About Carmen Kynard

I am an associate professor of English at St. John’s University. I am a former high school teacher with the New York City public schools/Coalition of Essential Schools and college writing instructor at the City University of New York (CUNY). I have led numerous projects focusing on issues of language, literacy, and learning: consultant for the Community Learning Centers Grant Project in Harlem, educational consultant and curriculum developer for the African Diaspora Institute/Caribbean Cultural Center of New York, instructional coordinator for the Center for Black Literature at Medgar Evers College, seminar leader for the New York City Writing Project, seminar leader for Looking Both Ways. If the conversation is truly about multiple literacies, political access/action, justice for racially subordinated communities, and critical pedagogy, I am all in! My first book with SUNY Press (2013), _Vernacular Insurrections: Race, Black Protest, and the New Century in Composition-Literacy Studies_, makes Black Freedom a 21st century literacy movement.

Impact of Baduizm: “On & On/…& On”

baduPick yo afro, daddy, because it’s flat on one side

You need to pick yo afro, daddy, because it’s flat on one side

Well, If you don’t pick your afro, you gonna have one side hiiiiiiiigh…

That’s basically the trailer to Erykah Badu’s “On and On.”  When I hear those words, one image comes to mind: my undergraduate students.

Last spring, a student did a presentation on Badu using the video to this song.  The video is announced as a story that opens with the lines above. As soon as that third line hit, If you don’t pick yo afro daddy, you gon have one side hiiiiiiiigh, the class sang in unison.  And then everybody just started laughing.

Yes, I was cracking up too, but I was also surprised… now hold up, yall— yall was only 2 years old when this song came out.  What yall know about daddy’s afro being high?  They ignored me except, of course, Aysha, who came to my office (and still on many other occasions) to tell me I was EXTRA (I was always extra: extra with the homework, extra with the assignments, extra with the discussion topics, extra with the earrings…. just EXTRA… I have come to love this word!)  I get away with these kinds of comments as a college teacher, stuff I never got away with when I taught high school.  During lunch, I always turned on the old school at noon on HOT 97 (my hip hop station back then) so when students finished eating lunch, many would come to my classroom.  I should have known better but I was surprised when these students knew ALL of the lyrics to every and any Rakim or Sugar Hill or Roxanne or KRS-One song they heard, though many were not born at the time or, at least, they were still crawling in diapers.  When I expressed my surprise, they got all personal, snapped on me because I grew up in Ohio, and accused me of trying to learn to pop-lock when they just came out the womb knowing Hip Hop.  Yeah, they took it THERE.  I was not phased though and would describe, rather rudely (with reminders of what they just had for lunch), the kind of excrement they had in their diapers while I was grown, understanding what I was hearing, and able to wipe my own behind… in Ohio.    Not exactly one of my finer moments, I admit, but, hey, I wasn’t gon let them play me like that.  Sometime you gotta do what you gotta do.  Point is: there is a cultural apparatus and literate community here that recreates black experiences through music.

erykah-badu-feet-319487You don’t need to have been alive when Badu first came on the scene with that first album, Baduizm, (and every album thereafter) for it to make its impact on how you understand your life and the ways in which you understand being a black woman.   With Badu, I see my students placing themselves into new aesthetic expressions, whether it be through body adornment, sound collaborations, or the crafting of one’s singing voice.  Badu even designs new AfroDigital experiences to go along with her opening lament of a lost love or with her choral request that someone simply clap for her and have her back  (see Badu perform “Window Seat” at the 2010 Soul Train Awards below).  We seem to notice, maybe even over-notice, when young people of Afrikan descent gravitate to meaningless or, worst yet, offensive commercial musicians who often have very little to contribute in content or talent.  When students start singing a song that came out in 1997 as if they have lived that moment with Badu (they were only 2 and 4 years old at the time), then, clearly, it is not accurate to think they are only gravitating to commercially successful artists who trade in poppy gimmicks for style, choose corporate branding over aestheticism and music, and pursue money rather than soul. I love when my students let me feel the ways that they are feeling those differences.

When I have students who are so deeply invested in a genre or musician that is literally before their time, I stop to notice these explicit ways that black communities  sustain culture, memory, sound, and history.  In this particular case, there’s a word for it: Baduizm.

Impact of Lauryn Hill: Beyond Double Standards

“I don’t know any black woman that could go out here and make a sex tape and get a cupcake line, a clothing line, a perfume line, and be touted around on the arm of an athlete like this is my girl, cuz you know when we do that kind of stuff we called Supahead… I’m [not] put on a pedestal like the other women.”  ~Sherri Shepherd

These were the words spoken by Sherri Shepherd on a panel discussing black men and women’s relationships.   I was struck by the relevance and accuracy of the sentiment but also by her ability to push this reality much farther than how we usually like to see and talk about such issues: as “double standards.”   This notion of “double standards” just doesn’t go far enough and stops incredibly short of any real analysis.  I prefer bell hooks’s terminology: “imperialist white-supremacist capitalist patriarchy”— a totalizing and interlocking system.  Strange as it may seem, there was something, or rather someone, in particular who triggered my memory of Sherri Shepherd’s words and my general disdain for every everyday discourse that names social violence on black women as “double standards”:  that person is Lauryn Hill.

lauryn-hill1Quite frankly, with the exception of my classrooms that enroll large numbers of young black women, most of what I hear black folk— men and women alike— discuss in relation to Lauryn Hill is her mental and emotional collapse after her album, The Miseducation of Lauryn Hill.  Between the emotional abuse she has obviously endured from her partner, the inability to perform with her original music and hence the bands she deploys, the legal tax issues she faces, and the allegations of mental breakdown and drug use, she gets dissed all around.  And yet, every time I see Bobby Brown or Q-Tip, I suspect the crackpipe is not far away.  In the words of Rick James, cocaine is a helluva drug! I always (secretly, I admit) wonder when Busta Rhymes is going to leave the steroids alone because something just ain’t lookin right (I say the same about L.L. Cool J and Botox).  Wesley Snipes still ain’t figured out what taxes are.  I am also amazed by the way we enshrine Eazy-E without nary a word that the brotha died of AIDS with seven children from six different women. Needless to say, that brotha was clearly into some shit (not unlike the many, many men Supahead so fabulously chronicled for us). The folk who are so curiously silent on these issues are the same fools who diss Lauryn.  Double standards?  Naw.  There’s more than just that going on here.Lauryn+Hill+PNG

Like what I recently said about Aja Monet, Lauryn Hill gets love from my students every semester.  I don’t even have to bring her name up— they will do the work.  I am noticing this more now as I close out a semester of teaching black women’s rhetoric.  I see my students’ embrace of Lauryn Hill as a way they combat a system intent on stealing a black woman’s light, a system that they too are up against.

I am confident today that my students have a substantial, new body of knowledge on black women’s history, that they even know some rhetorical theory as well as black feminist thought.  But what I am most impressed with is the way they fight for black women’s lives: they fight to let. black. women. live.  That’s what I see them doing with Lauryn Hill against an “imperialist white-supremacist capitalist patriarchy” that intends to obliterate her.  I stand with my students on this one: much love to you, Lauryn! 

Impact of Aja Monet: “Is That All You Got”

Last week in class, we finished unit six.  In that unit, I asked students to hear, see, and draw a line of connection between black women in 1970s Black Power Struggles, Black Arts Movement, and contemporary spoken word artists.  I received an email one night from one of my beloved students, Karina, who asked that I include what she saw as one of Aja Monet’s most impactful poem, “Is That All You Got?,” in the list of Monet poems that I offered.  Here is that poem:

I was actually introduced to Aja Monet, the youngest national poetry slam winner, through my students, not through New York City’s poetry events.  I can honestly say that I have never had a class of young people where someone did not know Monet’s work and this spans quite a few years of my teaching now.  I am only now realizing that Aja Monet ‘s words and visions visit my classroom in each semester that I teach undergraduates.  It speaks to me about what Monet is speaking to these young black men and women.  In fact, Karina’s one request as a high school graduation gift was Monet’s book of poetry, a book I have now added to my own shelves. There are certainly a set of go-to essays and other texts that re-circulate back into my classroom and I know now to add Monet’s poetry to this set.

I have listened to this poem over and over this weekend, hoping to hear my students better.  Mainly what I hear now is that they have been through some things, are looking back on it, and are seeing just how and why they are going to make it through because as Monet puts it: “Is that all you got? What the f**k is you broken for?” It’s a reminder that I am also thankful for.

Academic Culture vs. Educational Change

Popular meme created by college students

Popular meme created by college students

In my first academic job, I arrived after a 2-3 year commission of faculty who evaluated that university’s core/ liberal arts curriculum.  That commission wrote a report detailing what the challenges were.  The administration reflected on that report for another year. I was later assigned to a new committee that would discuss the commission’s report.  That took another two years.  When I left that committee and university, a new committee was designed to come up with a report that outlined a plan on what to do next.  5 years of students graduated and nothing changed; it looked like the next five years would promise more of the same.

I noticed some strange stuff in my first year of department meetings when I was an assistant professor.  I once had a question about students’ progress in the program (which was a certification program) so I saw my question as vital and requiring an answer… as in, ASAP.  It was a two-hour meeting with lots of discussion but I was confused by the end and said as much.  I had class the next day and needed to tell my students something and needed to ACT on a decision.  So at the end of the meeting, I asked: what did we decide here?  The answer was this: that we need to keep talking about this.  In the three years that I was there, I never got any answer to that question; we just kept talking. I stopped asking and got annoyed with even listening since the circuitous, nit-picky-do-nothing-and-go-nowhere dialogues just gave me pounding headaches.  I designed my own process with my students in my classes, processes that the department could have learned from and adopted had folk not spent their time trying to standardize a curriculum that couldn’t work. When I realized there was no way to do real or important work in that space with infrastructural support– whether it was from colleagues, the chair, or upper levels of academic administration/management— I left.  It was a good call on my part too; with no sense of urgency or political vision, the department has all but folded now.

Popular meme created by college students

Popular meme created by college students

I still remain stunned by the unwillingness of faculty to fight, to see education as a way to critically intervene in the world, to think politically about what literacy and learning mean in the 21st century, or to actually engage polemics and research on higher education and learning.  It’s frightening, especially since the current educational system we are in is one predicated on our demise as teachers.

This kind of culture in the academy was just not something I could get used to:

  • The kind of culture that says everything is okay and, if not, we can just ignore everything, make gradual changes, or just talk for a decade (I mean this literally) about what we will do.  There’s a kind of white bourgeois privilege here that does not imagine there is an urgency or danger to other people’s livelihood and progress when all you do is talk and stall.  I am reminded of that infamous text that seems to populate all composition textbooks: Martin Luther King’s “Letter from a Birmingham Jail.”  Bourgeois “progressives” are still all about waiting while other people suffer.
  • The kind of culture that says let’s just find a way to co-exist with the existing social forces, even if we do not want to.  I hear this kind of selling-out from many white liberals in relation to assessment and standardization in schools today.  I find it utterly irresponsible…and stupid.  What exactly do we think black communities have been doing all along since Brown v. Board of Education?  We have been making our peace with a system that promised improvement but gave very little, if any, for a longlong time now.  Making peace with the way things are could only be a perspective that comes from white privilege; that’s the only perspective that could see ACCOMMODATION as something new… or viable.
Popular meme circulated amongst college students

Popular meme circulated amongst college students

What gets clearer and clearer to me is that the majority of the white liberal bourgeoisie, the PMC, who makes up the professoriate has not had and will not have the tools to challenge or even understand the most corporatized university structure we have ever had.  I suppose if you take the arguments about the PMC to their logical conclusion though, the PMC was never interested in waging a challenge anyway.  However, the PMC is no longer invited to the table; holding on to the delusion of privilege seems a high price to pay.

I am thinking about these things because I was recently on another committee to evaluate the core.  As one assignment, we had to write about what we think students should be doing/learning in Core/Liberal Arts in the 21st century.  I liked the homework assignment and plan to move forward on my ideas in my next classes:

  1. Take on current information about new global markets and the connections to 21st century imperialism
  2. Fully immerse ourselves in a digital empire in ways that (re)center self-determination and community-control (see the National Conference for Media Reform)
  3. Speak to and locate racial oppression in a Post-Katrina nation-state
  4. Speak to and locate male dominance in new Benevolent Patriarchy (women are outnumbering male college students more and more, but this is not bringing us any closer to gender equality in higher education… can we talk about this?)
  5. Craft new rhetorical mobility and design competence in a multi-media and digital universe
  6. Develop new worker consciousness in current modes of capitalist production (are we going to keep ignoring our students’ increasing debt, students’  increasing inability to find a job or one that can pay off those debts, and the corporatization of professions that makes professional jobs today look more like factory assembly lines?)
  7. Reframe the standardized education students have received (this is the most tested and standardized group of students in the world and ever in history) and work toward counter-standardization as an educational and human right
  8. Internalize and apply real tools for cross-racial dialogue and alliance in a multiracial/multilingual world
  9. Make daily decisions about the planet with an eco-consciousness that will not destroy the environment we take for granted (it’s not an option to just ignore this)
Popular meme circulated amongst college students

Popular meme circulated amongst college students

Of course, right-leaning white liberals will accuse me of indoctrination but this will be what my curriculum for first year writing does and interrogates in the future anyway. I am not looking for student agreement here, just engagement, something I think I am pretty good at.  I suspect that, once again, the curriculum and strategies that I devise will be ignored while faculty sit on more commissions and committees, talking about and doing nothing.  I’ve seen how it goes down.

Obviously, I think these nine points are the role of a liberal arts curriculum, work that I think traditional disciplinary structures do not even come close to.  We keep talking about the theories of Freud, classical literature, Greek empires, blahblahblah that students need to know and the students keep asking us about their debt, about the world in which they live, about their livelihood and living wage, about the realities of digital design in their lives.  My definition of a liberal arts/core curriculum has nothing to do with the disciplines and their canonical texts/ideas at all.   A liberal arts/core curriculum is the framework for the intellectual culture of a college… it is a deep, meaningful, intellectual engagement with ideas and contemporary social issues, not a set of isolated skills to measure.

What I am left with now is not so much about student identities or ideas about what students need to do. I am thinking more about faculty identities and what faculty need to do.  As faculty, we need to ask ourselves: What should Core/Liberal Arts FACULTY be doing in the 21st century?   We will need to fight for exactly the kind of intellectual and political culture that I am describing here … an intellectual and political culture diametrically opposed to our current corporate models of higher education.  At best, we faculty of the PMC have been D students in achieving this.