Tag Archives: Banks

Thinking through Banks’s Terms

From our work in class 4/18: Some ways we tried to define and capture the essence of each of the terms that Banks uses in Digital Griots.

Scratch

  • “interruption” (1)
  • hey! / bridge

Groove

  • Junction / “looping” (7)
  • “layering and repetition” (7)
  • Burkean parlor

Shoutout

  • “Who you wit!?” – Bernie Mac (111)
  • “relationships, allegiances and influences” (26)
  • “calling the roll” (26)
  • citation/reference
  • authorizing/promoting

Mix

  • Bringing together
  • Facilitative/collaborative
  • Griot’s role = “create conditions where a community can create its own collaborative text”

Remix

  • Builds from mix but more self-aware
  • Historicity in action creates generative story
  • Calls attention to its own fissures and stitches
  • “back in the day” narrative (87)
  • draws attention to its own “not-newness”

Mixtape

  • Artifact, collection
  • “compilation of others’ texts and ideas…” (138)
  • personal and public
Advertisements

Class, Fri, 4/18

Update: Who went viral?

Thoughts and questions about digital essays

Looking forward: What should we do next week?

  • Laura McGrane, Workshop, “Engaging Undergraduates in Digital Humanities Research”
  • Proto-drafts, digital essays
  • Kenneth Goldsmith, Uncreative Writing: Introduction, 1, 5, 7, 11, and Afterword. (Perhaps Lethem, “Ecstasy of Influence“?)

Adam Banks, Digital Griots

Banks400

  •  Using digital media to respond to “white on white”: Janel, Chris, Caitlin, Michael, pp. 154–56.
  • Ethics of diversity, academic writing, and cultural idiom: Callie, Heather,  Katie, Kiley, pp. 27, 49.
  • Performativity as, or instead of, argument: Bel, Gab, Nagmeh, Petra,  pp. 3–5.

Scratch, Groove, Shoutout, Mix, Remix, Mixtape, Fade

To do

  1. Thurs, 4/24, 11:59 pm: Read Goldsmith, Uncreative Writing: Introduction, 1, 5, 7, 11, and Afterword. Condense one of the chapters into a tweet for #685dw.  Or, remediate one of your previous posts for this blog as a tweet.
  2. Fri, 4/25, class: Bring a proto-draft of your digital essay to class.  Be ready to talk your readers through your materials. Have some pointed questions that will help them offer you advice for developing and structuring your project.
  3. Fri, 4/25, class: Workshop proto-drafts. Discuss Goldsmith.

 

Remixing E110

I’ve found, reading through the posts before I post my own piece to make sure I’m not repeating what’s been said, that for UD I have a stunningly diverse classroom, whereas the class generally looks like this:

http://www.tubechop.com/watch/2542308 (Vine by Eric Dunn).

By diverse, I mean I have four students of color (an African American woman, Asian man, Middle Eastern man, and Hispanic man) and one young woman who (while white) doesn’t match up to the average UD student in that both her parents are Polish immigrants and she herself is fully bilingual. That’s about 20%!

We have not discussed race as a class, although I have brought in questions of intersectionality when students conference research topics with me. The one moment where race came up slightly was in our discussion of Anne Curzan’s piece, Says Who? Teaching and Questioning the Rules of Grammar,” in which she discusses Standard English vs home languages. Still, I am invested in diverse conversations happening in my course as I gain more experience as an instructor. 

I am, however, highly cognizant of Heather’s point about the danger in assigning students the role as “Ambassador to the Other. Carol Powell’s recent campaign at Harvard, “I, Too, Am Harvard” offers one important visual here (of many key images):

http://itooamharvard.tumblr.com/
http://itooamharvard.tumblr.com/

I am especially wary of this given my own position at home as explainer and defender of all things bisexual. It’s an exhausting position to be put in and certainly not one I want to place upon any student in my course.

I don’t think Adam Banks, in Digital Griots, gives an explicit answer on how to incorporate black voices in a (nearly completely) white classroom. I do think, however, that digital media offers a way into this conversation for students. We have a multitude of voices immediately available to us. Instead of having students read three essays from the Arak about television, food, and art, an assignment can ask students to respond to “I, Too, Am Harvard.” The accessibility (though I recognize there are absolutely limits to access for many students) of digital writing means that white students (myself included) should no longer have the privilege of being nearly completely uninformed about other races and cultures in the US. The fact that I have the internet means that I can’t claim ignorance simply because the town I grew up in is 96% white (and that is the statistic).

I have a similar responsibility in regards to what I teach. Banks writes, “Every course we teach is a mixtape, a compilation of others’ texts and ideas compiled, arranged, and combined with our own in various critical gestures we hope will inform and challenge our students” (138). I feel as though, currently, my course is a monocultural mixtape (or, perhaps, just a tape in a cultural sense). I ask (require) my students to investigate their own writing processes, their writing itself, their modes of argumentation, and the argumentative and stylistic modes of others. I should be willing to challenge their cultural assumptions as well, at least in the context of language and writing (online or off). When I discuss digital writing as a remix, we can talk about “remix” as a term and its historical/cultural significance. When I talk about academic style (which isn’t too too often), I can talk about the problems with Standard English.

Banks, at the core of the book, argues not only that black culture must have a place in the classroom, but that composition courses should enable “intersectional analysis, intergenerational inquiry, intercultural connection” (33) and do so through the idea of the digital griot – the idea of remix. In talking about the issues Banks has raised and I’ve echoed here, for the UD classroom, the focus does not have to be on only race, which may consistently alienate one student. By building intersectionality into the course, I think that we can have productive conversations about the ways in which we write, argue, question, and think online and off.

 

All White Remix

When I walked into Alison West 206 on February 11 for my first day as an English instructor, I expected to have at least one black student in my section. But no. When I called roll, white person after white person said “here.” And when they look at me (and heck, even at the headshots of the people whose writing we read), it’s all whiteness.

Image

Why does this matter?

It matters because that isn’t reality.

So when Banks writes in Digital Griots: African American Rhetoric in a Multimedia Age that his purpose is to scratch and interrupt, to play between two disciplinary conversations, one about African American rhetoric and one about composing in multimodal forms (2), I want to go with him. I find his writing to be self-reflective, engaging, and inviting.

But I also feel hypocritical because I haven’t figured out, as a white person teaching white students, how to talk responsibly about race and power. Or more importantly, how to do the work that Banks writes about in his compelling social commentary about rhetorical strategies used by digital griots.

How can DJs’ creative and rhetorical moves come into play when I’m teaching white first year students how to enter the scholarly conversation? Or to see the bibliographic essay as a mixtape, as Banks suggests? How can I help students try “sampling” through their use of someone else’s idea that is vital enough that they don’t just cite it but make it a “looped” and “continually repeated” part of their own creations (26)?

I feel convicted because I know that Banks is right that the “acts of writing, the social networks and cultural contexts in which they occur, and the technological networks in which they take place and are disseminated still involve systems of power, still reflect relationships  between individuals and groups within those systems” (154). My own writing as well as the E110 writing I assign are embedded within a “system of power” that unconsciously excludes or dismisses voices and perspectives of minorities, even as the academy tries to make room for people whose voices were silenced for much of history.

In short, I am utterly persuaded of the richness and possibility in flow, layering, rupture, and remix of hip hop. That process (and indeed, the product of a remix) appeals a great deal more than the staid and patchwritten research paper drafts that cross my desk.

On the positive side, the technologies available to us and to our students can open up startlingly rich combinations, as Banks deftly and creatively discusses (and indeed, performs) in his book.

The question I am left with is this: if “black griotic traditions call for an approach to writing that is committed to the range and flexibility to ‘teach in the idiom of the people'” (155), what can we do if the people in the classroom are. all. white? What then?

Mining the Archollection, Writing the “Stuff of Life”

In his chapter on remix, Adam Banks draws from the work of Catherine Latterell because of her attraction to the concept of remix as something that “allows students ways of juxtaposing texts and ideas from academic and popular culture as well as other forms of public discourse and encourages students to create a wide range of print, oral, and digital texts” (88). Although Banks is clearly interested in these pedagogical values of remix, he advocates that our definition of what remixes, mixtapes, and samples are and do should also emphasize how they enact a “synchronizing of generational commonalities and tensions that allows, even demands, innovation while remaining linked with histories and traditions” (90-1).

So, even if we aren’t explicitly utilizing African American rhetoric within our first-year composition courses, how can we get our students “to remix history in order to point a new way forward” (100)? Furthermore, how can we get them to recognize composition as one giant “digital humanities project, as a thorough linking of texts, techne, and technologies” (155)?

I’m especially interested in how Banks calls for a “linking of texts” that preserves their “histories and traditions” because it feels (at least to me) like he is proposing a New Historicist approach to composition, which could have numerous exciting possibilities. And I very much agree with his assertions that we, as teachers, cannot “create any syllabus or teach anything without the explicit and implicit borrowing and reuse that DJs have celebrated and mastered,” and that “[e]very course we teach is a mixtape” (138).

But what are some examples of texts that we can introduce into our first-year composition classrooms that carry with them historic import?

Well, I’d like to think that material culture (or Material Culture?) is a fine place to start.

In my past two years of teaching E110 here at UD, I’ve thoroughly enjoyed watching my students’ reactions when I introduce their final writing assignment of the semester: a material culture multimedia project that asks each of them to examine a significant object from their own lives. They first write a personal narrative detailing how that object has helped them understand who they are as individuals but also as members of various communities (family, school, hometown, teams, etc.). They must then transform that narrative generically for a class presentation.

Initially, they view material culture as just a bunch of “stuff,” not as a series of “texts” that can offer valuable insight into their personal histories.  Sort of like this guy:

Image
Because I like to make their lives “miserable,” obvi.

But their final projects almost always rise to the challenge:

ImageAnd what I’ve received are narratives centered around extremely evocative objects: a childhood home, a bracelet commemorating a loved one, a tchotchke from their birth country, or even a video game that has helped them through major life transitions like divorce or changing school systems.

So, why material culture then? Well, for Banks, part of what is at stake in using African American rhetoric in composition is to show black students how to interact with their backgrounds/origins, and their capabilities in a multimodal world. Material culture, as I’ve shown in the project I have my students complete, achieves a similar end. Likewise, Banks wants us to educate our students on how “to critically examine the technologies they often use without careful consideration” (88). To that end, it would behoove us to conceptualize material culture not just as “stuff” but as an archollection (archive & collection) of critical life technologies, ones that we may take for granted through everyday use but nonetheless tell us a great deal about who we are, where we came from, and what we can do both inside and outside of the composition classroom.

x8: Banks, race, teaching, and innovation

I wanted us to read Digital Griots by Adam Banks for three reasons:

  1. I’m worried by how discourse about digital writing seems to be dominated by straight white males. (Perhaps this state of affairs will not shock those of you who are not straight white males.) I appreciate how Banks forces questions of race into our conversation.
  2. We are all teachers as well as scholars and writers, and I like how Banks asks us to think about how we represent the digital world to students.
  3. I admire the virtuosity of Banks’ writing. His book strives to enact as well as state an argument.

For next week, then, I’d like you to respond to at least one of these three aspects of Banks’ work: race, teaching, innovation. Or, ideally, I’d like you to talk about race and/or teaching in a digital age  in an innovative way.

I’m eager to see what you come up with! I feel sure, at this point, that i will be surprised and delighted.

Deadline: Tues, 4/15, 11:59 pm. Comments due on Thurs, 4/17.  Use x8 as your category.