Far too many of the folk of color in the organization are so wedded to their own career advancement, name recognition, bourgeois credentialing, and upward university mobilities (that often gets conflated in white liberal tropes as leadership and voice) that their critiques are, at best, muffled. Yeah, I said it and will gladly say it to folks’ face too. White folk have never been the ONLY problem. We write statements… but we do not seem to MAKE statements. The ways in which these willing tokens on NCTE’s/4Cs’ celebrity red carpet have particularly marginalized and “managed” dissent about the 2017 NCTE and 2018 4Cs have been nothing short of violent: 1) accusing boycotters of representing a do-nothing activism as if the Black Radical Tradition of a Rosa Parks/Montgomery Bus Boycott was about doing “nothing”; 2) suggesting that folk who leave the organization are “merely” or “irresponsibly” running away as if maroonage, fugitivity, and Harriet Tubman legacies are not deeply-rooted radical actions; 3) asking for more clarity and detail as if I have not been consistent or shy about an INTELLECTUAL critique of a field and its practitioners that have never included me (again, I mean white folk and folk of color). These people, especially the young wanna-be chic-radical graduate students and the newly anointed/nepotistic heirs to the KINGdom, will be out here quoting folk like Fred Moten and Robin Kelley all day long and yet enact none of their ideas (or maybe don’t have the political integrity to understand those ideas). I could go on and on. Like I said, I am disgusted.
I am not a fan of the professional conference at this point in my life. Between the expensive hotels and registration fees and the mall-like spatial feel, it just ain’t for me. Ima blame this one of Robin Kelley though—- his piece about “Black Study, Black Struggle” still resonates with me, namely his poignant argument that universities are NOT engines of social transformation, never have been and never will. If you agree with Kelley’s critiques about labor, race, and empire at the American university today, then you have no choice but agree that professional organizations— housed in neoliberalist, “non-profit” corporations that professionally organize and credential academics— are even less aligned with radical social thought and action.
Regardless of whether or not you were in actual attendance, all compositonist-rhetoricians know that its major, professional organization— the Conference on College Composition and Communication, often called 4Cs (or the C’s by many black folk)— went down this past weekend. It is no secret that many folk of color feel marginalized by that space, despite decades of activism for inclusion born in 1960s and1970s Black Freedom struggles. Quiet as it’s kept though, younger white scholars are making the same claims of marginalization everywhere that I meet them: fed up with an Old Guard who do not speak to them or to their needs, embarrassed by a new White Backlash, and unimpressed by uber-professionalized middle class comforts and happiness. Many (not all) of the chairs who organize the yearly conferences have humanized that space in wonderful ways, but that doesn’t necessarily change the organization. As a professor from a financially strapped city/public university with a heavy teaching load rather than an R1 with its comparatively unlimited funding and leisure time, the conference isn’t designed for me (given its gross expense and time commitment) or my students (given its white, middle class content) anyway.
I began experimenting with digital storytelling (DS) in my classrooms last spring and continued with it this spring. For my purposes in my own classrooms, DS is a short video (4-6 minutes) that showcases a powerful story in your life (I used Cynthia Davidson’s assignment as my initial model). I am not as interested in students’ final products as I am in their processes though. They upload their final videos to their ePortfolios but they have many webpages along with the video (about the music, the story, their images, their process, etc). Here are some of the questions that I also ask my students to reflect on:
- When we combine ALL of these elements— sound, images, video, and words— what does this achieve for rhetors? For digital rhetorics?
- What makes your work part of 21st century storytelling?
- Your first year of college has coincided with some of most charged political events of the 21st century (bookended by the kidnapping/murder of 43 students in Iguala, Mexico to mass uprisings in Baltimore). Local media— largely through social media/digital outlets— insist that national news coverage got it all wrong and inserted its own voice. In many ways, you have all entered that same kind of social justice advocacy with your own digital projects. Think back on this digital project. Does it too make an intervention? How and why (or why not)?
For my ¡Adelante! students (a Leadership program for Latino students who I follow for two semesters in my first year writing courses), however, I asked an additional question… a rather simple one, but one that I thought most critical:
What is ¡Adelante! Digital Storytelling (ADS)?
When I first tried to publish “ ‘This the ConscienceRebel’: Class Solidarity, Congregational Capital, and Discourse as Activism in the Writing of Black Female College Students,” I must admit that I was taken aback by white resistance in composition studies— the field to which I am most closely aligned by nature of the work that I do but certainly not by the nature of my politics , aesthetics, or pedagogies. I was not surprised that the white editors saw the work— a text that focuses on working class Black female college students— as irrelevant to the wider field. But, I must admit: I was surprised that it was Black female scholars in the field who gave the white editors rhetorical ammunition.
It was Black female reviewers who brought up the point that most professors reading the article would be white and have mostly white students and so would not be able to relate to the content. Yes, you heard that right. It was Black female professors who made that claim. And I shouldn’t have to tell you that the white editors went to town on that right there. Besides the fact that it undermines all Black women when Black women see themselves as tangential to educational research, the idea that the majority of college writing classrooms today mostly enroll white, middle class students IS FALSE! That’s not historically accurate and it certainly does not apply to an era where higher education gets browner and browner every year. Whiteness in this field gets maintained by scholars of color as much as it gets maintained by white scholars and it’s time we start talking about it.