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THROWING BLACK WOMEN's VOICES from the GLOBAL SOUTH INTO an APPALACHIAN CLASSROOM a Dissertation Presented to the Faculty Of

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THROWING BLACK WOMEN's VOICES from the GLOBAL SOUTH INTO an APPALACHIAN CLASSROOM a Dissertation Presented to the Faculty Of THROWING BLACK WOMEN’S VOICES FROM THE GLOBAL SOUTH INTO AN APPALACHIAN CLASSROOM A dissertation presented to the faculty of the College of Education of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Denise C. Hughes-Tafen June 2005 © 2005 Denise C Hughes-Tafen All Rights Reserved This dissertation entitled THROWING BLACK WOMEN’S VOICES FROM THE GLOBAL SOUTH INTO AN APPALACHIAN CLASSROOM By Denise C. Hughes-Tafen has been approved for the Department of Educational Studies and the College of Education by Jaylynne N. Hutchinson Associate Professor of Cultural Studies in Education James Heap Dean, College of Education ABSTRACT HUGHES-TAFEN, DENISE C. Ph.D. June 2005. Cultural Studies in Education Throwing Black Women’s Voices from the Global South into an Appalachian Classroom (393 pp.) Director of Dissertation: Jaylynne N. Hutchinson This research uses theater of Black women from the Global South as a way of creating spaces in the classroom for dialogue between self and others. It examines and interrogates the relations White students from Appalachia Ohio and Black students from an urban center in Ohio make between their lives and the lives of these Black women from the Global South, as well as those viewed as the “other” in their own societies. This research is best described as a performative inquiry. It is a classroom action research and was conducted over a period of six weeks. Participant observation, interviews and artifact collection were the main means of data collection. Twenty five students from the Upward Bound program at Ohio University participated in this study. During the process of reading and reenacting the plays of Black women from the Global South and then finally creating their own play, participants reacted by displaying resistance, surprise, confusion, defensiveness and by joking around. Students showed their attempt to form dialogic relations though interactions with self, others in the class and the characters of the play. This theme emerged through students’ representation of others, of themselves, expressions of identity (womanhood, Americanism) and through their physical interaction with other members in the class and the characters of the plays. As they moved through the process of reading and finally staging the plays, issues of Whiteness, race, injustice, conflict and discomfort emerged. The results of the research suggest that although Whiteness seems to have some impact, the prospect of forming relations with others outside the U.S. goes beyond Whiteness. On creating relations outside the U.S. the barrier seems to be more directly related to power. My research findings indicate that while race is a barrier domestically, within the global framework Americanism or Americocentricity, plays a more significant role. Approved: Jaylynne N. Hutchinson Associate Professor of Cultural Studies in Education ACKNOWLEDGEMENTS This dissertation marks a point in my life’s journey; it is the beginning of things to come. As I look back at the journey I am reminded that I was not alone. There is an adage in Antigua which states that “one hand can’t clap,” this is certainly the case here. It’s hard to list all the people who encouraged and strengthened me during this period, but I will try. If I forget anyone its not because I am not appreciative, its because “ma head nah good ☺.” First and foremost thanks to my creator, I am thankful for the many experiences that he has brought me through and to, words cannot express my thankfulness. This dissertation is as a result of team work. I could not have completed this work without the support of my dissertation committee. Thank you, Dr. Jaylynne Hutchinson, my adviser and dissertation chair, for your dedication, commitment and rigor. Thank you for going beyond your role as chair and taking on the multiple roles of editor, friend and mentor. To Dr. Najee Muhammad, sincere thanks for your guidance and words of wisdom. I will never forget your reminder of the proverb that until lions tell their stories, tales of hunting will always be told by hunters. You have inspired to me to tell my story and to ensure that the stories of my people are told. Dr. Esaiba Irobi, thank you for your enthusiasm about my work and your guidance particularly in the field of theater in education. Your expertise in this area was invaluable. Dr. William Howard, thank you for the role you played as the methodologist on my committee. I am indebted to you for offering me the opportunity to explore first hand how African women speak through the performing arts. My experience in Ghana was possible through your contribution and this experience, in part, guided my research interest. Finally, I would like to thank my family. I use this term loosely since I am referring not only to the family I have through blood but through love. I thank my Mom who never completed secondary school but made sure that I had the opportunity. From the time I was born she knew that I was college bound. She has encouraged me every step of the way even when she did not have a clue about what I was studying. I thank all the women before her and all the women in my life for instilling the desire for freedom, knowledge and social justice. These women have been a source of strength and inspiration and are my aunts, sisters and grandmothers. These women include Pearl Dickenson, Yvonne Gordon, Dr. Aissatou Balde, Dr. Thandi Onami, Winsome Chunnu, Ayanna Jordon, Kelly Vassel, Dr. Mary Weems, Holly Raffle, Donna Hughes, Jeannette Dja Gasa and Dr. Mary Welsh, just to name a few. Off course there are also men who touched my life in many ways. First thanks to my amazing husband, De Nyago Tafen, who has been with me every step along the way. Thanks for your patience, love and encouragement and for your editorial skills☺. Thanks to all my brothers Malcom Buckley, Youssef Diallo, Gerard Akindes, Donald Hughes, Beidy Sow, Tyrone Carr, and Cornel Hughes Jr. for your ideas, technical skills, encouragement and support. This is certainly not the end, the journey is continuing even as I write. I dedicate this work to all those who have affected my life in so many ways particularly to the men and women who live in the Global South and in pockets of the Global North that has conditions similar to those found in the Global South. 8 TABLE OF CONTENTS ABSTRACT ........................................................................................................................4 ACKNOWLEDGEMENTS.................................................................................................6 TABLE OF CONTENTS ....................................................................................................8 LIST OF TABLES.............................................................................................................15 CHAPTER ONE................................................................................................................16 Setting the Stage ........................................................................................................... 16 Background ............................................................................................................... 16 Problem Statement .................................................................................................... 24 Research Questions................................................................................................... 25 Purpose of the Study ................................................................................................. 26 Theoretical Frameworks........................................................................................... 26 Cultural Studies..................................................................................................... 27 Post Colonial Theory ............................................................................................ 28 Resistance Theory................................................................................................. 30 Critical Race Theory............................................................................................. 32 Critical Liberatory Pedagogy................................................................................ 33 Dialogue................................................................................................................ 35 Storytelling........................................................................................................ 38 Significance of the Study........................................................................................... 39 De- Limitations and Limitations of the Study ........................................................... 41 9 Delimitations......................................................................................................... 41 Limitations ............................................................................................................ 42 Definition of Terms ................................................................................................... 42 Organization of the Study ......................................................................................... 45 CHAPTER TWO ...............................................................................................................47 Throwing Women’s Voices .......................................................................................... 47 A Methodology of Voices for Dialogic Relations ....................................................
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