I also enjoy long walks on the beach, travel, and Oxford commas. But who doesn’t?
I’ve been sending a lot of e-mails lately with the words “prospective PhD student” in the subject line. Yes, friends, it’s true: it’s time for me to go back to school (again) and properly claim the unearned suffix in @tessalaprofessa. Luckily I’ve had a year + in the classroom to test my interests on crops of unsuspecting students and get inspired by their ideas. It turns out that trying to clarify my thoughts for PhD applications is also helping me tighten how I hope to teach this fall.
So what do I hope to study? Well, hiphop, obviously. But having never been a literature major, I also want to ground my knowledge of hiphop in a study of African-American literature and letters. Poetics, critical race theory, postcolonial theory, a solid hold on modernism–rife with buzzwords I bandy around but am overdue to master. And I want to study writing pedagogy. That’s where finding programs I like has proved hard. But the thing I’ve learned the most about hiphop music over the last two years is that these songs constitute writing–and every time I’ve wanted to push the contours of how we conceive of writing in my class, hiphop has been long ahead, waiting for me to catch up.
When I originally chose to teach freshman comp about hiphop, it was because I was a graduate student looking to do something fun. My own required freshman writing class had been deadly boring and I figured if eighteen students were going to have to write four papers each and (more importantly) I would have to read all seventy two, they’d better be about something fun. It was only after the class began I realized what a teaching boon it was to ask students to engage with their own contemporary media landscape. A year later, when the department began rolling out its reflective writing program, I realized that rap is often reflective. And when I began teaching Argumentative Writing, it dawned on me that rap makes sophisticated and well-supported arguments. You know, like I ask my students to do. Heck, Kanye often uses a three-part verse structure. Bet you never thought of him as an Aristotelian thinker!
Yesterday I signed on to Facebook to see this definition of privilege from Duke scholar Mark Anthony Neal making the rounds:
The very essence of “privilege” is when you enter into a space and are fundamentally unaware that not only have you changed the conversation, but have made the conversation about you.
“Uh oh,” I thought. Extra yikes-points since I recently changed the subheading of this blog from “journal” to “diary,” to better account for its personal subject matter. But then I wondered how crucial that “unaware” part is to the deployment (and the destructiveness) of privilege. Ever since I’ve entered hiphop’s discursive space, I’ve been aware that my status as a white woman somehow changes the terms of the conversation. And despite my parents’ fears that my desired area of expertise is unmarketable, I remain convinced that it would be easier for me to exploit the position of a white hiphop scholar than to be ignored because of it.
When I started writing this blog I was explicitly interested in how I fit into the hiphop narrative–why a white girl would be interested in these topics to begin with. And there are still questions there worth investigating–the effects of an urban public education on my goals and attitudes, for example, or how hiphop makes anger, bravado, and political radicalism sexy in ways that don’t seem available to white women.
But as my hiphop interests shift more firmly toward teaching, learning, and argument, I must say I’m relieved. The first time I ever had my own classroom was on a summer ESL teaching gig in China. I remember laying in bed at night, stressing out over the next day’s lessons, when I realized how rare it was that I worried about anything except myself. Indeed, my natural inclinations are privileged. When I was a graduate student, teaching interrupted a lifestyle centered around a big writing table in a nice apartment that cost most of my monthly stipend (read: free money). But each day I teach demands that I get off my ass, break the bubble of my solitude, and actually give of myself.
Of course, teaching hiphop in a classroom full of mostly white students invokes other questions of privilege. I’ve had multiple classrooms with not a single African-American student, and not seeing often means forgetting. But when I do have students of color, it’s not their job to draw attention to the demographics of our classroom: its mine. I try to create a classroom space that recognizes privilege, absence, and irony–and also humor, compassion and inspiration. Both are challenges. But you catch more flies with honey than vinegar, and I’ve learned you catch more prejudicial assumptions with encouragement than beration. Anyway, as Kanye would say, #ITSAPROCESS. Peace out, friends.