Tag Archives: pedagogy

Multimodal Tutoring Pedagogy: Digital Essay Draft 1

Greetings fellow Woodchucks:

For my project, I am exploring how incorporating multimodal texts into writing centers alters tutoring pedagogy. And although I am making a specific intervention into a conversation in writing center theory, I am aiming my digital essay at a more general audience—comp teachers, writing center tutees—basically anyone who is (or could be) affected by this issue. Ultimately, I argue that the polarization of multimodal texts in current writing center theory (i.e., “treat them like any other text!” or “put them in a separate building!”)  is unnecessary, because these texts adhere to writing center theory and, in the end, are not very different from the mythical “traditional” text that we already work with.

As you’ll see, my essay is entirely in video format. I really struggled with figuring out what a “first draft” of a video looks like. I’m sure you all remember the particular challenges of creating videos—all of which don’t really lend themselves to drafts (that look like anything comprehensible). That said, I tried to do my best at creating what I wanted my video to look like without going so far that they idea of revision would be maddening. I accomplished this primarily by dividing my video into two halves. The first half is far more polished and complete—it’s basically what the whole video is going to look like. The second half is much rougher, particularly after about 10 minutes in, when it switches to all audio and an “under construction” image.

For feedback, I’d like style focused comments on the first half and argument focused comments on the second half. Some prompting questions may be: what parts of the various video styles (white board, images, interviews) work and which ones don’t? Is the ratio that I use to mix these styles together too heavy handed on one side or another? Are there major stylistic changes I should make in the second half? Can you follow my argument at the speed with which it’s laid out? Are there certain areas that you think I need to clarify/expand (keep in mind that there are still more interviews I’m going to add in to the second half that help support some of my points)?



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):


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.


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?