Introduction: Common Learning Objectives, Description of Project, Theoretical Underpinnings

This article describes a collaboration between two courses, one on African art and another on immigration from and through North Africa, that culminated in the collaborative digital project “Documenting Africa.” Because the course on African art was an introductory course, the text in this article specific to that course focuses on the pedagogical rationale that drove both the materials included on the syllabus and the nature of the digital work and preparatory assignments. On the other hand, because the course on immigration was an upper-level course with many complementary parts, the narrative specific to that course concentrates primarily on describing materials, assignments, and learning outcomes.

Before delineating the elements undergirding the mission of our collaboration, it is important to see where Africa sits vis-a-vis the majority of American undergraduates. Most American students who come to African Studies (with few exceptions, like heritage students), especially in an introductory course, typically have little to no informational knowledge—historical, political, sociological, cultural, regional, or topographical—of the African continent. The sparse background that they do bring usually comes in the form of monolithic assumptions and overly generalized, misrepresentative, received ideas about the continent and its peoples. They might imagine a “‘global diaspora, an international culture and a metaphor with fantastical associations for the West: gold, savages, ‘darkest,’ ‘deepest,’ liberation, devastation’” (Phillips 2007, 97–98). Imagery in students’ minds often derives from such sources as nature documentaries on the Serengeti to pop cultural touchstones like The Lion King to news reports about war and child soldiers. It is not uncommon that, in the first few class meetings before certain myths have been debunked, students will unmaliciously, but naively, refer to and treat Africa, the continent, as a holistic, homogeneous entity. This is not surprising, since current events happening throughout the continent today typically surface on major Western media outlets with reportage on disease or scourges (e.g. Ebola, AIDS, etc.), acts of violence or terrorism (e.g. Boko Haram in Nigeria, al-Shabab in Somalia and Kenya, etc.), poaching and wildlife conservation efforts, and more recently, the effects of climate change on widespread famine and territorial struggle for resources. Collectively such journalism exacerbates an already maligned imaginary of places and peoples. This is what the brilliant, late Nigerian art critic Okwui Enwezor called Afro-pessimism and the exact kind of generalized, vague, negative, ahistorical representation of the “other” that formed the basis for Edward Said’s Orientalism (Okwui Enwezor 2006, 10–20). The socio-cultural and political conditions of Africans, for many American undergraduates, typically remain abstract, conceptually, just as the immense heterogeneity and regional nuances of this landscape remain elusive to them, at the outset. To make matters even more urgent and challenging, not only do most students possess a gap in their current, geopolitical understanding of African peoples and nations today, but they lack the critical thinking skills to question the history of why some of those gross misrepresentations persist to this day. As a result, Africans today, as well as their rich cultures and nations’ histories, remain largely under- and/or mis-represented, foreign, and woefully divorced from notions of progress and potential for many American undergraduate students.

With the aforementioned problems in mind and with a desire to address them in a particularly experiential mode of teaching and learning, Professors Mary Anne Lewis Cusato (French, Ohio Wesleyan University) and Nancy Demerdash-Fatemi (Art History, Albion College) decided to pursue an opportunity through the Great Lakes Colleges Association to connect two courses, Lewis Cusato’s Fourteen Kilometers: Mediterranean (Im)Migrations in Contemporary Francophone Cultural Expressions and Dr. Demerdash-Fatemi’s Introduction to African Art, primarily through a collaborative digital humanities project called “Documenting Africa.”

The employment of digital platforms as a means of encouraging students to actively engage with unfamiliar content and problematic misconceptions was informed by such thinkers as Mary Nooter Roberts and Ruth B. Phillips, to name just two. Indeed, Roberts’ articulation of exhibiting as “always in some measure the construction of a cultural imaginary and never a direct reflection of lived experience” (2008, 170) resonated with both Professors Lewis Cusato and Demerdash-Fatemi as a useful way of conceptualizing the integration of digital work into their respective courses. When working not only to fill a knowledge gap, but also to correct misconceptions, a constructive, visible, experiential mode struck them as particularly promising and appropriate. In order to see and understand African objects and representations, students were asked to work with, comment on, and display those very objects, texts, and representations. In the same way that Roberts describes “the museum exhibition as an arena for translation” and exhibitions as “objects of knowledge,” so, too, were students in the courses asked to translate their knowledge for audiences in a curatorial, reflective, but also creative mode in which learning, creation, and reflection were intertwined and integrated.

So it was through four weeks of curricular planning during the summer of 2018 that the pedagogical philosophies at work began to crystallize to ensure, first, a focus on comparing cultural representations of Africa from the African continent with Western representations of African cultures and, second, successful completion of the digital humanities project. Furthermore, Lewis Cusato was concurrently awarded a second grant, the Five Colleges of Ohio Mellon Digital Scholarship Award, to secure a student research assistant and assistance from the Five Colleges Post-Bac to help build and maintain the digital humanities project. Assistance from the Post-Bac, Olivia Geho, proved absolutely instrumental in moving the project forward in a thoughtful, productive, efficient, and reflective manner.

In tandem, these courses shared the following three learning objectives, albeit through different resources and in different languages:

• Broadening knowledge about, and appreciation of, African material culture;
• Examining inherited understandings about African cultures;
• Comparing the stakes of self-representation with those of “representing the other.”

The conceptual and theoretical overlap between these two courses was rooted in some key learning outcomes. Firstly, both professors expected students to develop more nuanced notions about African literary and artistic traditions and cultural practices, and visual/material cultural patrimonies. Secondly, students were asked to confront sometimes difficult questions about the biases and mythologies that permeate our own popular culture in the West about Africa, African peoples, and cultures. The professors hoped their students would become attentive to the problems of history and representation, and understand that for alternative histories to emerge, we need historiographic revisions, which can come about only through different types of primary source engagements (through oral interviews or analyses of visual cultural objects, for example). Thirdly, these questions of the historiographies of African arts and cultures, in the end, point students to the high stakes and direct impact posed in how these diverse peoples are not only represented, but remembered.

At its core, this collaboration sought to ensure that students grasp the deep connections between the politics of representation and historical memory, especially given that “once an African object has entered the epistemological arena of a different time and place in, say, the United States, France, or Japan, it cannot be divorced from that world of thought and presented from an exclusively African point of view” (Roberts 2008, 174). In sum, the connections among history, representation, and memory were foundational for this project.

Technology is rapidly changing the way that the humanities are pedagogically envisioned and taught: three-dimensional reconstructions of archaeological sites enable students to imagine ancient spaces; various forms of digital scanning alter the manner by which conservators restore paintings; digitizing maps opens up new forays in critical cartography. The digital humanities is not solely invested in analyzing data, producing new quantitative analyses or statistical metrics, or amassing or preserving cultural artifacts. Digital art history is often perceived to be apolitical and uncritical (Drucker 2019, 325), preoccupied with data collection (Battles 2016, 329), and lacking the intellectual rigor of conventional methods of visual analysis.

Yet as the work of N. Katherine Hayles exhorts us to consider, the digital is changing the ways we think—our epistemologies—and tell stories. For her, narratives (whether literary or artistic) and databases are fundamentally intertwined, integrating ideas of temporality and spatiality (2012). For both the fields of literature and art history, digital modes of instructional technology can render course content more accessible, interactive, and therefore familiar. If, as Hayles asserts, “the ability to access and retrieve information on a global scale has a significant impact on how one thinks about one’s place in the world” then surely, our students’ digital research and interactive exhibitions might enable them to reevaluate their own relationship to peoples and places previously unbeknownst to them (2012, 2). In teaching comparative literature and art history, the close reading of literary texts and images is paramount to pedagogical methods, though Hayles suggests that this needs to change to adapt for a new age of media literacy and that the traditional close reading of texts needs to accommodate a new type of digital hyper-reading, the fragmented ways we all consume media via filtering, skimming, hyperlinking, and so forth (2012, 61).

To account for these trends and shifts in the digital mechanisms of media consumption, what if the tools of the digital humanities could also be repurposed in the classroom to confront and debunk representational injustices and complicate conceptual or epistemological problems of a subject or discipline? Can a digital tool challenge misrepresentations or assumptions on African cultures and peoples? This essentially was the key methodological and pedagogical question we sought to tackle.

Course Specifics and Benchmark Assignments for Introduction to African Art

Teaching African art history presents instructors with the immensely tall pedagogical order of rendering places, peoples, and cultures that are mostly alien to students familiar, through experiential learning, connection, and creation. In Demerdash-Fatemi’s Introduction to African Art course, students encounter a range of original artistic practices from cultural groups all over the geographical and political terrain of the continent. Lesson units are broken down by considering the visual culture and communal usage of objects within specific ethnic and cultural groups of a particular region (e.g. sculptural practices and cosmology of the Dogon peoples of Mali, the divination objects and storytelling memory boards of the Luba peoples of the Democratic Republic of Congo, the royal paraphernalia of the Bamum peoples of Cameroon, etc.). Students examine the artistic qualities, fine craftsmanship, and contextual roles of an array of objects—wooden sculptures, masks and headdresses, gold bracelets and staffs, buildings and materials, garments and regalia—to comprehend the socio-cultural significance of such objects within these peoples’ lives, and to grasp the epistemological connections such peoples make about the environment and the places they inhabit.

Like any introductory course, this too was a survey in its general format. The key challenges of any art history survey are to balance depth and breadth, and to instill in students both the detail-oriented skills of visual analysis, on the one hand, and the macro-level conceptual abilities of asking broad, theme-based questions, on the other. And so over the course of any standard curriculum in African art history, students not only gain an intricate understanding of how diverse peoples and their visual and material cultural practices throughout the continent, but they are encouraged to identify similarities and connections in how many of these cultural groups construct their art, societies, and conceptualize their worldviews in relation to pivotal political and historical events, as well as centuries of economic trade and cross-cultural exchange. Methodologically and theoretically, however, African art history is fraught as a subfield by virtue of its heritage. Its origins lay not within the field of art history, but in the discipline of anthropology and the problematic, unethical collection practices of colonial ethnographers and bureaucrats on military expeditions in Africa throughout the long nineteenth century. Thus, the very study of African art was founded under exploitative conditions, and as a consequence, has given rise to a number of methodological and epistemological debates about how African art should be approached, analyzed and understood (Hallen 1997). As the noted art historian Sidney Littlefield Kasfir remarks in her much-cited article, the eventual field that formed out of these geopolitical inequities—mostly work undertaken by anthropologists—followed the “one tribe, one style” paradigmatic model, in which the artistic production of one ethnic and cultural group is correlated to one quintessential style and set of formal qualities (Kasfir 1992). Such ethnic and cultural groups become siloed entities, treated homogeneously, accounting little for cross-cultural encounters and exchanges across and among groups. Paradoxically, this method of treating ethnic and regional case studies in a singular, tribal fashion still generally predominates in African art history pedagogy at the introductory level, due to the diversity and sheer multiplicity of African peoples and cultures and the need of instructors to render the material digestible to undergraduates. In our course, we used Monica Blackmun Visona’s textbook, A History of Art in Africa (Pearson/Prentice Hall, 2008), which navigates through the rich artistic traditions of peoples and groups with chapters divided according to regional domains (e.g. Sahara and the Maghreb, West Africa and West Atlantic Forests, Central Africa including the Congo Basin, Eastern and Southern Africa, and the diaspora).

Time/temporality and authorship are yet more variables that add complexity to African art historical analysis. Contrasting with conventional or Western art historical methods, which privilege historical chronology and periodization, African art history preoccupies itself more with conceptual epistemologies and indigenous knowledge systems—often derived from contemporary cultural phenomena and observations (Ogbechie 2005)—to arrive at an historical art work’s interpretation. This approach to time is complicated by gaps in the historical record (Peffer 2005) and the fact that many African artists may acquire fame and repute, but their notoriety may not be socially linked specifically to the art works that they produced in their lifetime. Objects’ lives and meanings are not defined by their authorial makers, but instead by their social lives circulating among the patrons, the groups who wear or use said objects, or the religious officials and diviners who control and activate them (Vogel 1999).

Such methodological and epistemological issues bear greatly on pedagogy and student learning outcomes as well. The rationale for assigning a digital final project to students of African art history is multi-pronged and motivated by a desire to decolonize troubling pedagogies. Firstly, in order to problematize those aforementioned methodological questions of tribe, style, cross-cultural exchange, history, collecting, time/temporality, and authorship in African art objects, students must engage in cross-cultural and comparative thinking straight away. The rote memorization and connoisseurship-focused pedagogy enforced by an old guard of art historians does not serve to enliven either the African art objects, peoples or cultures in this generation of students. By encouraging students to think about the axes of time and space in African art, they resist notions of fixed, homogeneous peoples and instead become attuned to the dynamism of cultural exchanges and processes of transformation. Furthermore, to break free from and challenge those ubiquitous misrepresentations of African cultures in the Western media, students must acquire some interactive sense of intimacy or immediacy with African cultures and current events so as to break the barrier of foreignness. And crucially, reception is a vital facet of any African art history course, in probing students to empathically position themselves in the role of the makers, interlocutors, recipients, and beholders of such works of art.

Throughout the course, students had the tall order of absorbing the content and material of each unit, but the final digital project was conceived to help integrate their knowledge through comparative, analytical thinking. Students were divided into three groups of three and four by the professor (balanced based on their respective standing, research experience, critical thinking skills, reading abilities, and academic readiness) and instructed to curate their own digital online exhibition of African art objects, centered on a specific theme across time and space; just like real art curators in museums and galleries, students had to critically examine issues of representation, conceptual and narrative coherence, and sub-thematic division and arrangement in designing their own online exhibition. At the outset, Neatline and Omeka were briefly considered as potential software tools, but ruled out because of their relative complexity; ultimately, in consultation with Albion College’s instructional technologist, Sarah Noah, StoryMapJS was chosen due to its facility for a general audience.

To aid students in envisioning their digital shows, they were taken on two local field trips: firstly, to see the special exhibition, Beyond Borders: Global Africa, which ran from August 11 to November 25, 2018 at the University of Michigan Art Museum (UMMA) and was curated by Dr. Laura De Becker; and secondly, to tour the permanent African art exhibits at the Detroit Institute of Art, known by Africanists to be one of the richest collections of African art in the United States (Woods 1971). By selecting at least twenty images of African art objects now residing in US museum collections from a minimum of five disparate cultural groups, students had to create and curate their own show around a story arc (e.g. power and kingship; adornment and beauty; women’s authority; masking, performance and spirits; ancestors and memories; apotropaism and protections; slavery or imperial encounters; kinship and communalism; etc.).

Assignments were scaffolded so as to break down tasks and ensure genuine collaboration among group members. The first of these benchmark assignments asked students to construct their story arc or narrative theme. Next, because StoryMapJS enables one to render stories interactive and visual over geographical space and chronological time, students had to build on their narrative outline by selecting their base map, through which their audience will navigate through the digital exhibition; and most importantly, their objects and regional sites. For each object, students had to conduct research on the piece and write their own object label–just like an explanatory placard on the wall of a gallery—providing their viewers with the necessary content to understand the cultural significance of that piece and how it fits into the overarching narrative arc.

The students’ final, digital exhibitions successfully exemplified those desired learning outcomes of understanding the heterogeneity of African artistic traditions, cross-cultural exchange, and regional specificity. The three projects differentiated and compared the creative output and cultural practices shared by various ethnic groups across the continent: the exhibition “Initiation Ceremonies and Rites of Passage in African Arts and Cultures” dealt with masquerade practices, sculptural traditions, and sacred rituals in the transition from youth to adulthood; “Passion, Power, Perfection: Marriage and African Arts” examined the role of courtship, public displays of fidelity and the place of marriage in African artistic traditions; and finally, “African Funerary Practices and Traditions” highlighted the central position of objects in honoring ancestors and funerary rituals, proving that death and collective memory are intertwined in African artistic practices. Pedagogically, these exhibitions were a success in that they challenged students to think about conceptual and representational issues and through research encouraged familiarity with the objects. The digital exhibitions brought to life material that otherwise often remains static and foreign in an African art history course.

Students’ digital exhibitions were graded on the following criteria: narrative coherence, informational accuracy and depth of research, facility of the exhibit (e.g. cleanliness and user-friendly qualities), aesthetic appeal, and teamwork professionalism. A major drawback of StoryMapJS is that only one student could be the user/owner of that project account, and so edits to the digital exhibition could not be implemented simultaneously by other group members; this proved to be inconvenient for collaboration, with inevitably one student in each group shouldering more of the burden of entering data into the program.

Course Specifics and Benchmark Assignments for “Fourteen Kilometers: Mediterranean (Im)Migrations in Contemporary Francophone Cultural Expressions”

The benchmark assignments designed for the Fourteen Kilometers class were conceived with the objective of preparing students to answer such weighty questions as the following:

• What does it mean, first, to record an oral history both responsibly and ethically and, second, how do stylistics, such as camerawork and sound recording, affect such a project?
• Second, what are the stakes of creating an outward-facing project that is a carrier of meaning, especially for cultural documents that represent and / or come from Africa?
• Are exhibition and translation, both defined here as extensions of the original object(s), “all one can ever know”? (Roberts 2008, 183) If so, what does this mean in terms of thinking about “original” vs. “translation” or “exhibition”?

To these ends, several benchmark assignments were designed to prepare students to learn and create with a sense of depth, purpose, and reflection. As a class, Fourteen Kilometers: Mediterranean (Im)Migrations in Contemporary Francophone Cultural Expressions was preparing to collect, edit, and publish an oral history from a French-speaking immigrant in the Columbus area, and these benchmark workshops and assignments were essential training tools for the students. First, the Fourteen Kilometers class held a workshop in the campus library with the Director of Media Services at Ohio Wesleyan University, Chuck Della Lana, who demonstrated framing techniques with video cameras and discussed the implications of various manners of video framing, camera angles, and relating sound to image. Students then paired off to interview one another briefly on a topic of their choosing, and returned to the media center to share the product with the class to analyze various techniques related to the recording choices of both sound and image. In a second round of interviews, partners switched roles and finessed those elements upon which they wished to improve before concluding discussions. This benchmark assignment was crucial in training students to understand the deep relationship; whether in videography, cinematography, or oral history; between message and stylistics. Camera angles, shots, manipulation of sound, and other tools associated with video recordings all shape, both literally and figuratively, the narrative at the center of the story. Students were encouraged to reflect on such different modes of recording as recording-as-art vs. recording-for-knowledge. What does it mean to take an oral history, to record and disseminate someone else’s story? How is the oral historian, literally and figuratively, framing the story to be received by anyone who views it later? By the end of the workshop, students understood these concepts in a deeper and more concrete way.

The second benchmark workshop and assignment deepened students’ engagement with questions that arose from the first. On Friday, October 26, 2018, Wendy Singer, Roy T. Wortman Distinguished Professor of History at Kenyon College, came to campus to lead a workshop for students and other Ohio Wesleyan University community members through a presentation and a series of exercises and discussions training students to consider the ethical issues that can arise when conducting, editing, and publishing oral histories. When an oral history is given, how do authorship, subjectivity, ownership of the story, and voice shift? To demonstrate this notion, Singer asked students, in pairs, to designate a storyteller and a listener. The storyteller told the story of their first day on campus, and the listener retold the story to the group. The original storyteller then noted differences between the original version and the retelling and offered reflections on subtle differences between the two tellings. This workshop, building on the first, guided students’ thinking about the overarching goals of oral history and the subtle ways in which retelling is also, whether willfully or not, a reshaping. If the objective is to record an oral history with as little intervention as possible, with as little reshaping as possible, then great care and attention must be paid.[1]

The third benchmark assignment took place on November 16, 2018, the Friday before Thanksgiving, when Lewis Cusato and the students in the “Fourteen Kilometers” class boarded a university van to drive nineteen miles to visit the Community Refugee and Immigration Services (CRIS) organization in Columbus, Ohio. Lewis Cusato had arranged for an oral history given by a local French-speaking refugee and a follow-up Question and Answer session to be recorded by a colleague. Upon arrival at CRIS, it became clear that the person sharing his story did not wish for any recording to be disseminated. This was surprising and disappointing for the students, who had devoted significant time, energy, and thought to developing appropriate questions to ask him in French; considering how to approach such questions in the most respectful and productive ways possible; and to learning about how to record, transcribe, translate, and present the oral history. He presented his story with both narrative and images, students did ask their questions, the session was recorded, and the CRIS Volunteer Coordinator spoke with the group about the state of immigrants and immigration in the United States under the current presidential administration. The visit lasted some two and a half hours and generated much discussion for the drive back to campus in Delaware, Ohio. Lewis Cusato asked students to articulate their reactions to the visit. They expressed enthusiasm at the poignancy of hearing a first-person, in-person account and were grateful for the opportunity to nuance common media reports, many of which consistently depict immigrants as a homogeneous, problematic group. Engaging with one man’s personal narrative about what it truly was to leave his country, what it meant to wait for eleven years in a refugee camp in Uganda, what it was to be examined and checked by the Department of Homeland Security and finally granted asylum, and what it entailed to move and find his way in a new country and a new language allowed students to see the phenomenon of immigration in a more realistic, complete, personal, and thorough way than they would have by simply relying on the news. The students expressed gratitude at hearing from the CRIS Volunteer Coordinator the staggering statistics about just how few refugees are in fact granted asylum to the United States and how such numbers pale in comparison with many smaller, less wealthy countries. Rich discussion ensued, and the class collectively decided to use the Thanksgiving break to reflect on potential paths forward, given that the original plan to record, transcribe, and disseminate the oral history would no longer be possible.

During that first class session following the visit to CRIS and Thanksgiving break, Lewis Cusato asked students to reflect on what they had done so far throughout the semester’s work in the class. As they spoke, she noted both content and skill development work on the board. Their discussion hinged on the progress of the course to that point. Yes, there had been an emphasis on the oral history component of the class, but students had also watched and analyzed a documentary, La Saga des immigrés (The Saga of Immigrants, 2007); engaged with street art throughout the Mediterranean that comments on immigration; read a novel, Les Clandestins, about clandestine immigration from Morocco; watched and interpreted a film, Harragas, about clandestine immigration from Algeria to southern Europe; watched and discussed a special report on the SOS Méditerranée organization that saves migrants attempting to cross the Mediterranean Sea; read and discussed news articles from African, French, and American media about immigration throughout the Mediterranean; and studied the photojournalistic manifesto I Am With Them, which was exhibited in 2015 in Paris at the Institut du Monde Arabe (Arab World Institute). The course participants realized that the course, at its essence, tells the stories of the journeys taken up by the protagonists, the subjects filmed, the characters written, and the people portrayed. Hence, the StoryMap mode would likely work best. When all the materials studied throughout the term were listed on the board so that all could see them together as parts of a whole, the structure for the website began to emerge, founded on valuable insights gleaned through comparative analysis of the syllabus’s content. The point here, too, was to move beyond such common Western aspirations as “the experiences of ‘resonance’ and ‘wonder’ that are produced by the presentation of objects as artifact and art” (Phillips 2007, 98) and to move towards a multi-layered, multimodal, multifaceted narrative that emphasizes originality, individuality, reflection, sophistication, and art and knowledge alike. Informed by Turnbull’s work theorizing maps as knowledge, maps as languages and networks, and maps as narratives in and of themselves, this new digital project emerged with a sense of depth and complexity that had the potential to allow the narratives of journey to emerge in a vibrant, full digital display.

The site would begin with an introduction, in both English and French, by Lewis Cusato. At the bottom of the page would appear an image, title, and short explanation to introduce each of the five students’ StoryMaps, all of which would be connected through an overarching WordPress site. As their final project for the course, then, students would work either individually or in pairs to choose images, quotations, and to create explanations and analysis of their source or sources. The students’ first step was to curate the text and images they would like to include on the map as well as decide on the map’s pinpoints. Once this was accomplished, each student or team would present their proposed focus to the group to solicit feedback from their classmates. Bit by bit, as students worked alone, presented their proposed contributions to the site, gave one another feedback, and revised and reframed as necessary, the site began to take shape. From November 26 through December 14, 2018, then, students built the site in consort with Lewis Cusato and Olivia Geho. In retrospect, it is clear that devoted the first three months of coursework (August 22 to November 16, 2018) to content coverage and assessment as well as benchmark assignments, followed by spending three weeks (November 26 to December 14, 2018) building the site worked well as a timeline. Finally, since the Fourteen Kilometers course is an upper-level French course, significant time, energy, and focus were necessary to correct and finesse the students’ translations. Fortunately, a senior student in French particularly interested in translation approached Lewis Cusato about pursuing an independent study under her guidance with an emphasis on translation. Thus, in the spring of 2020, through this independent study, this student and Lewis Cusato painstakingly examined, corrected, and finessed all the text and translations associated with the project.

To balance and integrate such elements of a course as content and skill mastery with a culminating, collaborative digital project requires purposeful and consistent pedagogical movement among the various modes of input and output, whether textual, visual, digital, cinematographic, political, journalistic, popular, or some combination of these. The syllabus and course timeline must therefore be constructed with an eye towards balancing the content work with the benchmark assignments, consulting experts, digital work, and time for collectively checking in with one another as a class and revising both the plan and the culminating project as necessary along the way. The ability and willingness to rethink and pivot if necessary proved foundational for the course, as did maintaining open dialogue with the class about best strategies for progressing, even unexpected obstacles rendered the original plan unfeasible. Furthermore, the notion that “a person is always operating within the structures of his/her own culturally prescribed formats for understanding the world” (Roberts 2008, 172) reminded all involved that the project must take into account potential lack of familiarity on the part of visitors. With these elements in mind and with transparent, clear communication among all members of the class, such a course can become, and indeed was, a particularly collaborative, engaging, relevant, and constructive experience of learning, thinking, reflecting, and creating.

Concluding Reflections

The courses described above allowed Demerdash-Fatemi and Lewis Cusato to teach students about the stakes of cultural production related to Africa. Students were asked to take their time, look at, contextualize, study, and reflect on the objects, images, and texts upon which each respective course was founded. Furthermore, these courses asked students to consider the stakes of representing oneself, as compared to being represented by others. Students were asked to compare and contrast Western representations of Africa with African representations of Africa in order to begin to be able to see and articulate the politics of representation always at work. Finally, these courses facilitated students’ creating something that could be shared with others from their readings, their viewings, their discussions, their analysis, their research, and their interpretations. This is the great value of coupling a course with the creation of a digital humanities project: it asks students to curate and create something visual, textual, technological, outward-looking, and helpful for others who might wish to explore the topic. It asks them to engage with layers of meaning as they interpret and to be meaning-makers themselves. The students literally become the teacher, and they emerge from the course experience having moved from input, from learning, to creation, to teaching. It allows them to show anyone interested how—though the news media often portrays immigrants as a problematic, troublesome group—artists, journalists, filmmakers, writers, and activists tell the story of immigration in very different ways and paint very different pictures. Finally, this project encouraged the students to reflect upon and comment on, to connect to and share new learning about traditions, novel aesthetics, and communities throughout the African continent. You can find such stories and such pictures, as well as associated commentary and analysis, on this site, where learning begets reflection and creation, and where engagement with resources begets the genesis of a new resource. The cycle, the learning, continue.

Acknowledgments

We, the authors, wish to acknowledge the following people and organizations, without whom this work would not have been possible: Simon Gray (Program Officer, Great Lakes Colleges Association and Global Liberal Arts Alliance), Wendy Singer (Roy T. Wortman Distinguished Professor of History at Kenyon College), Tyler Reeve (Volunteer Coordinator at Community Refugee and Immigration Services in Columbus, Ohio), Ben Daigle (Associate Director of Consortial Library Systems for the Five Colleges), Deanne Peterson (Director of Libraries at Ohio Wesleyan University), David Soliday (Instructional Technologist at Ohio Wesleyan University), Eugene Rutigliano (Digital Initiatives Librarian and Curator at Ohio Wesleyan University), Olivia Geho (Ohio 5 Digital Collections Post-Bac), Brandon Stevens (student assistant for Dr. Lewis Cusato), and Sarah Noah (Instructional Technologist at Albion College). This Digital Humanities resource is housed at Ohio Wesleyan University and managed by Dr. Lewis Cusato, in cooperation with Ben Daigle, Deanne Peterson, Eugene Rutigliano, and David Soliday.

About the Authors

Mary Anne Lewis Cusato came to Ohio Wesleyan University, where she serves as an Associate Professor and the Director of the French Program, from the Yale University Department of French. She was promoted and granted tenure in 2019 and awarded the Sherwood Dodge Shankland Teaching Award in 2020. Dr. Lewis Cusato teaches French language at all levels, as well as courses on the French-speaking world outside of France, with an emphasis on francophone Africa. She publishes regularly, and her work has appeared in Contemporary French & Francophone Studies: SITES, Expressions maghrébines, The Journal of North African Studies, The Chronicle: Vitae, and The Limits of Cosmopolitanism: Globalization and Its Discontents in Contemporary Literature. Dr. Lewis Cusato also co-founded and co-directs OWU’s Palmer Global Scholars Program.

Nancy Demerdash-Fatemi is an Assistant Professor of Art History in the Department of Art and Art History at Albion College (Michigan, USA), where she teaches a range of courses in global visual culture and art and architectural history. She holds graduate and doctoral degrees from the Massachusetts Institute of Technology and Princeton University, respectively, and publishes widely on modern and contemporary art and architecture of the Middle East and North Africa. Her broader research interests include postcolonial and diaspora studies. Her articles have appeared in edited volumes as well as in journals such as The Journal of North African Studies, The Journal of Arabian Studies, Perspective: actualité en histoire de l’art, among others. Additionally, she serves as an Assistant Editor for The International Journal of Islamic Architecture.