“I think this anthropology is just another way to call me a nigger.”

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“I think this anthropology is just another way to call me a nigger.”  That’s a heavy title for a blog post.  It is the epigraph to the introduction of John Gwaltney’s Drylongso, words spoken by one of Gwaltney’s research participants. Drylongso remains the book I turn to when I see/read/hear mainstream white scholars christening themselves and their research as THE work that critically engages race and the lives of people of color, all while, of course, maintaining their own white privilege in academic institutions (and often perpetuating acts of racial violence rather than fighting against it).  I don’t mean these things in the abstract either, I mean everyday practices that I have witnessed… but those details will be for another post for another time.

What you see with Gwaltney’s methodology and politics are communities of black folk who unwrap oppressive white worlds with wit, political consciousness, and uncanny navigational abilities.  Gwaltney’s book, first published in 1980, chronicles his interviews with more than 40 African Americans, mostly working class, from 12 northeastern black communities in the early 1970s.  Gwaltney’s very methodology and communications are a community endeavor.  As a “blind ethnologist,” Gwaltney was, quite literally, escorted and driven to each interview setting, what he calls “seminars,” where his participants kept and transported his tape recorder, typewriter, and brailler.  Reciprocity is the foundation on which Gwaltney built this study, making sure he was not one of those academics who talked with “paper in hand.”  Like I said, I come back to this study when I encounter white scholars who imagine that they and their white colleagues originate and ground intellectual and social analyses on race.  I am thinking of one of my graduate students who is focusing on Derrick Bell, Cheryl Harris, and Richard Delgado who had to listen to a white male tell her she needs to incorporate the work of (white) scholars in his field who have already addressed the issues of race she examines.  Gwaltney, however, reminds us that these scholars maintain codes of race and white liberalism more than they have ever analyzed it (what Delgado called “imperial scholarship”)… as Gwaltney’s epigraph, a quote from a black factory worker, states:  “I think this… is just another way to call me a nigger.”   

1I am also thinking about Gwaltney in relation to a white scholar whose work on race I have valued, particularly the arguments that have remained undervalued in ways that I have always found perplexing.  I am talking about Catherine Prendergast’s text, Literacy and Racial Justice: The Politics of Learning after Brown v. Board of Education.  I won’t go into detail here and spoil what I say in the inaugural issue of Literacy in Composition Studies next month.  I will just say that I have always found it interesting that there has been no real, vociferous debate around one of Prendergast’s most critical contributions, her chapter on Shirley Brice Heath’s Ways with Words, chapter three.  After that chapter, given Prendergast’s racial analyses, some of this stuff we talk about in composition-rhetoric studies should just be a WRAP!

Part of the obscurity around Prendergast’s challenge to Heath’s work comes from the fact that few compositionists really know educational histories of race, connect that history to their current work, or know the history of race across a K-16 spectrum.  Heath just gets relegated to the K-12 scrapheap, seen as work that is intellectually beneath composition rhetoric. On the flip side, educational scholars in k-12 realms do not respect composition studies as work with rigorous methodologies, social science lenses, or publication standards.  Mix into that cauldron, a legion of white composition scholars who write about race in the most liberalist and anti-critical ways and you got one helluva eclipse-stew on Prendergast’s chapter three.  If we knew any better, we would know that Heath’s Ways with Words helped launch the disciplinary norms we deploy to talk about multiple languages and students of color in post-Brown schools that see large numbers of students of color today.  And if we knew any better, we would see that those disciplinary norms have, at their root, a very conscious and deliberate erasure of analyses of race.

chain gang

This photo depicts a chain gang near Asheville, NC in 1915 (see NC Office of Archives and History in Raleigh, NC). Following Reconstruction into the 1950s, chain gangs were used to re-organize slave labor: black men like those pictured here essentially built and maintained the public roads and highways of the South. It was only when road building was more mechanized that this system of neo-slavery subsided.

My focus on Gwaltney here is not coincidental. He conducted his study at almost the exact time Heath did hers— publication dates are also very close to one another.   As a refresher, Heath’s linguistic ethnography broke new ground in how it documented the literacy practices of a working class black community and a working class white community in 1960s/1970s South Carolina; both communities, according to Heath, had the same conflicts with the middle-class schools, thus, positioning these social clashes with school as a cultural clash.   But all of this clashing in school together was the result of desegregation and the Civil Rights Movement, which Heath’s book leaves unaddressed, precisely the thing that Prendergast takes up.  This notion of a culture clash also, non-coincidentally, does very little to take up the  histories of structural racism that impede white communities’ ability to respect communities of color who, left at the bottom, do not need to be seen, heard, or taken seriously.  Prendergast reminds you that Heath quoted people like a white working class male who said he only went to college when the town’s mill (where he worked) began hiring blacks because “when the niggers (pause), uh, the blacks, you know, started comin’ in, I knew that wasn’t for me.  I wasn’t ever gonna work for no nigger….”  Obviously, his clash ain’t with the white middle class folk… and it don’t sound like his clash is about “culture” either.  So here we have a canon on the cultural and social meanings of literacy that precludes a real conversation about race, all while acting like it is having just that kind of conversation… nuthin like talkin outta both sides of your mouth.

And so, now, to my last point.  I must admit that I almost fell outta my chair when I read Prendergast’s dissection of Heath’sWays with Words. Prendergast goes to the library that has archived Heath’s notes from her study and reads that stuff (hard-core right there!). Of course, she finds a gem: a letter Heath wrote to a colleague/respondent dated September 13, 1975 about a conversation with a black father who wasn’t too impressed with the research that Heath was doing. According to Heath’s notes/letter, the man told her: “I’ve heard my wife say you study me and other people, and I want to know how you do it and why… I also want to know why you care so much about my wife and kids… there is this black-white thing.  I am what I am and you are what you are.”  Heath decided that those last lines were about the “am-ness” of two human beings and that this was a conversation about gender.  Now see, I like to read these lines aloud to black folk, especially those who call themselves ordinary— drylongso— black folk. I have never found one who shares Heath’s interpretation or who regards such “researchers” as smart people (but I’ll keep looking for the naysayers.)  Here is where I insert Gwaltney back again.  I hear this man telling Heath EXACTLY what Gwaltney’s participants openly discussed and critiqued about academics and their research on Race and Black Folk:  “I think this… is just another way to call me a nigger.”   I am with Prendergast on this one: we HAVE to take these omissions seriously.  Despite self-celebratory claims suggesting otherwise, it looks like many of us have offered up pedagogical and language theories inside of and into a racial vacuum.

Public & Private Writing on New Plantations

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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.

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.

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: