"Straight Talk on The N-Word"“When I first started talking about the idea of the course,” Lester recalled,“I had people saying, ‘This is really exciting, but what would you do in the course? How can you have a course about a word?’ It was clear to me that the course, both in its conception and in how it unfolded, was much bigger than a word. It starts with a word, but it becomes about other ideas and realities that go beyond words.”
How did the n-word become such a scathing insult? We know, at least in the history I’ve looked at, that the word started off as just a descriptor, “negro,” with no value attached to it. … We know that as early as the 17th century, “negro” evolved to “nigger” as intentionally derogatory, and it has never been able to shed that baggage since then—even when black people talk about appropriating and reappropriating it. The poison is still there. The word is inextricably linked with violence and brutality on black psyches and derogatory aspersions cast on black bodies. No degree of appropriating can rid it of that bloodsoaked history. Why is the n-word so popular with many young black kids today? If you could keep the word within the context of the intimate environment [among friends], then I can see that you could potentially own the word and control it. But you can’t because the word takes on a life of its own if it’s not in that environment. People like to talk about it in terms of public and private uses. Jesse Jackson was one of those who called for a moratorium on using the word, but then was caught using the word with a live mic during a “private”whispered conversation. There’s no way to know all of its nuances because it’s such a complicated word, a word with a particular racialized American history. But one way of getting at it is to have some critical and historical discussions about it and not pretend that it doesn’t exist. We also cannot pretend that there is not a double standard—that blacks can say it without much social consequence but whites cannot. There’s a double standard about a lot of stuff. There are certain things that I would never say. In my relationship with my wife, who is not African American, I would never imagine her using that word, no matter how angry she was with me. … That’s what I’m asking people to do—to self-reflect critically on how we all use language and the extent to which language is a reflection of our innermost thoughts. Most people don’t bother to go to that level of self-reflection and self-critique. Ultimately, that’s what the class is about. It’s about selfeducation and self-critique, not trying to control others by telling them what to say or how to think, but rather trying to figure out how we think and how the words we use mirror our thinking. The class sessions often become confessionals because white students often admit details about their intimate social circles I would never be privy to otherwise. Information and Image Courtesy of Tolerance http://www.tolerance.org/magazine/number-40-fall-2011/feature/straight-talk-about-n-word |
IncognitoImagine discovering you are not the person you thought you were. That you have a family, a history, an ethnicity you never knew. How would this discovery
impact your life, the lives of those around you; your vision of yourself and society?
I have been facing these questions since 1992, when after having spent 32 years growing up in a middle-class white family, I discovered I am black. I share these discoveries in "Incognito," the solo-show I have performed in theatres, high schools, colleges, and performing arts centers throughout the country -a production chosen by The Chicago Tribune as "one of the top theatrical events of the 2001 season." While performing "Incognito" I’ve been amazed at how my story resonates with a wide range of audiences both young and old, black and white. Post-show discussions have resulted in lively and profound conversation on how we each perceive race and identity. "Incognito" is the story of my journey to uncover and discover my self, my roots, my family, and the difficult history behind the tragic American complexity of "race". The full production runs approximately seventy-five minutes with no intermission. There is also an abridged one-hour version available for schools with limited assembly schedules. The production is versatile as well as compact, and can be performed simply with eight chairs, a small table, and a few props. Post-show workshops are available as in-depth discussions, classroom meetings, or a week’s residency utilizing an extensive study guide and lesson plans. I have presented school workshops in Chicago and Kansas City in conjunction with the professional productions, and for independent school groups and seminars. These workshops have had a tremendous impact on audiences, particularly those of mixed race heritage. However, "Incognito" is not only about race. It speaks to all people who struggle with identity, family, self-awareness and acceptance. Information and Image Courtesy of Incognito The Play http://www.incognitotheplay.com |