Blog: The Finale

            Banks’ concept of the “back in the day” story gives us a new way to approach the concept of remix. Banks explains, “the ‘back in the day’ narrative demonstrates exactly why African American rhetoric as an area of study is in such need of this kind of synchronizing as it foregrounds these generational tensions and at the same time shows the possibilities for a remix that provides a new narrative and a new roadmap into the future” (91). Banks mentions a little later that “back in the day” narratives provide a “living connection” to the younger generation (92). Considering the readings we have done over the semester, I feel that this is an appropriate final reading. Thinking back to Eliot’s idea of the tradition and that new author should find a place to slide into the existing work, and Barthes’ concept that the reader creates the meaning of a text when he/she reads it. Banks’ idea merges the two main components to a text, the audience and the “author.” Banks emphasizes that the African American culture needs to preserve its stories, and by extension its identity. Through the “back in the day” narrative, the act of storytelling is central to the success of this mission. Equally as important is that the “living connection” is established and the importance of the story and why it is vital to the culture. Banks stresses that both the author and the reader (listener) are needed to continue the tradition. Of course this idea is common sense, we have heard that both are essential from multiple authors, but the way that Banks discusses the situation, and both are simultaneously key components. Neither is considered more nor less important than the other.

            As soon as Banks used the term “back in the day” narratives, I stopped reading and thought about what he was saying. I’m sure everyone has heard these stories, for me, my grandma talks about walking 15 miles to school and going to the movies cost a dime. But Banks is thinking more about the collective that it creates. The younger generation is adding to their knowledge of their culture by listening to the story. And because they have knowledge, they can extend the culture. In the spirit of Eliot’s tradition, they can find their place in the tradition, and rather than replacing preexisting texts, they move it over just enough to fit themselves in. In this sense, some may not be authors, but everyone can be a reader and keep their culture alive.

Banks spends a chapter discussing black theology and describing African American traditions, is there any way we (not part of black culture) can ever truly use a black theology?

This was somewhat addressed last week during class, how can we stress to our students that the Romantic concept of the author is not the only legitimate type of author? How do we explain that remixed (digital or otherwise) texts are just as valid as the “original”? (perhaps this second one can be answered by Steve and his experience with teaching remixes)

Extension:

I find myself overall satisfied with the arguments Banks makes. His suggestion of African American Rhetoric 2.0 is a call to action of sorts, rather than just pointing out flaws in society or a culture, he gives a possible solution to it, which is something we don’t always see in these types of texts. I think it also stresses the importance and legitimacy of digital humanities. These types of project have an important purpose and are relevant today.