A Re-Mix of the Fourth Demand: June Jordan, Race-Radical Black Feminisms, and Teaching-as-Survival

Today, I will be participating in a collaborative workshop and dialogue that will discuss June Jordan’s transformative contributions to Black Studies, literacies, poetics, and solidarity.  Together, with Conor Tomas Reed, I will be discussing Jordan’s essay: “Black Studies: Bringing Back the Person.”

I decided that I would do a re-mix and use key moments and signals in June Jordan’s text as points of entry into her specific inventions of race-radical Black feminisms for writing classrooms, pedagogy, and education.

CCNY Protests

Black and Puerto Rican students and community members marching in front of Shepard Hall before taking over the South Campus of City College in 1969.

The fourth demand (in my title) refers to the specific list of demands made by Black and Puerto Rican student activists in 1969 at City College that the racial composition of CUNY must reflect the Black and Puerto Rican populations of NYC schools.  Jordan’s essay offers us a glimpse into her design of an educational experience for college students that does more than simply require white middle class discursive cloning.  Pedagogy—what we could call a BlackArts/BlackFeminist pedagogy for Jordan— is a deliberate attempt at transforming the white space of the academy, a project that will always remains incomplete and a project that few of us ever really participate in.

So… on to the re-mix… (my words are in italics and Jordan’s words are BOLD, in content and font-style)

june-jordanThe next day we began, the freshmen and I, with Whitehead’s Aims of Education

Jordan read Whitehead’s Aims of Education as an undergraduate student at Barnard in her Freshman English class.  Alongside Whitehead, her professor also assigned readings in Greek mythology and an essay about connections between Whitehead and Greece.  Jordan was notorious for calling out Barnard— especially in “Notes of a Barnard Dropout”— and the academy for being able to make Greece relevant to its students, as far away as it was in space and time, but not the Black folk right around the corner in Harlem or in Brooklyn, a train ride away. In her first college class as a teacher, a writing classroom at CUNY, Jordan kept Whitehead on the syllabus and instead of students using Greek mythology as their comparative text like she had to do as a college student, her students used the text of their own black and brown and impoverished lives/bodies. So, for me, what we have here is an alternative praxis of open admissions teaching at a white university AND an entry point for black feminist pedagogy in writing studies, both of which have remained largely invisible and ignored.

Toni Cade Bambara walked with me to my first class.  “Are you nervous?” she asked.

I just want a moment for pause and reflection for black women like Bambara and Jordan walking the halls together, checking in on one another in sisterly ways.  I don’t think I need to say much more than that, but I will point out here that the ways we inhabit the physical, white space of the academy are also important.

I am often stunned, though I should certainly know better, that: 1) so many faculty of color are more interested in securing white favoritism and performing white comfort than in waging race-radical rhetorical action against neoliberalist universities, and; 2) that so many white faculty have absolutely no ability to see or notice or care about the daily, racist microaggressions happening to faculty of color right down the hallway and the students at their college and yet authorize themselves to talk about bodies of color and educational praxis for them.

Jordan/Bambara collageThis image of these two dope sistas acknowledging and embracing one another needs to be another way that we imagine the alternative work of black feminist pedagogies in the academy.  As my grandmother would say, it’s mo’ than a notion.

[T]his essay…is, if you will, a POSITION paper. . .

I want us to keep this image of the position paper in mind, particularly in our current corporate climate where research and writing about schools have conformed to some of the worst, masculinist, most alienating positivist gibberish that I think we may have ever encountered.

The position from which we write and the positionings of our styles and discourses are not opposite running streams.  Jordan’s essay is also a call to question not only WHAT we write in our research studies of communities of color but also HOW we write it.  The positions that we take are often buried in an anthropological othering that our language performs…. even when we claim our methodologies are radical and participatory.

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Black Language Matters: Beginning with “Ebonics 101”

grammarlyAt the risk of situating #BlackLivesMatter as merely a trope when it is so much more and cannot be de-neutralized with endless spin-offs, I want to think out loud/digitally about BLACK LANGUAGE MATTERS.  I like MATTERS here as both a noun and a verb: 1) all of the attenuating political circumstances, past and present, around issues of language, meaning, and multiple Englishes; 2) all of the processes where Black Language carries the depth and resistance of Black suffering and resilience.

I start the first post in this series with a definition— a definition inspired by an investigation initiated by my graduate students at the graduate center/CUNY and the current class I am teaching, African American Literacies and Education.  Inspired by Elaine Richardson’s African American Literacies, we worked in our last class to really define and anchor ourselves in race, culture, resistance, and African American languaging systems. It wasn’t easy.

For me, Steven Willis’s “Ebonic 101” gives me (in)sights and images to always keep in mind.  Black Language is:

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Cultural Assets, Language, and New Inspiration

I learned about my own language use from my high school students circa 1996.  I no longer remember what we were reading or what we were discussing, something about language politics.  One student, let’s call him Shakim, remarked loudly: yeah, Ms. K., that’s what you do.  I had no clue what he meant.  According to the class, I use four different types of English and since they had names for each type and seemed to have practiced it all out, I guess these were common understandings, commonly understood by all except me.

Screen Shot 2014-10-21 at 8.39.57 PMMy first English had many names that, out of deference to who might be reading here, I will simply collate and say: THE PLACE OF RACE.  This is a kind of English that I use with folk who I think are racist.  My words are very annunciated and deliberate (and I don’t blink much but I may squint).  I am as “proper,” if you will, as I will get.  Basically, it means that I do not like your stank behind and believe, like Public Enemy said in “Can’t Truss It…no, no, no, no”, that years ago you would have been my ship’s captain (and by SHIP, I mean slaveship, not the Love Boat or Princess Cruise Line). Here are the relevant lines (weblinks take you to Rap Genius’s explanation):

Look here comes the judge, watch it here he come now
(Don’t sentence me judge, I ain’t did nothin’ to nobody)
I can only guess what’s happenin’
Years ago he woulda been the ship’s captain
Gettin’ me bruised on a cruise, what I got to lose
Lost all contact, got me layin’ on my back…
427 to the year, do you understand
That’s why it’s hard for the black to love the land

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Rough Side of the Mountain

My very first tenure-track job was connected to teacher education: I worked with undergraduates who were trying to secure a teaching certificate to work specifically in urban schools.  In the early part of the program, before students were turned off by the curriculum and faculty (the faculty simply thought themselves too difficult and interesting for the students), the classes were full and enrolled mostly first-generation students of color who wanted to go back and teach in their urban communities. I loved the students, especially the early entries, and especially one young woman, who I will call Maya.

Maya was/is an amazing singer who chooses to use her talent for sacred music.  As a high school student, she attended a predominantly black performing arts high school and that is where she did her student teaching.  As a singer/composer/pianist and history major, her goal was to incorporate the arts into history education so that her black students did not experience their talent solely in their art classes but also, intellectually, across the curriculum.  She was teaching American history and her cooperating teacher allowed her to implement the Civil Rights curriculum.  I visited when students did their first presentations.

BarnesThe presentations were a kind of acting/ singing/ music-playing extravaganza with every group member making speeches also.  Each group was responsible for researching and presenting some central issue that galvanized black communities in this moment and had to use their talent to represent the depth of that galvanization.  One young man, bless his heart, took the podium.  It was obvious he had not prepared anything, but that did not stop him from talking.  Before he finished his first sentence, one young woman started singing these words:

Oh Lord, I’m strivin’,
tryin’ to make it through this barren land,
but as I go from day to day,
I can hear my Savior say,
“trust me child, come on and hold my hand.”

I’m comin’ up on the rough side of the mountain…

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What Will We Do When School Starts?

Ferguson 2A few weeks ago, I was on campus meeting with some students.  A conference was taking place at my college (which is located in the heart of Manhattan, New York). As is typical of area NYC colleges, you need to scan your identification card, where security is sitting nearby, to get into campus buildings. The security officers at my college happen to be our very own college students, mostly black and Latino men paying their way through college with this job, and are quite delightful. Because I was working with a small group of students, two of whom were not from my current college, I needed to inform campus security of the names of my visitors.  As I was waiting to talk with the security officer, a young African American man and rising senior at the college, I watched intently as he navigated the crowd coming into the building.  He was, simply put, quite genius.  The officer, as I am sure you can imagine, had many tasks: new first year students and their parents were finalizing financial aid and identification cards, all of whom need to be signed in; the conference attendees, obviously enthralled by the local neighborhood, had to be closely watched since they represented a continual thoroughfare through the gates; and then there were the current IDed students swiping through the gates.  I was particularly curious because most of the parents coming into the building spoke very little English and needed to be directed to their location. The young man quickly scanned their paperwork, animatedly offered a series of complex gestures showing them where to go, and then quickly ran to the side of the desk to make sure they were going in the right direction (accompanied by head nods and more hand gestures when the parents looked back at him). Needless to say, I was fascinated by this young man’s total immersion into and dexterity with this discourse community at the main entrance to the college.  In a brief (and very brief) lull, I managed to give the young man the names of the students who were coming to visit me.  He was very short and businesslike and then went back to his extra-linguistic traffic direction.  Perhaps, it was my fascination and my ethnographic mesmerization that made me slow on the uptake because I just wasn’t quick enough to respond to the next series of events.

i am a manAs I was talking to the African American male student working at the security desk at the main door, one of the conference attendees walked though gates opened from a previous entry.   The security officer reminded the attendee that he needed to show his conference badge before he entered.  While the officer was busy with more people coming through the gates, the attendee walked by me and loudly stated: “I showed you my badge, dude, but you were too busy flirting with the girl.”  I didn’t catch it right away. Continue reading

Black Language Matters: Mean Well, But Do So Poorly

european-colonialism-in-the-middle-eastI was sitting in my office one evening, getting some work done before I left for the day.  A student happened to pass by my door and stopped to talk about my office artwork and decoration.  I had never met or seen this student before.  He rightly assumed that I did work related to African American and African Diasporan cultures.  I was curious about his interests and became even more curious when I heard he wanted to teach English overseas, especially in the Middle East.

I began to tell this young man about a friend of mine, a rather radical Black studies scholar, who is currently teaching in the Middle East.  The young man grew excited by this example and began to talk excitedly about his dreams of teaching The Great Gatsby to people in Palestine.  It was difficult for me to listen to much of what he had to say after that, all about his civilizing mission, all about how he could get Palestinians to understand themselves better with his hit list of white male authors.   Continue reading