AlainLocke
Banned
This is one of the most entertaining reads ever...
The Surprising Revolt at the Most Liberal College in the Country
At Reed College, a small liberal-arts school in Portland, Oregon, a 39-year-old Saturday Night Live skit recently caused an uproar over cultural appropriation. In the classic Steve Martin skit, he performs a goofy song, “King Tut,” meant to satirize a Tutankhamun exhibit touring the U.S. and to criticize the commercialization of Egyptian culture. You could say that his critique is weak; that his humor is lame; that his dance moves are unintentionally offensive or downright racist. All of that, and more, was debated in a humanities course at Reed.
But many students found the video so egregious that they opposed its very presence in class. “That’s like somebody … making a song just littered with the n-word everywhere,” a member of Reedies Against Racism (RAR) told the student newspaper when asked about Martin’s performance. She told me more: The Egyptian garb of the backup dancers and singers—many of whom are African American—“is racist as well. The gold face of the saxophone dancer leaving its tomb is an exhibition of blackface.”
Such outrage has been increasingly common in the course, Humanities 110, over the past 13 months. On September 26, 2016, the newly formed RAR organized a boycott of all classes in response to a Facebook post from the actor Isaiah Washington, who urged “every single African American in the United States that was really fed up with being angry, sad and disgusted” over police shootings to stay home on Monday. Of the 25 demands issued by RAR that day, the largest section was devoted to reforming Humanities 110.
A required year-long course for freshmen, Hum 110 consists of lectures that everyone attends and small break-out classes “where students learn how to discuss, debate, and defend their readings.” It’s the heart of the academic experience at Reed, which ranks second for future Ph.D.s in the humanities and fourth in all subjects. (Reed famously shuns the U.S. News & World Report, as explained in a 2005 Atlantic article by a former Reed president.) As Professor Peter Steinberger details in a 2011 piece for Reed magazine, “What Hum 110 Is All About,” the course is intended to train students whose “primary goal” is “to engage in original, open-ended, critical inquiry.”
But for RAR, Hum 110 is all about oppression. “We believe that the first lesson that freshmen should learn about Hum 110 is that it perpetuates white supremacy—by centering ‘whiteness’ as the only required class at Reed,” according to a RAR statement delivered to all new freshmen. The texts that make up the Hum 110 syllabus—from the ancient Mediterranean, Mesopotamia, Persia, and Egypt regions—are “Eurocentric,” “Caucasoid,” and thus “oppressive,” RAR leaders have stated. Hum 110 “feels like a cruel test for students of color,” one leader remarked on public radio. “It traumatized my peers.”
Beginning on boycott day, RAR protested every single Hum lecture that school year. In-class protests are very rare on college campuses. During the nationwide upsurge of student activism tracing back to 2015, protesters have occupied administrative buildings, stormed into libraries, shut down visiting speakers in auditoriums, and walked out of classrooms—but they hardly ever disrupt the classroom itself. RAR has done so more than 60 times.
One of the first Hum professors to request that RAR not occupy the classroom was Lucía Martínez Valdivia, who said her preexisting PTSD would make it difficult to face protesters. In an open letter, RAR offered sympathy to Martínez Valdivia but then accused her of being anti-black, discriminating against those with disabilities, and engaging in gaslighting—without specifying those charges. When someone asked for specifics, a RAR leader replied, “Asking for people to display their trauma so that you feel sufficiently satisfied is a form of violence.”
But another RAR member did offer a specific via Facebook: “The appropriation of AAVE [African American Vernacular English] on her shirt during lecture: ‘Poetry is lit’ is a form of anti-blackness.”
The Surprising Revolt at the Most Liberal College in the Country
At Reed College, a small liberal-arts school in Portland, Oregon, a 39-year-old Saturday Night Live skit recently caused an uproar over cultural appropriation. In the classic Steve Martin skit, he performs a goofy song, “King Tut,” meant to satirize a Tutankhamun exhibit touring the U.S. and to criticize the commercialization of Egyptian culture. You could say that his critique is weak; that his humor is lame; that his dance moves are unintentionally offensive or downright racist. All of that, and more, was debated in a humanities course at Reed.
But many students found the video so egregious that they opposed its very presence in class. “That’s like somebody … making a song just littered with the n-word everywhere,” a member of Reedies Against Racism (RAR) told the student newspaper when asked about Martin’s performance. She told me more: The Egyptian garb of the backup dancers and singers—many of whom are African American—“is racist as well. The gold face of the saxophone dancer leaving its tomb is an exhibition of blackface.”
Such outrage has been increasingly common in the course, Humanities 110, over the past 13 months. On September 26, 2016, the newly formed RAR organized a boycott of all classes in response to a Facebook post from the actor Isaiah Washington, who urged “every single African American in the United States that was really fed up with being angry, sad and disgusted” over police shootings to stay home on Monday. Of the 25 demands issued by RAR that day, the largest section was devoted to reforming Humanities 110.
A required year-long course for freshmen, Hum 110 consists of lectures that everyone attends and small break-out classes “where students learn how to discuss, debate, and defend their readings.” It’s the heart of the academic experience at Reed, which ranks second for future Ph.D.s in the humanities and fourth in all subjects. (Reed famously shuns the U.S. News & World Report, as explained in a 2005 Atlantic article by a former Reed president.) As Professor Peter Steinberger details in a 2011 piece for Reed magazine, “What Hum 110 Is All About,” the course is intended to train students whose “primary goal” is “to engage in original, open-ended, critical inquiry.”
But for RAR, Hum 110 is all about oppression. “We believe that the first lesson that freshmen should learn about Hum 110 is that it perpetuates white supremacy—by centering ‘whiteness’ as the only required class at Reed,” according to a RAR statement delivered to all new freshmen. The texts that make up the Hum 110 syllabus—from the ancient Mediterranean, Mesopotamia, Persia, and Egypt regions—are “Eurocentric,” “Caucasoid,” and thus “oppressive,” RAR leaders have stated. Hum 110 “feels like a cruel test for students of color,” one leader remarked on public radio. “It traumatized my peers.”
Beginning on boycott day, RAR protested every single Hum lecture that school year. In-class protests are very rare on college campuses. During the nationwide upsurge of student activism tracing back to 2015, protesters have occupied administrative buildings, stormed into libraries, shut down visiting speakers in auditoriums, and walked out of classrooms—but they hardly ever disrupt the classroom itself. RAR has done so more than 60 times.
One of the first Hum professors to request that RAR not occupy the classroom was Lucía Martínez Valdivia, who said her preexisting PTSD would make it difficult to face protesters. In an open letter, RAR offered sympathy to Martínez Valdivia but then accused her of being anti-black, discriminating against those with disabilities, and engaging in gaslighting—without specifying those charges. When someone asked for specifics, a RAR leader replied, “Asking for people to display their trauma so that you feel sufficiently satisfied is a form of violence.”
But another RAR member did offer a specific via Facebook: “The appropriation of AAVE [African American Vernacular English] on her shirt during lecture: ‘Poetry is lit’ is a form of anti-blackness.”