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Y'all Call It Technical and Professional Communication, We Call It

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Y'all Call It Technical and Professional Communication, We Call It Y’ALL CALL IT TECHNICAL AND PROFESSIONAL COMMUNICATION, WE CALL IT #FORTHECULTURE: THE USE OF AMPLIFICATION RHETORICS IN BLACK COMMUNITIES AND THEIR IMPLICATIONS FOR TECHNICAL AND PROFESSIONAL COMMUNICATION STUDIES by Temptaous T. Mckoy July 2019 Director of Dissertation: Michelle F. Eble Major Department: Department of English This project seeks to define and identify the use of Amplification Rhetorics (AR) in the social movement organization TRAP Karaoke and at three Historically Black Colleges and Universities (HBCUs). In highlighting the AR practices in Black communities. This project will provide insight into what these practices and spaces have to offer to the field of Technical and Professional Communication (TPC). AR is a theoretical framework that details the discursive and communicative practices, both written/textual and embodied/performative performed/used by individuals that self-identify as Black and centers the lived experiences and epistemologies of Black people and other historically marginalized groups. AR are #ForTheCulture practices that provoke change within the academy, regardless the field, however for this project I focus on the field of TPC. The phrase “For the Culture,” is used to describe or allude to an action that can benefit those individually or within a community much like TPC artifacts. This project identifies rhetorical practices located in Black spaces and communities that can be identified as TPC through the reclamation of agency, the sharing of narratives, and the inclusion of Black epistemologies. It illustrates just what it means to pass the mic and remind folks that we not ‘bout to act like there aren’t people of color at the TPC table. This project will lead practitioners, mentors, and people in positions of power to reconsider their own rationale alongside implicit and explicit bias that may influence how they review work that does not identify as the “standard” within the field of TPC. This project is unapologetically Black. Its foundation is built upon Black theoretically frameworks. And just to make sure folks are payin’ attention, I even tossed in some AAVE and shade; you may even catch a read or two. This project provides the reference guide for my AR framework and also a multimodal artifact that embodies AR theory put into practice. Y’all Call it Technical and Professional Communication, We Call it #ForTheCulture: The Use of Amplification Rhetorics in Black Communities and their Implications for Technical and Professional Communication Studies A Dissertation Presented to the Faculty of the Department of English East Carolina University In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in Rhetoric, Writing, and Professional Communication by Temptaous T. Mckoy July 2019 ©Temptaous T. Mckoy, 2019 Y’ALL CALL IT TECHNICAL AND PROFESSIONAL COMMUNICATION, WE CALL IT #FORTHECULTURE: THE USE OF AMPLIFICATION RHETORICS IN BLACK COMMUNITIES AND THEIR IMPLICATIONS FOR TECHNICAL AND PROFESSIONAL COMMUNICATION STUDIES by Temptaous T. Mckoy APPROVED BY: DIRECTOR OF DISSERTATION: ________________________________________________ Michelle F. Eble, Ph.D. COMMITTEE MEMBER: ________________________________________________ Erin A. Frost, Ph.D. COMMITTEE MEMBER: ________________________________________________ Natasha F. Jones, Ph.D. COMMITTEE MEMBER: ________________________________________________ Matthew B. Cox, Ph.D. CHAIR OF THE DEPARTMENT OF ENGLISH: ________________________________________________ Marianne Montgomery, Ph.D. DEAN OF THE GRADUATE SCHOOL: ________________________________________________ Paul J. Gemperline, Ph.D. ACKNOWLEDGEMENTS Shouts out to God up there chilling and looking out. But for real, y’all “truth is I’m tired….”. Y’all I’m tired, okay. But I thank you all for standing here with me and pushing me on through this journey. Mom I hope you are proud of who I’ve become. We have torn them generational curses down fa sho! Grandma, I’ve taken the Lord with me, and he has been my pilot. Now look at me. To all my homegirls, y’all are the best sisters ever. That goes for my sorors too! Shout out to Sigma Gamma Rho Sorority, Inc. Danielle Pegues, you know I love you forever and you have always stuck with me. My cohort Cecilia Shelton thank you for being there every single step of the way. O. M.A.H, thank you for being there. I will remember the times you have supported me in ways that I could never repay. Thank you to all my social media followers that have supported me, blasted my posts and helped make so much happen. MAJOR MAJOR THANK YOU TO D’ANDRA DREWTT, DIRECTOR OF PHOTOGRAPHY!!! YOU TOOK ON THIS PROJECT AND I COULD NEVER REPAY YOU (EVERYONE GO BOOK SayDrewitt|Media). Thank you, DeElva Dash for always creating shirts to help fund my dissertation. I love you sis. Thank you all for buying them shirts too lol. Thank you to Jason Mowatt for allowing me to share TRAP Karaoke to the academy masses. And of course, thank you to Mr. Clifford “T.I.” Harris for taking time out of your busy schedule to help a sister make this joint happen. And certainly, last but not least, thank you to my committee members in the place with style in grace. These women on my committee…YASSS! Finally, my chair, Michelle, you are the best and know that there is no one else in the world that could have taken this project on but you. I am grateful to you forevuh! I am proud to be a part of your legacy. Now, In the words of Meek Mill, “Ain’t this what they’ve been waiting for? You ready?”. TABLE OF CONTENTS LIST OF TABLES ......................................................................................................... viii CHAPTER 1: B.O.A.T.S-BASED ON A TRUE STORY ...............................................1 MAKING THE CALL FOR INCLUSION AND DIVERSITY IN TPC (THE LITERATURE REVIEW) 6 WHY DO WE NEED ANOTHER THEORY? .....................................................................14 PROJECT ORIGINS .........................................................................................................23 AMPLIFICATION RHETORICS ........................................................................................26 PROJECT SPECIFICS .......................................................................................................29 AAVE and Throwin’ Shade ..............................................................................................30 MOVING FORWARD .......................................................................................................35 CHAPTER 2: THEORETICAL PERSPECTIVES, THE BLUEPRINT ....................27 AMPLIFICATION RHETORICS ............................................................................................27 DEFINING THE TENETS OF AMPLIFICATION RHETORICS ..................................................30 Tenet 1: The (Re)clamation of Agency and Ownership of Embodied Practices. ...............30 Tenet 2: The Acknowledgement and Validation of Narratives and Lived Experiences .....38 Tenet 3: The Privileging of Marginalized Epistemologies ................................................46 TENETS 1-3 AS SHOWN IN THE UPCOMING CHAPTERS .....................................................50 CONCLUSION ...................................................................................................................51 CHAPTER 3: METHODS, TRAP HOUSE ...................................................................53 IDENTIFYING AMPLIFICATION RHETORICS AT TRAP KARAOKE .....................................53 Trap Music, Its Curators, and Its Contributions ...............................................................54 #Tees4TheTrap, Marginalized Identities, and Embodied Narratives ................................57 TRAP Karaoke, Participants, Community .........................................................................59 IDENTIFYING AMPLIFICATION RHETORICS AT HBCUS ....................................................62 ISSA MULTIMODAL DISSERTATION Y’ALL ......................................................................74 IN THE FOLLOWING CHAPTERS ........................................................................................76 CHAPTER 4: DIGITAL CHAPTER, TRAP MUZIK .................................................77 TRAP MUZIK ..................................................................................................................77 CHAPTER 5: “LIFT EVERY VOICE AND SING” ....................................................78 MISSION STATEMENTS AS A TPC GENRE ........................................................................82 REVIEWING AND UNDERSTANDING MISSION STATEMENTS AS A GENRE .........................84 ESTABLISHING A SENSE OF IDENTITY THROUGH THE MISSION STATEMENT GENRE ........85 CRITERIA FOR ANALYSIS .................................................................................................88 ANALYSIS FINDINGS ........................................................................................................92 Amplification Rhetorics Five Years After School Founding ..............................................92 Amplification Rhetorics Two Years After the Civil Rights Act of 1964 .............................99 Present Day Mission Statements ......................................................................................104 CURRICULUM OVERVIEW ..............................................................................................111 In the Late 19th to early 20th Century ...............................................................................113
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