Witness to the Archive

[ezcol_1half]

From One Black Home…

Since my father (unlike many of my OTHER family members) does not read this blog or any blog and hates the internet, I can tell all his biz’ness here with impunity.  I will use him here to think about digital archiving and its implications for my classroom.

DuctWorkAs I seem to always stress, my father’s working class status and disposition have never meant intimidation or lack of confidence, as many seem to associate with working class folk of color.  As a heating and A/C specialist, he works in many homes/churches/companies to install heating ducts, central air, etc.  If it has a motor, engine, or some such, he can fix it …BUT if you start telling him what he should do when it is obvious that you have NO knowledge or scientific background with the task at hand, he will nod, tell you to do it yo-damn-self since you know so much, pack up his stuff, and walk right back out the door. If you can’t see that he has knowledge and a skillset that you NEED and do NOT have, he ain’t dealin with you.  Ever. If you don’t know how to talk or respect someone like him, well then he ain’t gon give you the time of day.  He will watch you freeze to death, quite literally, without a morsel of regret.  It should go without saying: I think this is one of my father’s greatest attributes. I aspire to be like him each and every day!

And this is where technology comes in.  Just so he won’t forget your dumb behind, my father will add you to his archive, a routinely UPDATED database (names and all possible phone numbers) of people who shouldn’t get any answer when they call. He prints these out and posts them by the phone and at other strategic locations. He has other uses for technology like keeping up with sports stats and staying in touch with his 14 brothers and sisters, but maintaining his database is a main priority. I love to dig through the database rather than just read the posted lists because it gives so much more detail.  I am wildly entertained by the new names and the things folk have pissed off my father about.  I even like to issue warnings: “watch out now— you bout to get on the list.”  Hours of entertainment right there!  I don’t have a database like my father’s, but these days, I am certainly considering it and have plenty names and attributes ready.

[/ezcol_1half] [ezcol_1half_end]

…to Other Black Homes

aretha-franklin-ebony-2As a child, I often went on jobs with my father.  Yes, I enjoyed when he would get mad and leave because, then, I could do my special dance on the walk to car: a bop to match our walk, quick pause every now-and-then for an “in yo face” side-to-side head bap, and then bop to the car door some more.  On the occasions where we stayed, I loved that too. I got to sit down and read Ebony, Essence, and Jet magazines and, since I was appreciative of the content, I was always given access to the stash of back issues that were always stored somewhere close by.  No one threw these out— they were archived as data of our lives.  And, yes, I consider these archives, NOT collections, ones that were freely accessible.  What was the point of collecting black wisdom if you weren’t going to share it?  I loved flipping through the well-worn pages and seeing which articles were the most read.  That’s where I would sink in.  Of course, those times do not match the politics of these magazines now, but they once offered dynamic polemics of and representations into black life.jet-1960-08-25

With every fix-it job that my father did, I was immersed in some kind of an archive.  It is a memory that I would like to carry with me as I imagine how to re-frame the annotated bibliography that is part of the freshman comp curriculum in my program.  While the digital component of my assignment was clear enough (students had to create e-pages for different kinds of websites, articles, videos, etc), I didn’t make the scope and purpose critical enough.  Archives help you live your daily life; they are not just the purview of privileged digital scholars who use the newest tools to (re)center the same white actors of history and aesthetics.  I needed to offer my students the opportunity to create their own archive of knowing and I needed to allow them more control of what that should look like and do.  Once again, it is a black framework that gives me this new approach and disposition.  I am never without a model in this newly technologically automated world, even for alternative archives.

[/ezcol_1half_end]

Self-Determined: The Final Four

[ezcol_1half]

Since Cyber Monday, I have been on a quest to find children’s book that positively reflect Christmas in the context of African American cultures, children, and families.  It started out rough but ended well. 

Since today is officially the second day of Kwanzaa, the day of Kujichagulia (self-determination)— my favorite of the Nguzo Saba–– it  seems appropriate to share my other favorite books from my Cyber Monday adventure today.

Addy’s Surprise

ASI have never followed the American Girl series.  I think it’s because of those scary-lookin dolls that they sell. I knew of Addy’s Stories but have never followed the work of Connie Porter.  That changed this Cyber Monday as I began to take a closer look at the series, especially the one that focuses on Christmas, Addy’s Surprise.  I love the way the little girl and her mother are described in the cold winter of Philadelphia, as well as Addy’s concern for her family who is still enslaved.  Christmas here is, obviously, not about toys and things, but all about the passions and joy of memory and care.  I have not finished the entire series yet, but plan to do so.

Waiting for Christmas

waitingThis is a beautifully illustrated book by Jan Spivey Gilchrist and written by Monica Greenfield (daughter of noted author, Eloise Greenfield). It is the poem-story of a brother and sister on the days and nights before Christmas: playing in the snow, sitting with family at the fireplace, decorating a tree, and finally being able to wish everyone a merry day.  I enjoyed the short poem-story in its brilliant simplicity along with the beautiful renderings of this sweet little boy and girl.

[/ezcol_1half] [ezcol_1half_end]

Mim’s Christmas Jam

MimThe name, Pinkney, looms large in African American children’s literature. Jerry Pinkney, noted watercolor artist/illustrator, is the father of Brian Pinkney, whose dynamic use of scratchboard has become his own signature style in children’s literature.  Andrea, an editor-writer, and Brian married and have created a virtual canon of children’s literature.  Mim”s Christmas Jam is one noted example. The story begins with a young brother and sister, Saraleen and Royce, fondly remembering their Christmas traditions with their father who will not be with them to celebrate.  Their father must work in New York City to build the subway, rough and dangerous work that offers no vacation.  They send their father his favorite treat in the world, their mother’s special Christmas jam (a recipe is included in the book).  The jam is so sweet that even their father’s bosses are inclined to give workers the day off for Christmas and with that, Saraleen and Royce, receive their Christmas wish: the return of their father.

Christmas Makes Me Think

christmas-makes-me-think-tony-medina-coverLast, but not least, is Tony Medina’s Christmas Makes Me Think. Medina captures the way a little boy experiences all of the wonders of Christmas: the joys and contradictions.  The little boy, the narrator and source of consciousness, offers a compelling viewpoint.  He cherishes helping his grandmother bake a chocolate cake and seeing the tree and presents in his home.  But he also questions the desire to cut down trees and kill animals to serve on the table.  As he thinks about new gifts and the things he already has, he wants us to notice the homeless and poor who have nothing while he has excess.  Christmas makes him think… about other people, not just himself.  It is a wonderful message told from the voice of a young black boy who is one of the most believable characters I have seen!

[/ezcol_1half_end]

The Last Day of the 2013 Winter Solstice!

SolsticeI have fond, childhood memories of this time: the kitchen of the aunt who helped raise me and the joy and laughter everywhere when we were stuck inside in the Ohio, winter months. I have memories of my cousins, the single mothers, who always talked to me like an adult even when I was really young, explaining how they planned and saved money for their children’s gifts beginning in July and August.  They were all struggling in all kinds of ways but always saw to it that their children would smile every Christmas morning (it was only as an adult that I figured out that my mother was doing the same.)  It wasn’t about the gifts ever, just surrounding their children with the kind of wonder and awe that poor people are not supposed to experience. The financial planning that working class/working poor single mothers did back then during the holidays (no one I knew had credit cards) represents a financial genius that could re-organize our collapsing economic system, if that was what we really wanted!  A working class, single mother who is doing it all on her own, without the social imprint of needing male (sexual) attention or patriarchal protection, has a formidable skills-set, at this time of the year and every other time. So every year around now, I especially remember these women.  I certainly see and appreciate all of the listings of suggested eco/cultural/conscious gifts to buy during the holidays, but I also remember an anti-capitalist analysis of the greatest ploy in the Western world to keep today’s working class in debt.  It was young, working class black single mothers— my very own cousins who made me into the little sister who would carry their heart’s torch— who gave me this political lens.

At this time of year, I also turn my gaze to the Winter Solstice, thanks to the help of a college friend a few years back who has shared some of the most significant spiritual insights with me. Now, let me be clear. I am no Solstice Purist, Expert, or ardent Practitioner.  There have been times when I try to get out of Solstice work by seeking an astrological reading.  The results usually tell me that I’m stubborn, stank, and sometimes rather unyielding, things I already know.  I don’t get much from this information other than, perhaps, a justification for why I have a tendency to yell at folk in the NYC subway: “get…YO… a$%… out… the… way!”  (I mean, really, you canNOT stop and answer a text message on a subway stairway when 50 people are coming full force behind you!)   I have, thus, figured that I can’t really replace the opportunities that the Winter Solstice provides with an “astrological reading.”

The Winter Solstice takes place this year for four days and four nights, December 21 to December 24 (according to nautical calendars), the time when the sun is at its southernmost position. This is that time when the sun rises at the latest in the day and sets at the earliest of the entire year. The day is shortest; the night is longest. For the Ancients in Kemet, enlightenment is literally written into the cosmos, in this very movement of the sun and stars. Light gradually increases in the winter sunrise, hence, offering a kind of spiritual rebirth. This means that you can use the time of the Winter Solstice to discover your purpose and realize true spiritual power, but only if you slow down and tap into it.

9067250My ideas are shaped mostly from Ra Un Nefer Amen who makes a plea for intensive meditation during the Winter Solstice when the gates between the spiritual realm and the lived world are open (by spiritual realm, he means spirit, subconscious, or even what Jung called unconscious.)  Though I am not following his prescriptive formula for meditation at the Solstice, Ra Un Nefer Amen’s teachings seem invaluable, namely that we often live out a toxic program that we intentionally create for ourselves.  We are not passive onlookers of our own lives and instead invent and design our own programs of stunning self-destruction with the choices we make: how we spend our money, who we choose to have intimate relationships with, how we treat our bodies/our health, and how we approach or stall our work/career.  Since spirit carries out the behavior that manifests these negative things in our lives, then spirit is what we need to work on.  What makes ancient cultures important here (Amen’s focus is on Kemet) is that they believe the Winter Solstice was the time that the spirit could receive a new message and, therefore, discard old, toxic programming.  Getting rid of a toxic program is not an easy thing, a feat few people ever really achieve (and spend a lot of money on therapy for), hence, the importance and weight of the intervention of the Winter Solstice. These are all, of course, very simplistic lenses into what Kemetic philosophers like Amen believe and say, but you see where I am going here.

My Christmas TreeMy ruminations here on the Winter Solstice might seem strange or even offensive to friends who are, on one side, atheist or agnostic, and, on the other side, deeply committed to their specific church or religious doctrines.  I myself have not been fully acculturated into these belief systems and do not go any deeper than what I have said here. I intend no disrespect to anybody, only the suggestion that the ways the Ancients saw these coming days, the axes of the sun, the value of deep meditation, and the general process where you slowwww down can’t be all that bad.  I can’t see a more pressing need for exactly such a practice when all anyone seems to be doing now is spending money, accruing debt and interest on charge cards, running around frantically, or being angry at hyper-consumerism.  This seems like the best time for me to be tapping into who I am and all that I can still become.  Though I couldn’t articulate it back then, I now see the working class/working poor single mothers who cocooned my girlhood as women who must have been able to tap into a powerful site where their spirit resided.  Yes, they used their youth, radical black female subjectivity and working class consciousness to read their political environments brilliantly, but they also lived their lives from a powerful center/spirit.  There is just no other way that you can move the kinds of mountains they did without that.  As I finish my last days grading and work towards the challenge of reconnecting with my own spirit, I’ll be thinking of them.

Black Language Matters: “I Ain’t Got No Time For That,” Sweet Brown, & Other Black Rhetorics

There are times when talking to my poet-friends is just so difficult.  You’ll say something and it will remind them of a memory or a line they had in their heads, so they will just interrupt the conversation and start writing.  You can be in the middle of dinner, talkin about sumthin real intense too, and then, all of a sudden, BAM, they stop cold-turkey and write in their notebooks.  I suppose I annoy people too, because I am always delighted by and stop dead in my tracks for African American language patterns. I  can get as enthralled by the content as the language and start crackin up at the ways my friends say things, not because it’s funny, per se, but because of their cleverness and verbal dexterity. I can’t help but trace the deep, sociological specificity of how, when, why, and where a term or expression is used.  “I ain’t got time fa dat”/“I ain’t got NO time fa dat” is one of my favorite expressions, interchangeable with: “aint nobody got time fa dat” or “aint nobody got time fa you” (a few expletives might also come.)  This expression is certainly not new since I have heard elders use it for as long as I can remember, so I suspect that my age and current circumstances correspond to its new frequency in my discursive toolkit.

Sweet Brown from a White Perspective

Sweet Brown from a White Perspective

For many non-Black folk, the first time they noticed this expression was from the now infamous, internet-sensation Sweet Brown in early 2012.  When Sweet Brown escaped an apartment fire in Oklahoma City, she told the local news that she left, without shoes or clothes, and ran for her life.  After then explaining that she has bronchitis and the smoke was getting to her, she proclaimed: “Ain’t nobody got time for that.”  From that point on, the memes and remixes ridiculed her, circulating her last words seemingly endlessly, with of course, an incessant focus on her headscarf.  Ironically, with all that arrogance and surety that she was saying something simple, none of these folk were smart enough to actually know what Sweet Brown was articulating: about the apartment building, about her life, about her health, and about her social circumstances as a black woman.  The time spent on caricaturing her voice and look was appalling, though she SAID she ran out the house unable to even put on shoes. And, true to white appropriation, not a single meme used the expression correctly.  Most of these folk even thought Sweet Brown INVENTED the expression.  Unfortunately, not enough black folk saw the light either.

Sweet Brown… Through the Fire!

Sweet Brown… Through the Fire!

The use of “that” in “I ain’t got time fa dat” is never solely about a specific event you simply cannot attend or that causes an inconvenience for you. “That” means pure foolishness, the kind of mess you should not have to waste your time, essence, energy, and spirit on.  If someone asks me if I am going to a certain event and I say, “naw I ain’t got time fa dat,”  I am making a criticism of the event, the people involved, the ideas being promulgated, and the social world being maintained.  I am NOT talking about a conflict with my schedule, calendar, or date book!  On top of that, I am proclaiming the worth of my energy and attention in relation to the sponsoring person, event, or issue.  It is a public declaration aimed at re-assessing the worth of the speaker and the listeners who she is trying to define the world for and with. I see black folk everywhere publicly proclaiming who and what they don’t respect with this obvious phrase and yet so many miss the meaning.  I mean, really: you can tell folk to their faces that you ain’t feelin em too tough and they will think you are talking about your dayplanner!  In the words of James Baldwin: “If Black English Isn’t a Language, Then Tell Me, What Is!”

Of course, it goes deeper.  It also depends on HOW you say it.  We can gender the term too.  If you are a love interest (with the interest coming more from your end than mine), and I say “ain’t nobody got time for you” in an annoyed way, look you up and down, and roll my eyes, I am telling you that: a) I am not ever going to be interested in you; b) you are stupid, AND; c) your momma dresses you funny.  Yes, all that from 6 words.  If I say this about my boss, colleague, or some fool with a title or “authority,” I am calling them stupid and useless to my life, other than as another source of oppression, which I hardly need more of (which was EXACTLY what Sweet Brown was actually saying).  Yup, all that from 6 words.  This is precisely why translation exercises from Ebonics-to-Standard-English or simplistic contrastive analysis don’t work: the context of Black Language always suffers and loses depth of meaning, hardly a coincide since we live in a world where its speakers are not considered people who produce deep sweet brown meanings either.

It goes deeper still.  Since the expression always uses the word time along with any variety of emphatic double negatives, we have to notice how time is configured completely outside of a western norm.  The use of time in  “I ain’t got time fa dat” does not reference the here-and-now alone.  This means we need to turn to all that AfroCentric stuff that white academics and their bourgeois allies of color think is so, so far beneath their high-brow western theories of their western selves.  This expression is based on an Africanized notion of time! Time here counters the run-til-you-are-ragged hustle under hyper-consumption and neoliberalism.  And yet, the expression also makes time cyclical, non-linear, and, therefore, more of the spirit than of the temporal body (maybe even something like habitual be).  Given its Africanized originary impulse, its place as a marker of oppression, and its circulation in the context of white institutions, it is a markedly black expression, not simply because black people have produced it but because THEIR EXPERIENCE has produced it.

It didn’t surprise me that folk couldn’t see depth into what Sweet Brown was saying and opted for black-face performances instead.  Academics/scholars who imagine themselves to study language or rhetoric don’t do much better either.  They too, and proudly so, take a white framework and simply apply that to black lives and act as if they have created anything other than the same kind of blackface caricature of the likes of those offensive memes about Sweet Brown.  I am not suggesting that black scholars not use white theorists, since that would be stupid.  But I have also never forgotten Professor Sylvia Wynter’s warning either: that when you borrow and inform yourself, you must ALWAYS notice when race as an overarching sociogenic code of our present episteme is untheorizable/unseeable in a scholar’s work.  I like to use Black Rhetoric to understand those kinds of academic slippages and the slippin’ and slidin’ that academics do in the context of whiteness: I ain’t got no time for that.