¡Adelante! Digital Storytelling is…

Screen Shot 2015-05-15 at 8.27.07 PMI began experimenting with digital storytelling (DS) in my classrooms last spring and continued with it this spring.  For my purposes in my own classrooms, DS is a short video (4-6 minutes) that showcases a powerful story in your life (I used Cynthia Davidson’s assignment as my initial model). I am not as interested in students’ final products as I am in their processes though.  They upload their final videos to their ePortfolios but they have many webpages along with the video (about the music, the story, their images, their process, etc).   Here are some of the questions that I also ask my students to reflect on:

  1. When we combine ALL of these elements— sound, images, video, and words— what does this achieve for rhetors?  For digital rhetorics?  
  2. What makes your work part of 21st century storytelling?
  3. Your first year of college has coincided with some of most charged political events of the 21st century (bookended by the kidnapping/murder of 43 students in Iguala, Mexico to mass uprisings in Baltimore).  Local media— largely through social media/digital outlets— insist that national news coverage got it all wrong and inserted its own voice.  In many ways, you have all entered that same kind of social justice advocacy with your own digital projects. Think back on this digital project.  Does it too make an intervention?  How and why (or why not)?

For my ¡Adelante! students (a Leadership program for Latino students who I follow for two semesters in my first year writing courses), however, I asked an additional question… a rather simple one, but one that I thought most critical:

What is ¡Adelante! Digital Storytelling (ADS)?

Like what I assume all contemporary composition classrooms like mine do, I had students read composition research and, in this case, they read scholarship about digital storytelling.  Though much of it was interesting, I was concerned that this scholarship was focused on digital tools and storytelling too generally and not on what that might mean in the context of Latin@ cultures, communities, and histories.   Storytelling is ALWAYS culturally, socially, and historically relativist… and therefore, so is digital storytelling (DS). So when I ask my students about ¡Adelante! DS (ADS), I don’t mean this to be a simple question.

After students watched one another’s final videos in the classrooms, I asked them to map out, using large chart paper, their answers to the question of: What is ¡Adelante! Digital Storytelling (ADS)? I had no idea if my question would make sense to them; I only knew that the specific local context of New York, the connections they had made to another in their first year of college, and the histories of their lives and families were specific to what their DS was.  This kind of question wouldn’t have gone over well in all of my classes this year, but for the ¡Adelante! students, I didn’t need to even provide clarification.  We took the collective comments, wrote a group statement, and now here is how that looks, to the beat of DJ Raff (play song with the soundcloud player at the top)… here is how my students defined Adelante Digital Storytelling in a 2-minute video:

This definition impresses as much as, if not more than, the actual finished video products.  While most of my more “privileged” students would have seen DS as a hindrance to writing their “papers” (which are usually ONLY about summarizing secondary research rather than about primary objects, real data, or original ideas/arguments), ¡Adelante! contextualized cultural traditions of storytelling within digital contexts, within their own cultural communities, and within their own local context.  That, to me, is just more sophisticated than any of the glorified, book-report-styled “papers” I have read from the self-anointed privileged few.  ¡Adelante!… what an appropriate name for how this group moves!

The Savagery of U.S. Monolingualism, Part 2 of 3

nypd-stop-and-frisk-2011-infographicIn my first semester at my college, before we had even reached the midterm, one student talked openly about what it meant for him to be an Asian American male in the context of Stop-and-Frisk policies in New York City. He is a HipHoppa whose friends are mostly Latino and Black. While he identifies with and as them, as a man of color, he is not targeted for Stop and Frisk. What does this mean? was the question he asked frequently. This is a rather typical exchange in my classrooms. What was not typical, however, about this particular incident was that I decided to talk to colleagues about what I was witnessing, something I rarely do.   When I told my colleagues about the kind of reading/writing/thinking that was happening in this class, the only response I ever heard was: but is his prose correct? How’s his grammar? And that’s it. All of these things that students are politicizing and all these fools can talk about is grammar.  Even more problematically, the Asian man is a second-generation Chinese-American, but my colleagues assumed he was FOB—fresh off the boat. Based on European/Ellis Island histories of American assimilation and upward mobility, it has not occurred to them that second-generation immigrants are not living the same high life, have a critique of race, and are highly literate in American codes.

2012_Stops_by_RaceI stopped talking to my colleagues about my students and my pedagogy on that day. When I think through what I am seeing in my classrooms, I take my thoughts, excitements, and ponderings elsewhere… and I plan to keep it that way.  I have talked to my colleagues across the country about this young man and unlike my local colleagues, they have been fascinated that a first-year freshman took on the research task that he did.  The student decided to do a qualitative study to better understand multiracial, New York college students’ experiences of and perspectives on police profiling.  He specifically interviewed (using a semi-structured protocol) white, Asian, Latin@, and Black students, a decision motivated by his quest to see and hear what it means to be allied as an Asian man not targeted for profiling. How could he understand this and more, importantly, how might he ensure that his relative privilege not block his own criticality?  Like with all qualitative studies, you just don’t know what might happen when you get out there in the down and dirty…

stopHis interview data got intense real fast.  It became clear from his data that white/light-skinned Dominican women supported the stop-and-frisk of Black and Latino men.  How would he write that up?  Would it be perceived that all Latinas feel this way?  Why was this demographic in this location responding this way?  How were class and gender and colorism involved here? He had been expecting to hear those arguments in favor of stop-and-frisk from white college students and yet he wasn’t.  He was overwhelmed, depressed, and devastated by the findings. I, on the other hand, was delighted. These are the ethical dilemmas around reporting and political intervention that engaged research is supposed to encounter and the colonial mentality that he uncovered was DE.LI.CIOUS.  I like to tell graduate students who are planning or currently doing qualitative studies this story.  The look of shock is priceless.  “He’s a freshman?” they ask.  “Yes,” I say (I like to pause for a moment because their look of data-envy is just entertaining).  And then I say this: “And now just imagine the tragedy and criminal injustice of focusing his college pedagogies on grammar instruction solely because he is Chinese.”  Again, the look of shock is priceless.

What accounts for the limitations with the way this student’s Chinese-ness is imagined in comparison to the way he is actually living and writing it?   Like all other forms of violence, U.S. monolingualism and minimal competency instruction for people of color represent a unique kind of savagery

(Re-Blogged) Happy Mother’s Day to the Women Who Have Kept Me

mothers-day-poetry-2015After my mother lost her job in the recession crunch a few years ago, I had to do some financial wizardry and move her from Ohio to Brooklyn and become a new head-of-household of sorts (I have always been able to make a dollah outta 15cents but this took a little EXtra creativity).  As I get older, I realize that most of us daughters will be facing similar circumstances in caring for aging parents. My mother, however, does not consider herself aging so we go to a Jazz Brunch/Bar in Manhattan every Mother’s Day and by Jazz, I mean a real quartet that does covers like “All Blues” from Miles Davis’s Kind of Blue, NOT that Kenny-G-Twinkle-Twinkle foolishness.  It has only been in the last few years that I have even been in the same city as my mother on Mother’s Day so I figure we may as well go all out. And the older I am and the more older sistahs I know (who remind you to count the blessing of your mother’s time with you), I realize that every moment counts since having lotsa time with your Mama is no longer something we can take as much for granted.

"Fruit of Generosity" by Leslie Ansley (exhibited at the August Wilson Center for African American Culture in 2012)

“Fruit of Generosity” by Leslie Ansley (exhibited at the August Wilson Center for African American Culture in 2012)

I must admit that I like a day to put it all on pause for mothers. For me, that means all the women in my family who have raised me… which is a lot.  I have strong memories of being a little girl and various adults, especially my family and close neighbors, asking me: “who keep you when your momma work?”  OR “who keepin you right now?” (the second question was for when I was on a part of the block where I wasn’t supposed to be or at the corner store without permission). Who keep you?  That’s always been a favorite expression of mine.  No one in my family or immediate kin network ever asked “who babysits you?”   I was never babysat, I was always KEPT.

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Hayi Basile: (Re)Making Justice All the Time


My 2014-2015 schoolyear was bookended on the one end, by the murder of Michael Brown, uprisings in Ferguson, protests in NYC over the strangulation of Eric Garner, the brutal kidnapping of the 43 college students in Liguala, AND on the other end, the uprisings in Baltimore. Though I haven’t written about it yet, I began teaching first year writing this year in collaboration with a Latin@ Leadership program called ¡Adelante! at my college.  I try my best NOT to write about the classes and students who I am currently teaching (mostly because them younguns are on here readin).   I will forsake that personal rule this time though.

ferguson-marchI really can’t imagine what this schoolyear would have been like had I not had the ¡Adelante! students in my life.  I have been absolutely exhausted and depleted watching yet another and another and another public execution of a black person.  The violence against we brown and black bystanders puts us at risk of all kinds of mental, emotional, and psychological harm too. It has become crystal clear to me that I do not have the patience or inclination to sit in a classroom with young people, especially if they are majority-white, who do not see that the annihilation of black and brown bodies, their language values, and their epistemological systems is REAL and that the wherewithal to fight it, by and with any means necessary, is the most radical intellectual work you can undertake.

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Culture, Care, and Competence

chartI walk through the main entrance of my college’s main building each day. There are three entrance points for the public in this ten-story building. We don’t have many campus buildings; space is limited in NYC so we build up rather than out, giving a large body-traffic flow at this main building.  This is my fourth semester teaching at my current college and, though this may be a strange observation, I have never entered or exited the building when the student in front of me did not hold the door open for me.

I noticed this pattern right away.  It is something that I have never witnessed at any other university.  It happens every single day.  And, if I am standing on line, the students let me go first.  I do not know any of these students, but they recognize me as a professor right away.

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Lessons from the University of Oklahoma: The Macro of Microaggressions

For Harriet released a video yesterday, “Black Women OU Students Discuss SAE, Race and the University,” interviewing three young Black women at the University of Oklahoma: Aubriana Busby (Junior), Chelsea Davis (Sophomore), and Ashley Hale (senior), all students involved with OU Unheard.  I was delighted to watch and hear these interviews as well as the general footage that we have seen in the past week from Black student protesters on the campus.

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“If You Gon Sing It, Then Bring It”

At a recent meeting I attended, a participant talked very disparagingly about scholars who do work in digital rhetorics and digital humanities.  Now, it ain’t like I ain’t got my own questions about the aforementioned, mostly along the lines of why is this scholarship so damn white, but that was not the participant’s beef.  His beef was that scholars in digital rhetorics and digital humanities only offer meta-analyses of digital culture and not actual digital products and projects.  That’s not true, though I can see where the impatience is coming from: a dull, visually stale website that you paid someone else to create and an active twitter account ain’t exactly sophisticated digital production.  I said, for the most part, that these impressions were false and then really left it alone.

Because you see, I was operating from a black cultural/language frame.  And that means something very simple: if you dissin what somebody else ain’t doin, then it must be because YOU DOIN IT!

african_american_expressionsIn my childhood, we would simply say it like this: if you gon sing it, then bring it.  This expression could be applied to someone who was poppin off at the mouth about you behind your back but not bold enough to bring it to your face; OR if an athletic team, especially, talked a lot of junk about their impending win: this was a reminder to watch your mouth unless you were really bringing your A+ game.  What does this mean in the context of the situation I described in the first paragraph?  Well, as soon as I got home from the meeting, I google-stalked this participant like it was no tomorrow. And what did I find?  Not much of nuthin.

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The “White Turn” in Composition Studies

When I first tried to publish “ ‘This the ConscienceRebel’: Class Solidarity, Congregational Capital, and Discourse as Activism in the Writing of Black Female College Students,” I must admit that I was taken aback by white resistance in composition studies— the field to which I am most closely aligned by nature of the work that I do but certainly not by the nature of my politics , aesthetics, or pedagogies.  I was not surprised that the white editors saw the work— a text that focuses on working class Black female college students— as irrelevant to the wider field.  But, I must admit: I was surprised that it was Black female scholars in the field who gave the white editors rhetorical ammunition.

black womenIt was Black female reviewers who brought up the point that most professors reading the article would be white and have mostly white students and so would not be able to relate to the content.  Yes, you heard that right.  It was Black female professors who made that claim.  And I shouldn’t have to tell you that the white editors went to town on that right there. Besides the fact that it undermines all Black women when Black women see themselves as tangential to educational research, the idea that the majority of college writing classrooms today mostly enroll white, middle class students IS FALSE!  That’s not historically accurate and it certainly does not apply to an era where higher education gets browner and browner every year. Whiteness in this field gets maintained by scholars of color as much as it gets maintained by white scholars and it’s time we start talking about it.

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