Tampilkan postingan dengan label blackface minstrelsy. Tampilkan semua postingan
Tampilkan postingan dengan label blackface minstrelsy. Tampilkan semua postingan

Rabu, 21 November 2012

James Braxton Peterson on Duke University's "Institutional Blackface"


Institutional Blackface
by James Braxton Peterson | HuffPost BlackVoices

For those that do not know, I am a proud graduate of Duke University (Class of '93). As a black alumnus of one of the greatest universities in the world with a troublesome history with race and racism, I am often treated to the highs and lows of the Duke experience. Last week was no different as members of the Duke University Black Alumni Committee reached out to me to begin the process of organizing an event featuring myself, the NBA's Grant Hill, the Washington Post's Nia-Malika Henderson and others to commemorate the 50-year celebration of the presence of black students at Duke – yes, it's only been 50 years. Duke beat Kentucky – i.e. Duke men's basketball beat the University of Kentucky – and this is always good. But in addition to these great moments – moments that make me proud to be a Duke grad, we were once again treated to the insensitive (and now common) practice of white undergraduates who "dress up" as black characters and blacken up their faces in order to do so. Sigh.

Halloween is a holiday that I generally dread anyway since wearing a (figurative) mask for me and for many of my ancestors was a necessary strategy deployed regularly and specifically for the sake of subverting white supremacy. But because I am a professor, former grad student, etc., the Halloween holiday also means that I have been perennially treated to seriously demeaning tricks. White students put on blackface at Halloween, take pictures and generally circulate and celebrate their "costumes." I think of this as the "southern strategy" of the Halloween holiday. Young white folks, usually male, are able to express their racial and racist angst (conscious and subconscious) in a space and at a time that for the most part sanctions backwards, demeaning behavior. This has happened at everyinstitution of higher learning at which I have ever worked or learned. It is strategic because the blackfacers almost never face the facts of our dark American history and almost always claim ignorance in the aftermath of outrage and the pain communicated (perennially) by the black university communities that must bare witness to these regular insults.


For the few of you out there who do not know the history of blackface minstrelsy please allow me to provide you with an ever-so-brief primer. In the 19th century, white performers blackened their faces and aped the most stereotypical, dehumanizing, and demeaning "characteristics" of black people. This practice became one of America's first popular forms of entertainment. Its pervasiveness contributed to the American narratives of race that considered black people to be less than human, "other" and utterly unworthy of citizenship, much less equality. Eventually black entertainers blackened their own faces and exploited America's appetite for the destruction of black humanity. This not-too-distant history is a painful reminder – I guess only to black people – of the awful history of racism in America. That it can be so cavalierly and regularly referenced with no sense of this history or with feigned ignorance of said history is even more troubling than the wearing of blackface in the first place.

But this incident stings a bit more, not just because it's my alma mater, but because of the fact that a head coach of a Division I sports team was not aware that a student athlete engaging in this kind of act might not be a good look for the team, the program, or the university; that a web administrator could/would post this on the Duke Athletics Department website without any thought or consideration of how it might offend Duke alum, current Duke students and faculty is also absolutely striking. I despise these kinds of analogies, but imagine the Duke Athletic Department posting a picture of a student athlete dressed as a Nazi soldier. Yes, the cavalier wearing of blackface offends me that much. It harkens back to a history in this country where everything from entertainment to labor, from religion, to education, everything, was systemically designed to destroy the humanity of people who look just like me – people from whom I am descended.

I could rail on, but instead I would like to make an announcement. I am hereby formally offering my services as an advisor, professor, and/or consultant [PRO BONO] to any institution with which I have ever been affiliated for me to come in during any first-year orientation, diversity "training" or other opportunity, to address this issue specifically and to place in its full context the wearing of blackface on college campuses. For some time now, I have been less and less offended by the students who actually do this, and more and more amazed that some of our greatest educational institutions are incapable of appreciating how painful and embarrassing this pervasive practice has become.

***

James Braxton Peterson is the Director of Africana Studies and Associate Professor of English at Lehigh University. He is also the founder of Hip Hop Scholars, LLC, an association of Hip Hop generational scholars dedicated to researching and developing the cultural and educational potential of Hip Hop, urban, and youth cultures. Peterson has appeared on Fox News, CBS, MSNBC, ABC News, ESPN, and various local television networks as an expert on race, politics, and popular culture.Follow James Peterson on Twitter: www.twitter.com/DrJamesPeterson

Minggu, 26 Agustus 2012

The Syllabus: Michael Jackson & The Black Performance Tradition

Photo by Todd Gray

Michael Jackson & The Black Performance Tradition
Department of African & African American Studies
Duke University
AAAS 334-01
Fall 2012
Wednesday 6:15 pm – 8:45 pm
White Lecture Hall, 107

Mark Anthony Neal, Ph.D.

Course Description
The central premise of ‘Michael Jackson and Black Performance Tradition’ is the question, “Where did Michael Jackson come from?”  While there are facts—he was born on August 29, 1958 in a Rust Belt city named Gary, Indiana—what the course aims to answer are the broader questions of Jackson’s cultural, social, political and even philosophical origins. The course will specifically examine the Black Performance context(s) that produced Jackson’s singular creative genius within the realms of music, movement and politics, including the influence of Black vernacular practices like signifying and sampling, the network of Black social spaces known as the Chitlin’ Circuit, the impact of Black migration patterns to urban spaces in the Midwest (like Gary, Chicago and Detroit—all critical to Jackson’s artistic development) and Black performance traditions including Blackface minstrelsy.  In addition the course will examine the social constructions of Blackness and gender (Black masculinity) through the prism of Michael Jackson’s performance, highlighting his role as a trickster figure with the context of African-American vernacular practices.


Books

The Last 'Darky': Bert Williams, Black-on-Black Minstrelsy &  the African DiasporaLouis Chude-Sokei

The One: The Life and Music of James Brown | RJ Smith

Moonwalk | Michael Jackson

Man in the Music: The Creative Life and Work of Michael Jackson  | Joseph Vogel

On Michael Jackson | Margo Jefferson

Race Music: Black Cultures from Bebop to Hip-Hop | Guthrie P. Ramsey

*Michael Jackson: The Magic, The Madness, The Whole Story, 1958-2009 | J. Randy Taraborrelli

Week 1— Why Michael Jackson?
August 29, 2011


Week 2—“We Wear the Mask”—Black Face Minstrelsy and the Roots of Black Celebrity
September 5, 2012

Readings:

Chude-Sokei—The Last “Darky” | “Black Minstrel, Black Modernism” (17-45); “Migrations of a Mask” (46-81); “Theorizing Black-on-Black Cross-Culturality” (82-113); “The Global Economy of Minstrelsy” (114-160)

Chin—“Michael Jackson’s Panther Dance: Double Consciousness and the Uncanny Business of Performing While Black” (Journal of Popular Music Studies)  PDF

Martin—“The Roots and Routes of Michael Jackson’s Global Identity” (Social Science and Modern Society) PDF

Discussion Question: (Beta)


Week 3—“(What Did I Do to be So) Black and Blue?”—The Rhythms and Melodies of Race
September 12, 2012

Readings:

Ramsey—Race Music |  “Daddy’s Second Line: Toward a Cultural Poetics of Race Music” (1-16); “It’s Just the Blues: Race, Entertainment, and the Blues Muse” (44-75); “It Just Stays with Me All of the Time: Collective Memory, Community Theater, and the Ethnographic Truth” (76-95); “We Called Ourselves Modern: Race Music and the Politics and Practice of Afro-Modernism at Midcentury” (96-130); “Goin’ to Chicago: Memories, Histories and a Little Bit of Soul” (131-162)

Roberts—“Michael Jackson’s Kingdom: Music, Race, and the Sound of the Mainstream” (Journal of Popular Music Studies)  PDF

Discussion Question (# 1)


Week 5—“All Aboard the Night Train”—Black Masculinity and the Chitlin Circuit
September 26, 2012

Readings:

Smith—The One: The Life and Music of James Brown

Clay—“Working Day and Night: Black Masculinity and the King of Pop” (Journal of Popular Music Studies) PDF

Discussion Question (# 2)


Week 6— “Big Boy”—from Gary, to Chicago, to Motown
October 3, 2012

Readings:

Jackson—Moon Walk |  “Just Kids with Dreams” (3-64); “The Promised Land” (65-100); “Dancing Machine” (101-142)

Warwick—“You Can’t Win, Child, but You Can’t Get Out of the Game: Michael Jackson’s Transition from Child Star to Superstar” (Popular Music and Society) PDF

Nyong’o—“Have You Seen His Childhood? Song, Screen, and the Queer Culture of the Child in Michael Jackson’s Music” (Journal of Popular Music Studies) PDF

Discussion Question (# 3)


Week 7—“Ease On Down the Road”—Getting Grown and Taking Control
October 10, 2012

Readings:

Jackson—Moon Walk | “Me and Q” (143-176); “The Moonwalk” (177-232); “All You Need is Love” (233-283)

Izod—“Androgyny and Stardom: Cultural Meanings of Michael Jackson” (The San Francisco Jung Institute Library Journal) PDF

Hollander—“Michael Jackson, the Celebrity Cult and Popular Culture” (Social Science and Modern Society) PDF

Discussion Question (# 4)

Midterm Examination Distributed


Week 8—“Wanna be Startin’ Something”—Birth of the “King of Pop”
October 17, 2012

Readings:

Vogel—Man in the Music | “Introduction” (1-29); Off the Wall (30-53); Thriller (54-91)

Danielson—“The Sound of Crossover: Micro-rhythm and Sonic Pleasure in Michael Jackson’s ‘Don’t Stop ‘Til You Get Enough’” (Popular Music and Society) PDF

Discussion Question (#5)

Midterm Examination Due


Week 9— “Smooth Criminal”—Breaking Boundaries; Transcending Race?
October 24, 2012

Readings:

Vogel—Man in the Music | “Bad” (91-129); “Dangerous” (130-169)

Neal—“Still the ‘Best Intentions'?: Edmund Perry Case Resonates Years Later


Campbell—“Saying the Unsayable: The Non-verbal Vocalisations  of Michael Jackson” (Context) PDF

Discussion Question (# 6)


Week 10—“Remember the Time”—Movement, Memory and Masculinity
October 31, 2012

Readings:

Khan—“Michael Jackson’s Ressentiment: Billie Jean and Smooth Criminal in Conversation with Fred Astaire (Popular Music and Society) PDF

Brackett—“Black or White? Michael Jackson and the Idea of Crossover” (Popular Music and Society) PDF

Martinec—“Construction of Identity in Michael Jackson’s Jam” (Social Semiotics) PDF

Guest Lecturer:

Thomas Defrantz (Professor of Dance and African & African American Studies)

Discussion Question (# 7)


Week 11—“They Don’t Care About Us”—Michael Jackson and Black Power
November 7, 2012

Readings:
Vogel—Man in the Music | “History: Past, Present, and Future, Book 1” (170-205); “Blood on the Dancefloor” (206-217)
Fischer—“Wannabe Startin’ Somethin’: Michael Jackson’s Critical Race Representation” (Journal of Popular Music Studies) PDF
Rossiter—“They Don’t Care About Us”: Michael Jackson’s Black Nationalism” (Popular Music and Society) PDF
Discussion Question (# 8)


Week 12—“Unbreakable”—The Man in a Cracked Mirror
November 14, 2012

Readings:
Vogel—Man in the Music |  “Invincible” (218-249); “The Final Years” (250-263)
Erni—“Queer Figurations in the Media: Critical Reflections on the Michael Jackson Sex Scandal” (Critical Studies in Mass Communication) PDF
Gomez-Barris & Gray—“Michael Jackson, Television, and Post-Op Disasters” (Television & New Media) PDF
Whannel—“News, Celebrity and  Vortextuality: A Study of the Media Coverage of the Michael Jackson Verdict” (Cultural Politics) PDF
Discussion Question (# 9)


Week 13—“Ghosts”—On Michael Jackson
November 28, 2012

Jefferson—On Michael Jackson

Discussion Question (# 10)


Week 14—“Man in the Mirror”—Michael Jackson Queered
December 5, 2012

Readings: 

James Baldwin—“Here Be Dragons” PDF

Silberman—“Presenting Michael Jackson” (Social Semiotics) PDF

Gates—“Reclaiming the Freak: Michael Jackson and the Spectacle of Identity” (Velvet Light Trap)  PDF

Fast—“Michael Jackson’s Queer Musical Belongings” (Popular Music and Society) PDF

Final Examination Distributed
 

Minggu, 19 September 2010

Will.I.Am & 'Blackface'


from NewsOne.com

Professor Condemns Will.I.Am’s Use Of Blackface At MTV VMA
by Bakari Kitwana

Recently, Newsone contributor Bakari Kitwana spoke with Associate Professor of Visual Studies at the State University of Buffalo, John Jennings, about recent visual images of Blacks on the American popular culture scene—from Will.i.am’s Blackface to the signage at the recent 9/12 Tea Party Rally in Washington, DC. Jennings offers a crash course in media literacy, and stereotypes that he says continue to reproduce themselves in American culture.

He likens the Tea Party signs to previous eras where American racists target Jews, Irish, etc and says of blackface: “Because of the deep history of minstrelsy throughout history, I don’t think you can take it out of the history of racialization.” Such stereotypes, he says, “are like logos.”

Curator, Illustrator, Cartoonist and Graphic Novelist, John Jennings is Associate Professor of Visual Studies at the State University of New York Buffalo and the author of the new book Black Comix: African-American Independent Comics, Art and Culture, which he co-wrote with Damian Duffy. He teaches graphic art and design and his research focuses on challenging African-American stereotypes in the media and popular culture.

Listen to the Conversation HERE

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