By Ronald Chennault
Guest Contributor
Patrick Welsh’s op/ed column in The Washington Post earlier this month gets off to a bad start—a very bad one.
For starters, the piece’s very title ("Making the Grade Isn't About Race. It's About Parents.") signals where Welsh is headed, as it confidently points out that the much-discussed racial achievement gap isn’t really about race at all, but can be addressed by good parenting. As if such a big problem could be solved so simply. Then comes the first sentence of the essay, as Welsh recalls a question he had posed to his class of predominantly Black 12th-graders: “Why don’t you guys study like the kids from Africa?”
“ 'Why don’t you guys study like the kids from Africa?' ”
I assume Welsh would defend his query borne out of “exasperation” by arguing that he knew his students well enough to believe that they would not be offended by it, but they—and all of us—should be insulted on many levels by such an action by a veteran teacher. And this, according to the Post’s education columnist Jay Mathews, is what passes for “provocative” and “brilliant.”
But does the title of the piece really tell us what’s inside?
Well, the essay does open with a discussion of parenting and its role in his students’ performance in school. Welsh’s students lament the absence of fathers in their households or in their lives at all. Those students have every right to cite that as a factor that influences their academic performance, and it’s a reasonable explanation. Welsh goes one step further, however: he stops quoting his students momentarily and instead begins revealing his mind-reading ability, claiming that the students “knew intuitively” that their failure to excel academically “had nothing to do with race.” So the kids didn’t actually say that race doesn’t matter, but Welsh expects the reader to trust that this is what they meant.
". . . [T]he kids didn’t actually say that race doesn’t matter, but Welsh expects the reader to trust that this is what they meant."
From there, the piece turns into a series of criticisms aimed at school administrators, a group Welch is obviously not very fond of. Yet, in the middle of this tangent, Welsh actually arrives at some important points: that the gap that exists between students who are served best by schools and those who are served the least by them cannot just be attributed to race; that familial support and involvement matter, but so does income inequality; and that academic achievement is affected by factors that school leaders have little control over (but which doesn’t keep Welsh from blaming them anyway).
So, given Welsh’s acknowledgement that multiple factors are at work, why does he insist on reducing all of that to the simple point of "it's about parents"? Why Welsh’s piece offers such a somewhat incoherent and ultimately unconvincing argument is not clear to me.
He does make one thing clear, however: getting rid of out-of-touch school administrators and recruiting involved parents would solve a lot of our problems.
If only it were that easy.
Prof. Ronald Chennault, Ph.D. is a professor of education at DePaul University in Chicago, Illinois. Prof. Chennault's research interests include cultural studies, educational theory and policy, media analysis and race and cultural pluralism.
Haunting movie "Precious" portrays the Black matriarch as villain
The Black Matriarch as Villain
By Juell Stewart
Republished courtesy of ColorLines.com
"Precious" is a haunting film that stays silent on how the political realities of 1980s Harlem shaped women.
Clareece ‘Precious’ Jones (Gabourey Sidibe) is the shining star of her own imagination in the new movie Precious, which hits theaters nationwide on November 6. Surrounded by bright lights and flashing cameras, she’s a magazine cover model with dreams of being in music videos and having a light-skinned love interest. The only thing she has to overcome are her circumstances—and boy, are there plenty of hurdles ahead of her. The recipe is familiar: Start with an unfailingly tragic character, pile on the hardships, throw a few famous names on the credits, then sit back and watch the Oscar nominations roll in.
[B]eneath the film was something that I found to be problematic:
a reliance on the villainization of Black matriarch
—rather than a mention of systemic race issues—
to make the larger message of “pulling yourself up by your bootstraps” more palatable.
Precious: Based on the Novel ‘Push’ by Sapphire could have been just another one film championing the underdog, but the powerful performances and unabashedly raw storytelling saves it from falling through the cracks.Precious is pregnant, illiterate, unloved and unwanted. Her mother, Mary, (played to chilling, cruel perfection by Mo’Nique) works harder at destroying her daughter’s self-esteem than she does anything else. Precious silently endures unbridled physical and sexual abuse at home, only to experience the ridicule of her peers at school and around Harlem. It’s a wonder that anyone could survive the sort of utter despair that Precious lives in every day, but despite being illiterate in the ninth grade, she excels in math and is encouraged by a concerned teacher to pursue an alternative education during her pregnancy—a suggestion that her mother meets with a better one: to start collecting welfare and not to worry about education.Luckily, Precious escapes academic purgatory and enrolls in an alternative school for pregnant students, where she meets a series of nurturing figures who instill in her the sense of love and self-worth that was absent from her household for 16 years. In addition to her teacher and mentor Ms. Rain (played by Paula Patton), there’s her classroom of tough-yet-supportive peers, and Lenny Kravitz as a nurse who shows her what is likely the most positive male role model that she has seen in her young life. There has already been considerable Oscar buzz surrounding both Mo’Nique and Sidibe, and the film has received numerous accolades, including the Grand Jury Prize for the Dramatic category at Sundance and the People’s Choice Award at the Toronto International Film Festival. The actors and director Lee Daniels deserve the praise they’ve received for making such a powerful movie. But beneath the film was something that I found to be problematic: a reliance on the villainization of Black matriarch—rather than a mention of systemic race issues—to make the larger message of “pulling yourself up by your bootstraps” more palatable. This is a problematic image to see in white media, but it’s even more disheartening to see in examples of Black media. What’s so problematic about Mary is that the woman is made into a monster with no redeemable qualities—a decision that isn’t only lazy on behalf of the filmmakers, but also wholly irresponsible to the African-American community.But director Lee Daniels makes the critical mistake of ignoring the social and political reality that his characters inhabit. Besides a title card in the beginning of the film and some outdated hairstyles, we as the audience see little of the forces that compel Mary’s actions. To ignore 1987 Harlem as the foundation for the permanent Black underclass created by the Reagan Administration through its abhorrent social reform policies—including the War on Drugs and welfare reform—is to ignore a crucial aspect of his characters’ lives. The political forces at work during the period operated in a much larger scope than the familial level portrayed in the film. And that’s why it was a grievous error for Daniels to paint a portrait of Mary as a one-dimensional demon, seemingly devoid of any ounce of compassion toward even her own offspring.Read more
Afro-Netizen on Thursday, November 05, 2009 at 03:33 PM in Commentary/Opinion, Family, Media/Technology, Parenting, Public Policy, Race, Culture & History, The Arts, Youth/Children | Permalink | Comments (2) | TrackBack (0)
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