1.7.4: Multimodal Assignments
- Page ID
- 181533
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)- In the open chapter we are introduced to Black Studies as more than a “confluence of disciplines but as the atmosphere in which [one grows] up” by Fred Moten. Moten notes that this atmosphere had a particular feeling, smell, and sound that is rooted in Black life rife with food, music, language, and family bounds that are foundational to ideas of love and commitment to Black people and their liberation. For a project, research one of these facets (food, music, language, family bonds) and explore how these everyday practices are rooted in ideas of love of Black people and Black liberation. This should include researching the historical roots of the practices, their connections with Afrikan ways of being. Your research should seek ways to illustrate a praxis of love that is witnessed and experienced by everyday people outside of academia and how these practices create the loving environment that nurtured and produced the political work of Black Studies. Please ensure the work engages with an intersectional framework of Black people.
- Produce a podcast, film, series of social media reels, or other counter narrative piece that elaborates on and educates viewers about the different periods and developments within Black Studies. These pieces should not merely recite and/or synthesize and summarize information presented in this chapter, but should intentionally utilize this information as a point of critique against Euro-normative ideas of Black Studies, Black History, Black culture, and the inherent value and contribution of Black Knowledge to modernity.
- Identify a Black person who has lived through a historical period of change. Interview them and gather their counter narrative of the events they lived in and through. Utilize their narrative as a point of reflection and counternarrative against biased histories that intentionally erase the contributions of Black people to modern histories and knowledge. With the interview, perform a critique of mainstream history, making sure to critically analyze the tensions between the narrative. Finally, identify a place or format to present your findings. Some ideas include academic applications such as scholarly paper, research, and symposiums; other ideas include creative applications such as narrative artwork, poetry, historical fiction, podcasting, or comic/graphic novels rooted in historic narratives.
- Investigate the tensions between early Black Studies scholars such as Booker T. Washington and W.E.B. Dubois. Produce a comic or graphic novel that explores the tensions between their ideas, helping readers to understand the tension between the two, including their goals, desires, and methods to create change. This project can also be realized as a play, historic fiction, music selection, or piece of art.