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One Nice Bug Per Day
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Lint Roller? I Barely Know Her

Janaina Medeiros
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Resources for Teachers
Zora Neale Hurston, was a folklorist, novelist, and writer who wrote and studied AAVE and folk sayings of Black people in her hometown of Eatonville. Her literary work centers everyday Black people and expressions. This page from her website contains book excerpts, syllabi, reading guides, interviews, and audio for teaching her work. [pedagogical artifact]
Fannie Lou Hamer’s testimony before the credentials committee at the 1964 DNC. Hamer, a civil rights and voting rights activist, sharecropper, and vice chairperson of the Mississippi Freedom Democratic Party, delivers testimony in which she coins the phrase “sick and tired of being sick and tired” [historical artifact]
If community is to be part of the educational process, and it must be, then schools must understand the role of community.
Beverly J. Moss, “Introduction”, Community text arises
As discussed by Woodson, the culturally biased education that most African Americans experience trains them to sever ties with Black communities and cultural activities. It trains us to have no interest in making a commitment to the uplift of other African Americans less fortunate than ourselves for we have pulled ourselves up by our own bootstraps. Black community people see this as “thankin’ that you betta than somebody.” When this occurs, “the educated” Black person is ostracized from Black communities. This is the phenomenon of “sellin’ out” or “acting white” as students in Fordham and Ogbu’s 1986 work attest. It appears that many readers of Fordham and Ogbu’s analysis overlook the concept of White supremacy. And that omission is crucial to understanding student rejection of so-called achievement. In this sense, achievement equals assimilating to something that is anti-Black. Students can’t give us the critical historical explanation, that African Americans who have internalized White supremacist ideologies are those who have been “educated” away from the communities of their nurture. People are rejected in Black communities when their behaviors are seen as self-serving. We all have to play the game to some extent and are complicit or co-opted from jump street if we are to survive and if we need the system. The question is one of commitment to a community.
Elaine Richardson, African American Literacies
We know from education research that working class/working-poor Black and Latin[x] students are more likely to have instruction delivered to them from the most underpaid, novice, and/or uncertified teachers.
Carmen Kynard, “Writing while Black: The Colour Line, Black discourses and assessment in the institutionalization of writing instruction”
On July 5, 1852, orator and abolitionist Frederick Douglass gave a speech at an event commemorating the signing of the Declaration of Independence. Ben Guillory, producing/artistic director of the Los Angeles-based Robey Theatre Company, reads an excerpt from Douglass' speech, "The Meaning of July Fourth for the Negro."
Transcript of Frederick Douglass’ famous speech, “The Meaning of July Fourth for the Negro” [historical artifact]
To the university I’ll steal, and there I’ll steal,” to borrow from Pistol at the end of Henry V, as he would surely borrow from us. This is the only possible relationship to the American university today. This may be true of universities everywhere. It may have to be true of the university in general. But certainly, this much is true in the United States: it cannot be denied that the university is a place of refuge, and it cannot be accepted that the university is a place of enlightenment. In the face of these conditions one can only sneak into the university and steal what one can. To abuse its hospitality, to spite its mission, to join its refugee colony, its gypsy encampment, to be in but not of – this is the path of the subversive intellectual in the modern university. Worry about the university. This is the injunction today in the United States, one with a long history. Call for its restoration like Harold Bloom or Stanley Fish or Gerald Graff. Call for its reform like Derek Bok or Bill Readings or Cary Nelson. Call out to it as it calls to you. But for the subversive intellectual, all of this goes on upstairs, in polite company, among the rational men. After all, the subversive intellectual came under false pretenses, with bad documents, out of love. Her labor is as necessary as it is unwelcome. The university needs what she bears but cannot bear what she brings. And on top of all that, she disappears. She disappears into the underground, the downlow lowdown maroon community of the university, into the undercommons of enlightenment, where the work gets done, where the work gets subverted, where the revolution is still black, still strong.
Stefano Harvey & Fred Moten, “The Undercommons”
We are in dire need of alternatives to the legal conception of personhood that dominates our world, and, in addition, to not lose sight of what remains outside the law, what the law cannot capture, what it cannot magically transform into the fantastic form of property ownership.
Alexander Weheliye, “Habeas Viscus”
Brief documentary on Henrietta Lacks [pedagogical artifact]
...rhetoric that served to "other" Obama by indicating that he thinks too well of himself re-inscribes the racist notion that there is a proper and prescribed role for a Black man in society - even a free Black man who happens to be president of the United States.
Anthony Sparks, “Minstrel Politics or “He Speaks Too Well”: Rhetoric, Race, and Resistance in the 2008 Presidential Campaign”
Key and Peele’s sketch series “Obama’s Anger Translator” (this version is titled “Martin Luther King Jr Day” [popular artifact]
Documentary about the creator of rock’n’roll, Sister Rosetta Tharpe [historical artifact]
Erykah Badu’s 2002 video for her song “Love of My Life (An Ode to Hip Hop)” feat. Common [popular artifact]
Missy Elliott’s 2007 video for “Work It” [popular artifact]
Cover art from Untitled… Negro Mythos Series, Hebru Brantley
(from the website): Hip-Hop is the largest youth culture in the history of the planet rock. It has produced generations of artists who have revolutionized their genre(s) by applying the aesthetic innovations of the culture. The BreakBeat Poets features 78 poets, born somewhere between 1961-1999, All-City and Coast-to-Coast, who are creating the next and now movement(s) in American letters. This is the first poetry anthology by and for the Hip-Hop generation. It is for people who love Hip-Hop, for fans of the culture, for people who've never read a poem, for people who thought poems were only something done by dead white dudes who got lost in a forest, and for poetry heads. This anthology is meant to expand the idea of who a poet is and what a poem is for. The BreakBeat Poets are the scribes recording and remixing a fuller spectrum of experience of what it means to be alive in this moment. The BreakBeat Poets are a break with the past and an honoring of the tradition(s), an undeniable body expanding the canon for the fresher. [pedagogical artifact]
...white America has always had an intense interest in black culture. Consequently, the fact that a significant number of white teenagers have become rap fans is quite consistent with the history of black music in America and should not be equated with a shift in rap's discursive or stylistic focus away from black pleasure and black fans. However, extensive white participation in black culture has also always involved white appropriation and attempts at ideological recuperation of black cultural resistance.
Tricia Rose, “Voices from the Margins: Rap Music and Contemporary Black Cultural Production”