ENGL 4203: LatinX Rhetoric

Artifact 1: Roma

Alfonso Cuarón 2018 film Roma tells the story of two Mexican women who work as domestic workers during the 1970s in Mexico City. Praised by fans and critics alike, this representation of the LatinX community is also based on the childhood experiences of its director, who grew up in Mexico. The film was nominated for Best Picture at the Academy Awards and its subject matter sparked a dialogue about underrepresented LatinX populations whose stories often go untold. Because of its connection to family, nature, and international politics, Roma functions incredibly well as an artifact that represents LatinX rhetoric in an emotionally resonant manner.

The exploration of family units is often a defining characteristic of LatinX rhetoric. In Roma, the protagonist Cleo, who looks after the children of the family that employs her, has as intimate of a connection with this family as she does her own. When the husband of this family is discovered to be having an affair, Cleo takes on a parental role while helping the children navigate the difficulties of their parents’ marital troubles. The film’s climax is when Cleo rescues two of the four children from drowning during one of their trips to the beach, which eventually bonds them and establishes her as one of their protectors after their father leaves. When they return home, the ornate furniture that once occupied the house has been moved out, and the family has to re-establish themselves together as a unit, which solidifies the familial themes that so often define LatinX rhetoric.

Because this semi-autobiographical film is based on the early life of its director, it pays close attention to the environmental detailing that builds the setting and tone of 1970s Mexico. There is a lot of imagery that utilizes water throughout the film, symbolizing the constantly changing nature of the political climate at the time. Much of the cinematography accurately and beautifully depicts the lifestyles of the families living in the Roma neighborhood of Mexico City at the time, with many rooftop shots that grant the audience a sense of scale and close proximity these families lived within. One shot that particularly stuck out to me was when Cleo was doing laundry atop the family’s house and many other domestic workers can be seen in the background doing the same, which gives the audience a sense of wonder about what their stories were. This depicts the often untold stories of a generation of Latina women in the 1970s and 80s whose stories are just as emotionally rich as the traditionally represented demographics in media.

Roma also successfully communicates the complexities of the political environment in Mexico City in the 1970s. Without going into painstaking details, there is an essence of potential political violence at all times when in public during the film. There is a sense of struggle and paranoia created, which often haunted LatinX families in these times, forcing them to emigrate elsewhere for safety and prosperity opportunities. Thus, three of the defining characteristics of LatinX rhetoric are discussed and represented through this brilliantly crafted film.

Despite its large population size, the LatinX community is often unrepresented in film and television. Roma gently and accurately depicts the many intricacies and historical existences of underrepresented Mexican women, whose stories are just as relevant as others. The black and white cinematography creates a sense of nostalgia that transfers to an audience that may not be familiar with these communities, advancing empathy from others communities.

Artifact 2: “El Balajú / Serenata Huasteca” by Natalia Lafourcade

Natalia Lafourcade’s 2020 album Un Canto por México, Vol. 1 pays beautiful homage to the singer’s childhood and upbringing in Mexico City, continuing generations of traditional sounding LatinX music that represents an entire culture. Proud self-identification, detailed storytelling, and a sense of Herencia make the opening track from this album “El Balajú / Serenata Huasteca” a prime example of an artifact that represents LatinX rhetoric.

Natalia Lafourcade and her accompanying band replicate traditional Mexican music so perfectly on this album, and particularly on the opening track. Detailed horn backing, collective vocals, and creative storytelling, all in Spanish, are the strongest defining components of traditional Mexican and LatinX music. To wear their self-identification on their sleeves so proudly is an act of rebellion against Eurocentric trends in music that have subjugated these traditional sounds from reaching popular and mainstream success. The song even channels references to previously popular Mexican music, paying an homage to the heritage of the genre.

Another component of LatinX that this song so beautifully captures is the ornate and detailed storytelling that defines many LatinX artifacts. “El Balajú / Serenata Huasteca” is a two-part track that introduces Natalia to the audience, making clear that her presence is a special occasion worthy of celebration. The accompanying vocals reflect on nature, times of war, and warmth, which are all traditional topics often discussed in LatinX and Mexican music. In the second part of the song, Lafourcade discusses an unrequited love and references nature by discussing the moon and the stars. The multilayered instrumental backing pairs beautifully with the storytelling on this track.

It’s clear that Herencia, or a special relationship with the cultural context and background of a particular piece of art, was at the forefront of Lafourcade’s goals when writing this album. The project’s title translates to “A Song for Mexico”, clearly paying homage to her heritage and ancestral connections that have led her to this moment. By perpetuating this music style, Lafourcade is helping keep it alive in defiance of the norms and trends that have slowly begun to silence and forget it over generations. A respect for heritage is a characteristic in LatinX rhetoric, and it can be seen clearly in this artifact.

Natalia Lafourcade is a shining light in a genre that is attempting to keep traditional Mexican and LatinX music alive. Through it, perspectives can be shared and stories can be told in new ways. This album was critically acclaimed, which gives me hope that more stars like Lafourcade will find success in continuing to release music that represents LatinX culture - which is very important in terms of equality and representation.

ENGL 4203: Indigenous Rhetoric

Artifact 1: Heart Of Darkness by Joseph Conrad

Joseph Conrad’s 1899 novella Heart Of Darkness tells the story of a colonial voyage into the indigenous population of central Africa. The novella’s narrator relays to his crewmate’s his previous experiences on similar journeys, which reveal the damaging nature of exploitation and mistreatment of indigenous communities. This novella takes a unique approach by relaying these issues from the colonists’ perspective, which is equally as compelling in communicating the strife and struggle of indigenous communities.

While Indigenous Rhetoric can often be seen through beautiful reflections of nature, the feelings of freedom from decolonization, and tales of spirituality, Heart Of Darkness relays the importance of Indigenous Rhetoric in a more direct manner.

In the novel, English colonists take advantage of African Ivory and leave the indigenous populations, whom they refer to as savage, with nothing. This brutal treatment of the native people highlights their humanity in the end, evoking a response of empathy in the reader. The protagonist puts it simply when he states “The conquest of the earth, which mostly means the taking it away from those who have a different complexion or slightly flatter noses than ourselves, is not a pretty thing when you look into it too much.” (Conrad)

Exploitation is a theme often highlighted when discussing Indigenous Rhetoric. By the end of the novella, Marlow reflects on the guilts and regrets he has about being part of a crusade he initially didn’t realize was as exploitative as it wound up being. The unjust mindset that being rich should justify colonizing groups stripping resources from disadvantaged communities is a striking reminder of the damages of colonization - so closely associated with Indigenous Rhetoric.

Sometimes abrupt and direct examples of such elusive and under-discussed concepts are necessary to advance the discourse and situate the audience into the discomfort these topics bring with them. Conrad’s novella was ahead of its time and allowed discourse surrounding Indigenous rhetoric to advance quickly and effectively.

Artifact 2: Into The Canyon (Disney+)

Pete McBride’s 2019 documentary Into The Canyon shows Native American populations who live in the Grand Canyon, but who are facing the difficulties of colonization of the tourism industry that continually encroaches on their space. The documentary directly demonstrates Native Americans’ deep connection to the beauty and resources of the natural environment, all while still battling the oppressive force of colonizers.

The documentary gives historical context about what has happened to Indigenous communities in the past, which is an important aspect of the discipline as it provides the foundational understanding needed to further the conversation and eventually come up with solutions.

The documentary also allows these Native American populations to directly explain their experiences, which is important because these perspectives are often disregarded and explained through more privileged lenses. McBride is fighting legislatively to protect the land being occupied from oppressive and disregarding forces.

There is a scientific explanation of how frequently Native American populations rely on nature during their everyday lives. This theme comes up regularly in Indigenous Rhetoric, which often reflects on a historical relationship with the environment that other forms of rhetoric do not. By inviting the audience into the depths of the Grand Canyon, an otherwise unexplored territory too inaccessible to know familiarly, McBride also shines a spotlight on an Indigenous population that can be protected from the evils of colonization.

ENGL 4203: African-American Rhetorical Assignment

Artifact 1: “Blood On The Leaves” by Billie Holiday

Billie Holiday’s 1939 song “Blood On The Leaves” is a moving and impactful example of African-American rhetoric (AAR) that is just as relevant today as it was when it was originally recorded. At the time, African-Americans were facing systemic injustice and institutional violence as a result of post-slavery legislation that perpetuated mistreatment before the Civil Rights Movement. Our modern perspective allows us to reflect on how far we’ve come, but simultaneously on how we still have so far to go to reach equality of treatment and opportunity for all Americans regardless of their skin color. Holiday’s song cuttingly likens the Black Americans who were lynched in the American South to fruit on poplar trees, whose blood stained the leaves and the culture as a whole.

Holiday later went on to face persecution for unrelated incidents that are now largely contested and questionable. This reminds me of the treatment received by Martin Luther King, Jr. after he was deemed a disruptive figure by authoritarian and racist figures in the United States who didn’t want anyone questioning the status quo. This song made its impact before becoming subject to such scrutiny, however, and has become an incredibly recognizable song that employs AAR tactics masterfully.

Holiday uses many foundational AAR techniques to maximize the emphasis of her messaging and tone, but the two that stand out most to me are pathos and tonal semantics. Firstly, Holiday’s emotional appeal is one of the strongest I’ve ever seen regardless of discipline or subject matter. I was in the eighth grade when I heard this song for the first time, and I remember how significant of an impact it had on me when I realized what was being symbolized in the lyrics. When the listener understands that the “strange fruit” hanging from the southern trees in the song is really Black Americans who have been killed, the reasonable response is to feel sickened and horrified, which is the exact impact that Holiday was likely striving to evoke by tackling this issue. The shock of the subject matter makes this song incredibly emotionally resonant, and therefore, rhetorically effective.

Tonal semantics is the use of voice and delivery to convey meaning, which Holiday uses amazingly while singing this song. Her vocal delivery comes off almost as if she’s in disbelief as to what she’s seeing, while eventually coming to the terrifying understanding that this is the culture and world she finds herself living in. The ominous tone of the song’s instrumental backing supports Holiday’s vocal delivery hauntingly, and her use of tonal semantics strengthens this song’s impact.

Our modern understanding of African-American rhetoric is shaped by the long-lasting artifacts from our history like Holiday’s “Blood On The Leaves”. While nothing will ever precisely recapture the historical context and resonance that this song seems to so effortlessly deliver, it has been referenced countless times. There is still systemic injustice in the United States, and Holiday proves that our willingness to communicate this injustice through art can lead to eventual meaningful change.

Artifact 2: Invisible Man by Ralph Waldo Ellison

Ralph Waldo Ellison’s 1952 novel Invisible Man contains many examples of African-American rhetorical tactics that help communicate the Black experience in America during the twentieth century. Ellison, whose magnum opus novel has become a social and literary staple because of its clear messaging and carefully-constructed narrative, was a messenger for advocator for social justice throughout his storied career. Although disheartening at times, Invisible Man’s ending is optimistic for a better future.

I find that many of the topics covered in this novel relate to those of cultural critic and prophetic mind W.E.B Du Bois who wrote The Souls of Black Folk at the dawn of the twentieth century. One of these concepts is the idea of a “double consciousness” that many Black Americans had to navigate, as they needed to appease both white Americans and other Black Americans’ perceptions of them. This put many in a challenging situation, especially in regard to their sense of self-awareness, as they were unable to find comfort in any community in the United States. Invisible Man’s narrator experiences many of the same phenomena, and Ellison communicates these struggles incredibly well.

Narrative sequencing is the result of a strong tradition of storytelling in Black communities as a means to communicate meaningful ideas. These specific kinds of stories can be used to serve a variety of purposes, including to persuade, inform, or emphasize certain things, which makes it a valid rhetorical strategy. The nameless narrator-protagonist of this story relates to his audience as a collective who wants to understand how he’s wound up in his hiding place established at the beginning of the story. By establishing the relationship between the reader and narrator as familiar, Ellison sets the stage to use narrative sequencing to communicate the ideas of double consciousness that Du Bois founded nearly a half-century earlier.

The concept of “Maat” is a sense of justice and balance in society, and is often the goal of African-American rhetoric’s employment. After establishing the mistreatment faced by the narrator in this story, who states in the opening chapter that “I am invisible, understand, simply because people refuse to see me. Like the bodiless heads you see sometimes in circus sideshows, it is as though I have been surrounded by mirrors of hard, distorting glass. When they approach me they see only my surroundings, themselves or figments of their imagination, indeed, everything and anything except me,” (Ellison) the reader understands that changes need to occur to establish any sense of Maat in this story. By the story’s conclusion, the narrator states that he has shared his details to help others understand and see him, and to let the readers know that he sees them, saying: "Who knows but that, on the lower frequencies, I speak for you?" (Ellison) Work still needs to be done, but a sense of Maat feels achievable at the end of this novel through empathy and listening, which are still necessary in today’s society.

Invisible Man helps us understand that there is still so much work to be done, but that achieving a sense of equality is possible one day. Ending fairly idealistically, the novel encourages the reader to reflect on other African-American rhetorical artifacts from real life, like Martin Luther King, Jr.’s “I Have A Dream” speech, which reminds us to treat one another based on the content of character instead of the color of skin. African-American rhetoric uses a variety of tools and strategies to entice audiences, educate others on struggles and perspectives, and communicate ancestral traditions of communal support and culture that lives on through it. It should be celebrated, studied, and incorporated in as many modern rhetorical situations as possible to extend its vivacious and meaningful legacy.

ENGL 4203: Feminist / Womanist Rhetorical Assignment

Artifact 1: “Alexandra” by Laura Marling

The first feminist/womanist artifact that came to my mind for this assignment was Laura Marling's song "Alexandra." The opening track from her 2020 album Song For Our Daughter, "Alexandra" is a direct response to Leonard Cohen's 2001 song "Alexandra Leaving." It's important to contextualize Marling's response by explaining how patriarchal the original Cohen song is. Cohen's track is from a male perspective and laments losing "Alexandra", the title-woman of the song. Cohen is upset that this woman is out of his life, but her character is not closely explored beyond that male perspective. In the artifact I selected, Marling begs the question "Where did Alexandra go?" on her responsive chorus. This track seeks to gain a feminist perspective of the same character previously referenced in a male-centric story. Marling reframes the plot of the story through the female perspective that is abandoned in Cohen’s track. This shows the empathy that Marling has within, as the opening lines of the track are “What became of Alexandra? Did she make it through?” Rhetorically, this encourages us all to shine a light on all of the stories we're familiar with and to ask whether there are marginalized perspectives that could justify re-tellings that provide more insight. The rest of Marling's album is reflective of feminist and womanist themes, but none more clear to me than this fantastic title track.

Cohen's song: https://open.spotify.com/track/3JhVlkRMLDQ98q3ZABvNYV

Marling's song: https://open.spotify.com/track/1HlSDISbjoxt2tpimT8s6f

Artifact 2: “The Schuyler Sisters” from Hamilton

Lin Manuel Miranda’s hit Broadway musical is jam-packed with refreshing takes on historical events. A minority-led ensemble is cast in the roles of the founding figures of the country. This artistic choice allows for symbolic commentary to shine on every almost song. One song with a particularly feminist/womanist rhetorical perspective is “The Schuyler Sisters”, which comes toward the beginning of the first act. At this point, the audience is introduced to Alexander Hamilton’s eventual wife Eliza and her two sisters Angelica and Peggy. This song centers upon their experience of living in New York during the revolutionary war. At one point in the song, Angelica proudly sings “I’ve been reading Common Sense by Thomas Paine, so men say that I’m intense or I’m insane. You want a revolution? I want a revelation! So listen to my declaration: “We hold these truths to be self-evident, that all men are created equal,” and when I meet Thomas Jefferson, I’ma compel him to include women in the sequel. Work!” Viewing these lines from a historical perspective allows us to recognize that many women were excluded from the political process at the time that this musical takes place. The Suffrage Movement had not yet taken place, but women still had political opinions that they wished to voice. The iconic choreography of this line has taken the culture by storm, and this scene becomes even more emotionally potent when we appreciate that we now have a woman Vice President for the first time in the nation’s history. Hamilton goes on to demonstrate that history is different depending on whose perspective it is told from. Traditionally, many female voices have been silenced by the patriarchal lens and systems in which we find ourselves. “The Schuyler Sisters” reminds us of how far we’ve come, but also of how far we have yet to go as a country to heal the lack of feminist/womanist rhetoric in the discourse.

Song: https://open.spotify.com/track/71X7bPDljJHrmEGYCe7kQ8?si=0kt0V5K6S1SJKWbvtFU57g

Video: https://www.youtube.com/watch?v=2bkqXVc_1go

Article 3: “Under The Table” by Fiona Apple

Fiona Apple’s 2020 album “Fetch The Bolt Cutters” was my favorite of the year not only because of its timely and relatable sentiments but because of the rhetorical commentary and insights that it continually provided track after track. From a feminist/womanist perspective, Apple takes an unconventional approach by brazenly and sometimes aggressively communicating her perspective, which just happens to be from a woman. “Under The Table” tackles the perpetual oppression that women have faced from men for centuries. The chorus asserts “Kick me under the table all you want… I won’t shut up. I won’t shut up. I would beg to disagree but begging disagrees with me.” These statements stand in stark contrast to anyone who is willing to be silenced by patriarchal forces who have long expected women to remain quiet about their opinions. Rhetorically, Fiona Apple is inspiring other women here to never accept silencing forces, and to always speak up for themselves especially when they feel that they are being degraded or taken advantage of. This affirmation that it is okay to be confident from a Womanist perspective is essential because it supports marginalized groups who simply accept silencing because they see no alternative. This is a great Womanist song that I felt needed to be included here.

Song: https://open.spotify.com/track/12WhIX6MvI93bS3wPSStSY?si=NDY6QuzcRcSRMYCS0JAwGg