Looking Like A Language Sounding Like A Race

Looking like a Language, Sounding like a Race examines the emergence of linguistic and ethnoracial categories in the context of Latinidad. The book draws from more than twenty-four months of ethnographic and sociolinguistic fieldwork in a Chicago public school, whose student body is more than 90% Mexican and Puerto Rican, to analyze the racialization of language and its relationship to issues of power and national identity. It focuses specifically on youth socialization to U.S. Latinidad as a contemporary site of political anxiety, raciolinguistic transformation, and urban inequity. Jonathan Rosa's account studies the fashioning of Latinidad in Chicago's highly segregated Near Northwest Side; he links public discourse concerning the rising prominence of U.S. Latinidad to the institutional management and experience of raciolinguistic identities there. Anxieties surrounding Latinx identities push administrators to transform "at risk" Mexican and Puerto Rican students into "young Latino professionals." This institutional effort, which requires students to learn to be and, importantly, sound like themselves in highly studied ways, reveals administrators' attempts to navigate a precarious urban terrain in a city grappling with some of the nation's highest youth homicide, dropout, and teen pregnancy rates. Rosa explores the ingenuity of his research participants' responses to these forms of marginalization through the contestation of political, ethnoracial, and linguistic borders.

Bringing together theory, research, and practice to dismantle Anti-Black Linguistic Racism and white linguistic supremacy, this book provides ethnographic snapshots of how Black students navigate and negotiate their linguistic and racial identities across multiple contexts. By highlighting the counterstories of Black students, Baker-Bell demonstrates how traditional approaches to language education do not account for the emotional harm, internalized linguistic racism, or consequences these approaches have on Black students' sense of self and identity. This book presents Anti-Black Linguistic Racism as a framework that explicitly names and richly captures the linguistic violence, persecution, dehumanization, and marginalization Black Language-speakers endure when using their language in schools and in everyday life. To move toward Black linguistic liberation, Baker-Bell introduces a new way forward through Antiracist Black Language Pedagogy, a pedagogical approach that intentionally and unapologetically centers the linguistic, cultural, racial, intellectual, and self-confidence needs of Black students. This volume captures what Antiracist Black Language Pedagogy looks like in classrooms while simultaneously illustrating how theory, research, and practice can operate in tandem in pursuit of linguistic and racial justice. A crucial resource for educators, researchers, professors, and graduate students in language and literacy education, writing studies, sociology of education, sociolinguistics, and critical pedagogy, this book features a range of multimodal examples and practices through instructional maps, charts, artwork, and stories that reflect the urgent need for antiracist language pedagogies in our current social and political climate.

Named a 2018 Notable Work of Nonfiction by The Washington Post NOW A NEW YORK TIMES BESTSELLER • Winner, The 2018 Southern Book Prize NAMED A BEST/MOST ANTICIPATED BOOK OF 2018 BY: Chicago Tribune • Time • Publisher's Weekly A stunning follow up to New York Times bestseller Tears We Cannot Stop The Washington Post: "Passionately written." Chris Matthews, MSNBC: "A beautifully written book." Shaun King: “I kid you not–I think it’s the most important book I’ve read all year...” Harry Belafonte: “Dyson has finally written the book I always wanted to read...a tour de force.” Joy-Ann Reid: A work of searing prose and seminal brilliance... Dyson takes that once in a lifetime conversation between black excellence and pain and the white heroic narrative, and drives it right into the heart of our current politics and culture, leaving the reader reeling and reckoning." Robin D. G. Kelley: “Dyson masterfully refracts our present racial conflagration... he reminds us that Black artists and intellectuals bear an awesome responsibility to speak truth to power." President Barack Obama: "Everybody who speaks after Michael Eric Dyson pales in comparison.” In 2015 BLM activist Julius Jones confronted Presidential candidate Hillary Clinton with an urgent query: “What in your heart has changed that’s going to change the direction of this country?” “I don’t believe you just change hearts,” she protested. “I believe you change laws.” The fraught conflict between conscience and politics – between morality and power – in addressing race hardly began with Clinton. An electrifying and traumatic encounter in the sixties crystallized these furious disputes. In 1963 Attorney General Robert Kennedy sought out James Baldwin to explain the rage that threatened to engulf black America. Baldwin brought along some friends, including playwright Lorraine Hansberry, psychologist Kenneth Clark, and a valiant activist, Jerome Smith. It was Smith’s relentless, unfiltered fury that set Kennedy on his heels, reducing him to sullen silence. Kennedy walked away from the nearly three-hour meeting angry – that the black folk assembled didn’t understand politics, and that they weren’t as easy to talk to as Martin Luther King. But especially that they were more interested in witness than policy. But Kennedy’s anger quickly gave way to empathy, especially for Smith. “I guess if I were in his shoes...I might feel differently about this country.” Kennedy set about changing policy – the meeting having transformed his thinking in fundamental ways. There was more: every big argument about race that persists to this day got a hearing in that room. Smith declaring that he’d never fight for his country given its racist tendencies, and Kennedy being appalled at such lack of patriotism, tracks the disdain for black dissent in our own time. His belief that black folk were ungrateful for the Kennedys’ efforts to make things better shows up in our day as the charge that black folk wallow in the politics of ingratitude and victimhood. The contributions of black queer folk to racial progress still cause a stir. BLM has been accused of harboring a covert queer agenda. The immigrant experience, like that of Kennedy – versus the racial experience of Baldwin – is a cudgel to excoriate black folk for lacking hustle and ingenuity. The questioning of whether folk who are interracially partnered can authentically communicate black interests persists. And we grapple still with the responsibility of black intellectuals and artists to bring about social change. What Truth Sounds Like exists at the tense intersection of the conflict between politics and prophecy – of whether we embrace political resolution or moral redemption to fix our fractured racial landscape. The future of race and democracy hang in the balance.

'Every voice raised against racism chips away at its power. We can't afford to stay silent. This book is an attempt to speak' The book that sparked a national conversation. Exploring everything from eradicated black history to the inextricable link between class and race, Why I'm No Longer Talking to White People About Race is the essential handbook for anyone who wants to understand race relations in Britain today. THE NO.1 SUNDAY TIMES BESTSELLER WINNER OF THE BRITISH BOOK AWARDS NON-FICTION NARRATIVE BOOK OF THE YEAR 2018 FOYLES NON-FICTION BOOK OF THE YEAR BLACKWELL'S NON-FICTION BOOK OF THE YEAR WINNER OF THE JHALAK PRIZE LONGLISTED FOR THE BAILLIE GIFFORD PRIZE FOR NON-FICTION LONGLISTED FOR THE ORWELL PRIZE SHORTLISTED FOR A BOOKS ARE MY BAG READERS AWARD

In Articulate While Black, two renowned scholars of Black Language address language and racial politics in the U.S. through an insightful examination of President Barack Obama's language use-and America's response to it.

You Feel Me?: Language and Youth Affective Agency in a Racializing World / Mary Bucholtz, Dolores Inés Casillas, and Jin Sook Lee -- Teaching, Learning, and the Affective Challenges of Social Justice. "Just" Emotions: The Politics of Racialized and Gendered Affect in a Graduate Sociolinguistic Justice Classroom / Rachel Rys -- Joint Creation: The Art of Accompaniment in the Language Beliefs of Transformative Teachers / Elizabeth Mainz -- Sounding White and Boring: Race, Identity, and Youth Freedom in an After-School Program / Anna Bax and Juan Sebastian Ferrada -- Ideologies of Race and Language in the Lives of Youth. "There's No Such Thing as Bad Language, but": Colorblindness and Teachers' Ideologies of Linguistic Appropriateness / Jessica Love-Nichols -- "I Feel Like Really Racist for Laughing": White Laughter and White Public Space in a Multiracial Classroom / Meghan Corella -- "You Don't Look Like You Speak English": Raciolinguistic Profiling and Latinx Youth Agency / Adanari Zarate -- The Complexities in Seguir Avanzando: Incongruences between the Linguistic Ideologies of Students and Their Familias / Zuleyma Nayeli Carruba-Rogel -- Youth as Affective Agents. Keeping Grandpa's Stories and Grandma's Recipes Alive: Exploring Family Language Policy in an Academic Preparation Program / Tijana Hirsch -- "Without Me, That Wouldn't Be Possible": Affect in Latinx Youth Discussions of Language Brokering / Audrey Lopez -- "To Find the Right Words": Bilingual Students' Reflections on Translation and Translatability / Katie Lateef-Jan -- Co-Constructing Academic Concepts in Hybrid Learning Spaces: Latinx Students' Navigation of "Communities of Practice" / María José Aragón -- After Affects / Mary Bucholtz, Dolores Inés Casillas, and Jin Sook Lee

Sounding the Color Line explores how competing understandings of the U.S. South in the first decades of the twentieth century have led us to experience musical forms, sounds, and genres in racialized contexts. Yet, though we may speak of white or black music, rock or rap, sounds constantly leak through such barriers. A critical disjuncture exists, then, between actual interracial musical and cultural forms on the one hand and racialized structures of feeling on the other. This is nowhere more apparent than in the South. Like Jim Crow segregation, the separation of musical forms along racial lines has required enormous energy to maintain. How, asks Nunn, did the protocols structuring listeners' racial associations arise? How have they evolved and been maintained in the face of repeated transgressions of the musical color line? Considering the South as the imagined ground where conflicts of racial and national identities are staged, this book looks at developing ideas concerning folk song and racial and cultural nationalism alongside the competing and sometimes contradictory workings of an emerging culture industry. Drawing on a diverse archive of musical recordings, critical artifacts, and literary texts, Nunn reveals how the musical color line has not only been established and maintained but also repeatedly crossed, fractured, and reformed. This push and pull--between segregationist cultural logics and music's disrespect of racially defined boundaries--is an animating force in twentieth-century American popular culture.

Raciolinguistics reveals the central role that language plays in shaping our ideas about race and vice versa. The book brings together a team of leading scholars-working both within and beyond the United States-to share powerful, much-needed research that helps us understand the increasingly vexed relationships between race, ethnicity, and language in our rapidly changing world. Combining the innovative, cutting-edge approaches of race and ethnic studies with fine-grained linguistic analyses, authors cover a wide range of topics including the struggle over the very term "African American," the racialized language education debates within the increasing number of "majority-minority" immigrant communities in the U.S., the dangers of multicultural education in a Europe that is struggling to meet the needs of new migrants, and the sociopolitical and cultural meanings of linguistic styles used in Brazilian favelas, South African townships, Mexican and Puerto Rican barrios in Chicago, and Korean American "cram schools" in New York City, among other sites. Taking into account rapidly changing demographics in the U.S and shifting cultural and media trends across the globe--from Hip Hop cultures, to transnational Mexican popular and street cultures, to Israeli reality TV, to new immigration trends across Africa and Europe--Raciolinguistics shapes the future of scholarship on race, ethnicity, and language. By taking a comparative look across a diverse range of language and literacy contexts, the volume seeks not only to set the research agenda in this burgeoning area of study, but also to help resolve pressing educational and political problems in some of the most contested raciolinguistic contexts in the world.

From bilingual education and racial epithets to gendered pronouns and immigration discourses, language is a central concern in contemporary conversations and controversies surrounding social inequality. Developed as a collaborative effort by members of the American Anthropological Association’s Language and Social Justice Task Force, this innovative volume synthesizes scholarly insights on the relationship between patterns of communication and the creation of more just societies. Using case studies by leading and emergent scholars and practitioners written especially for undergraduate audiences, the book is ideal for introductory courses on social justice in linguistics and anthropology.

Sounding Like a No-No traces a rebellious spirit in post–civil rights black music by focusing on a range of offbeat, eccentric, queer, or slippery performances by leading musicians influenced by the cultural changes brought about by the civil rights, black nationalist, feminist, and LGBTQ movements, who through reinvention created a repertoire of performances that have left a lasting mark on popular music. The book's innovative readings of performers including Michael Jackson, Grace Jones, Stevie Wonder, Eartha Kitt, and Meshell Ndegeocello demonstrate how embodied sound and performance became a means for creativity, transgression, and social critique, a way to reclaim imaginative and corporeal freedom from the social death of slavery and its legacy of racism, to engender new sexualities and desires, to escape the sometimes constrictive codes of respectability and uplift from within the black community, and to make space for new futures for their listeners. The book's perspective on music as a form of black corporeality and identity, creativity, and political engagement will appeal to those in African American studies, popular music studies, queer theory, and black performance studies; general readers will welcome its engaging, accessible, and sometimes playful writing style, including elements of memoir.