Tag Archives: professional development

Adrienne Rich: Why I Refused the National Medal for The Arts

[This is the letter poet and essayist Adrienne Rich sent  on July 3, 1997, to then director of the National Endowment for the Arts, actor Jane Alexander. In it, Ms. Rich explains why her conscience forbids her to accept the National Medal for the Arts that year. Incidentally, this wasn’t the first time Adrienne Rich took a principled stand in refusing an award.]

“Dear Jane Alexander,

I just spoke with a young man from your office, who informed me that I had been chosen to be one of twelve recipients of the National Medal for the Arts at a ceremony at the White House in the fall. I told him at once that I could not accept such an award from President Clinton or this White House because the very meaning of art, as I understand it, is incompatible with the cynical politics of this administration. I want to clarify to you what I meant by my refusal.

Anyone familiar with my work from the early sixties on knows that I believe in art’s social presence–as a breaker of official silences, as a voice for those whose voices are disregarded, and as a human birthright. In my lifetime I have seen the space for the arts opened by movements for social justice, the power of art to break despair. Over the past two decades I have witnessed the increasingly brutal impact of racial and economic injustice in our country.

There is no simple formula for the relationship of art to justice. But I do know that art–in my own case the art of poetry–means nothing if it simply decorates the dinner table of power that holds it hostage. The radical disparities of wealth and power in America are widening at a devastating rate. A president cannot meaningfully honor certain token artists while the people at large are so dishonored.

I know you have been engaged in a serious and disheartening struggle to save government funding for the arts, against those whose fear and suspicion of art is nakedly repressive. In the end, I don’t think we can separate art from overall human dignity and hope. My concern for my country is inextricable from my concerns as an artist. I could not participate in a ritual that would feel so hypocritical to me.

Sincerely.

Adrienne Rich

cc: President Clinton”

Excerpted from: Hunter, J, Paul, Alison Booth, and Kelly J. Mays. The Norton Introduction to Poetry, Ninth Edition. New York: Norton, 2007.

Adrienne Rich on the Needs of Art

“Art can never be totally legislated to any system, even those that reward obedience and send dissidents to hard labor and death; not can it, in our specifically compromised system, be really free. It may push up through cracked macadam, by the merest means, but it needs breathing space, cultivation, protection to fulfill itself, Just as people do. New artists, young or old, need education in their art, the tools of their craft, chances to study examples from the past and meet practitioners in the present, get the criticism and encouragement of mentors, learn that they are not alone. As the social compact withers, fewer and fewer people will be told Yes, you can do this; this also belongs to you. Like government, art needs the participation of the many in order not to become the property of a powerful and narrowly self-interested few.”

Excerpted from: Hunter, J, Paul, Alison Booth, and Kelly J. Mays. The Norton Introduction to Poetry, Ninth Edition. New York: Norton, 2007.

Negritude

Negritude: An attitude and aesthetic maintained by certain 20-century French-speaking African authors, which upholds traditional African culture and values. The concept originated in reaction to the stereotyping of black Africans by European colonials, and it implies a total acceptance of pride in black heritage. The term was coined by Aime Cesaire and popularized by L.S. Senghor and Leon Damas.

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

African Languages

“African languages: Languages indigenous to sub-Saharan Africa that belongs to the Niger-Congo, Nilo-Saharan, Khoisan, and Afroasiatic language phyla. Africa is the most polyglot continent; estimates of the number of African languages range from 1,000 to 1,200. Many have numerous dialects. Distinctions in tone play a significant role in nearly all sub-Saharan languages. Contact between people who do not speak that same language has necessitated the development of lingua francas such as Swahili in eastern Africa, Lingala in the Congo River basin (see Bantu languages), Sango in the Central African Republic (see Adamawa-Ubangi languages), and Arabic across much of the Sahel.”

Excerpted/Adapted from: Stevens, Mark A., Ed. Merriam Webster’s Collegiate Encyclopedia. Springfield, Massachusetts: Merriam-Webster, 2000.

Bernard Coard on How the System Works

How the System Works: The Black child’s true identity is denied daily in the classroom. In so far as he is given an identity, it is a false one. He is made to feel inferior in every way. In addition to being told he is dirty and ugly and ‘sexually unreliable’, he is told by a variety of means that he is intellectually inferior. When he prepares to leave school, and even before, he is made to realise that he and ‘his kind’ are only fit for manual, menial jobs.

The West Indian child is told on first entering the school that his language is second rate, to say the least. Namely, the only way he knows how to speak, the way he has always communicated with his parents and family and friends; the language in which he has expressed all his emotions, from joy to sorrow; the language of his innermost thoughts and ideas, is ‘the wrong way to speak’.

A man’s language is part of him. It is his only vehicle for expressing his thoughts and feelings. To say that his language and that of his entire family and culture is second rate, is to accuse him of being second rate. But this is what the West Indian child is told in one manner or another on his first day in an English school.

As the weeks and months progress, the Black child discovers that all the great men of history were white—at least, those are the only ones he has been told about. His reading books show him white children and white adults exclusively. He discovers that white horses, white rocks and white unicorns are beautiful and good; but the word ‘Black’ is reserved for describing the pirates, the thieves, the ugly, the witches, etcetera. This is the conditioning effect of what psychologists call word association on people’s minds. If every reference on TV, radio, newspapers, reading books and story books in school shows ‘Black’ as being horrible and ugly, and everything ‘white’ as being pure, clean and beautiful, then people begin to think this way on racial matters.”

Excerpted from: Coard, Bernard. How the West Indian Child Is Made Educationally Sub-Normal in the British School System: 50th Anniversary Expanded Fifth Edition. Kingston, Jamaica: McDermott Publishing, 2021.

The Weekly Text, 25 February 2022, Black History Month 2022 Week IV: A Reading and Comprehension Worksheet on Louis Armstrong

For the final Friday of Black History Month 2022. this week’s Text is a reading on Louis Armstrong along with its attendant vocabulary-building and comprehension worksheet.

Because I grew up with Mr. Armstrong (I was eleven years old when he died), he has always been a part of my life. He often appeared on the 1960s variety shows–which I have come to think of as the last gasp of Vaudeville–and I loved watching him perform. At a very young age I became familiar with Louis Armstrong’s music by way of my father’s tendency to play jazz programming on public radio at mealtimes.

Mr. Armstrong has lately crossed my radar screen in the form of a remark made by Troy Maxson, the principal character in August Wilson’s magisterial play, Fences. No one, I think, would dispute Louis Armstrong’s enormous and in every respect indelible influence on Jazz. Like all living things, though, Jazz evolved. Bebop, Jazz for listening rather than dancing, developed in the early 1940s in New York City. When the the recording ban of 1942-44 ended in the United States the innovators and stars of Bebop, foremost among them Dizzy Gillespie and Charlie Parker, became widely available to the listening public.

Louis Armstrong heard in Bebop’s frenetic pace and “weird notes” what he called “Chinese music.” Mr. Armstrong believed Bebop artists mostly played for one another, not the audience listening to them. In act one, scene four (page 48 of the Plume edition) of Fences, Troy’s son Lyons, a musician, invites Troy to a club to hear Lyons play. Troy declines with the comment that he doesn’t care for “Chinese music.” I very much doubt this allusion is coincidental, so there’s one obscure note in the play to point out to students reading it (at the risk of revealing my hamster wheel of a mind to the readers of this blog).

It’s also worth mentioning, should you be teaching Fences (this is my first time through this masterpiece) that Troy works as a garbage collector; Dr. Martin Luther King Jr., at the time of his death in Memphis, was in that city to support the cause of striking sanitation workers. This too, I suppose, I reject as a coincidence. The Pittsburgh Cycle, as Mr. Wilson’s plays are known, is also known variously as the Century Cycle and the American Century Cycle. This is drama, yes, but it is also history.

So this post is an appropriate conclusion to Black History Month 2022. Women’s History Month 2022 begins on 1 March. As always, Mark’s Text Terminal will observe this imperfect, indeed inadequate (as it too is only a month long–scarcely enough time to detail the manifold contributions of women to this world) month with posts and Weekly Texts on topics in women’s history.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Claude McKay

“Claude McKay: (1889-1948) Jamaican-born poet and novelist. McKay, a major figure in the Harlem Renaissance of the 1920s, became the first black best-selling author with his Home to Harlem (1928), the story of a black soldier returning home after World War I. Among his other novels are Banjo (1929), dealing with an international company of drifters on the waterfront in Marseilles, and Banana Bottom (1933), one of the great early Caribbean novels celebrating Caribbean popular culture from the point of view of a female protagonist. His verse was published in the collections Songs of Jamaica (1912), Constab Ballads (1912), Spring in New Hampshire and Other Poems (1920), and Harlem Shadows (1922). His autobiography, A Long Way from Home (1937), presents the odyssey of the black intellectual journeying from the Caribbean to America, Europe, and North Africa, and back to the U.S.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Barbara C. Jordan on the Constitution of the United States in the Context of Impeaching a Criminal President

“My faith in the Constitution is whole, it is complete, it is total. I am not going to sit here and be an idle spectator to the diminution, the subversion, the destruction of the Constitution.”

Barbara C. Jordan, Statement before House Judiciary Committee considering impeachment of Richard Nixon, 25 July 1974

Excerpted from: Schapiro, Fred, ed. The Yale Book of Quotations. New Haven: Yale University Press, 2006.

Bernard Coard on Prejudice Toward and Patronisation of the West Indian Child in British Schools

“Prejudice and Patronisation: There are three main ways in which a teacher can seriously affect the performance of a Black child: by being openly prejudiced; by being patronizing; and by having low expectations of the child’s abilities. All three attitudes can be found among teachers in this country. Indeed, these attitudes are widespread. Their effect on the Black child is enormous and devastating.

That there are many openly prejudiced teachers in Britain is not in doubt in my mind. I have experienced them personally. I have also consulted many black teachers whose experience with some white teachers are horrifying. Two West Indian teachers in South London have reported to me cases of white teachers who sit smoking in the staff-room, and refuse to teach a class of nearly-all-Black children, When on occasion they state to their refusal to teach ‘those [plural form of the n-word]’. These incidents were reported to the head teachers of the schools, who took no action against the teachers concerned. In fact, the heads of these schools had been trying to persuade the children to leave the school when they reached school-leaving age, even though their parents wished them to continue in their education, in some cases in order to obtain CSEs and ‘O’ Levels, and in other cases because they thought the children could benefit from another year’s general education. Therefore, the teachers in this case conspired to prevent these Black children from furthering their education by simply refusing to teach them.

There are many more teachers who are patronising or condescending towards Black children. These are the sort who treat a Black child as a favourite pet animal. I have often overheard teachers saying: ‘I really like that coloured child. He is quite bright for a coloured child.’ One teacher actually said to me one day, in a sincere and well-meaning type of voice: ‘Gary is really quite a nice boy considering he is Black’. There are other teachers who will not press the Black too hard academically, as ‘he isn’t really up to it, poor chap’. Children can see through these hypocritical and degrading statements and attitudes more often than adults realise, and they feel deeply aggrieved when anyone treats them as being inferior, which is what patronisation is all about. They build up resentment, and develop emotional blocks to learning.”

Excerpted from: Coard, Bernard. How the West Indian Child Is Made Educationally Sub-Normal in the British School System: 50th Anniversary Expanded Fifth Edition. Kingston, Jamaica: McDermott Publishing, 2021.

Bernard Coard on the Implications of Placement of West Indian Children in British “Educationally Sub-Normal” Schools

“The implications for the large number of West Indian children who get placed in ESN [Educationally Sub-Normal] school and who can never ‘escape’ back to normal schools are far reaching and permanent. As demonstrated above, the West Indian child’s educational level on leaving school will be very low. He will be eligible, on reason of his lack of qualifications and his assessment as being ESN, only for the jobs which really-ESN pupils are able to perform; namely, repetitive jobs of a menial kind, which involve little use of intelligence. This is what he or she can look forward to as a career! In turn, though his getting poor wages, poor housing, and having no motivation to better himself, his children can look forward to s similar educational experience and similar career prospect! No wonder E.J.B. Rose, who was Director of the Survey of Race Relations in Britain, and co-author of the report Colour and Citizenship, states that by the year 2000 Britain will probably have a Black helot class unless the educational system is radically altered.”

Excerpted from: Coard, Bernard. How the West Indian Child Is Made Educationally Sub-Normal in the British School System: 50th Anniversary Expanded Fifth Edition. Kingston, Jamaica: McDermott Publishing, 2021.