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Requirements and Courses

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Requirements

LAIS majors moderate both into a primary divisional program and into LAIS, usually through a concurrent Moderation, by fulfilling the primary program's requirements and the following LAIS requirements.

Moderation + Graduation Requirements

  • Moderation
    Prior to or concurrent with Moderation, students are required to take at least two designated LAIS core courses, which are listed below. After Moderation, students are expected to take two additional elective courses and one 300-level seminar; these courses may be listed primarily in another discipline and cross-listed with LAIS. At least one and preferably two of the five required LAIS courses should be taken outside the student's home division (e.g., majors in the Social Studies or Arts Divisions must take a course in the Division of Languages and Literature, and vice versa).

    Moderation Course Requirements:
    • Two (2) LAIS core courses (as stated in the course list)
  • Graduation and the Senior Project
    Senior Project
    The final requirement is the successful completion of a Senior Project in a primary divisional program and LAIS. This project must have a geographical, linguistic, or conceptual link with Latin America, Spain, or Portugal, and have at least one LAIS faculty member on the Senior Project board.

    Graduation Course Requirements:
    • Three (3) additional elective courses, at least one of which should be a 300-level seminar.
    • N.b.: At least one, and preferably two, of the five LAIS (or LAIS cross-listed) courses taken should be taken outside of the student’s home division and should not be (Spanish) language classes.

Language Requirement

These are division-specific requirements for social studies and art. Basic proficiency in Spanish or Portuguese is required, as shown by courses taken (Spanish 106 or 110) or placement exam, or by demonstrated speaking ability. Students are encouraged to take Spanish language courses at some point during the first two years at Bard.

Core Courses

These core courses provide a framework in which to explore a wide range of compelling issues within the LAIS program.

100-level

  • LAIS/HIST 152: Latin America: Independence/Sovereignty/Revolution 
  • LAIS/HIST 160: Latin American Histories
  • LAIS/ARTH 160: Survey of Latin American Art
200-level
  • ARTH 273 Religious Art of Latin America Prof. Susan Aberth
  • LAIS/HIST 220: Mexican History and Culture
  • LAIS/HIST 225: Migrants and Refugees in the Americas
  • PS 214: US–Latin American Relations
  • PS 222: Latin American Politics and Society
  • Spanish 202: Intermediate Spanish II
  • Spanish 223: Cultures and Societies of Latin America and Spain
300-level
  • Spanish 301: Introduction to Spanish Literature in Conversation with the Visual Arts
  • Spanish 302: Introduction to Latin American Literature
  • LAIS/HIST 331: Latin America: Race, Religion, and Revolution
Go to the Current Course List

Sample Courses

ARTH 273: Religious Art of Latin America

Prof. Susan Aberth 
This course explores the varied visual manifestations of religious expression in Latin America after the Spanish conquest. In addition to churches, statuary, and paintings, the class examines folk art traditions, African diasporic religions, and contemporary art and practices. We use a variety of art assignments to explore the techniques and devotional practices involved with certain types of creations, i.e., altar construction. In addition, there are a 10-page research paper, a midterm, and a final. AHVC distribution: the Americas.

HIST 225: Migrants/Refugees in Americas

Prof. Miles Rodríguez
The Border. The Ban. The Wall. Raids. Deportations. Separation of Families. Immigrant Rights. Sanctuary. Refugee Resettlement. These words —usually confined to policy, enforcement, and activism related to migrants and refugees—have recently exploded into the public view and entered into constant use. The Trump administration made migratory and refugee enforcement, and of migration more generally, a centerpiece of its electoral campaign and the subject of its first executive orders, generating broad public controversy. Most migration to the United States is from Latin America: by far the largest single migrant population is from Mexico, and the rise of Central American migration has proved enduring. Focusing on south-north migration from these Latin American regions, this class argues that it is impossible to understand the current political situation in the United States without studying the relatively lesser-known history of migrant and refugee human rights over the last three decades, including massive protests, movements for sanctuary, and attempts at reform and enforcement. The class takes into account shifting global demographics, changing reasons for migration, rapid legal and political changes, complex enforcement policies and practices, and powerful community movements for reform, which are often forgotten with the opening and closing of a given news cycle. The class also argues that migrant and refugee voices matter and are critical to understanding migration as a historical and current problem. The course includes migrant, refugee, and activist narratives, and an array of historical, legal, political, and other primary sources. Its goal is to create a more complete historical understanding of Latin American–origin migration in the contemporary US context. This course is part of the Liberal Arts Consortium on Forced Migration, Displacement, and Education initiative.

SPAN 325: Archive Fever in Literature and Film 

Prof. Patricia López-Gay
Contemporary societies are marked by a widely shared desire to create personal and collective archives as a way of witnessing and memorializing our lives. With an emphasis on, but not limited to, Spanish and Latin American cultures, this course invites students to explore creatively literary and filmic manifestations that are symptomatic of today’s archive fever. After reflecting on the beginnings of photography and its overt dream of archiving or “freezing” instants of life, we analyze the original ways in which writers and filmmakers replicate, question, or radically subvert that old dream. Selected films documenting a sometimes traumatic past by Pilar Monsell, Carla Subiraga, and Víctor Erice, among others, are put in conversation with literary works, wherein authors like Jorge Semprún, Enrique Vila-Matas, Alicia Partnoy, Marta Sanz, and Paloma Díaz Más compulsively organize visual and textual documents, interconnecting historical and personal memories. Cross-listed with Experimental Humanities. 

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