“My Time as a Human Was Over”

Based mostly at the suggestion of various friends, I have been catching up on movies that I needed to see, in the cultural sense, but didn’t necessarily want to see, in the political sense.  As always, I am traumatized by these viewing experiences.

First was the movie, Flight.

Then I watched Beasts of the Southern Wild.

Then came that final twilight foolishness: The Twilight Saga: Breaking Dawn: Part 2. I have already talked about that here so, unsurprisingly, I didn’t change any of my positions on THAT.

20121030132042I really couldn’t get past the first five-minute frames of each of these movies and, ironically, each started basically the same: with a twisted, pornographic imagination where women are slithering animals and sexual objects.  I was actually surprised by Flight, despite all that I had heard about using Denzel, a black man, to play an addict.  I didn’t expect for the movie to open by showcasing a Latina’s naked body (played by Puerto Rican actress and model, Nadine Velazquez).  I expected that we wouldn’t see Denzel fully naked, not because it’s Denzel, but because it is quite normative for every ad, video, or television show to have a fully clothed man next to an almost naked woman.  There’s no logic to a man dressed in long sleeves and coat standing next to a woman in a bikini—someone must be really cold or someone must be really hot— other than the deliberate parading/selling of women’s bodies.  As I watched Flight, Denzel’s white female love interest (played by Kelly Lynch)— an unemployable drug addict who almost dies from an overdose— is never shown fully naked, not even in the studio where her friend/drug-supplier is making porn videos. Instead, this white love interest is frequently told by a cancer victim of her beauty, gets saved by Denzel from her eviction and landlord ‘s physical violence, and then she saves Denzel in the end by introducing him to AA.  A (black) shining knight to the rescue of a white woman!  The movie seems to make a point of letting us know that the first woman is Latina by stating her full name more than a few times.  Intentionally so, this is not another J-Lo-featured movie where we have a Latina playing/passing as a white woman. Though he defends her in the end, Denzel’s Latina love interest does not receive the same salvation in this movie as the white woman.  The two black women in the movie are not even full characters: the ex-wife is scorned, angry, alone, and demanding money; the co-worker is asexual and loyal (even if it means telling a torturous lie) til the very end, the perfect mammy.  The talk about the movie seemed to question why Denzel’s love interest couldn’t have been a black woman, but the answer to that question seems obvious and does not begin to deal with what the movie does with Latina bodies (and that’s only ONE of the problems with the movie).  Clearly, when we talk about the sexual exploitation of women’s bodies, not all women are equally exploited and sexualized, and white women seem to always be rescued.  But we knew this already, didn’t we?

936640_068Beasts of the Southern Wild opens with a little black girl climbing around in her underwear (Hush Puppy, played by Quvenzhané Wallis).  It’s unnecessary to repeat all of the problems with the images of this little black girl in this film.  At this point, all you need to do is read bell hooks’s analysis, “No Love in the Wild,” on Mark Anthony Neal’s blog.  I was, unsurprisingly, mesmerized by Wallis’s talent as well as Dwight Henry who played the father; both are very talented within a script that could not adequately allow for it.   At this point though, I am most stunned by the willingness of adults— whether it be 21st century parents, Catholic priests, or film producers— to sexualize children’s bodies with the aid of digital cultures, social networking, and other multimedia operations.  The gaze of these filmmakers on Hush Puppy’s body feels no different to me than the gaze of the new digital archivist-parent who posts videos of her half-naked child on youtube, including my own college peers, who post endless photos of their children (and themselves) on Facebook half-naked all the time (these are supposedly protected FB sites and yet I am not even on FB and can get access).  And while cultural critics can talk forever and a day about the necessary and positive blurring of private and public and the rupture of respectability politics, there is something really wrong when parents have their small children perform, wearing only underwear or pajamas, in front of a camera for a youtube audience in the context of a cyber-world that daily criss-crosses with pedaphiliac violence. Everyone has a role in digital empire and this is what it looks like for exploited children and their digitized pimp/parent. You need only watch shows like “Toddlers and Tiaras” to see that parents willingly and regularly participate in the media pimping of their children quite regularly in all kinds of ways. I agree with hooks that  Beasts of the Southern Wild certainly participates in this culture of commodifying children’s bodies but in my mind, it is doing so as the new digitized pimp-parenting, not simply as a Hollywood tool.

As for the last installment of Twilight?  Well, like I said before: it is something I have had to keep up with in order to experience what many of my students have experienced.  Here again, we have a woman slithering around, literally roaming the woods, climbing walls, hunting for blood/food, like a starved animal, because she is a vampire now.  At least, unlike Trina in Flight and Hush Puppy in Beasts of the Southern Wild, she gets some supernatural powers.  Bella tells us somewhere in the movie that her time as a human was over, but given these images, one might wonder if women were ever allowed to fully participate as human in the first place.

“So Hot It Hurts”

IMG154After more than his fair share of, shall we say, “resistance” (there are better words for it but I’ll leave it there since I am feelin celebratory today… expect more on that later), Dr. Todd Craig, one of my advisees, successfully defended his doctoral dissertation yesterday!

IMG159This dissertation is an examination of Hip Hop DJ Rhetoric based on Craig’s own life-story alongside more than 9o interviews with foundational Hip Hop deejays whose literacies, rhetorics, and ideologies are, often for the first time, magnificently centered.  To open his dissertation defense, Dr. Craig, of course, spun a set that merged the music, quotations, and samples from all of his first chapter so that we could hear, in yet another fantastic way, what that first dissertation chapter was dropping.

IMG156These deejays— more aptly described by Dr. Craig as “mixologists and turntable technicians, beat-blending specialists, scratch scientists and musical grandmasters”— are theorized as the “21st century new media reader, writer, and literary critic.”  It is the Hip Hop deejay whose tastes decide what gets poppin in the streets as well as how turntables, headphones, mixers, and computer software are now engineered and re-invented.  Yes, yes, yall… and that’s just the first paragraph of the literature review.  That’s all I will reveal for now but when this dissertation drops as a book, let’s just say, I tole you so!  Despite all the naysayers, haters, lynch-mobbers, and supremacists, this thing is real and can’t be stopped!  To quote Dr. Craig, when he quotes Havoc of Mobb Deep: “this is all the way live/and the way that I survive.”

As if fate had finally kissed me on the forehead, one of my undergraduate mentees, Valerie, came back to the university (she already graduated) to tell me, just minutes before this dissertation defense, that she was accepted at all nine medical schools to which she applied… and this, despite, being told by a wanna-be-prominent white male administrator that medical schools no longer accept “unqualified” “black girls” like her.  I’m looking forward to the health research and advocacy that she will do on black people’s behalf and the way she already knows how to keep those fighting embers and inner shine glowing.

There have been few days in my academic career so far that I can chalk up with some positivity.  But, to quote Cube from way back when, I got to say it was a good day.

Public & Private Writing on New Plantations

Priscilla

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.

White Flight, Unspeakable Violence, and Continued Grieving (Sandy Hook School Shootings)

Like most people right now, I have had a knot in my stomach since last Friday when Adam Lanza, a 20-year old white male, shot and killed twenty small children at Sandy Hook Elementary school in Newtown, Connecticut along with the six adults who tried to shield them.  It seems that some of those children had as many as 11 bullets ripped into their tiny bodies.  National grief, horror, and mourning are deeply palpable.  If I feel like the wind gets knocked out of me every time I hear about the murder of these children and witness more funeral preparations, then the grief of the families and this nearby town must be unspeakable.

Screen Shot 2012-12-17 at 1.10.36 PMWhat is also palpable for me right now is the mainstream void of social analysis of the violence that our social organization inflicts.  Maybe, it is too soon.  Or maybe, we are still unable to really look at who we are and what we have created and so hide behind bourgeois sentimentalism.  E.M. Monroe’s blog posting at “Miles Away” came at just the right time for me.  Monroe reminds us of the history of violence against children with a photo of Sarah Collins, the one survivor who was in the bathroom when the bomb exploded and killed “4 Little Girls” at the 16th Street Baptist Church on Sunday, September 15, 1963 as the children were preparing for “Youth Day” services.  Schools were not closed afterwards and every black child of the era was forced to emotionally and psychologically move on as if nothing had happened to their peers.  Monroe tells us— even reminding us about Christopher Paul Curtis’s wonderful children’s novel, The Watsons Go to Birmingham, 1963  that we have cultural and historical precedents that can guide us for how we must both heal and confront the world which we have created.  With the incessant cries that The Root recently chronicled of white people mourning their loss of power and voice in a social climate where a black man can now be president TWICE, the violence that we have now witnessed will only continue and compliment the violence that we have always allowed.

I can’t help but think about my own days teaching in New York City.  When I began teaching in 1993, bars on windows and full body metal detectors were quite normative.  When I taught junior high school in the Bronx, 11 and 12 year old children, I was required to always keep my classroom door shut and locked from the inside so that no one could enter without a master key.  Strangely, this was not done for the protection and safety of those children, young (and tiny) as they were; this was done based on a criminalization of those children, based on the violent marking of their very being as subhuman.  1980s and 1990s white flight into Newtown (and many other, new towns neighboring it), with entities like the FHA over-investing in their livelihood (while divesting in the brown and black city spaces where I taught), actually helped create the very conditions that I describe during my teaching.  These conditions merely replicated histories of places like Harlem in the 1920s, then the Black Mecca. When Black migrants from the Caribbean and Southern United States settled into New York City/Harlem, whites lobbied the politicians, bankers, and real estate agents to restrict them to designated black neighborhoods and schools only.  The cycle only continues given the huge losses brown and black peoples faced at the housing market crash and recession. If we see these kinds of divestments in people’s minds, bodies, and safety, then we can better understand exactly the kind of social violence we live in.  Violence has always been around us; Newtown was never exempt, safe, or innocent. And children and schools have always been caught right in the middle.  As “Sweet Honey in the Rock” proclaim here, it doesn’t matter where you’re living:

As simple as it may sound, we have never valued children’s lives.  Valuing only white children and not black and brown children IS violence.   Until we can realize this and act toward a new system, we can’t expect a social environment that will manifest real justice and protection for any children.