Language Arts Journal of Michigan Volume 28 Article 11 Issue 1 Literacy, Literature, and the Arts

2012 Music, Metaphors, and Politics in the Language Arts Class Gregory Shafer Mott Community College

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Recommended Citation Shafer, Gregory (2012) "Music, Metaphors, and Politics in the Language Arts Class," Language Arts Journal of Michigan: Vol. 28: Iss. 1, Article 11. Available at: https://doi.org/10.9707/2168-149X.1932

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rian was first. As he began his presentation as part of his world. “This was fun,” he says as he completes about The Beatle’s song “Blackbird,” it was the reading of his paper. “I’ve always loved the Beatles but easy to see why incorporating music of any I never appreciated their political side, their place in the 60s era or genre into the language arts class is era.” important in raising consciousness about As we search for new ways to animate our students Blanguage, politics, culture, and history. “Blackbird,” he be- and teach them about the use of language and history, ask- gan, “is a song about a single bird that sings alone but is ing them to transcend the perfunctory analysis of a popular being encouraged to fly, to stretch, to become more than poem, the use of music becomes especially relevant. Each a passive being in a tree. It is easy to see that The Beatles semester I invite my community college students to choose are interested in much more than an animal. The symbol- a song or from any era or genre and discuss its impact ism reflects a political statement that would reach millions.” on our world. The song, I remind them, should be assessed Now Brian began his analysis of the lyrics. “It’s no coin- from a linguistic, historical, and cultural perspective. Meta- cidence that the bird is black and that the song was composed phors and word choice should be examined and assessed and recorded in the midst of the American civil rights era. as well as other uses of repetition, rhyme, and alliteration. The Beatles were using the bird as a glaring metaphor for Further, students are asked to be conscious of the context African Americans who had become paralyzed under centu- of the song and its influence on the politics of the age. Did ries of racism and discrimination. The use of black, brings this song emerge in the middle of a national tumult or was new meaning to a word that was consistently used as a mark it part of another specific milieu? Does it reflect the values of shame and segregation. The repetition of the phrases like and culture of a certain ethnic or racial group? Does it use “fly” simply reinforce the message of freedom, of move- language to speak to us in a certain way? Did it speak to a ment from the plight Black people were in.” generation of people or galvanize a group of rebels? Did it Finally, he commented on the rhythm of the song. “No- respond to a war? tice how slow and reflective the song is. This is not hard rock or fast music. Could it be that McCartney was urging African Speaking my Language Americans to be patient, to move forward peacefully?” Incorporating music from various moments in history One of the reasons this assignment works so well is its is perhaps the most effective way I have found to engage ability to engage students in a discourse that they already feel students in a judicious and sophisticated examination of not excitement for and ownership over. In essence, the assign- only music but history, culture, and language. With the simple ment is implicitly acknowledging and even celebrating the charge to choose a song that has made an important impact music, slang, culture, and language of a genre that is not part on our culture, history, and language, I am able to engage stu- of academic discourse. In discussing its unique success, a col- dents in a lesson that is both serious and fun. Indeed, as one league suggested that it is akin to tricking a child into eating examines the results of Brian’s presentation on The Beatles’ cereal that is good for them, by only presenting the colorful iconic “Blackbird,” one finds a treasure trove of linguistic as and fun-looking cover. well as historical and cultural lessons. On the surface, the assignment appears to be a fun look Equally important, Brian is engaged and enthusiastic, at music and artists, something with which most participants delving into an artistic medium he has always loved and seen are already deeply engaged. However, once each student

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moves beyond the inviting façade of glamorous performanc- In the process, students who come from other socio- es and live concerts, they find a mosaic of linguistic and cul- economic classes are quickly alienated, realizing that language tural discoveries that need to be discussed and that elevate learning is not meant to liberate or empower but to incul- their appreciation of the arts as a personal and ideological cate rarefied truths. In such endeavors, students quickly learn practice. Like the cereal that is actually low in sugar and for- their place as passive recipients of what Freire (1988) calls tified with essential nutrients, the analysis of an important the “banking system,” leading to assignments and attitudes piece of music, involves higher level thinking and an astute that result in what Lynn Z. Bloom (2011) refers to as as- examination of metaphors and their political and cultural signments that have no spirit, no passion but that are simply “good enough.” uses. Learning emanates from their world, from texts they In addressing the importance of a pedagogy of em- understand, but concludes with essays and presentations that powerment and relevance, Henry Giroux argues, “It is no are analytical, probing, and very sophisticated. small matter to argue that students need to affirm their own Equally important is the dialogic aspect of incorporat- histories through the use of a language, a set of practices, ing music of different genres into the class. For perhaps the and subject matter that dignifies the cultural constructs and first time, many students are able to venture beyond the mo- experiences that make up the tissue and texture of their daily nologic. According to Carolyn Shields Students are used lives” (p. 63). (2007), “monologism is a way of talk- to being taught Put simply, students work best when there is a sense of ing to ourselves, of perpetuating a the literacy of the congruence between their lives and those ideas and values certain way of thinking or a certain academy and often that are extolled in class. The skills of writing a paper or dis- set of attitudes that are never ques- feel a sense of dis- secting a metaphor are more easily accessed when students affection from the tioned and never changed” (p. 145). In feel comfortable in what they are doing, seeing it as an exten- experience. Music, engaging students in the literacies and sion and validation of their own existence. on the other hand, politics of , we create what Once the affirmative nature of such a pedagogy is es- creates a setting Bakhtin calls a heteroglossia or a con- tablished, it becomes possible for students, especially those for multiple voices text in which many voices and visions students who have been traditionally voice-less in schools, and an atmosphere are not only accepted but celebrated. to learn the skills, knowledge, and modes of inquiry that will that is more demo- Students are used to being taught allow them to analyze critically what role the existing society cratic and expan- the literacy of the academy and often has played in both shaping and thwarting their aspirations sive. feel a sense of disaffection from the and goals. (Giroux, date, p. 63) experience. Music, on the other hand, The fact is, when lessons become insensitive to the cul- creates a setting for multiple voices and an atmosphere that tures and verities of their writers—when they fail or refuse to affirm the voices of their students—it results in what Sig- is more democratic and expansive. “If we take seriously the nithia Fordham (1999) has called “guerilla warfare,” arguing plurality of voices that comprise a school and learn to live di- that students who do not see a consonance between their alogically, we will find a sense of freedom that we may never home culture and school discourse often resort to subtle and have anticipated” (p. 150) adds Shields later. more stark acts of defiance. Most students at the school, One cannot overestimate the importance of giving stu- writes Fordham, “resist the requirement that they learn to dents ownership over the assignments they do, inviting them speak and communicate in the standard English dialect, es- to incorporate their language and interests into the academic pecially in the school context. Their resistance to this state- classroom. At the center of much of student alienation is approved curriculum requirement is their way of ‘dissin’’ or what many consider to be what Michael Apple (1993) has disrespecting the this dialect” (p. 272). called “official knowledge.” In essence what many of the African Americans do is In essence, Apple suggests that schools have histori- simply refuse to speak a language that is not serving their cally been in the business of perpetuating a specific kind of social interests as part of their non-academic discourse com- knowledge, or truth—one that reinforces the values of those munity. Such dichotomies, such difficult decisions confront in power, while often marginalizing or simply dismissing oth- students all of the time. When teachers construct a lesson er ways of knowing. that is far removed from their students’ cultures and language

LAJM, Fall 2012 53 Music, Metaphors, and Politics in the Language Arts Class patterns, there is a necessary struggle for identity, a grappling led many artists to make manhood about things, including between success in school and the identity they have forged the accumulation of women as things.” as individuals among their friends and family. Indeed, one What added to our discussion was the music video, of the most gratifying aspects of the incorporation of mu- which was shown as part of the presentation. The video pres- sic into the class is the ability to bridge this invidious gap, ents a graphic image suggesting that sex with a woman can be to forge a connection between home and school. It makes nothing more than a transaction that all men of power must literacy authentic, real rather than simple practice for school. be able to do. And, part of the song is sung by a woman. In essence both genders seem to be using the other, exploiting Rudy’s Project one’s body for the other’s material wealth. It is a relationship devoid of love or even humanity. This can be seen in Rudy’s project on the music of rap- The discussion that followed reinforced the efficacy of per Nelly and the coining of the word “tip drill.” For Rudy, incorporating music into the writing class. Comments ranged an African American, this term and the song for which it is from the sexist depictions of women as objects to the em- a part, symbolizes a major chasm between male and female powerment felt by minorities in no longer having to abide African Americans. As part of his final project, Rudy intro- by rules of white men and their demand that music follow duced the artist, the song, and discussed the controversy for a certain decorum. “No matter how offensive this is,” said not only many white listeners but also several female listeners Marcus, “it cannot erase the fact that African American men of all colors. The song is incendiary to say the least but also are in charge, speaking in their own language and engaging in represents a powerful mode of discourse in our students’ actions that are free of fear. Nelly is admired because he has world. Nelly, a popular rapper, speaks to millions and does so not surrendered to racial barrier.” in a language that needs to be probed and interrogated. This But Shelly, a white student responded by arguing that is the essence of the assignment’s efficacy. Students come much of the record producers who are responsible for this face to face with the music and artists that are part of their music—music which she believes damage the liberation world. The project began with a look at the opening lyrics: and advancement of African American women—are done by white men. She pointed to the record labels’ owners and I said it must be ya ass cause it ain’t ya face found that many were white and in no way affiliated with any I need a tip drill, I need a tip drill. kind of racial progress. “These Black artists are being used Later in the song, another stanza is sung by a woman by White businessmen who want to make money off of their who sings: rapping,” she argued as part of her response. I got you payin’ my bills and you buyin’ my A third edifying voice came from Tilda, an African automobiles American woman who contended that the song epitomizes You’s a tip. . . all that is wrong with relationships in the Black community. “We are in this destructive game of trading sex for money Rudy’s Presentation and it leads to single moms and dysfunctional families,” she argued. “This song should be something that we all study as “I think it is hard for white people,” argued Rudy, “to ap- a problem that needs to be solved.” preciate the culture of the Black man and the questions and In discussing the vital aspects of an effective language contradictions this song presents. For many,” he continued, arts class, Rebecca Powell (2011) reminds us that “quality as- “the song is a reinforcement of an African American man’s sessment focuses on what students can do—their strengths, ability to feel masculine, and this cultural value goes back to competencies, and resources that they bring to learning—ver- slavery.” sus the deficits. Effective assessment is motivating” (p. 90). Rudy continues, talking about the emasculation of the In considering the assignment, one immediately notices stu- Black man during the racist period in the United States and dents galvanized around culturally and personally important how the only way for many men to show their virility and issues. They are engaged. They are grappling with ideas and power was through the fathering of children and the accu- issues that bring their concerns and values into the school. mulation of physical treasures. “This has resulted in the per- There is none of the alienation felt when having to abandon version of much of the music we play,” he continues. “It has those cultural practices. “All forms of literacy,” adds Powell,

54 laJM, Fall 2012 Gregory Shafer require active involvement in which participants are engaged In examining the lyrics, Sally first points to the meta- in acts of communication and interpretation” (p. 97). phors, noting that Maines is not simply talking of a physical Indeed, in addressing the questions around a controver- trip but one that occurred in her mind, as she found her voice sial song like “Tip Drill,” a song that would seem to have no and gained independence. She wasn’t willing to stay in town place in the academic classroom, Rudy and his fellow listen- and marry her high school boyfriend, anymore than she was ers are able to bring a part of their music and cultural world willing to allow her mind to stay in the same place and settle into the language arts class. In the end, the activity becomes for the hometown values she was taught. Indeed, her “trip” cultural, linguistic, and educational. is both physical and existential, as she learns to find her own Such opportunities for engagement and participation way, which often results in the long way. are also evident in looking at Sally’s essay and presentation Again, the value of incorporating music into the lan- on the music of the Dixie Chicks and their political battles guage arts class can be seen in the political engagement, the with George W. Bush. In their album and their concert tour, work with figurative language, and the real life story of an the group made political stand against the war in Iraq and American icon. Students love music and making it a focus brought the entire issue of art and war to the fore. “I’m one invites them to use it to delve into skills that we all hope our of the few Country and Western people who still love the students will practice. Figurative language, political contro- Dixie Chicks,” she said as she began her presentation. “Their versy, cultural values, and the power of music all coalesce in album was an act of political courage that we should all re- a powerful lesson. spect. They essentially confronted the president and the en- And, as can be expected, the example of the Dixie tire country and Western community and took a stand for Chicks stimulated more debate and participation, as stu- peace.” dents lined up to either support or decry the actions of the The song that was eventually presented to the class was group as the Iraq War began. “Free speech isn’t absolute,” truly a riveting challenge to the war, while also declaring Nat- argued Lonnie, a student who had a brother in the war. “She alie Maine’s independence from living life for other people. shouldn’t have said it at that time. It was insensitive to the The first lyrics of the song establish the transition to political men who had to actually fight.” activism Maines experienced. But Lonnie was quickly countered with Jessica’s belief that the war was unjust and based on lies.“If we don’t speak My friends from high school out at such times, when people are going to war,” she asked, Married their high school boyfriends “when do we? We need people to be brave and to stop the Moved into houses in the same zip code madness before it starts. How many have been killed and Where their parents lived maimed?” Others pointed to the personal growth that Maines But I could never follow sings about and the way she has benefitted from her fight No, I could never follow with the President. “It makes me rethink the idea of patrio- tism,” opinioned Ted, an older student who had previously I hit the highway in a pink RV with stats on the remained quiet. “Is it best to silently support the troops or ceiling is it our duty to be vocal when we see that lives could be lost Lived like a gypsy for nothing?” Six strong hands on the steering wheel Again, in reviewing the various opinions and recrimina- tions, it is easy to see the value of incorporating music into I’ve been a now the language arts class. Students become empowered by the Maybe someday, someday I’m gonna settle down ability to take control of an assignment that is ensconced in But I’ve always found my way back home. their world—one that is imbued with their language, inter- ests, and values. At the same time, the level of discussion is By nothing short of captivating, as culture, sexuality, misogyny Taking the long way around and politics are debated. In incorporating music into my Taking the long way class, I created a context for diversity and learning beyond the Taking the long way around. academy, and that is important. Our students are grappling

LAJM, Fall 2012 55 Music, Metaphors, and Politics in the Language Arts Class with their identities as people in a certain social and linguistic different language but need to be instructed in appreciating community. They want a forum where questions can be an- the way language correctness is fluid and context dependent. swered, where their cultures and voices are valued, and can This, of course, helps them in considering other discourse be the subject of serious classroom discussion. Further, they communities later in their lives. want to be experts. In exploring their music, they become teachers, reveling in the role of authority and learning to ar- Final Thoughts ticulate their values about the life they are living. How do we inspire our students to have meaningful lit- eracy experiences—experiences that transcend the perfunc- Challenges and Questions tory and engage them in questions of language use to satisfy political, historical, and cultural goals? How do we transcend Of course, all assignments present us with challenges the predictable academic paper and engage students in an ac- and the Music Essay is no exception. Many students found tivity that asks them to consider the various registers we use it difficult to probe the linguistic differences and their sig- each day as language users? While there are many exciting and nificance to the song. For instance, Johnny, an older African innovative answers, one that I have found effective involves American man, focused on the Marvin Gaye song. “Ain’t the impact and substance of music. When students are asked Nothing Like the Real Thing Baby,” but needed plenty of as- to explore the lyrics, tempo, history, and cultural impetus of a sistance in analyzing the use of double negatives, slang, and favorite song, they find that writing can be both relevant and other uses of language that distinguish the song from aca- challenging, which is the goal of any English class. demic or “proper English.” One of the topics I like to explore in asking students to References do this assignment is the significance of language, such as Apple, M. (1993). Official knowledge. New York: Routledge. word choice and syntactic change, as in the use of new words Bloom, L.Z. (2006). Good enough writing. What is and double negatives. Why, in the end, does this work better college level writing? Eds. Howard Tinberg and Patrick for this context and genre of communication? How has this Sullivan. Urbana, Illinois: NCTE. song carved a special place for itself by using language that Fordham, S. (1997). Dissin’ the Standard: Ebonics as Gue- is less formal and specific to its audience? Part of assessing rilla Warfare at Capital High.” Anthropology and Edu- the greatness of a song is examining its lyrics, the style, the cation Quarterly. (pp. 272-293). appeal to certain demographics. Freire, P. (1988). Pedagogy of the oppressed. New York: Con- Indeed, part of the reason the Marvin Gaye song is so tinuum. endearing is its use of double negatives, its unabashed em- Powell, R. (2011). Culturally responsive assessment: Creating ployment of language that is natural and genuine. The song a culture of learning. Literacy for all students. New York: is a duet between Gaye and his real life lover Tammy Terrell, Routledge. and their affection for each other is obvious in the way they Shields, C. (2007). Bakhtin. New York: Peter Lang. use language to express their love. One of the issues that I believe is important is the effective and very successful use Gregory Shafer teaches English at Mott Community Col- of different discourses and multiple literacies. Many students lege in Flint. He is Past President of the Michigan Council are forever limited to academic discourse while in school, so of Teachers of English. I want them to both use and acknowledge other dialects and ways with words. In helping Johnny to interpret the reasons why the song is so special, I highlighted the stylistic differ- ences between the song and language he might hear in a classroom, pointing to the artists’ distinctive use of language to create an intimate yet social celebration of love. “It’s easy to see they’re in love by the way they sing the song,” added Johnny in concluding his analysis. This is perhaps where scaffolding comes in handy. Stu- dents implicitly understand that popular music is using a

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