BlackExpressionMW

Madison Williams Dr Harris Eng 2017 4/22/2026 M=Madison A=Artis M-Ok, I will be interviewing Mr. Artis Williams about his music group, The Might Ambassadors in the 70s. So first question, what made you get into music. A-What made me get into music when I was a small boy, that my family was musically inclined anyway, and so we decided that we would keep it up. And so after my peers were singing, we just stayed in the singing business. M-Ok. Why did y’all choose gospel music? A-Well gospel music was the most impressive thing to do because we was, we was raised up in the church and that’s the way that our parents raised us, and that's the way that we would go. M-What did those lyrics mean to you when singing? A-Come again? M-What did those lyrics mean to you when singing? A-In singing the gospel because it is the words of God which impressed us. This is the way that our religion, our christianity. That was the way of life and it impressed me so much that I wanted to be saved. And so ...

She’Nya King Dr. Harris African American Exp in Lit MW 11:00-12:15 Major Project Rationale For my project, I chose to interview someone about humor in Black culture because I feel like it is not talked about enough. Humor is an important part of Black culture, and I wanted to speak on how people use it to deal with stress and express themselves. By doing this interview, I was able to hear a personal experience and opinion that helped me better understand. I also connected my interview to the book Mules and Men by Zora Neale Hurston. In this book, Zora Neale Hurston shows how storytelling and humor are used in Black communities. The stories are not just for entertainment; they also reflect real life and culture. The stories show that humor is not just for laughs and giggles but also a way people cope with life and share their experiences. To better understand the humor of black culture, I decided to interview someone about how humor plays a role in their everyday life. My intervie...

Kenijah Ross Dr. Harris English 2017 April 22 2026 In this episode of Spirits, Stories, and Survival I dissect the layers of the misinterpretations and stereotypes surrounding hoodoo and voodoo, two practices widely vilified by the media and uses fear mongering tactics. The episode centers on the incredible work of Zora Neale Hurston, a black american writer that went to New Orleans for four months and was initiated into the practice of hoodoo. She is a big reason why this oral history has some truth circulating it. There are differences between the closed patterns of voodoo and the open system of hoodoo. Hoodoo is often characterized as being scary but it’s actually a very sophisticated and emotional practice that requires true connection to understand. I adore the dedication that Zora Neale Hurston gave to the cause. She is a true trailblazer of this in my opinion. She aimed to protect the people who practice this religion by giving the public real people and real sce...

The primary text that sparked my interest in this conversation is "If Black English Isn't a Language, Then Tell Me, What Is?” by James Baldwin. My perspective on this issue comes from my learned experience and what I've heard from those in the community around me. Telling students that they aren’t using “real words,” instead of explaining and being aware of the cultural aspect related to the student’s language, can be seen as belittling. This can further damage their educational self-esteem. Implying that students sound less intelligent solely by using words that aren't traditional English can feel like an attack on their character. If a teacher were to explain and recognize the differences in the languages the student is using and the one they are trying to teach, that student may have a better understanding and view on code switching and the role it can play in their life. Code switching isn't a need for survival. A Black student's first experience with c...

Jerriona Leonard Professor Harris ENGL 2017 22 April 2026 From Negro Expression to Black Performance: The Evolution of Black American Culture In the text, “From 'Negro Expression' to 'Black Performance,'” DeFrantz and Gonzalez explore how “Negro Expression” evolved into “Black Performance” as a broader and more self-defined creative space. From pre-enslavement to now, Black expression has grown and changed: the way Black people identify, our music and dance, our spiritual identity, and our fashion. I created 4 colleges to demonstrate this concept: one for culture and spirituality, two for music and dance, and one to highlight Black fashion. The music and dance collages highlight how music and dance function as foundational forms of Black performance. From early pre-enslavement rhythmic traditions and instruments to contemporary styles like hip hop and social dance, music and choreography are an expression of identity, resistance, and joy. DeFrantz and Gonzalez’s idea...

Claire Connor Dr. Harris African American Literature 2017 14 April 2026 Major Project In my project, I am exploring how Black Performance Theory contributes to art forms not rooted in African American Vernacular Traditions. During class, we read “From ‘Negro Expression’ To ‘Black Performance’” by Thomas F. DeFrantz and Anita Gonzalez, where we were introduced to the concept of Black Performance Theory. Black Performance Theory is a field that analyzes how blackness is embodied through Performance, both on and off stage (DeFrantz and Gonzalez). Black expression is a form of resilience, social empowerment, and enjoyment. Black Performance Theory has been called “the black aesthetic.” In my project, I wanted to focus on how Black Performance theory affects dance. Dance is a unique art form that tells stories through body movement. In recent history, Black dancers and choreographers have profoundly transformed ballet by breaking racial barriers, redefining traditional aesthetics, and promo...

How Black Music Impacts Guthrie P. Ramsey says that music is not only fun, but it is also a strong record of culture, survival, and history. This mixtape shows what African American music is all about. Ramsey says that African American music shows how people have dealt with problems, stayed true to themselves, and shared their memories. In this way, both old and new songs are cultural documents that show faith, resistance, and pride. This playlist is about these things and how they don't change over time. The religious song "Swing Low, Sweet Chariot" shows how deeply religious African Americans were when they were slaves. It also has secret messages about getting away and being free. This kind of spiritual music shows how music can be a source of hope and a way to fight back without being obvious. They show what life was like for slaves and how they wanted to be free in body and spirit. "Nobody Knows You When You're Down and Out" by Bessie Smith is a blues s...

The Folklore Mixtape 1. “Alright” - Kendrick Lamar: Alright is one of the most clear, modern day examples of folklore in hiphop. In the song Kendrick addresses the struggles such as police brutality and systematic oppression. However, instead of sulking and turning the song into one of self-pity, he switches the narrative almost to a happy chant repeating the phrase, “We gon’ be alright!” This uplifting tone relates strongly to the story “Change the Joke and Slip the Yoke.” 2. “The Bigger Picture - Lil Baby: In the song Lil Baby goes on to talk about his issues with the government and police brutality stating that he gets scared when he sees police lights even though he knows they’re supposed to protect us. This song was released not long after the George Floyd murder and was meant to reach out to other African American people and families to band together and not allow for the oppression to overwhelm us. 3. “This Is America” - Childish Gambino: Off the bat, the song opens up with a so...

Lauren Calhoun Dr. Harris ENGL-2017 22 April 2026 Make it Bounce New Orleans Bounce music is well-situated in Black Vernacular tradition through its use of Southern, Black dialect and frequent sampling, interpolating, and remixing of songs by Black artists. The genre was pioneered by rappers like MC T Tucker and DJ Irv sampling songs from the 80s. This eventually led to the creation of “Triggerman beat” which is a mainstay of Bounce music’s production (Taylor, 8). The other cornerstones of Bounce music, as described by “the Queen of Bounce”, Big Freedia, are call-and-response, a heavy and uptempo bass, and “ass-shaking”. While the Bounce music genre was founded on the hypermasculine musical performances of heterosexual male artists, Bounce is widely informed and sustained through Southern, Black feminine and queer expression. K’wan Foye, a hip-hop fiction writer, describes the “booty” as the “focal point” of Bounce music’s dance expressions (Taylor, 5); twerking, rolling, shaking, wobb...

Jaylen Burkhalter ENGL 2017 Dr. Harris 22 April 2026 Alter Egos: Its Effect on Black Vernacular Tradition Through Music What is an alter ego? If you were to ask Jean-Paul Sartre, he would argue that the alter ego is not an internal, pre-existing essence, but a constructed identity – formed through reflection and shaped by social interaction (Schuetz). Through this theoretical lens, this mixtape explores how Black musical artists use alter egos to search for creative truth, autonomy, and resistance. These “second selves” act as masks, shields, and amplifiers. They are tools that allow artists to navigate identity, power, gender, and expectation. Rather than being false, these personas often reveal deeper truths that the original version of self cannot safely or fully express. Mixtape: “Enlightenment” – Sun Ra Sun Ra was a jazz composer from Birmingham, AL. His cosmic alter ego rejects earthly constraints and his birth name of Herman Blount (in which he labelled his “slave name”). ...

Rylee Hennigan Professor Harris ENGL2017-64187 April 21, 2026 Major Project Interview of Southern Hip-Hop What I expected from this project was to gain more understanding of Adeerya Johnson’s “Dirty South Feminism: The Girlies Got Somethin’ to Say Too! Southern Hip-Hop Women, Fighting Respectability, Talking Mess, and Twerking Up the Dirty South”, and how it correlates from other people’s perspectives. For my interview I selected a good friend of mine, Sydney Williams, to represent many women of African American ethnicity to answer many questions I have about this genre of music. Although Sydney is not fully African American, but also being half-white, we can learn both sides of her culture and how it correlates into her answers. Despite the slight difference, Sydney is heavily influenced by Southern Hip-Hop. Sydney defines Southern hip hop as a style of rap from the South with a unique vibe, heavy bass, and melodic beats. She believes the genre is often stereotyped as being about mone...

Redefining the “Ratchetness” in Southern Female Rap The term “ratchet” stems from Shreveport, Louisiana being first used in Lava House’s 1999 single “Ratchet” as a derogatory term for black women to describe them as loud, trashy, or even having little to no morals. Since then, it has been a term for Shreveport to describe the city’s “ghetto” way of life. This term was weaponized to dismiss the expressive culture of black women as low class. Southern female rappers have reclaimed the “ratchet” persona, reshaping it from a derogatory term into a powerful aesthetic of authenticity, sexual liberation, and economic empowerment, creating a definite form of southern hip-hop feminism. Artists like Glorilla, Megan Thee Stallion, City Girls, and Sexyy Red have turned “ratchetness” from a derogatory term into a brand of empowerment. In Megan Thee Stallion’s hit single “Savage” she talks proudly about being “Classy, bougie, ratchet”. By putting "ratchet” with “classy” and “bougie”, she argue...

Cooper Matherly English 2017 African American Literature 04/21/26 Major Project Final Draft Enslaved Spirituality The spiritual side of slavery is one of the most profound and complex aspects of the enslaved experience, revealing not only the depth of suffering that was endured but also the resilience, creativity, and humanity of those subjected to bondage. Far from being a small part of enslaved life, spirituality functioned as a central force that shaped identity, community, resistance, and survival. After researching this topic further through the sources listed in the works cited, I can say with confidence that this essay will explore how enslaved people developed rich spiritual systems, how religion was used both as a tool of control and liberation, and how these spiritual practices deeply impacted the psychological and emotional lives of enslaved individuals. One of the most significant features of the spiritual life of enslaved people was its syncretic nature, a blending of Afri...

Layla Mitchell English 2016 Dr. Harris 12 April 2026 Of course, it’s Hard to face the Truth; You Refuse to Even Acknowledge It! One conversation that continues to go on is when black people should speak up. In white mainstream media, we have seen time and time again that black artists are put front and center to answer questions the main white audience wants to hear, but when the artist doesn't address these questions and focus on bigger issues the black community is currently facing, they ignore the artist's message or just outright dismiss the artist. This playlist contains songs that not only call out things like systemic racism or police brutality but also things that are very overlooked, such a misgonior behavior. Playlist Link: https://youtube.com/playlist?list=PLXkZI0UJf_fg92czdfPN0q8qQVS9UNUP6&si=LMWh2EOtnK1V3uEw -Kendrick Lamar: “Alright” - In this song, Kendrick talks about police brutality, racial injustice, and systemic inequality in America, but at the end...

Jo’Chrisna Shelton Dr. Harris Major Project: Mixtape April 20th, 2026 Black “woke” Artistry https://open.spotify.com/playlist/7Lgjzc5iJGXVgs9ErRbzsV?si=vuyHhwdSQDexQqiuLfPoOQ&pi=u-O1kIBZs5QsqD For my major project, I made a mixtape of Black "woke" art that used hip-hop and neo-soul to talk about identity, struggle, awareness, and empowerment. Based on Black Enough? Molly Hiro's African American Writers and the Vernacular Tradition inspired me to make a playlist that shows how today's Black artists are still telling stories and telling the truth in the Black community. The vernacular tradition is all about using everyday language, real-life experiences, and creative expression to talk about deeper truths. Each song I picked does this in its own way. I began the mixtape with strong, important songs like "Keep Ya Head Up" and "Changes" by Tupac Shakur. When he says, "And since we all came from a woman..." in "Keep Ya Head Up,...

Link to playlist: https://music.apple.com/us/playlist/school-project/pl.u-xlyNqG2CJG1ZWL3 Je’Miya Worley English 2017 Dr. Harris 21 April 2026 Mixtape Essay My mixtape and theme are connected to the story, “The People Could Fly”. My overall theme is freedom— mentally, physically, and spiritually. Each song reflects a different part of what freedom looks like. Branching off my theme, the enslaved people were automatically trapped physically. In the story, when they gained the mental freedom, a symbol of physical freedom was shown in the form of flying. The idea of flying was not escaping physically, but also about remembering who you are and finding strength inside yourself which can go in the spiritual aspect as well. That same idea is shown throughout my mixtape. At the beginning of the playlist, the songs focus more on mental freedom. These tracks represent the feeling of being trapped, confused, or weighed down, which connects to how the enslaved people in the story felt befor...

Stirling Terry Dr. Harris ENGL2017-64187 20 April 2026 The Use of Black English as a Tool for Survival and Resistance For my interview, I selected the reading “If Black English Isn’t a Language Then Tell Me What Is,” by James Baldwin. The focus of the interview was on Black English (AAVE) being developed during enslavement, becoming a tool to communicate and overcome erasure. Words like “code-switching” later joined the mix, bringing complexities to defining Black English and whether it is still used as a tool for survival. I wanted to explore how language is linked to identity, and by erasing Black English, the Black identity becomes vulnerable. I interviewed senior speech-language pathology major Maryanne (Mary) Haley for this project. I wanted to interview a college student specifically because I believe that when it comes to the use of Black English, we have often been forced or felt pressured to go through language transitions as a part of our college journey. Since I was focus...

Terra Williams Dr. Harris English 2017-64187 Major project My essay will focus on how Southern hip-hop women use vernacular expression to challenge respectability politics and assert their voices within Black culture. I will analyze Dirty South Feminism: The Girlies Got Somethin’ to Say Too! Southern Hip-Hop Women, Fighting Respectability, Talking Mess, and Twerking Up the Dirty South as my primary text. This project will examine how language, performance, and cultural expression in Southern hip-hop create space for Black women to resist stereotypes and redefine identity on their own terms. I plan to explore how practices such as “talking mess” and performance styles function as forms of empowerment, communication, and political expression. This essay will show how Black vernacular traditions continue to shape modern discussions of gender, power, and cultural identity in the Dirty South. Southern hip-hop has long served as a space where Black women push back against limits placed ...

Writing proposal: Twelfth grade is a critical stage in a student’s academic and personal development. At this level, students are preparing to transition into adulthood, higher education, or the workforce, and they are refining their ability to think critically about culture, identity, and society. Teaching the folklore and cultural traditions of New Orleans provides students with an opportunity to explore how community-based practices can serve as tools of resilience, unity, and cultural pride. This lesson plan uses film, music, literature, and experiential learning to highlight how New Orleans traditions positively shape identity and community while also challenging stereotypes often associated with the city. Many students are exposed to limited or negative portrayals of New Orleans, often focusing on crime, poverty, or natural disasters. However, these perspectives ignore the city’s rich cultural history rooted in African, Caribbean, and Creole traditions. By focusing on folklore,...

Morgan Davis Dr.Harris English 2017 Due Date: 4/22/2026 Black performance evolution and respectability politics Black performance refers to performances created and depicted by African Americans that influence and shape the culture. These performances express the lived experiences, creativity, resistance, and storytelling within Black art. Music and Black performance have changed over time as societal norms shift through time. For my mixtape, I created a playlist with traces of the evolution of Black music and performance stemming from early jazz and blues to R&B and southern feminist rap. For my major project topic, I will be exploring how music and Black performance and how they have changed over time. I will be referencing “playlist pt 2”(In the modules) and “Dirty South Feminism: The Girlies Got Somethin’ to Say Too! Southern Hip-Hop Women, Fighting Respectability, Talking Mess, and Twerking Up the Dirty South”. These references will explain the intricacies and essence...