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.

Take Care of Home…

The adinkra symbol for the "Power of Love."

The adinkra symbol for the “Power of Love.”

In a previous post, I decided to look up the Adkinra symbol of love called the “power of love.”  When I found the symbol, I also found the expression/proverb that comes with it— ODO NNYEW FIE KWAN, “love never loses its way home.”   This is one of the reasons I have always valued and learned from Adinkra symbols (including the symbol, Sankofa, which is probably the most popular): there is a moral and lesson that goes with it.  As soon as I saw the corresponding expression for “the power of love,” I remembered an expression I heard in my family and from older African Americans as a child: “take care of home.”  As I have been thinking more about it, that expression is even bigger than what I have realized.  What I am suggesting here is that these “idioms” can be theorized, on their own terms, and located in and as unique philosophies that have sustained and represented black communities.

Women pounding rice on Sapelo Island, Georgia, around 1915

Women pounding rice on Sapelo Island, Georgia, around 1915

I have heard both men and women use this expression: “take care of home.”  It has nothing at all to do with homemaking in the domestic sense.  In fact, when I remember hearing it used in relation to one’s actual physical home, interestingly, it was mostly in the context of gardening and planting.  There was always something esoteric to me about the way people talked about taking care of their collards in the back or planting flowers in the front. There is, of course, the practice and symbolism of letting things take root in the context of what was arguably the second Great Migration when my family moved from Alabama to the midwest in the 1970s to work in Northern factories.  Putting down roots would be no insignificant issue and so this was something you took pride in and this was something you took seriously.

This practice of putting down roots as a cultural system was something that began to intrigue me when I first read Judith Carney’s Black Rice.  Carney’s book blew me away when I first read it in the way she demolishes the legacy of rice in the United Sates as the face of Uncle Ben on a box at the grocery store. Instead, she establishes rice cultivation as a cultural system that traveled the Middle Passage, blossomed from enslaved Africans’ knowledge (and, obviously, labor), and became the first food commodity traded successfully across the Atlantic Ocean on a large scale.  Rice was, thus, a food whose cultivation in the South was invented and maintained solely by black people and especially black women.  Before I read Carney, I had, quite embarrassingly, not fully considered that the very systems of planting and foodways were created and sustained by slaves’ crop experimentation.  What especially impacted me in Carney’s book, what I am saying makes the notion of “taking care of home” an alternative epistemological system, has to do with the provision gardens that slaves maintained. During the Revolutionary War, provision gardens were allotted to slaves to discourage them from fighting on the British side; these provision gardens dwindled after the War but there is still evidence that many slaves negotiated to acquire them afterward too.  Carney’s research shows people who, after working for 12 hours, then went to their own small plots and cultivated their piece of earth also.  Through their crop experimentation and informal, clandestine networks for acquiring seeds and other staples from Africa, these black people in slavery gave the United States its first peanuts, okra, greens, millet, sorghum, pigeon peas, and black-eye peas.  The Royal Society, Columbia Exchange, scientific societies, and plantation owners’ farming techniques had nothing to do with the planting and cultivation that slaves sustained for the United States. Sarney shows that these provision gardens also functioned amongst slaves in Brazil and the French Caribbean.   There is obviously more going on here than mere planting, gardening, and food production; what we see are a people maintaining a cultural identity, way of living/eating, and hands-on networking with other black communities.  That a people would choose to plant their own cultural foods, after working all day in white slaveowners’ fields, astounds me.  It was, it seems to me, a way to go back home AND make a home, despite the world that told them they did not have such “rights,” a practice and process also very profound for my own black family as recent migrants to the North in the 1970s.

~

il_570xN.117698057I am still combing my memories for how this expression circulated and will probably remember more as time goes on.  I do strongly recollect that people used this expression, “take care of home,” in relation to fidelity in relationships, particularly men’s (though women obviously step out on their partners too.)  The expression is about more than sexual faithfulness though.  This might be the reason I liked the song by Dave Hollister, actually called “Take Care of Home,” when it came out in 2000.  Beside the fact that Hollister’s Gerald-Levert-esque vibe and that general Midwest-Kuntry aesthetic are just a part of me, given where and how I grew up, I like Hollister’s mobilization of take care of home” because he is not talking about fidelity either but about noticing the partner you are with and experiencing their joy as your own joy.  I think “take care of home” gets at something still deeper: something about sustenance of self in relation to others and one’s own purpose.  I am often perplexed by peers who I see with multiple partners or with one significant partner and many other “friends.”  I just don’t get how you have the time for all that.   It’s real basic to me too, it ain’t a moral or ethical issue at all.  There is no way I could finish all of the final editing I needed to do on my first book, start my new research project, fulfill my work/administrative duties, read and prepare for my new class, teach, be there for my friends and family, support and love a partner… and then have the time, energy, or spirit left to then be going out for coffee, drinks, breakfast, lunch, dinner/be text-messaging, emailing, tweeting, FBing, or calling some other dude who I barely know.  The only way I COULD even approximate all that is if I abandoned either my friends, students, family, work/scholarship, or partner.  Why would I discard one of those entities for someone I just met at the coffee shop or bookstore/library (the biggest dating cliches imaginable)?  I am just not the kind of fool to hurt and jeopardize the things I love that way.  It’s not like I am lonely with a lot of free time (or MONEY!!) so what would account for such immature, poor decision-making?  Perhaps, the sentiments I express represent a woman’s stance, not a man’s given male ego/misogyny, but, still, there have got to be men out there who are not this stupid!  Amongst many of my girlfriends and family, I have proclaimed that I barely have the time and patience for one man– so now what the hell would I do with two or more? Now there are some things that I do like in multiples: shoes, the curls of my natural hair, earrings, bracelets, peanut M&Ms(!!!), purses, books, slices of red velvet cake, songs on my “TooGrown&TooSexy” playlist, doritos… but men?  Hell. Naw.  That does not sound appealing at all.  Now in cases where such a level of commitment has been too much pressure, seriousness, maturity, or responsibility for a man, I simply assume that I need a new man, not a new disposition— something that might come as a surprise given the way the media likes to depict a single black professional woman like me as unaware, desperate, and/or without many choices. Don’t believe the hype. You need healthy boundaries in relationships to live such a life where “you take care of home,” ones that, once established, mean you are not just picking up random people off the street, abandoning the purposes/relationships most important to you, inviting any-ol’-body or any uninformed idea into your space, forging superficial closeness with people you do not know, and offering “mad love” for people and things that lack integrity.  This expression is about living your life on purpose and with purpose, even when it comes to love. And I must dutifully notice that black people, perhaps the most unloved people in the making of the modern world, have forged these highest ideals of love.  

~

Adinkra Symbol for "Wisdom Knot"

Adinkra Symbol for “Wisdom Knot”

My family also always told me two things: that a new fool wakes up each morning… and that they didn’t raise no fool when they raised me.  With these two expressions coupled together, you can see that there is an expectation that mainstream culture and values will make you stupid, reckless, undefined, and unthinking so there is a consciousness about raising a child against all that.  There is an embrace of wisdom here and a simultaneous distancing from the foolishness and non-sustainability that a socially unconscious system thrives on. nyansapoI am reminded here of the Akan Wisdom Knot, called Nyansa po, and its proverb which is roughly translated as: “The knot tied by a wise-woman cannot be undone by a fool.”  It seems worth noting that this symbol is so highly revered since it depicts someone who carries the ability to learn from her world and her experiences, a wisdom no one can undo.  I would like to think of myself as my family’s AND my history’s high-achieving student… one who is always learning and ready to apply the lessons.

There is a philosophical disposition that gets captured in an expression like “take care of home” in the two seeming opposite contexts I have described. It captures for me a kind of theoretical framework where I see black people deliberately countering consumerism, narcissistic self-indulgence, immaturity, the discarding of human bodies/labor/value, wealth as commodification, the acquisition of too much stuff (including people)— whether it is food, planting, family, or relationships.  What I see, hear, and feel in this expression is a black cultural view about purpose in one’s life AND an alternative definition for where and what love/sustenance is.

“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!

Race, Publishing & Rhetoric of Rejection

Tonight is the last class of the semester where students will be talking about their final projects, work we have been moving towards all semester in the writing projects.  Every aspect of this course— the syllabus and the weekly topics— have been pretty much made visible on this website.  And with wordpress, I can see what search terms people are using to land on the website. It takes a while for google to really “see” and list a new website so the first months and weeks of this class/website leave no real footprint to track. But, in these last two months, that has started to change.  And guess what course topic has coincided with what people search for most often?  The picture of Eric B. and Rakim at the right posted under “I Know You Got Soul”!  Thass right!  It seems appropriate that we make a note of this fact in a class on African American Literacies and Education!

I designed and proposed this course to my college more than a year ago now and this group of students are the first to experience it!  To wrap up, I am asking students to enter the fray now as researchers, with their own publication-ready pieces.  These final research projects will be graded and responded to as if they were journal articles. The options are a) a 30-page article in a research journal (print or online); b) a 15-page article in a research journal (print or online) (I ask that students not make the mistake of thinking that just because the articles in these journals are shorter, that they are somehow easier to write or that the expectations for citations, etc are somehow less stringent.  It just means that you say more in less space!); OR c) a multimodal webtext  (the target journal is Kairos and the webtext that was awarded the best webtext of the year).  Students have been working on these topics through the semester and now need to meet the following requirements:

1)    Offer a definition of and brief historical connection to African American literacies

2)    Reference and/or show how they are using Elaine Richardson’s work

3)    Have, at minimum, 30 citations in works cited AND in-text citations

4)    Use MLA or whatever style the target journal wants

5)    Show an original, theoretical position or qualitative/quantitative project

6)   Communicate methods clearly (if using human subjects, the IRB protocol number and all consent forms must be submitted)

But what I want to actually talk about tonight is getting students to really submit their works to a journal.  This means that students will have to go out on a limb and do what graduate students seldom do: let go of fear and insecurity… in other words: allow themselves to risk getting their work rejected.  There is a certain kind of exposure, a raw nakedness, with submitting work for publication when you do not have an “in” with that journal.  But if the work really moves past the bourgeois recitation of the right formulas and popular trends/tropes in the field, then exposing that work and set of ideas is exactly what we need to do.

I have been asked on numerous occasions, how I get articles published. The answer is really simple.  I don’t fret the rejections!  I just find another intellectual home for my work and, let me just say, I have heard ALL manner of foolishness.  When I have used expressions of my family, especially my grandmother from rural Alabama, I have been told that she is too ignorant to reference in academic work (these people only get away with such comments because they are protected by blind review— if I knew who they were, I can promise you that they would never say such a thing to or about a black woman ever again).  I have been OFTEN told that people are not interested in black women’s writing— “why is it even relevant” was the exact question I once received.  I have been frequently told that my work is appropriate for cultural studies, but not for writing studies.  I have been told that I need to explain why I have street literacy.  I have been told that audiences outside of the U.S. will not recognize Black culture/ Black English in my work (as an aside: the searches for Eric B. and Rakim are only written in ENGLISH 50% of the time!)  I have been told that my writing style needs to be more gentle.  These are pretty much exact quotes and not even the 1/2!  I was even told once that I do not know how to write at all (go back and check my earlier statement about blind review). With such rejections, all from comp-rhet sources, I receive a new and worthwhile, intellectual exercise: I get to confront an unyielding whiteness and nepotism in a space where not enough really criticize that.  I am grateful for all of these comments: I get to hear people’s true politics, see who they really are, and I get to find myself a better community to connect with.

So I simply keeps it movin now.  I want my students to know and do the same: if their piece is rejected at first and they really believe the work moves past the banal celebrity culture of academia and its trendy catch-phrases and, instead, confronts racism in the experiences of black folk to stall racism (rather than profit from it), they need to know now not to trip on these rhetorics of rejection and keep it movin intellectually too.  You can’t expect a world which dehumanizes black people to create an academy with a set of most white faculty and bourgeois minority allies that can then turn around and respect black folk.  And you can’t give up because white racism rejects you— it is just acting within the terms of its own logic.

So, maybe the folks landing on this website know something important: we should just take it back to Eric B. and Rakim and “hold the microphone like a grudge”… there IS a world out there willing to hear that: