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robertogreco : zoranealehurston   6

Laurence Ralph on Twitter: "1/17 Ever wonder how whiteness is privileged in the social sciences? #anthrotwitter #AnthroSoWhite [A Thread]" / Twitter
“1/17 Ever wonder how whiteness is privileged in the social sciences? #anthrotwitter #AnthroSoWhite [A Thread]

2/17 The Open Syllabus Project (OSP) surveyed over 41,000 anthropology syllabi. https://opensyllabus.org/result/field?id=Anthropology @Beliso_DeJesus and I analyze it. Let’s see how many assigned-texts are authored by Black scholars…

3/17 In the top 1,000 texts taught in anthropology courses, only 9 are authored by Black scholars. Let’s explore what they are, who they’re written by…and what that says about #anthropology

The 1st Black-authored text does not appear until 185 on the list of most assigned texts! #AnthroSoWhite #SMDH [image: The Wretched of the Earth, by Frantz Fanon]

5/17 Then Fanon comes in again! …But not until 312. Anthro loves them some Fanon… [image: Black Skin, White Masks, by Frantz Fanon]

6/17
A dope Nigerian novel at 321…Instead of ethnography? [image: Things Fall Apart, by Chinua Achebe]

7/17
The Black Atlantic comes in at 339.….Still no Black anthropology #AnthroSoWhite [image: The Black Atlantic, by Paul Gilroy]

8/17
Black Britain still shinnin’ at 446.

What this means is: out of 41,000 #anthropology syllabi, Representation by Stuart Hall appears on 59. Looking bad for “signification,” brah… [image: Representation, by Stuart Hall]

9/17
ALL HAIL, QUEEN ZORA,
THE FIRST BLACK ANTHROPOLOGIST TO BE TAUGHT BY ANTHROPOLOGISTS!!

…But not until 486. #AnthroSoWhite [image: Mules and Men, by Zora Neale Hurston]

10/17
Jamaica Kincaid comes in at 560. Who doesn’t love Jamaica? #Anthropology does.
…Just not as much as Malinowski. [image: A Small Place, by Jamaica Kincaid]

11/17
Michel-Ralph Trouillot’s, Silencing The Past, should be required for all #anthropology classes.
Yet it DOES NOT appear until 719…
719!?!
#AnthroSoWhite. This list is #SilencingThePast. [image: Silencing the Past, by Michel-Rolph Trouillot]

12/17 Our run comes to an end with current @ABA_AAA President Lee Baker’s, From Savage To Negro. Thank God it makes an appearance at 835!

FINALLY, a Black Anthropologist who’s actually alive! [image: From Savage to Negro, by Lee D. Baker]

Aug 14
13/17 Takeaways? Sadly, IT IS CLEAR that anthropology does not want to teach or hear from its Black anthropologists. Less than 1% of the assigned texts are authored by Black scholars. Crucially…

14/17
6 of the 9 Black-authored texts are from outside of #anthropology. None are written by a Black anthropologist conducting an ethnography of the contemporary moment!

15/17 BLACK ANTHROPOLOGY IS NOT BEING TAUGHT IN ANTHROPOLOGY. WOW! This blatant silencing points to the need for initiatives like
@CiteBlackWomen. Shoutout to @profsassy for her hard work.

16/17 We address these issues more in #TheAnthropologyofWhiteSupremacy, a forthcoming special section of
@AmAnthroJournal, guest edited by Jemima Pierre and @Beliso_DeJesus

17/17
Contributors to this special section are: @DrJonathanRosa, @vanessajdiaz, Junaid Rana, Shannon Speed, @shalini_shankar, @drkeishakhan.
[END]“
anthropology  race  bias  socialsciences  academia  syllabi  syllabus  teaching  howweteach  frantzfanon  zoranealehurston  laurenceralph  srg  stuarthall  jamaicakincaid  leebaker  paulgilroy  chinuaachebe  michel-rolphtrouillot  whiteness 
august 2019 by robertogreco
Is "Show Don't Tell" a Universal Truth or a Colonial Relic? | Literary Hub
"In his essay “The Storyteller” (1936), cultural critic Walter Benjamin mourns the death of oral and communal storytelling, taken over in modern history by the novel, the “birthplace of the solitary reader,” and information technology with a rise in capitalism. Yet, what Benjamin posits as the organic evolution of oral, communal practices of storytelling into modern modes of storytelling, consumed by a reader in “privacy,” is in fact, the understanding of a Western history of storytelling as a universal one. As Maggie Awadalla and Paul March-Russell suggest in the introduction to their anthology The Postcolonial Short Story (2012), many non-Western countries did not transition “organically” from oral to written storytelling with a rise in capitalism. For many formerly or currently colonized spaces like South Asia, Africa, Caribbean, American South and Native America, there has always existed a rich, vibrant tradition of oral storytelling, one that was marginalized, often violently, through an imposition of an allegedly modern, white Western language and culture. In their study, Postcolonial Studies: The Key Concepts (1998), Bill Ashcroft, Gareth Griffiths and Helen Tiffin defend “orality” not as a cultural precondition that morphed into a more advanced written culture, but orality as a counterpart to writing, where both co-exist, complement and transform each other constantly. This coexistence of oral and written modes of storytelling continues to thrive in postcolonial spaces, including those of Asia and Africa.

In her now-canonical essay “Characteristics of Negro Expression” (1934), Zora Neale Hurston makes a strong case for the use of vernacular—especially dialect and rhythm—in Black writing. In his story collection, Creole Folktales (1988) and equally canonical co-authored essay, “In Praise of Creoleness” (1989), Patrick Chamoiseau offers a manifesto for Caribbean storytelling that aims to free itself of French colonial gaze by transforming Martinican-French literature through a militant use of Creole. And while not through cultural theories or essays, contemporary writers like Salman Rushdie, Vikram Chandra, Roxane Gay, Junot Díaz, and Edwidge Danticat, among others, bring a strong, self-conscious vernacular in their stories. Their fiction questions not only an allegedly mainstream Euro-American storytelling marked by narrative brevity and an economy of words, as lauded by Edgar Allan Poe, John Barth and Francine Prose in their critical writing, but also the dominance of visuality in many fiction writing workshops with their show-don’t-tell credo, bolstered by our cinematic and digital age with its preference for images over sounds."



"James Baldwin, Toni Morrison, Alice Walker, Sandra Cisneros, Gish Jen, Tiphanie Yanique, ZZ Packer, Rajesh Parameswaran—the list of contemporary writing affirming oral and aural alternatives over a sight-based focus of storytelling is long. And I haven’t even gotten started with poetry-in-color, including an aesthetic legacy of rhythm in writing spawned by Papa Césaire and the Négritude movement. What I’ve explored above is a brief sampler on a multifaceted use of orality that challenges the boundaries of a more standard Euro-American literary English with its emphasis on brevity, clarity, and good grammar. In playing persistently with language, sounds and syntax, multiethnic fiction does not shy away from “writing in scenes,” however, it does dethrone the reign of eyesight to stress the importance of other senses in fiction, and hearing in particular.

That said, the use of vernacular or dialect is far from unique to non-Western writers writing within or outside the West. Time and again, major writers across the world have challenged the status quo of a hegemonic language by using the vernacular in different ways. I’m thinking here of Shakespeare and Louis-Ferdinand Celine’s linguistic innovation within English and French respectively, and of pioneering poets like Kabir who used the vernacular in Bhakti poetry to challenge the rule of Sanskrit in medieval South Asian literature.

And yet, the examples of multiethnic fiction I’ve shared above have all been published in the last couple of decades, following complex literary and historic changes that include mid-20th century’s wave of decolonization that swept the “third world,” the Civil Rights Movement in the US, the institutionalization of Ethnic Studies in the American Academy, and the literary canon wars that followed. This recent, layered, global history has led to a higher visibility of non-white, non-Western voices in the Western metropolitan publication scenes of New York, London and Paris. The content within contemporary multiethnic fiction often talks of identity, home and displacement; they ask questions like who has power and voice and who gets marginalized or silenced, these ideas fleshed out obsessively in stories through plot, theme, form, language, or a combination.

Orality within fiction that is deliberately engaging with power dynamics between the West and non-West—as evident in the title of Rushdie’s story collection East, West—thus becomes more than just a stylistic device or virtuosity with craft. The shift in sensory focus within multiethnic fiction from images to sounds holds a mirror to our contemporary, complex literary history, guiding the reader further to ways in which these stories maybe constructed, read, or deconstructed. Orality here becomes a political stance, an ideological move reminding the reader over and again that what we consume as universal in story craft, literary history, or aesthetic taste is anything but universal."
orality  oraltradition  visual  via:vruba  2018  storytelling  walterbenjamin  culture  tradition  namratapoddar  globalsouth  maggieawadalla  paulmarch-russell  billashcroft  garethgriffiths  helentiffin  vernacular  zoranealehurston  creole  creoleness  folktales  writing  salmanrushdie  vikramchandra  junotdíaz  edwidgedanticat  edgarallanpoe  johnbarth  fancineprose  criticalwriting  howwewrite  literacy  multiliteracies  dialect  rhythm  patrickchamoiseau  caribbean  africa  asia  colonialism  english  alicewalker  imperialism  gishjen  jamesbaldwin  tonimorrison  tiphanieyanique  zzpacker  showdon'ttell  sandracisneros  roxanegay  ajeshparameswaran  négritude  papacésaire  haiti  aural  oral  sight  brevity  clarity  grammar  fiction  aimécésaire  martinique  léopoldsédarsenghor  léondamas  postcolonialism  louis-ferdinandceline  latinamerica  indigenous  canon 
november 2018 by robertogreco
Metrograph Celebrates the Inventive Truth-Telling of St. Clair Bourne | Village Voice
"Let the Church is so free of form and spirit that, presented without context, it could easily be seen as a fictional piece. It is not clear how much the scenes are staged, or, indeed, whether they are staged at all. Right from the first interaction, in which what seems to be a religious teacher laboriously explains the purpose of a sermon, there is a distance with the people filmed (broken on occasion by extreme zooming and direct address), as well as a writtenness and theatricality in the dialogue that can be delightfully confusing. What one learns while watching Bourne is that there are many ways to enter a subject, and one mustn’t refrain from exploring them, especially not in the name of nonfiction convention."



"Bourne conveys the collective through the individual: What do these voices reveal of the state of mind of the subject, and how do they mirror that of an entire community?"



"There are individuals who have been burdened with what Frantz Fanon has described, in Black Skin White Masks, as the “colossal task to make an inventory of the real.” Fanon was of course one of them, and so was Bourne.

The task is even more herculean when the reality has been so intensely erased and distorted, including by the very medium in which Bourne decided to express himself. Hence the extreme sensitivity and curiosity that animates his body of work, which belongs — right next to the early literature of enslaved Africans, the films of Oscar Micheaux, the novels and essays of Toni Morrison, James Baldwin, and Zora Neale Hurston — on the shelves of every Black family, its images ornating the minds and memories of every Black child. Much like the Martinican psychiatrist did with philosophy, poetry, and psychoanalysis, St. Clair Bourne utilized the tools of television and cinema to uncover the multitudinous facts of Blackness — and to send his people many love letters."
fantasylla  2018  stclairbourne  film  documentary  blackness  filmmaking  frantzfanon  zoranealehurston  jamesbaldwin  tonimorrison  realism  dialogue  breakingform  form 
february 2018 by robertogreco
Deconstructing Political Activism | Ta-Nehisi Coates | Big Think
"But all the great works of art that I’ve ever seen that had any sort of political import were always great stories first. They were great stories before anything. I think ideology kills art. I think it kills writing all the time. It completely, completely destroy it.

So I’ve really had to make a choice and my choice was to tell stories. And once I decided it out that was what I was going to do, the whole idea of being an activist was pretty much shunted aside. Anything, like, that that was going to happen was going to be because somebody was inspired by something…

“Their Eyes Were Watching God,” I’ve read that and I thought, wow, this is beautiful writings…want to do something like this. I’m not particularly interested; pardon my rudeness here. I just was not interested in changing minds…I just wanted to write a beautiful story. And I thought the truth will emerge, the universal values will emerge from telling the story."
ta-nehisicoates  writing  storytelling  2009  politics  activism  zoranealehurston  richardwright 
november 2011 by robertogreco

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