Public & Private Writing on New Plantations

Priscilla

See 2008 South Carolina State Museum Exhibit

My graduate advisor, Suzanne Carothers, is one of the most thoughtful pedagogues that I know, someone who thinks about the education of pre-school and elementary black children in strikingly alternative and radical ways.  In a recent conversation, she reminded me that black children’s role on slave plantations was to take care of white children close in age group.  Until that conversation, I had not thought of the wide-ranging ramifications of this.  It immediately triggered the countless histories and narratives I have read of African American adults explaining how they learned to read and write in slavery via the required chores they had to perform as children: carry  white children’s books for them to school; stand outside the schoolroom and wait for white children to finish school and carry their things home; stand in attention while white children learned or played, eagerly awaiting a command from them.  We know from the archives that black children used these moments to eavesdrop on school lessons, learn the alphabet, and trick white kids in disseminating the information white children had learned.   We have not talked enough though about what this relationship between white children and black children as learners meant for the epistemological construction of plantation life.  What is most interesting to me is the way in which Carothers marks this relationship as central to classrooms today: black children are still always expected to teach and help white children understand race or African American lives.  In my teaching context, I am talking about those moments in the college classroom where the issue of race or black history comes up and all the white people in the classroom turn to look at the one (or two or three) black student(s) in the room.  Or, there is the moment where a certain theory or issue comes up that is so obviously racialized, but it is up to that one (or two or three) black student(s) in the room to point it out, not the teacher’s role, and the room (or digital interface), of course, just goes dead silent. This seems like a story every black college graduate I know can tell and you can read about this kind of psychic warfare in countless educational accounts of black students’ experiences in schools.  I don’t think, however, we are often inclined to call and link these experiences of black students to slavery in the way Carothers has for me: these kind of moments in classrooms are simply the vestige of a plantation economy of knowledge and learning in the context of white dominance. That kind of framework pushes me to think about race and classrooms in a whole different way and question how, when, and where white children are made dominant.

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Slave Children on Board the “Daphne”

I would like to hold myself accountable to offering black students something different from this “plantation economy of knowledge and learning in the context of white dominance.”   What this means concretely, for instance, right now is that in the first three weeks of my current class, my students do print-based writing (there is an informal writing assignment due each class) that they can email or hand in to ONLY me.  They are not posting their stuff online anywhere for the class or the world to read.  I need to see, hear, encounter their racial ideologies first and take them on.  I need to see who and what I am working with first.  I especially need to see the work we will need to do as a classroom before we can educate people outside of our classroom.  It is a seeming contradiction that so much, if not ALL, of my class depends on digital spaces; yet my students are not writing in the same open, digital spaces that contains the class materials (not yet).   To put it most simply: NO STUDENT in my class will be waxing on online with anti-black comments.  I am thinking here about my first semester teaching graduate classes where white male graduate students wrote quite freely in their weekly seminar papers about how lazy black people are and how slutty black women are.  I deal with that quite readily and willingly on my own, and pretty regularly (and have been able to count on white faculty not noticing or caring).  In my second year as an assistant professor, I encountered a white male student who had text-messaged sexually vile statements to the women of color in one of his classes where students were required to put their numbers on a class-distributed phone list.  When I reported his behavior, it was clear to me that I alone— the only untenured member of the department of the time— had to work with the women to file a complaint and would have to deal with the student alone in my own class in a way that would make sure he didn’t pass my class and, therefore, lose his position in the program— a program that certified teachers to work in urban high schools.  Like I said, I KNOW I am alone on all of this but I am also very clear: such students will not unleash racial violence and distribute their texts online in digitized classroom-discussion boards or in public online spaces as part of the work that happens in my class.  Not. On. My. Watch.  From my perspective, teachers need to be held accountable for such digital texts when white men such as the ones I described go online with this stuff. It is not the job of black students in the class to challenge them, to help them, to push them, all of which, as Carothers helped me to see, is a kind of ongoing plantation logic and relationship system.   Despite the liberalism that would say everyone is speaking their own minds, it is not a democracy when black people are being dehumanized.  I am not talking about the alternative liberal universe either where we don’t talk about race at all (hence, no one noticing the ideas of white male students I am talking about except me).  What I am talking about here is a kind of AfroDigital consciousness that works against these public spaces when the violence of racism is fully alive in classrooms.  No teacher’s classroom and no teacher’s assignment are ever innocent!

My class this semester always enrolls a large number of black female students, probably more than any other class on the campus (I learned yesterday that mine is the only class about black women).  I will not expose them to students who espouse anti-black/anti-black-woman diatribes on class digital, discussion boards. I know the damage that does given how many students of color come to me to talk about exactly such experiences in their other classes (I won’t even tell you how many white students have dropped my classes, no matter the subject, after the first day seeing me and seeing my syllabus).  Black women get enough of this kind of hostility elsewhere; they don’t need more of it in my classroom too.  As we move through the semester, I strategically choose when and where students will go public with their writing—whether with the class or with the wider digital universe.  I think this is especially relevant given a kind of liberalist mantra in my field about the general goodness of all, real audiences when students write digital texts.  I ain’t tryna hear that.  I experience writing and audience in very different ways.

I want to see teachers (and in my field, this means mostly white teachers) held accountable for the epistemological violence their students inflict on black bodies.  I am not suggesting that it is the fault of teachers when their students espouse racism but when they do that espousing within a public assignment that is teacher-required, then teachers need to be held accountable.   In fact, I think it is a crucial aspect of an AfroDigital pedagogy to further this kind of accountability.  It ain’t democratic to let students say and do racism; but we can surely ensure democracy by checking them and their teachers on it.  An AfroDigital pedagogy  does not comfort and take care of white children on our newest plantations in ways that maintain racialized hierarchies.  It must achieve the opposite.

Black-Eye Peas for Native Sons and Daughters

ist2_547632_black_eyed_peasIt is New Year’s Eve and so I am doing what everyone in my own family and many other African American families who I know do: I have started slow-cooking black-eye peas in a crockpot for my first meal on January 1, 2013 to bring in good luck. Various scholars have traced multiple Diasporic histories related to black-eye peas: a pre-travel fattening process for the enslaved Africans who left Goree Island to ensure their physical and psychic survival; the legume’s symbol of abundance in places like Senegal because they grow even in drought conditions and refertilize the soil with their nitrogen; and their role as a medium of exchange for the Orisha in Brazilian Candomble.  kadirThe beautifully illustrated children’s book, Heart and Soul, by Kadir Nelson, also introduces this New Year’s tradition to children.  These days, I think about how these kinds of rituals in my family marked us as working class rather than today’s media-overdetermination that black folk who grew up poor look like the pathological sensations we see on “reality TV” (which seem to represent the imaginations of a white media “reality”, 21st century Moynihans, really, more than anyone else.)

I no longer eat red meat (I am still making a slow turn to vegetarianism) and so, today, I look to Bryant Terry’s Vegan Soul Kitchen to understand the spices and meat alternatives that will give the peas that flavor that I remember from my youth.  Terry’s book was a gift from a vegan friend who was working/cooking through the entire book.  Terry’s recipe for Baked BBQ Black-Eye Peas/Boppin John (pages 143-144…and, yes, Boppin John is the remix of Hoppin John) comes with a listing of the necessary culinary ingredients, of course, but the recipe also comes with other emotional/psychic ingredients: suggestions for reading, seeing, and listening.  Terry’s soundtrack for Baked BBQ Black-Eyes Peas is none other than “Harlem” by Bill Withers:

AngelaYDavis-442x4501The visual encounter with this dish is “Portrait of James Baldwin” by Brett Cook-Dizney.  This Portrait is part of “The Models of Accountability series” which Cook-Dizney describes as his study of people who have been avatars for social change including people such as Nelson Mandela, James Baldwin, Angela Davis, Thich Nhat Hahn, Caesar Chavez.  Cook-Dizney represents these avatars in spray paint on mirror with their written words and published texts attached to mirrored shelves at the base of each piece. The art, therefore, shifts and refracts through the mirroring of the viewer who is literally moving about and amongst the pieces. He wants us to see these avatars not as distant, abstract icons but as refractions of our ourselves.

0623The reading selection that Terry offers us is Notes of a Native Son by James Baldwin.  As he himself attests in his introduction, Terry makes these suggestions in his cookbook as part of his intention to bring the culture back to agriculture, a sure connection to the cooking and foodways of my grandmother’s generation in the rural south. I have enjoyed this book and Terry’s recipes since I received this gift.  Given the history of black-eye peas for the African Diaspora and the fact that everyone in my own family has eaten them on New Year’s Day as far back as anyone can remember, it is only fitting that Terry’s black-eye peas come with a soundtrack, reading nourishment  from James Baldwin, and a visual arts system where the avatars that have gotten us here are ones that we should see in ourselves.  It feels like the right way for Native Sons and Daughters, to remix Baldwin’s coinage, to start off the new year.

“Everyday Will Be Like a Holiday”

This year, my father gave me money for Christmas since he seems to have given up all hope of buying me clothes, jewelry, electronics, etc.  After I opened the envelope, here is what our conversation was like:

You know you put money in this envelope, right?  I wasn’t gon tell you in case it was a mistake but I figured I better be honest with it bein Christmas and all.

Oh, naw, baby, that was a mistake.  Gimme that money back.

Ima put it in the mail for you right now.  I hope it get to you, cuz you knooooow how the post office be.

That’s pretty typical banter between my father and me, especially since he is becoming more and more like Fred Sanford with each passing year.  The banter has ALWAYS been like this, it pops off very quickly, and Christmas was never an exception.  The monetary gifts are a new thing but the wit, love, and laughter have been constant.

Many academics who I know will tell me that my nostalgia is romantic or maybe even essentialist.  But these people are not usually Black.  Or, if they are, I don’t really like or respect them very much (I may as well keep being honest).  Whether or not I am romantic or essentialist, I don’t really care about these elitist labels from people who divorce their thinking and intellectual work from everyday, social action and participation in real communities and neighborhoods (college campuses, volunteerism, and nuclear family life are not THAT.)  So I am proud to say that I remember the holidays fondly.  Material scarcity did not conflict with emotional abundance. After all, it didn’t take any money for my father to grant me my one Christmas wish: to let me hear Kurtis Blow perform my favorite Christmas song, the one that got me in trouble in school because those were the only lyrics I memorized:

Now, of course, I was about 8 years old and really excitable.  You have to realize that, for my father, this was quite a sacrifice, because his favorite Christmas song was none other than William Bell’s “Everyday Will Be Like a Holiday” and he kept it on rotation all day long too, to my obvious dismay given my emerging tastes.  And I had a lot to say about it too.

Legend has it, according to my father, that my uncle (one of his 7 brothers), could sing this song better than anyone in Alabama. I tend to take that seriously, since my uncles are not ones to give you a compliment when you do NOT deserve it and will, quite forthrightly and loudly, tell you when your skills are lacking.

There were, of course, commercial breaks from my father’s rotation of William Bell’s song.  That was when I would hear Charles Brown’s version of “Merry Christmas, Baby.”

Or… there were also times when I could hear my favorite “old-timey song” (as I called it back then) that my 8-year old self was willing to tolerate without loud objection: Diana Ross and the Supremes doing “Twinkle, Twinkle Little Me”:

Now let my aunts, my father’s seven sisters, tell it, ALL of them can sing this song better than anyone anywhere.  I have heard them sing: I think they are right.

Convinced that Charles Brown was a woman with a scratchy voice, I always loved this line, my all-time-favorite Holiday words: “Well, I haven’t had a drink this mo’nin, but I’m all lit up like a Christmas tree…ooooh.”  At eight years old, I had no idea what these words meant but I could recite them.  And I could talk a lot of stuff too about all this holiday music that just sounded way too much like what my father was always playing: Motown, Soul, Blues… just…too… much! Like I said, I was young with questionable musical taste.  But if you were visiting my house, you would hear William Bell playing all day too.  And, before you walked out, you’d be twinkling, all lit up like a Christmas tree, and you might get some banter in between too (once again, I’m just being honest here).

As I closed out my 2012 Winter Solstice observance, I find myself nostalgic and it is a nostalgia of the utmost significance to me: it reminds me that in the midst of the most savage oppression, we can demand and participate in our own humanity.  We can laugh and help a little girl inject her generational, Black aesthetic into the groove and we can create an environment that sounds like love even when the rest of the world won’t sound that for us. These days I see these moments as incredibly radical.   Maybe that’s why my father liked William Bell’s song so much: maybe the challenge really is to make everyday like a holiday.   I’m glad my family gave me a set of memories and dispositions to point me in that alternate direction.

“The Cypher is Forever” (Fall Semester Ends…)

Da_Brat-stunning_thumb_585x795This fall semester is now officially over: the last individual meetings are happening now; the final projects are due today; and Jack just stopped by with his Finals-Week-Full-Beard in Full Effect!   (You know the semester is over when your students talk about going back home to sleep and shave.)

Like I have said before in this forum, this is my first time teaching the class, African American Literacies and Education.  Together, with the use of Jigsaw Reading assignments and literature circles (see course introduction and syllabus), we have discussed more than a 100 texts related to histories and polemics of race, black cultures, people of African descent, and literacy.  When I walk out into the library, I see laptops and stacks of those texts everywhere and students so focused, they don’t notice me walk past.  Yes, the end is here!

For lack of a better way to say it, the students in this class were always “good sports.” Whatever pedagogical concoction I had going for the week, they smiled and tried it out.  My favorite experiment of the semester was the chart-making we did during the week that we read and discussed Adam Banks’s book, Digital Griots.  Writing on the walls via charts and colorful markers tends to always make its way somehow into my classrooms.  On this day, I wanted us to really unpack what Banks was defining and theorizing as the intersection of digital/griotic traditions, African American rhetoric, and multimedia composing in the 21st century.   Equally important, I wanted an initial, full and equal discussion representing every single person/voice in the room.   Instead of having oral conversations, we had visual/charted conversations to jumpstart the discussions of the evening.  What I liked most was the verbal creativity students spit on the walls and the shower of words, images, and symbols we had created in relation to and with African American rhetoric, right there in the classroom.

In three different areas of the classrooms, I taped (very large) charts to the walls.  Each corner had a different discursive function, a different sentence for each student in the class to finish on the chart itself, and each student was expected to rotate the room and add their sentence “tag” somewhere in each corner.  Now my students might find me overly sentimental here when I say their writing/tags were HOTTT, so maybe their verbal gangsterism can speak for itself.  The bullets below are a sampling of how it went down collectively with my sentence starters (in yellow) and their collective finish-closers (in bulleted italics):

The African American Deejay is central as a cultural figure/icon and metaphor because…

  • s/he is a constructivist, archivist, and figure who provides access to people who were never supposed to receive the message in the first place!
  • s/he blends cuts for listening and feeling to give us history, technology, purpose, commitment AND tools of persuasion.
  • she molds space, takes it, interprets it and brings all that into the future for her people.
  • she re-sparks the interest in and for her people.
  • s(he) brings a different lifestyle to the world, representing those that live it, keeping it current and liquid, while bonding it to its people.
  • the digital griot moves past just deejaying and makes it a form of pedagogy that links Black language to the people as a new technology.
  • they make the co-existence of “the contradictory, overlapping, open, closed, and fluctuating systems of exchange” into art.
  • she creates direction and guidance for new thinking and social unity.
  • they rock the party and set the mood.
  • they are a living symbol of what African American literacies do.
  • they reactivate black participation.
  • it’s in the mix that the story gets told… and the sequence determines how the crowd moves to it.
  • he/she studies the people’s passions, reconfigures their perspectives and their experiences and motivates them to mobilize/move.

Putting this concept of a digital griot, into words, basically taking a book and reducing it into a sentence or a 1-hour discussion was not so easy so I was hoping this collective showers of words pasted to the walls in the room would add the necessary dimensionality.  Here is how that looked (my sentence starter is in yellow and students’ collective finish-closers are in bulleted italics).

Digital Griots are…

  • the spaces and spacemakers that have a humanistic, individualistic, communal approach to knowledge, knowing, and writing.
  • activists with a digital groove.
  • the manipulators of technology where the keeping of history is maintained for positive sociocultural recognition, change, and advancement.
  • ethically responsible, constantly searching, provocative seers.
  • modern-day perpetuators of oral tradition, storytelling, and time-binding.
  • interactive archivists.
  • my uninhibited space-makers who let us exist without judgment in real and protected ways.
  • liberatory Lil’ Jon.
  • the new school transmitters of new Black narratives.
  • the modern-day storytellers who bring “back in the day” into the right now.

And of course, there was my favorite corner: the re-mix of the SAT analogy! Yes, we can re-mix that too!  (My sentence starter is in yellow and students’ collective finish-closers are in bulleted italics).

The African American Deejay/Digital Griot is to the multimedia age what _________ is to ___________:

  • collard greens are to cornbread: always integrated and soul/body-sustaining.
  • parents are to children: conception and birth.
  • grandparents are to parents are to children: past, present, AND future.
  • head chef/big mama is to the kitchen.
  • red bottoms are to stilettos.
  • new kicks are to my favorite dress.
  • Jazz is to America.
  • voice is to words.
  • the pastor is to the church community.
  • Marvin Gaye is to Taleb Kweli.
  • Nikki Giovanni is to Jill Scott.
  • line break is to poetry.

In many ways, this was the kind of intellectual and political energy that students were pushing themselves to write and think into all semester as I read their response papers each week.   This sampling of my students’ writings on the classroom walls encapsulates the semester quite well for me.

I am thinking now about conversations that I had with two students, Cassandra and Ancy, in my office this week, namely that African American Literacies, Black Language, right living, just schooling, and racial equality are not just the subject of study: it’s how we must remember; it’s how we must remember to live and act and fight.

I opened the semester talking in my syllabus how I once missed the mark (i.e., my artwork/essay showcasing da Brat) with my high school students to fully examine and center African American Literacies as a practice and lived theory.  As to whether or not I hit it right this time, well, I will need more time and space to reflect on THAT.  All I know right now is this semester’s focus on African American literacies and education came with an important message about what that work means: Lateef’s reminder in class a few weeks back that… the cypher is forever.

So to: Ancy, Cassandra, Dan, Dani, Daniel, Fedaling, Jack, Jeanette, Jenn, Lateef, Laura, Nancy, Nick, Princess, Regina, Rory, Sammantha, Stephanie, and Torrie… much love and gratitude to you all for sharing a classroom space with me this semester!