Love, Patriarchy & Capitalism: Prototypical

heart-of-moneyThough I don’t talk much about relationships on this site, intimacy is as political as anything else.  Relationships, families, and  co-habitation are mediated by a stunning marriage of patriarchy and consumerism.  So much of the partnering that I see seems to work like business ventures: dating is like making an investment and getting the right woman/man is like selecting a good stock option. Heterosexual women are considered accomplished when they find a benevolent patriarch (i.e., Steve Harvey) who will protect and provide for them even if the women are as dumb as hell (which, for patriarchy to work, is usually most desired).

Our language often reveals just how difficult it is for us to re-script these kinds of relationships. Here’s an example. An acquaintance (we never spent any time together so I can’t call him much else) once called me, in a very round-about way, his “prototype”, emboldened by Raheem DeVaughn’s cover of Outkast’s problematic song (a man celebrates that he has fallen in love AGAIN and is grateful that he has now found his “prototype” because if things end, he can presumedly be better at falling in love… AGAIN.)  I’ve never been impressed by this masculinist discourse. I’d be silly to think a man has called me, and only me, his “prototype”— that’s a line, not a life choice. Unfortunately, too many women might see a compliment in this foolishness. In a patriarchal system, men’s definition of and giving of “love” holds the most value, even if that really only means consumption, power, and objectification. Many might be confused by my offense here, so let me cut straight to the point: a WOMAN is not a prototype so, when in doubt, avoid any discourse that calls her a thing on-the-way-to-the-next thing.

I did tread lightly here: I didn’t even respond to this “compliment” at first, I then stated on the next day that I didn’t get the intention of these words, and then, finally, I asked, casually so, for the brotha’s intention.  No in-depth answer was forthcoming.  When I then later pressed for a real explanation while indicating that I was offended, the brotha still wouldn’t budge, talked about guitar solos instead, insisted that he meant something else without any discussion of that something else, and just got rude and accused me of not listening (and, yes, I responded back to that).  There was no apology and no reclamation of a sexist offense.  While it might seem like I am focusing on a rather trivial conversation, the larger issues of patriarchy and consumption are all tied into this seemingly small interaction.  This exchange is exactly what bell hooks talks about in The Will To Change: Men, Masculinity, and Love (there are many interesting discussions about this book amongst men; I like the way the blogger and activist, Alex Knight, describes patriarchy as terrorizing his life and emotional maturity).  When men choose patriarchal power this way (and hooks calls emotional withdrawal/withholding, etc all forms of patriarchal power/male control), there is a real danger for both men and women: men give up the ability to really love, feel, or communicate when they only take their place as patriarchs; women embrace violence by allowing male domination and power to script their daily lives.

Because the song does not re-invent the definition of prototype, it’s a problem to use this language in reference to women.  Let’s look:

Definition of Prototype
From the OED: c.1600, from Fr. prototype, from M.L. prototypon, from Gk. prototypon “a first or primitive form,” properly neut. sing. of prototypos “original, primitive,” from protos “first” (see proto-) + typos “impression” (see type).
popular definition: an original type, form, or instance serving as a basis or standard for later stages.

With this “prototype” labeling, a lot is revealed: women are types and there is one model to be molded, not that much different from people I know who have one specific kind of car that they like. The very definition assumes a manufactured object where new replicas/women will be created, distributed, sold.  It’s almost like watching the next women come down a factory assembly line and checking their parts to see which ones came out right.  480barbiesIf this all seems like a harsh indictment, I should add that this same man would do things like run down the list of: 1) birthdays or birthmonths for his ex-girlfriends, including his “baby momma” who bears the same sign as him, with almost identical birthdate (thus making them, fairly recently, the perfect match); 2) the various attributes of these women’s personalities as well as their other, um, attributes, and; 3) the various gifts he gave these women (with lists of what they liked to eat).  When MY BIRTHDAY came around, this man didn’t even remember and accused me of not telling him the date. I didn’t care so much about the missed birthday, except for the fact that I had actually told him the date— it was the precursor to his aforementioned 3-point discussion.  As you can see, he was more interested in the memories of his pre-“prototypes” and zodiac matches. When women are mere prototypes, as this case shows, they are things and so, as objects only, they are not worthy of real care, remembering, priority, or value.  I could tell more stories like this but, more importantly, this brotha would insist that he does not run game as a playa-playin’-on and that he works wholeheartedly at anti-patriarchy.  Choosing to name and relate to women as “prototypes” after previous conquests (and thinking single women just want your “seed”) is a virtual blueprint for misogyny, not a meaningful way to live, love, and raise a family.  I don’t want to suggest that heterosexual men are the only ones who treat women like commodities because heterosexual women try to manufacture men too (loving a man based solely on what he can do/perform vs. allowing him to be fully human); men just have patriarchy on their sides and, therefore, are encouraged and seemingly rewarded when they promote this system.  My point is that framing relationships outside of and beyond the patriarchy and hyper-consumption in which we live is a feat most of us are not achieving, with the various men making covers of this song a striking example.  There is a tragedy here, one that hooks continually warns us of: without the relinquish of patriarchy, even when men are tryna do right for they women, like these musicians perhaps, they still only turn women into things/objects/prototypes.

Now some people tend to think that I go off the deep end with my politics and, well, I don’t care. The fact of the matter is that we are in a system and no one’s language and actions are innocent.  I am not suggesting that all is lost, only that there is real talk AND work to do. At the end of the day, loving/being with someone beyond patriarchal violence and consumerist logic is amongst the most revolutionary and human things we can do. Of all things, love—black love— needs to be radical.

Blueswomen: Discourse & Situation

Bessie+Smith+Bessie_Smith2I just finished loading Unit Three of my course on Black Women’s Rhetoric, a unit that uses Angela Davis’s Blues Legacies and Black Feminism as a launching point for naming and defining blueswomen as rhetoricians.  I have a sense that what I will be asking students to do with black women’s music, lyrics, and performances might seem a bit strange to them, at first.  The task might be easier in relation to Bessie Smith or Ma Rainey, but I suspect it will feel stranger when we begin to look at contemporary artists who I think operate in the same tradition.  The main task will be for students to listen to and feel the contemporary songs they may already know but in a way where they can understand that there is an urgency underneath what might be regarded as mere romance, especially when we witness the live performances.   That is what we are trying to claim for rhetorical analysis.

A black feminist theorist prompted me to really start thinking this way.  Here I am talking about Hortense Spillers and this quote:

What is it like in the interstitial spaces where you fall between everyone who has a name, a category, a sponsor, an agenda, a spokesperson, people looking out for them— but you don’t have anybody.  That’s your situation.  But I am like the white elephant in the room. Though you can’t talk about the era of sound in the U.S. without talking about blues and black women.  You can’t talk about the era of slavery in the Americas without talking about black women, or black men without black women and how that changes the community— there is not a subject that you can speak about in the modern world where you will not have to talk about African women and new world African women.  But no one wants to address them…  I mean we really are invisible people.  And I just kind of went nuts.  And I am saying, I am here now, and I am doing it now, and you are not going to ignore me… ‘whatcha gonna do?’ [italics, mine]

For me, Spillers gets at what it feels like to be a black female academic/professor with some real soul-crushing and soul-reviving insights.  She really hits this nail on the head and drives it all the way through for me.  Her words make a difference for someone like me who is coming behind her and reading her; she helps me read my situation as a black female academic and understand exactly where I am.  “But you don’t have anybody.”   She ain’t never lied on that right there!  When I think back on the colleges where I have worked and many intellectual spaces where I do my work, there has been no one who has been down for me— no sponsor or spokesperson in my corner anydamnwhere!  And outside of my closest sister-friends, this is, just as Spillers says, my “situation.”

Now Spiller’s points might not seem like they would ever have anything to do with contemporary musicians and what my students and myself are talking about in unit three of this semester. Nonetheless, it IS related.  When I first, as an example, heard Goapele‘s “Tears on My Pillow” on her latest album, I felt like I was hearing and witnessing Spillers’s words and message all over again.  It’s that part where Goapele says that the tears she has shed were all in vain, no one ever really cared because she was all on her own, she had to just move forward from there. Goapele is obviously talking about a romantic relationship gone awry here.  Though Goapele’s individual romance/relationship may not carry the political urgency of the issues Spillers describes, Goapele’s song DOES certainly carry the weight and feeling of the world that Spillers delineates.  In this case, “I was crying in vain” resonates its pain, social implications, and impact from within that same lens that Spillers describes so damn well: “But you don’t have anybody.”   The issue of which women’s tears do and do not matter is also not neutral here.  I have in mind Karen Dace’s essay, “What Do I Do With All of Your Tears,” that describes the privileged treatment that white women receive, oftentimes at Dace’s own expense, each time they cry publicly in professional settings.  It is a kind of caring and centering that Dace, as a black female professor/administrator, knows better than to expect; to no one’s surprise, I have also witnessed the parting of the seas (especially by white men) every time a white woman cries at every white institution where I have worked.  So, yeah, Goapele has it right: her tears will do nothing but land straight on her own pillow.

My students are young and may not extrapolate such meaning from a song like “Tears on My Pillow.” But they have seen this thing I am talking about with their mothers, their aunties, their godmothers, their grandmothers. What I hope is for us to see that this is a unique and serious social and political location from which to understand black women’s discursive productions, even when they are talking about the relationships that they desire and/or must leave.

Remembering PhDivas…

C-DayToday, I celebrated my birthday with family and friends.  I like the day to be one where family and friends cocoon one another so I went with my mother and friends to my favorite Mexican restaurant in Manhattan.  In the section where we chose to sit, we were near two large Latino families, a Latina lesbian couple, a group of late-20-sumthin, beautifully adorned black women who commanded the room’s attention, and a group of Jamaican women my age who gave the most exquisite analyses of the problems with black men I have ever heard.   My Indian waitress was very fly and kept my favorite drink flowing, the restaurant’s specialty Prickly Pear Cactus Margarita. James Brown, Lakeside, and Julieta Venegas (especially my favorites,  “El Presente” and “Me Voy”) bumped in the background. It was a perfect New York City outing— I am convinced that you really just can’t get this kind of mix anywhere else. Though I certainly should not have been thinking about work as I celebrated, I found that I was, most specifically in relation to my course that starts next week on Black Women’s Rhetoric.  Friends, work, and birthday seem to coincide for me this year.

My two closest friends from graduate school— more affectionately known as Honeijam and Yoyo— are two people who I am thinking about most.  I don’t really know how we decided to start sending each other lavish birthday gifts, usually art or rituals for self-care, but I know it started in graduate school and continues today.   We were the only women of color in our cohort in graduate school and we made a pact to one another that we would finish the coursework in three years, plus two more years for the dissertation.  We called ourselves the Ph.Divas! I was the most unbelieving which probably accounts for the reason why I was the last to finish in our final year.  Honeijam was no joke and got in your face all the time and was, unsurprisingly, the first to finish.  Yoyo bridged all communication and birthed a beautiful baby girl at the same time that she birthed her dissertation.  Baby Diva was in full Diva attire at our graduation ceremonies.

We kept our pact to one another and I know that I would not have made it out if it weren’t for them.  The alienation and hostility that you can encounter as a black woman in graduate school is very real.  It is still all too common that you don’t see anyone who looks like you; and no one from your history or background is included in the books you must read for your classes and exams. Yoyo and Honeijam were my buffers.  That’s what we did for one another.  It extended beyond mere support during coursework and dissertation writing though.  On one occasion, during the writing of my dissertation thesis, I just couldn’t pay the fees required to maintain matriculation with my 36K/year job as a college instructor with a 5/4 load.  This meant that I couldn’t access the library or the other campus spaces/documents that I needed. By that time, I had inherited a house that was a fixxer-upper in a crack-neighborhood that no one wanted to live in at that time, to put it mildly, from an engagement that ended very badly.  I was learning how to be my own contractor, putting up dry wall by myself on the weekends, teaching, and doing graduate school, all at the same time, pretty much with a broken heart the whole way through. I had no family in the area and no family with the funds to even ask for twenty dollars, much less a personal loan.   Any extra penny went to a bucket of paint; credit cards had to be kept clear to do things like fix the roof before it caved in.  In that context and in New York City, that 36K meant cup-of-noodles pretty much every night.  I went to campus one day to try and arrange something when I couldn’t access anything anymore because of my unpaid bill (you cannot enter doors of any building in NYC without ID).  The desk help just looked at me like I was crazy.  “Your bill has been paid”  the woman told me.  “What?!”  I asked her to look again and then the light bulb went off: the Ph.Divas paid it!  I was right and it was like pulling teeth to get them to allow me to pay them back and it’s not like they had the extra funds themselves.  I could tell countless stories like this about my Ph.Divas— like the time I was really sick, immobile, with no food in the house, 5 dollars in the bank, and no energy to walk to the store to get even 3 dollars worth of something. My then-boyfriend was, of course, nowhere to be found.  All of a sudden, I heard a knock on the door and there were the Ph.Divas with groceries and then just went to town in my kitchen and on me until I felt better.  That was what graduate school was like: three soul-sisters who pulled each other through.  It feels like every conscious black woman that I know can tell this kind of story about their sisters.

Happy C-DaySo, yes, this is what I am thinking about as I plan my class that meets this week and as I end today’s celebration. I often have my students do presentations where they have to do rhetorical analyses, not of famous activists but of black women they know or are somehow part of their lives (this includes popular culture).  I don’t think I have been so good at helping students see that the everyday practices of love, care, and sustenance that Honeijam and Yoyo embody as black women are black women’s rhetorics.  I mean rhetoric here as something much more than the persuasive style to move an audience towards your goals.  I am talking about a disposition where the most maligned group effects a kind of shift, an alteration of the geographies of white privilege, where you imagine and enact an alternative future and way of being human.  It is a counter-ideology that manifests itself in the daily workings of making a black woman’s life possible in settings where that life is not welcomed.  I don’t know how to communicate that to my students other than to tell them the stories of my Ph.Divas.  One of the best parts of my birthday today was my reminder to do so.

If My Syllabus Had a Soundtrack…

segment-of-urban-graffiti-wall-showing-letter-sOne of my fondest memories of junior high school was passing notes in the hallways at the change of classes.  We signed our notes with one big letter “S” instead of our government names. The “S” reflected the following label we gave to ourselves: Super… Sweet… Soul… Sonic… Sister.  And we knew who the other was by the design of the “S.”  Now, of course, we jacked some of that language from Afrika Bambaataa and the Soul Sonic Force, a force which we fully claimed as our own. I laugh when I think back on that and how we tried to get some kind of sound into those letters we wrote, usually by including, at least, some lyrics.  Though no one would have thought so, those notes that we wrote to one another were more sophisticated and interesting in their centering of multimedia work than most of what I see in classrooms today.  The idea that classroom spaces could and should include both visual and aural artifacts still escapes most of us.

Fall 2012 was the first time I decided to really situate my teaching in a digital ecology, hence this website.  I have never considered a university’s corporate technology-package a digital ecology of anything except capitalism so I wanted to think about what an alternative might be.  I taught a graduate class so there was still a good deal of print texts but we mixed in multimedia texts into the weekly seminars.  This semester, however, I am teaching a class called African American Women’s Rhetoric and I plan to fully explode what is available on the internet because the texts of this course are very multimodal.  What this means is that I am right back where I started in  fall semester 2012 with these same, central questions:

I feel more confident that I can create a visually-rich learning space for students.  Most of what I have in my head visually, I do not have the skills to get onto the page here though— so “confidence” here is really an overstatement. Yet and still, at least I do have something in my head.  I do not have the confidence of creating an aurally rich site though. It is simply not my strength in the sense that I am not a musician, music theorist, or sound technician.  Of course, I play music, in every class, in every semester that I have taught, but that is too basic for what I mean here.

FrontWhen I asked this question about aural learning and attempted to have this as a public discussion at my university last fall, I distinctly remember a few of the white faculty laughing (and later making jokes for what kind of song I could use on my website, as if they might ever know enough about black music to even step into my office with a suggestion).   Clearly, I do not consider myself, my scholarship, or my questions about digital spaces for youth of color an issue of humor or comedy.  These faculty members seemed to think it was a funny thing to interrogate the meanings of sound in digital spaces as irrelevant or esoteric to the concerns of teaching, technology at our university, and to a multimedia age (yes, this is an absurd response to sound, as in… M.E.D.I.A…. A.G.E… the irony has not been lost on me).  I highlight the fact that these faculty were white, most of whom are compositionists, because I hold their sentiment in stark contrast to what I see as a clear-cut fact: every BLACK revolution, rebellion, resistance movement has been sounded. I mean, after all, Afrika Bambaataa chose to create a soul sonic force.  So what might it mean, look like, sound like to teach a class about African American women’s rhetoric and include the music and the sound of black women’s voices in song, music, or speech in deeply contextual ways?  What might it mean to teach a class, with the large numbers of black female students I always have, who probably have never HEARD black women in a college curriculum because white faculty think that’s a funny idea, even in the multimedia age?  I am clear what side of the revolution these white folk are on and I am clear that I need to get me and my students on the other side.

This clarity that I have here, however, does not mean that I know how to do what I have in mind or how to even think things through differently.  So I am reflecting today about what we were doing as Super, Sweet, Soul, Sonic Sisters. We didn’t just play songs for each other— we took the music and the concept to craft an identity.  That’s what I am thinking about now.  How can this class create an identity with sound— a soul sonic identity?  How can this class embody its own sonic rhetoric as a way to investigate the sonic rhetoric of black women? Students have often told me that they create a playlist with the music from this class so how can I be more deliberate about my syllabus having its own soundtrack?  Needless to say, I have some work to do… and no part of it will be a laughing matter.