beings like ourselves, as distorted by the system's drive for self-preservation, money, power. You may like to watch the film "The Corporation".
  • Improv experiment with frame drums and rattles - more of this next week! Try this: 8 steady beats ( 2 shakes per beat) on the rattle; divide into 2 groups, 4+4, as call/response. Then make that 5+3. Then try overlapping: 5+4 (the last beat of group 2 overlaps with the first beat of group 1), or 5+5 (both first and last beats overlap). Add words to make it more interesting, and maybe some drumming or bell playing on top. Lots you can do with your rattles!
  • Review "Wade in the Water" as taught by Kat Danser (see links above; note the "blues" scale: C Eb F F# G Bb C); next time we can review also "Down By the Riverside", and the Arabic song "Ya Banat Iskandariyya" (see Weeks 1 & 2).
  • Nuer version of hymn "A Mighty Fortress is our God". What might learning their hymns do, as part of a collaboration? What connections may be formed, towards "human development" .... or development of the "global human"?
  • Discuss multiculturalism and interculturalism contrasting Taylor (Canada) and Cornwell/Stoddard (USA).
  • Small groups: formulate some social goals and --bearing in mind the pitfalls-- the role of m4ghd towards formulating educational programs. Develop a musical plan for (multi)(inter)cultural school music education (ideally this would be a collaborative project involving teachers, parents, maybe kids if older...). Issues:
    • Culture vs. identity
    • Internationalism vs. globalism
    • integration: assimilation - connection - independence
    • Politics of identity and cultural ownership: majorities vs. minorities
    • normativity: core identity to which newcomers must relate? (but: how?)
    • essentialism
    • reification
    • ethnocentrism
    • relativism
    • dominant/subordinate cultural categories
    • objectification/dehumanization
    • global citizenship
  • Discuss the "Giving Voice to Hope" CD project - your critiques... (postponed)
  • Discuss your project ideas for CSL (postponed)
  • Don't forget to bring percussion materials for next time! And get your police checks done!

Thurs Sep 22

Meet in Studio 27!

Before class

Read:


In class (Studio 27)

Our second session with Daniel Stadnicki....Bring a noisemaker, imitating one of the instruments we used last time (deep drum sound, higher drum sound, rattle, metallic...). Kitchenware is fine - or an empty bottle, or a pail - along with a stick to drum with, if needed.

Videos: protests are related to systemic disorders...(economic, political)

Drum Cafe in Canada

Week 5

Tues Sep 27

Participatory Research and PAR

Before class

Watch:

Sustainable development goals: How can development become sustainable?

Music and PAR:

  • Browse and critique the Singing and Dancing for Health project in northern Ghana, conceived as participatory action research through music. Where does it succeed? where does it fall short, and why?
  • Review the protest albums you wrote about for Week 1 and see in class activity below. How do they/could they connect to PAR research?

Optional for today (I don't want to give you too much...but read for next time for sure!):

Write: 3 short paragraphs:

  • What is PAR?
  • How can PAR draw on ethnomusicology and music (and related performing arts: dance, poetry, drama…)? Is ethnomusicological fieldwork a kind of "participatory research"? Critique the "singing and dancing for health" project as an instance.
  • How can you use PAR concepts and methods in your own project? Brainstorm a few ideas based on project plans you're considering.



In class

  • Singing: a few of our old songs....use shakers...do you want to borrow a drum for your work? (frame drumming - more next time on that)
  • Announcements
    • Project proposals - 1 par - due next Tuesday.
    • Symposium and concert: Oct 14. Would like your participation in the afternoon, and on stage.
  • How are your projects going?
    • what have you observed?
    • how have you connected? do you know their names and stories? do they know yours?
    • note taking?
    • ethics and consent forms?
    • ideas to take forward? sustainability? double sidedness?
    • individual projects/reports - but you may pool them into a larger group effort (e.g. each person contributes a few songs)
  • What is participatory research?
    • The emic; phenomenology (Schutz), verstehen (Weber): entering the "lifeworld" of local meaning and communication, interpretation, translation of meaning - creating social connection
    • This is "normal science" for ethnomusicology today! We speak of "participants" not "subjects" much less "objects". Participation is hallmark of ethnomusicology: meaning, Insider views, respect, dignity.
    • But: we don't always see this approach in development or applied work. "Advocacy" - Advocate - a person who pleads on someone else's behalf: care managers can become advocates for their clients.
    • Participatory video
    • Implications:
      • Ethics: Dignity, respect, giving voice
      • Pragmatics: giving voice, goal of interpretation towards meaning (rather than: empiricism towards law)
  • What is PAR? PAR as entailing an intercultural social network - and resonance (emergent structure), to become social fabric (humanistic connection), turning objective (I - it) to subjectxive (I thou) relations. Rehumanization. Strengthening the lifeworld through interconnection with people you probably wouldn't otherwise meet. The "global human" is you!
  • What are the differences/advantages of PAR?
    • Ethical: giving voice (http://bit.ly/buducd), empowerment, self-respect, independence, autonomy, agency.
    • Pragmatic: giving voice, empowerment, self-respect, independence, autonomy, agency.
      • Project guidance from within: More effective expenditure of resources,
      • Sustainability: more local buy-in,more likely to endure.
  • Discuss your projects and how PAR applies. What have you done so far? Possibilities. Generalizing (music, poetry, dance, drama, games...art, food?). Title/par overview (aim, method) due next week. Go ahead and work together but everyone needs to have their own project. Don't forget field notes! (& don't wait to write)
  • What are PAR's aims? Here: social integration, understanding, for newcomers to Canada (double sided!), starting with your groups.
  • What are PAR's research questions?
    • Yasser Payne: participants as "grad students"; aim: answer "why" social science questions (why are people in the street?)
    • M4GHD: participants as forming an intercultural core, a swatch of social fabric (I-thou relations). aim: answer "how" and "what" questions regarding music (how can music create connection? what is the impact of my project)?
  • Your projects
    • What are they? questions? (how can music advance social integration, develop an intercultural society?)
    • Collaborative formulation?
    • Sustainability?
    • Evaluation (as research)?

Thurs Sep 29

Instruments, Percussion, free improvisation, and M4GHD

Before class

Read Participatory Action Research (excerpted from a longer piece). Write a one-paragraph summary and critique: how do these authors define PAR? What do you think of their presentation? Does it accord with the videos you've watched? How might you wish to extend or modify it to be more suitable for music? Submit on eClass.


Have a look at this Browse the Hornbostel Sachs classification of musical instruments in four main categories (a fifth was later added for electronic instruments). We will focus on percussion instruments. In which categories do percussion instruments appear? Think about all the possibilities for making and finding instruments that you can use in your projects.

Bring your shakers, paint pails, and other instruments for some free-improvisation experiments, as well as an introduction to frame drum music.

In preparation please watch these videos on frame drums:

If you'd like to make your own framedrum from entirely natural materials, Halford Hide sells kits (they are located at 8629 126 Ave NW).

Frame drums are relatively easy to make; you can even play a circular tray as a frame drum (though it's an idiophone not a membranophone!).

Both shakers and frame drums are very useful instruments for your projects, along with other found objects.


In class

Performances....


Protest music, continued:

Week 6

Tues Oct 4

Before class

Project proposal due! Just a title and a single paragraph outlining your project, including its aim and method, a basic research question (which can be simply: what is the impact?) and perhaps an example (e.g. a game, a song, a set of interview questions - illustrating how you'll carry it out). What will you produce - remember we aim to create something sustainable also. You may collaborate with your classmates on a collective group project - but everyone needs to have their own project and write it up separately - even if you get input from others (ideally the entire PAR team). (For instance, maybe your group decides that everyone will share their own musical tastes through particular songs, which you teach, and for which you provide social context and personal meaning. Then everyone has a project but they can also fit together into a larger whole.)

Consider this to be only a draft - it's malleable; you can add/subtract/change later. I just want the opportunity to give you some feedback, which I'll try to do asap after you submit on eClass.

Also on eClass you'll find a reading that -- finally! -- summarizes what M4GHD is all about. I think it puts together many of the ideas we've discussed in passing so far. It is a paper I'm preparing for publication and it is a draft, so please don't circulate it. I will be most appreciative of your critical comments. Please see eClass for the details.



In class

  • Discussing your protest albums (at long last!).
  • Discussing my paper on M4GHD
  • Discussing your project ideas

Thurs Oct 6

Frame drumming and Persian/Iranian music with TA Mehdi Rezania.

Before class

  • Read Form and Style in Persian Music, Hormoz Farhat, The World of Music, Vol. 20, No. 2, Musicultura: Three Orient-Occident Encounters organized by the Eduard van Beinum Foundation—Final Report (1978), pp. 109-118
  • Submit your fieldnotes as collected thus far on eClass so I can give you some feedback. Informal is fine. If you haven't typed them you can also scan and uphold - I'll take them either way. Remember - you should be writing every time you go to the field! (your site)
  • Have a look at the frame drum videos (above - Glen Velez) if you haven't already.



In class

You'll be playing frame drums learning a song, Migozaram Tahna

Week 7

No assignments (catch up time!)

Week 8

Tuesday: Please contribute a signed entry for the "Music (art) for (positive) change" projects Wiki (at the top of the eClass page) - we'll discuss in class. No other homework this week - catch up, and work hard with your groups!

Week 9

Tuesday Oct 25

The system - and how participatory polyphony and polyrhythm functions to generate social cohesion.

  • Watch: The Corporation, segments 1- 8 (and others as you like). NOTE: scroll down the page until you see the YouTube still frames, then click there to watch. (Clicking on the numbered segments will not work for some reason.)
  • Watch: Listening to the Silence (if you have trouble accessing, go to the Library site and navigate to the "Films on Demand" database, then search for "Listening to the Silence".
  • Watch: Aka singing The Aka are a group of so-called Pygmies; their singing is an instance of an UNESCO intangible cultural heritage (as explained by Naila).
  • "Pygmy" groups - forest-based hunter gatherers of central Africa- express and sustain their unique social organization - relatively egalitarian, cooperative, low-maintenance society - in song. But their world is being disrupted by larger global forces - political and economic. See this short National Geographic explanation. Highly recommended: The Forest People, by Colin Turnbull. Listen to this Elephant hunting song (track 2) from Turnbull's recordings. Watch this film on the world of the Baka people. Watch in class: Song from the Forest, featuring Louis Sarno

For discussion in class (you don't have to write anything - just prepare to discuss):

  • How do corporations colonize the lifeworld? What can we do to keep them in check?
  • How does polyphonic/polyrhythmic musical process relate to participatory, interactive engagement, social solidarity and cohesion? Does such music merely express social cohesion - or can it also create cohesion?
  • How does music work to (re)humanize & (re)weave the social fabric?
  • How do (can) these ideas apply to your own fieldwork? Project discussions.

NOTE: If you didn't present an instance of a "music/arts for change" project last week, please be ready to do that today, and add your paragraph to the eClass wiki devoted to this topic (see eClass page, top).

Thurs Oct 27

Gabriel returns with more Nigerian music!

Please watch these videos in advance for some background prior to his presentations:

  1. https://youtu.be/jPWHtG1eDeE
  2. https://youtu.be/eI3rzOSVAA8
  3. https://youtu.be/nV5jCpGK6AA

Please also glance through this summary of cantometrics. What are the political implications of Lomax's theories about singing style and socio-cultural style?

Week 10

Tues Nov 1

  • Community Music Therapy: projects and reflections. Refer to the e-book Where music helps: community music therapy in action and reflection (note: the library's copy of the eBook has suddenly disappeared - please go to eClass to find a link to the book there)
    • Everyone read Part I (chapters 1 & 2)
    • Then: Everyone pick one other Part (there are 8 Parts to choose from, II to IX) to read. Each part comprises two chapters (Action and Reflection) by the same author. Read both. Write a 2 paragraph review (summary, critique, and how it might apply to your own work in Edmonton), and prepare to present the chapters informally in class. (If several of you select the same Part you can simply present together. If you want to organize yourselves outside of class that's fine, or we can leave it to chance...)
  • Contribute to the "music/arts for change" wiki on eClass if you haven't already....be prepared to talk about the websites you've located, if you haven't so far... see assignment from two weeks ago. Some of you did this already - others didn't. Let's share what we've discovered.

Thurs Nov 3

  • Pygmy groups (Aka, Efé, Baaka, Mbuti) - forest-based hunter-gatherers of central Africa- express and sustain their unique social organization - relatively egalitarian, cooperative, sustainable, low-maintenance society - in song. But their world is being disrupted by larger global forces - political and economic.
  • Cantometrics (Alan Lomax's system for analyzing song style) links this song style, along with that of the Bushman, to an "African gatherer" type of subsistence, in contrast to other African ethnic groups. In his Cantometrics Handbook (University of California 1976), he writes (pp. 37-38):

"African Gatherers: The Bushman and Pygmy people living close to the source of man's known beginnings have a music that might have come from the Garden of Eden. In their complementary, chiefless, egalitarian, and pacifist societies, men and women, old and young , are linked in close interdependence by preference and not by force . Here, where bands of gathering women bring home most of the food, group singing is not only contrapuntal but polyrhythmic, a playful weaving of four and more strands of short, flowing, canon-like melodies (each voice imitating the melody of the others), sounding wordless streams of vowels in clear, bell- like yodelling voices. Free counterpoint of this type may have been man's first song style, for variants of this style appear throughout the world in refuge areas and among gatherer s --not only in Africa but also, for example, among the Sajek of Taiwan, the Dani of New Guinea, the Paleosiberian Yukaghir and Ainu, the Pomo of California and the Jivaro, Motiliones , and Guarauno (Warao) of South America."

Listen to the first Cantometrics coding scale again (I'll play the examples in class).

Film: The African: Pygmy People of The Rainforest: Baaka singing, forest, and village:

  • Music's place and style:
    • prefer to sing out of village - song requires resonance of the forest, its plants and animals,
    • interlocking (hocket), polyphony, yodel, and improvisation
    • prevalence of 12/8, providing polyrhythmic potential
    • song, instruments, dance
  • Music's function
    • Baaka communicate through song, "uninterrupted song", appeal to spirits…
    • Music binds people to society, to their ancestors, to the forest.
    • Music reflects and supports a sustainable ecological balance and egalitarian, economical lifestyle of mutual dependency

"Songs are more than astoundingly masterful art - they express intense spirituality in constant communion with the forest."


Thought question: In his research, Lomax tries to establish a relation between song style and social structure. Does the former merely reflect the latter as a form of identity expression, self-affirmation, communication? Or can the song styles produce the structure, by replicating patterns of interaction?

  • Performance in class: improvisational polyphonic singing (interlock - counterpoint - 4 voices - improvisation - cross-rhythm in 12 - dance - overtone series)

Week 11

Reading Week

Week 12

Tues Nov 15

Thurs Nov 17

Hindustani music workshop with doctoral candidate Shumaila Hemani

Week 13

Tuesday Nov 22

Communication for Development (C4D)

Please browse: the UN's C4D pages. In 3-4 sentences: What is C4D? What in your view is (could be) the role of music in C4D projects? To what extent is it utilized on these pages? Do you think its potential is recognized? Why or why not?

Please read:

Submit the above on eClass and come to class prepared to discuss the issues (as well as the Banglanatak project since we didn't have time for that last week).

Thurs Nov 24

Carnatic music from Deepak Paramashivan

Week 14

Tues Nov 29

Culture and Development.

Thurs Dec 1

Student presentations (Saturday group, and half of Sunday group)

Tuesday Dec 6

More student presentations (other half of Sunday group, and Monday group)

Week 15: final assignments due Dec 16

Final project report (and (b)log and module) due: Friday Dec 16. UPLOAD VIA ECLASS.

The project report summarizes what you accomplished, describing the process, assessing results and impact, reflecting on strengths and weaknesses, suggesting future directions, with relevant citations to the literature we read during the term (and optionally going beyond it). Your report should be between 10 and 20 pages in length, not including bibliography or additional assignments attached as appendices -- (b)log and module.

Use 1.5 line spacing, 1” margins, 12 pt font, Times New Roman or equivalent. (Due: Dec 16).

In your paper you can reflect extensively on your project, assess why certain directions worked out while others didn't, compare your project to others of your classmates, thinking about why results may have been different in each case.

Report sections may include the following (you don't have to adhere rigidly to this model if it's not working for you):

  • Title
  • Aim/significance: a paragraph or two on your overall aim and its overall importance - linking to the general aim of M4GHD, human development through music (and including your own development!), and intercultural theories we read.
  • Background: (what/who/where/why) what is the setting? who are you working with, and where? provide enough background so the reader can understand the project, and its significance.
  • Method: initially, what did you decide to do, and how did you decide to carry it out? Refer to PAR as the general frame (explain how you collaborated and with whom), but then explain more precisely what your plan was. How did your project fit with the larger project at your site, in relation to your colleagues working with you? This section could refer to your project as you initially formulated it (with subsequent changes deferred to the next section).
  • Impact: what actually happened? drawing on fieldnotes, present the ethnographic scene as you encountered it at the beginning, describing whom you worked with (including your classmates as well as people at your site, and Edmonton Mennonite Centre for Newcomers), how relationships (to everyone) changed throughout the duration of the project, how you came to formulate your project initially, how you adapted it over time when things didn't work (or did), and what changes you observed at the end. How did your results compare to those of others you worked with? (if you worked together most of the time then they'll be substantially the same, but hopefully you each chose a unique angle, and you can talk about that). If your fieldnotes contain paraphrased speech it's always effective to include some of that in your report - what people actually said (approximately).
  • Critical self-assesssment: again drawing on fieldnotes: what worked, what didn't, and why...How sustainable is your project? What have you left your co-participants to continue on without you? What happens when they leave - can it transfer smoothly to those who come after them? What would you like to have done differently? What would you try next if you were to continue (which you can!)
  • Future directions, final thoughts, ideas.
  • Bibliography

In addition, tack on the following as Appendices (but these sections won't count towards the total page count of 10-20, nor will the bibliography):

  • Link to the project module you have developed. Project module: your project includes a portable "module" comprising a set of "resources", potentially including text, images, and audio, which you'll use to carry out your CSL project. You'll develop these during the course of the term, and make them available for others (especially EMCN) to use (include this material within your final paper, or as a website to which your final paper can link). If your module comprises text you can simply include it; otherwise, if there are media (video, photos, audio) involved you can link to a website of some kind (http://sites.google.com will allow you to create websites and share them - there are many other tools that do the same) where the module is stored.
  • (b)log: based on field notes, you've been tracking your project by adding entries to a typed log (which may also include media), some portions of which can be made public as a blog (but subject to ethics approvals which we'll review), and other portions of which will remain private (but shared with the instructor) - essentially, these are your fieldnotes, perhaps suitable censored (if on a blog), edited, written out (if handwritten initially). You don't have to make them public on a blog, but if you do you may link from your project report (see below). In either case please submit by Dec 16. If you created a blog (out of fieldnotes), just link to it. Otherwise, just bundle your fieldnotes as your log as an appendix.

Notes: Throughout, cite relevant sources we read in class, or others that you've consulted, especially for the background section (which will be different for everyone, e.g. you may want to include a reference to South Sudanese immigration to Canada...), but also when talking about interculturalism or PAR (since we read various papers in class; you can reference these). Use http://zotero.org or another reference manager to make the reference task much easier - there are plugins for Word and other word processors that will automatically insert citations and format a bibliography. When you cite your fieldnotes you can simply write "(fieldnotes, November 5, 2016)", for instance; you don't have to add fieldnotes to your bibliography. Note that the bibliography doesn't count towards paper length. Please include photos (if you received permission).

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