Developing Ethnic Graphic Narratives:

Reconnecting Identity Through Graphic Art

Lorenzo Finau-Cruz (BA)
​lfinaucruz@gmail.com
lfinaucruz.weebly.com

Course Description
This course will intersect themes of cultural acceptance, awareness, and agency through Ethnic Graphic
Narratives. During this class, students will explore different genre of graphic novels to deconstruct how
different artists of color share their stories of migration, oppression, survival, and identity through the
form of graphic literature. Each unit designed to mirror the praxis story plot, will examine how identity is
shared through storytelling and art. Through readings and projects assigned within the course, students
will develop the skills that allow them to effectively analyse and critique both art and literature that they
they observe within their daily lives.

Class Prerequisites
- This course will be held twice a week
- Only available to upper-division (Junior or Senior) and Post Baccalaureate students.

Course Objectives
By the end of this semester students will...
● acquire the analytical approaches and tools needed to investigate and critique social issues
regarding multi ethnic literature and art
● understanding how to deconstruct and analyse different works of art in communities and apply it
to one’s own lives.
● explore the topics of culture, race, ethnicity and implement these concepts within their work.
● Learn how to produce, create and vocalize visual work within different aspects and areas of
interests

Required Texts
G.B. Tran, ​Vietnamerica​, 2010
Julian Voloj, ​Ghetto Brothers​, 2014
Henry Yoshitaka, ​The Four Immigrants Manga​, 1931
Mamoru Hosoda, ​Wolf Children​, 2013
Lois Ahrens, ​The Real Cost of Prisons Comix​, 2008
Frederick Luis Aldama​, Latinx Comic Book Storytelling: An Odyssey by Interview, ​2017
Katie Quan, ​This Asian American Life​, 2016
Kwanza Osajyefo, ​Black​, 2017
John Lewis, ​March​, 2013
Other readings will be provided via Course Rader
Filmography
Comic Book Artist: Next Generation ​by Stephen Christy ​(2014)
DC Comics:​ Necessary Evil by Scott Devine (2013)
Blasian Narratives,Jivan Atman​ ​(2017)

Additional Equipment/Tools
Aside from exploring the intersectionalities of graphic art and literature in Ethnic Studies, students will
also be making their own. Due to this additional materials are needed in class.
- Sketchbook
- Pencils
- Eraser
- If students are enthusiastic about illustration or prefer digital, ​sketchbook pro 6 Computer
program​ will be provided to students upon request, along with instruction outside of class.

Grading
30% Participation/ Attendance
30% Projects
20% Final Project
20% Assignments

Participation/ Attendance 30%

Students should actively attend and participate in every class. Each student is expected to keep themselves
accountable with course assignments and readings for classroom discussions. Remember that illustration
are just as important as the texts.

30% Projects
Although there will not be midterms, there will be two very important projects within the class.
Projects will be 15% each adding up to a total of 30%.

Comic Sales Pitch

Students will break off into groups of 5-6 people. Each group will create an original comic book story as
well as a cover for their story. Please note that students will not be writing a whole book but rather an
overarching story to use as an outline.The graphic novel must be written using the praxis story plot. The
story must have ​two themes​ that were discussed in class. Groups will then pitch their story ideas to guests
that will come, as though they are trying to pitch their story to publishing companies. Students should
have a strong idea of the story and a strong idea of who the targeted audience is. Project should be
relevant to the intended audience, and critically challenge societal norms.

Youth Reading
Students in groups will create Zines or Children’s Stories. When stories are created and illustrated groups
will select one locations to do interactive readings to youth, ex. Hospital, school, day care, rtc.
At the end students will then upload their Zine or children’s books to a class archive. The purpose of this
project is to effectively learn how to deconstruct different concepts within class. In order to teach each
other, students must learn how to break down concepts to its most simplest form, to where the youth can
understand it.

20% Final Project

For the final project students will be creating their own graphic novel. The graphic novel must incorporate
at least three of the concepts discussed in class. The project should also reflect the narrative of the student,
with at least one chapter created, consisting of both dialogue, and illustration. This project focuses on the
meaning behind the illustration, as well as the concepts shared within the dialogue. May be either fiction/
or nonfiction. Lastly, Students must write a 800-1000 word reflective essay of how the story relates to
students own personal life.

20% Assignments

Unit Reflections

Every Unit students will be given a specific graphic genre, such as manga, children’s book, mainstream
comic or graphic narrative. Students will choose any piece or work within that genre and write a journal
reflection about the work they choose. Readings will also be provided, if students choose to use
instructor’s readings. (2 pages minimum)

PCAR

Every week students will have reflections on different articles assigned in class. They will break it down
through PCAR(Problem, Concepts, Analysis, Reflection) Through PCAR students will learn how to
deconstruct and analyze various works of media and literary art. All PCAR assignments will be posted
and submitted online.

Course Policies

Academic Dishonesty:​ This class focuses on the process of self and community. Because we focus on
academic development, rather than results it does not have room for plagiarism, submitting work from
other classes, and having others do work for you. Academic dishonesty will result in an automatic “F” in
this course.

Late Work-​ Most of the assignments are group work and cannot be made up. Individual assignments can
be accepted, only after speaking to instructor. It’s best to plan ahead and start early to avoid any stress
when emergencies occur
Technology​: During lecture technology may be used in class to access notes, readings, or fulfill
assignments. However any activities outside of academics such as gaming, shopping, social media
(outside of assignments), and work in others classes will result with a drop in one's participation grade.

Tentative Course Schedule

Date Topics, Readings, Guest Reading Assignments Assignments/ Projects

Speakers Due

Unit 1: Exposed

Introduction to Class:
Syllabus Introduction
Week 1 Why Study Graphic Novels

Journal Format Introduction/

Praxis Story Plot Introduction

Media Literacy: -Fletcher- Spear and Company,

Textual Analysis The Truth about Graphic Novels:
Introduction to PCAR A Format, Not a Genre​, 2005

Week 2 Media Literacy: -Lewis Gordon,​ Her majesty’s Comic Sales Pitch
Reading Through Art other children: Sketches of racism Project Introduction
of racism from a neo colonial age​,
1997 excerpt

Critical Consciousness: -Watch:​ DC Comics:​ Necessary

Introducing Hegemony and Evil by Scott Devine (2013)
Week 3 Counter Hegemony -Katie Quan, ​This Asian American
Life​, 2016

Critical Consciousness: -Hintz and Tribunella, ​Race,

Deconstructing and Analysing Ethnicity, and culture in
Youth Literature Children’s Literature, 2013

Cultural Relevance: - Desiree Rodriguez, ​Being Latinx

Introduction to Culture, in Comics: Ignorance, Erasure,
Ethnicity, Nationality, Race Whitewashing, Oh My!, ​2016
Week 4
 Cultural Relevance: -Ladson Billings, ​But that's Just Comic Sales Pitch
Culture and Ideology Good Teaching! The Case for Project Due Date
Culturally Relevant Pedagogy,
1995

Unit 2: Oppression

4 I’s of oppression: -​John Lewis, ​March​, 2013

Introduction/ Ideology

Week 5 4 I’s of oppression: -Kwanza Osajyefo, ​Black​, 2017

Institutional

4 I’s of oppression: -Sia Figiel, ​Where We Once

Interpersonal Belonged, 1996, Excerpts

Week 6 4 I’s of oppression: Richard Rieser, ​Policies for

-​
Internal Diversity in Education​, 1992

Colonialism,
Imperialism,Capitalism -G.B. Tran, ​Vietnamerica​, 2010
Examining Propaganda
Week 7
Gender and Heteronormativity -Lois Ahrens, ​The Real Cost of
Prisons Comix​, 2010

Unit 3: Trauma (community issues)

Immigration Experience: Umut Erel, ​Understanding the Youth Reading Project

Contemporary Race-migration Introduction
nexus​, 2015
Week 8

Intergenerational Trauma -James Hirabayashi, ​Journal of

American Ethnic History​, 2012

Gentrification -Frederick Luis Aldama​, Latinx

Comic Book Storytelling: An
Odyssey by Interview, ​2017
Week 9

Community Health Issues -Julian Voloj, ​Ghetto Brothers​,

2014

Unit 4: Resistance
 Narrative: What is a narrative? - Katie Monnin, ​Teaching Media
Why is it important to share Literacy with Graphic Novels​,
your identity? 2010

- Comic Book Artist: Next

Week 11 Generation ​by Stephen
Christy​(2014)

Representation: How are you - Deborah Elizabeth Whaley, Youth Reading Project
represented within graphic Black Women in Sequence Due Date
novels Re-Linking Comics, Graphic
Novels, and Anime, ​2015

Narratives of Womxn: - Mamoru Hosoda, ​Wolf Children​,

Guest Speaker 2013

Week 12
Exploring Mixed Race - Desiree Valentine, ​Visualizing a
Narratives: Guest Speaker critical Mixed-Race Theory​, 2009

Queering Narratives: Guest - Lee, Queer Theory and

Speakers Anti-Racism Education: Politics
Week 13 of Race and Sexuality in the
Classroom and Beyond. In
Masequesmay, 2009

What is your narrative? Min and Kim, ​Formation of Final Project

Ethnic and Racial identities: Introduction
Narratives by Asian American
Professionals​, 2002

Unit 5: Reflection

What is Activism? Exploring - Fox and Short, ​The Complexity

Activism of Cultural Authenticity in
Children’s Literature​, 2003
Week 14
Reconnecting Identity Through Rastko Mocnik,​ Identity and the
Art Arts​, N.A

Graphic Narrative Project

Week 15 Graphic Narrative Project Final Project Due

Week 16 Graphic Narrative Exhibit

Potluck and Reflection