Monthly Archives: January 2020

Intersections of intersectionality: Poetry colliding

Woke up to this poem-a-day in my in box and felt compelled to share! Been subscribing to this service for a year and a half and am simply amazed at the timing of the delivery of this particular poem given … Continue reading

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The conundrum explained in “Who Gets to Tell a Black Story?”

The New York Times article, “Who Gets to Tell a Black Story” analyzes an HBO tv series about difficult lives of drug addicts in crime infested areas of Baltimore, Maryland. Janny Scott explains that crime reporter Mr David Simon decided … Continue reading

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An Honest Quota: Diversity as Consumption or Equality

“Are our institutions embracing us, or are they consuming us in the name of diversity?” — “Reflections on a Movement: #transformDH, Growing Up” by Moya Bailey, Anne Cong-Huyen, Alexis Lothian, & Amanda Phillips Literary Twitter is abuzz with conversations around … Continue reading

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Who’s telling our stories? A Look into Representation and Diversity in Media

For this week’s selected readings the piece that stood out to me was “Who Get’s to Tell a Black Story?” by Janny Scott. Just as the title states, the complicated and intricate topic of who is able to tell the … Continue reading

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Week 2/ Intersections

The humanities need a wide range of backgrounds to substantiate itself. Meaning, it’s not to discuss race politics without also incorporating conversations on class, urban development, the financial markets, foreign investments at-large, etc. In fact I argue that intersectionality (or … Continue reading

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That awkward moment when your Black Story isn’t black enough

Janny Scott’s “Who Gets to Tell a Black Story?” stood out to me, as The Wire had been an area of focus in a class I took last semester. While there was not really a central argument the article was … Continue reading

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Legitimizing and historicizing legitimate history / What is and should be your ultimate aim in telling stories?

As a person whose prior exposure to the digital humanities was next to nil, I found this week’s readings to be an excellent primer on both the discipline and the debates taking place within it.  I look forward to really … Continue reading

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Who Gets to Tell a Black Story: The Peaceful, Silent and yet Ubiquitous Racism

America is undoubtedly still being plagued by drastic tears left by its imperialistic and racist history. When law-based segregation no longer exists, and civil movements have become a part to be reckoned with in the public rhetoric, the trauma of racism stubbornly lingers on and has gotten subtly permeative.  This was the reality that the black director Charles Dutton was faced with in his production of a TV series on Black people. He knew very well that “There isn’t a single black person in Hollywood with any power…… This isn’t paranoia. Because if I stood in a room with every major black star, just talking, then I would hear the same things out of their mouths that are coming out of mine. Multimillionaires. The main thing you’ll hear is, ‘Whenever I take a project, I can’t get it done unless I have a white partner.”  There was of course strong rage, but it was in private. This, Mr. Dutton knew also, “There isn’t a black actor in Hollywood, on the star level or the lowest level, who doesn’t in private vehemently rail against the industry……The biggest stars. The hugest stars. Because somewhere along the line they are still reminded, ‘You know something? You are a big star but you are just another nigger.” The existing racism was swept under the carpet. If the issue was brought up, it would be met with denial: “Hey, my next-door neighbor is black. My best friend is black.” A social-political issue which was a direct result of systematic and historical exploitation was forced into the space of personal stories and its magnitude and existence were thus easily dismissed and ignored. A superficial peace was brought about and the justified rage became silent. No one was deliberately being “racist”; however, it was completely normal to have a crew that was mostly white and white writers to tell a black story. No one believed, or at least on the surface, it was a questionable situation.  Dutton’s plight was pretty indicative of how racism nowadays works most of the time. The encroachment of black people’s narrative not only would hurt black people and increase their indignance, it would also cause an issue for the white. David Simon and David Mills, the two white writers for the TV production had to face Dutton’s doubt and inherent distrust of the fact that white people were telling black story. In the end, they were able to see past the strain and prejudice and truly appreciate each other’s brilliance. But as we all know, happy ending doesn’t happen all too often. More often than not, the gap between different groups of people would get torn wider under a historical dark cloud that never went away. 

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Humanity, Colorblindness, and Modes of Control

Kim Gallon’s Making a Case for the Black Digital Humanities challenges fundamental understandings of humanity. Gallon asks for scholars of the humanities to consider “humanity as a social construction and subject to change over time and place.” Central to this … Continue reading

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Reflection on Gallon’s “Making a Case for Black Digital Humanities”

In Kim Gallon’s “Making a Case for Black Digital Humanities”,  Gallon quickly assesses that to try to concretely define the term “black” is incredibly complex as blackness has historically been applied individually and subjectively. This also occurs with other minority groups. … Continue reading

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