New YouTube Kids App. Don’t Forget to Search for Their Digital Traces!

 Beauty was not simply something to behold; it was something one could do.”
Toni Morrison, The Bluest Eye

 

What an amazing week! I want to give you a little review what’s been going on in my academic life and what’s been happening in digital media land, esp. YouTube at the intersection of race, gender and adolescents online.  Since the beginning of the year, I’ve been rebranding how I talk about my digital ethnographic research. I’m recoding the 1000 videos I’ve collected that feature adolescent black girls (ages 13-17 and younger) broadcasting while they twerk from the “privacy” of their bedrooms in a participatory research project with my three intro to anthro courses. More on that soon.

This weekend since Friday I have been attending the Eastern Sociological Association meeting here in New York City. It’s being held at the Millennium Broadway Hotel in Times Square. Any local New Yorker knows that how much we loath having to go to Times Square’s Tourist Trap. But because my friend (online and off-line) sociology professor Jessie Daniels (@JessieNYC) organized and is hosting a digital sociology mini conference it was well worth the trouble. And it’s been amazing. You can follow our live tweeting of the conference at #DigitalSociology on Twitter.

YouTube App Just for Kids Launched

This week YouTube announced a new app designed for kids and their gardens. It’s called  kids.

On February 23, 2015,  U2 launched a new kid-focused app for parents and guardians to download.  YouTube video advertising the new  access is pretty compelling. They also released a remarkable playlist of viral videos featuring kids titled Kids We Love.  It starts with of one my favorites  “Worry about yourself” featuring a little toddler in her car seat telling her dad to leave her alone, she can take care of herself. Many of the videos I’ve seen before. One is precious.  It’s called Kids play with paint a get it all over their faces. Reminds me of when I was that age.


Kyra-Kyra on the Wall/
Who’s the Fairest of Them All?

I was 4 or 5 years old staying at my Granny’s while my mother was at work. I’d been playing in my youngest aunt’s Avon powder … without permission. I’d been told not to play with my aunt’s makeup. I was having a ball with that powder puff imitating (or I thought mirroring) what I saw in a Warner Brothers’ cartoon.  I was too young to notice that I was different from the white female figure in the cartoon. The white powder became invisible, it disappeared on her skin. I had no idea that the Avon product betrayed my lie, and defined my otherness at the same time. My aunt’s tall dresser did not have a mirror attached so I never saw how I looked. When I heard my mother unexpectedly came in the front door after work, I jumped off a chair I had placed to reach her makeup and stood outsider my aunt’s room as if I had not been doing anything.  My mother, Ardell, asked me, “What have you been doing, Kyra??!!” I stood on the step and said “Nothing.” My little brown face was covered in white talcum powder and she still tells the story about how she tried not to laugh. Parents had a rough job before the Internet. Image telling a child to not watch YouTube. Or moreover, don’t upload any videos of yourself without my permission. Uh-oh!!!

From Dusty Faces to Digital Traces

Parents may be pleased with this but they also need to start search the YouTube archive for images of their kids by name. Even if videos are removed from a channel, they may still exist in the search archive. Check for the digital traces. They are not as obvious as the powder was on my brown face decades before digital video and mobile devices were tethered to today’s youth.

If I made the playlist for Kids We Love it would definitely include Princess973 or Princess Maji representin’ Jersey. Here’s her dancing to a remix of “Let it Go” from Frozen–clearly every parents favorite song they could stand not to hear one more time. Princess Maji is black girl genius!! She is much more incredible at dancing, if you asked me, than any of the kids represented in YouTube’s present playlist.

Privacy (No) Adversity (You Bet) for Black Girls Who Twerk on YouTube

 “All have their worth and each contributes to the worth of the others.”
J.R.R. Tolkien, The Silmarillion

“Guileless and without vanity, we were still in love with ourselves then. We felt comfortable in our own skins, enjoyed the news that our senses released to us, admired our dirt, cultivated our scars, and could not comprehend this unworthiness.”
Toni Morrison, The Bluest Eye

Adverse Childhood Experience: Black Girls and YouTube

Dr. Nadine Burke Harris in pediatric care is one of my sheroes, esp. for children in communities of color who suffer high levels of childhood trauma including physical, emotional, or sexual abuse; physical or emotional neglect; parental mental illness, substance dependence, incarceration; parental separation or divorce; or domestic violence. 

Below I share her persuasive and passionate TED Talk that introduces viewers to the The Adverse Childhood Experiences Study.

As I wrote up a new abstract today about the re-segregation of black girls’ musical identities in the blurred public of YouTube, I am increasingly present to the emotional and cognitive impact of new media and digital video on the socialization of black girls’ adolescent brains and their views of how they see themselves differently than others. We must bring more of a sociological lens to our ethnographic and ethnomusicological study to help us all understand the social forces that do not empower online black girls’ value in their own eyes and perhaps more importantly in others. Their ecological fitness is at stake.

Seeing ourselves through Technology:
What Do Black Girls See?

I am writing an article titled Mirrors, Monsters and Webcams about the ways in which girls learn to see/hear themselves through technology from the 1970s to now. I was thinking about how the policy of Desegregation affected me and my view of my self identity when I was an adolescent learning to fit my body into the latest dance in the mirror just outside my bedroom. A white woman about my age with whom I was sharing about this article reminded me how we 2nd generation television teen girls would dance with the TV screen, too.  I am making an argument for public/private and public/domestic spaces that hinges on an understanding of Segregation policies and early social media practices of radio and television in the 1970s.

The twerking videos I study of black girls who broadcast from the “privacy” of their bedrooms always make me think about how segregated that space–the bedroom–was and still remains for black girls’ dancing. In public settings there is more exposure to harm and the bedroom was a barrier to public groping but also an easy target for domestic abuse. Your closed door symbolized safety, temporary as it might have been. Having privacy was a key to adolescence. The webcam has changed how privacy works for everyone. But that change didn’t begin with Web 2.0.

The differences then and now are both complicated. It wasn’t simple when American Bandstand was broadcast into your family’s living room or bedroom (we had a TV in my mom’s master bedroom, too). It was uncomplicated when Soul Train blew its horn into the soundscapes of domestic life. Even my local show The New Dance Show with its host the Moonman in DC shaped how I wanted to perform my Self when I finally entered the public sphere. The private space of home back then also became a place for advertising the consumption of musical media to teens through radio and television. Parents began to lose more and more control before kids ever left their front doors. Today on YouTube it’s much more complicated with forms of segregation in mixed engagement that is both alarming and invisible to far too many. That’s what I am working out teasing out in my latest article.

You Betta Be In Before Dark!:
What is Public Safety on YouTube?

Adolescent play with strangers was rare when I was a kid. And parents tried to protect you by insisting you stay within shouting distance. The boundary was always marked by the onset of twilight. You better be home before it’s dark. Parents born before Desegregation in the South where I grew up knew or remembered that the general public was never save for dark-skinned folk. Daytime was dangerous, too. What was really a concern was the possibility of not being under a caring watchful eye when visibility decreased. What happens when being visible to strangers you meet online becomes the norm for adolescent girls of any color, but particularly for black girls?
Two days ago, I found a twerking video uploaded that same day by an 8 year old black (seemingly Afro-Brit) girl. YouTube’s age minimum is 13.  Her brother, who is recording the video and seemed a bit younger than her based on the sound of his voice and what frames he was capturing with a mobile webcam–he seemed fascinated with the technological capacities of the camera; with what it can do.
This adolescent 8 year old in contrast to her brother was all into the technology of her body–which is an important aspect of socialization for black girls historically and for young American girls in general. She was so into managing and performing the technology of twerking, of self-presenting herself like what she perhaps had seen before, that she seemed almost unaware of the implications of the camera. She was clear she would be made visible from its upload, I am sure. The video appears to be her channel with her actual name, which is mentioned in the performance by her brother. Her channel only has 2 videos. This video received over 600 views in less than one day. What’s more disturbing is the engagement below it. 3 comments, all by males, designed for “grooming” — like pimps and predators groom girls or boys for sexual abus — inviting her to expose or unclothe more of body. No comments per se about her dance.

I am sure you will find this as disturbing as I have.  I could say much more about this video and how YouTube is not monitoring it’s content for harm to minors. I could also talk about the appetite that the porn industry produces that leads young men and strangers to solicit hooking up with this girl.
Screen Shot from YouTube 2015-02-21 at 2.34.53 PM

Screen Shot from YouTube 2015-02-21 at 2.34.53 PM

Who Poisoned the Well in the First Place?:
YouTube’s Ecology meets Systemic Bias

Dr. Burke Harris’s talk speaks to learning how much adversity can harm children’s cognitive growth and emotional well-being not to mention their life chances and health well into their adulthood.  This is why my research matters so much.  I am trying to link the pleasure of messing around online for girls to the need for better digital media literacy and attention to not simply their social agency but their cognitive fitness in the most crucial years of their brain development. YouTube is not always the best environment for girls’ public health.
Dr. Burke-Harris states in her TED Talk, which I watched live last year:

I did a master’s degree in public health, and one of the things that they teach you in public health school is that if you’re a doctor and you see 100 kids that all drink from the same well, and 98 of them develop diarrhea, you can go ahead and write that prescription for dose after dose after dose of antibiotics, or you can walk over and say, “What the hell is in this well?” So I began reading everything that I could get my hands on about how exposure to adversity affects the developing brains and bodies of children.

http://go.ted.com/X5Y

 

Bet UOENO Her Name: Bottomlines for BeTTy BuTT

Ms. Jamie Adedra (“Betty Booty”) Moore

Born: Wed., Feb. 14, 1990
Died: Wed., Nov. 12, 2014

OI35000142_JamieMoore

Jamie A’dedra Moore was born February 14, 1990 in Queens, New York to James D Moore and AnnetteTownes. The date is significant for my research because YouTube launched its domain name on February 14, 2005. YouTube would launch Jamie and her two friends from ATL into online user-generated fame. On June 9, 2009 she and two other local twerkers uploaded their 3rd attempt to broadcast themselves as the Official Twerk Team on YouTube.

On Wednesday, November 12, 2014. Jamie was involved with a failed drug deal where she was accosted and shot in the head over $1115. Jamie better known on YouTube as BeTTy BuTT, the capitalized “T”s stand for “twerk team” which they made famous as a colloquial expression and a cultural meme. Twerk teams of lil’ sisters and cousins and later cheerleading squads and white girls in San Diego high schools led to a kind of moral panic following the appropriation of twerking by Miley Cyrus in a  YouTube video in April 4, 2013 (that date is probably of no significance to Miley and her handlers–it’s the date MLK was assassinated). The video titled Miley Cyrus Twerking Video has over 6.7 million views to date. 

My students and I since last summer have been learning about CPMs. The cost per thousands YouTube uses to calculate the monetization of a channel. According to several sources (will update later when I have time), the average subscriber today makes only $2.09/CPM minus a 45% cut for YouTube. To put the $1115 that Jamie was shot in the head for into CPMs, she died for 500,000 YouTube views.

Her top upload on her personal channel @BeTTy BuTT had only 4 videos. She had left the Official Twerk Team. More about that in another post. The video with the most views had only over 200,000 views. She died for twice that number and some. #bottomlines  YouTube ain’t as lucrative as everyday folk want to make it out to be. When I tell folks I am studying twerking, black girls’ twerking on YouTube, one of the initial responses is always they are making money on YouTube.  Pardon the vernacular but…NO THEY NOT!!  At least for the millions of views she got with the Twerk Team and her own site she could have at least been remembered for her born name, her government name, in death. Not one news report claimed her real name. She was just some “dumb bitch” (pardon the expression) who twerked on YouTube. RIP.

Here’s more from her obituary online.

She was …

full of life, she enjoyed swimming, sewing, music, dancing, volunteering and spending time with family and friends.Jamie graduated from Chapel Hill High School in Douglasville, GA. She had many talents including fashion desiging, modeling and teaching dance. She was a the true daddy’s girl. She mirrored and enjoyed every minute of swimming, motorcycling and other thrill seeking activities with her father. Additionally, she loved making arts and craſts with her mother. Theyenjoyed sewing, crocheting and knitting many items which inspired her aryistic ability as a fashion designer. Recently, she was helping her mother create a website for her craſt business. Jamie had an awesome relationship with her stepmother and they enjoyed attending theater productions. Jamie’s affinity for travel was inspired by stepmother and she loved traveling with her grandparents and aunt Curly. Jamie was a water lover and the beach was her best friend. She was also an ovarian cancer survivor.

The Black Girl Project’s Sisterhood Summit 2014: This Weekend

“You must learn her.

You must know the reason why she is silent. You must trace her weakest spots. You must write to her. You must remind her that you are there. You must know how long it takes for her to give up. You must be there to hold her when she is about to.

You must love her because many have tried and failed. And she wants to know that she is worthy to be loved, that she is worthy to be kept.

And, this is how you keep her.”  ― Junot Díaz, This Is How You Lose Her

Sisterhood Summit Image

 

BEEN A MINUTE…

October has been an incredibly fulfilling and intense month so far. Aside from writing and teaching, I’ve been updating my blog here with a new header that speaks to my work on YouTube.  I’m on the job market seeking a full-time position in digital media studies, ethnomusicology and/or African American/women’s studies.  I attended the critical and intense Town Hall for Girls of Color hosted by Girls for Gender Equity and Kimberle Crenshaw’s African American Policy Forum at Columbia Law School two weekends ago in honor of The International Day of the Girl. And there’s a lot of new things happening with my collaborative ethnography team of undergrads. We start collecting new data on adolescent and teen blacks girls who broadcast while they twerk for my research and their Anthropological Analysis course and training.

All that said, this post is about another project that has inspired my work.  This weekend, Saturday October 25th, 2014, Founder and Executive Director Aiesha Turman and the advisory board of The Black Girl Project hosts the 4th annual Sisterhood Summit at Empire State College from 10am – 6pm.  I would love it if  shared this post on your Tumblr, Facebook, Instagram or your Twitter!!

THE BLACK GIRL PROJECT: SISTERHOOD SUMMIT #BGPSS14 

View the day’s program here.  The theme is “Treat Yo’Self: Healthy, Whole and Free Black Girls.”  Come volunteer for the morning (10-2) or afternoon (2-6pm) sessions! The girls and women attending need your support!! If interested, DM me at kyraocity at gmail.

Love, peace and hairgrease! All the ladies say “He–alth!”

 

YouTube & the Counterfeit Currency of $tereotypes about Black Girls

“Le racisme est la dévalorisation profitable d’une différence” ou, plus techniquement, “le racisme est la valorisation, généralisée et définitive, de différences réelles ou imaginaires, au profit de l’accusateur et au détriment de sa victime, afin de légitimer une agression.”

“Racism is profitable devaluation of a difference ” or , more technically, ” Racism is the development , widespread and ultimately, real or imagined differences in favor of the accuser and to the detriment of the victim, in order to legitimize aggression.” (Google translation).

- Albert Memmi, Racism

 Screen Shot 2014-10-03 at 12.12.03 PMScreen Shot 2014-10-03 at 12.12.15 PMScreen Shot 2014-10-03 at 12.12.34 PMScreen Shot 2014-10-03 at 12.12.45 PM

Value in Making Fun of Black Girls’ Identity on YouTube

In the last few years, I’ve taken to avoiding use the conjunction “but”. It has nothing to do with my research on twerking or feeling I could if it was even possible inspire all the other people who use the term to stop doing it by erasing the term, like naïve notions of erasing race by not talking about it. The intangible meanings of race, blackness or jokes about black butts do not disappear from individual behaviors in a world of 7.1 billion people or even more than 3 million Americans. When studying black girls on YouTube I’ve realized that I must confront the fact that we live in a world defined by bottomlines, by numbers. We are still a minority group. Our music still generates a great deal of revenue for companies not run by women or black folks.

The bottomlines or numbers game is both good news and bad news depending on how your frame it. The objective data I am gathering is demonstrating a perspective that cannot be seen by casual viewing of YouTube videos or ogling that a view went viral.  Yet, we are being seduced by such views.  The seduction of not only our attention but our cultural views are at stake. The “context is decisive.” as the saying goes, in any situation when dealing with bottomlines. So, let’s explore the “value” of representations of black girls on YouTube for a minute or two.

How are teenagers’ views of themselves affected by others in the disembodied online environment? Do teenagers take the attitudes of the anonymous others seriously in online interaction, or do they merely regard them as part of an entertaining and inconsequential role-playing game? (S. Zhao 2005, 389). Link to article.

I have a bold claim here. The value of being a black girl in the YouTube community of vloggers is not afforded to black girls themselves. It seems that others gain currency, get lots of views and traffic, when we girls/women who are deemed “African-American,” “ghetto,” “ratchet” or some other stigmatized identification, are the butt of a vlogger’s joke in YouTube videos. This one is about naming practices among black girls and it has accrued over 30 MILLION views!! 

During a great conversation with sociologist Margaret Hunter the other day, I articulated a trend from our Watching Black Girls Who Twerk on YouTube dataset. The trend is that others are gaining the most value (economic and social currency) from making fun of black girls and women.  The trend is profoundly encapsulated by Nicki Minaj in an on-screen interview from The Ellen Degeneres Show (Nov 2013) just after MileyGate:

“If a black person do a black thang?!? It ain’t dat poppin!” – Minaj

Her use of the colloquial term “poppin‘” in all its multiple meanings boils to one–a common hip-hop lyrical and music video trope: popping a women’s booty to make it rain. It also refers to seducing viewer’s attention which is critical in popular music media culture as well as to cause a stir or create drama such that people are talking about you (think Miley Cyrus’s “We Can’t Stop” or Minaj’s “Anaconda” video). It’s all about the Benjamins, right? Dollar, dollar bills, y’all!

I don’t have much time to say much more but I wanted to open a conversation with my students and with the wordpress community and my followers. (Aside: I am thinking of moving this blog over to Tumblr because there are more black girls there online than here. Would you all be ok with that?).

The Counterfeit Culture of Black Girling Video View$

I’ll close with two quotes from two disparate but tangentially related camps. One is the Race Traitor community that has mounted a new abolition movement to end white superiority in our cultures.

Race Traitor: “We do not hate you or anyone else for the color of her skin. What we hate is a system that confers privileges (and burdens) on people because of their color. It is not fair skin that makes people white; it is fair skin in a certain kind of society, one that attaches social importance to skin color. When we say we want to abolish the white race, we do not mean we want to exterminate people with fair skin. We mean that we want to do away with the social meaning of skin color, thereby abolishing the white race as a social category. Consider this parallel: To be against royalty does not mean wanting to kill the king. It means wanting to do away with crowns, thrones, titles, and the privileges attached to them. In our view, whiteness has a lot in common with royalty: they are both social formations that carry unearned advantages.” – Noel Ignatiev [8]

I first heard about them 8-9 years ago when the use how counterfeit money or currency works in the U.S. as a metaphor for disrupting the system of white privilege. The US government must vigilantly fight against counterfeit dollars because 10% of more would corrupt our currency. The whole system would crumble — partly because, in my thinking, that if 10% of the population couldn’t tell the difference between the real and fake money, and that 10% told 20 people, the exponential impact would be seen within weeks. So you must guard against tainting the supply.

How to Detect Counterfeit Money (U.S. Secret Service): “The public has a role in maintaining the integrity of U.S. currency [could you swap “whiteness” and “patriarchy” here]. You can help guard against the threat from counterfeiters by becoming more familiar with United States currency [or the social system of white privilege or patriarchy]. Look at the money [value] you receive. Compare a suspect note [non-white/female] with a genuine note of the same denomination and series, paying attention to the quality of printing and paper characteristics [think YouTube views as currency]. Look for differences, not similarities.”

All this has me speculating. Do videos like the one above devalue what it means to be a black girl on YouTube? Is there is any value left on YouTube when you can generate traffic exponentially by “black girling” your content? But when it comes to the real thing, “it ain’t dat poppin'”!

I am using “value” here in the sense of monetizing your content as well as  gaining social currency as a viral video. Does the video above taint the integrity of what it really means to be a black girl. How will viewers get the difference since the authentic version is rarely given attention.

What kinds of video do girls need to make to be more than a $tereotype that generates traffic by always being the butt of jokes including the drama that surfaces in discourse around black girls’ booty-shaking. Even there I have evidence that white girls get much more attention and views for doing what black girls do. Even Miley Cyrus can trump Minaj, Rihanna or Beyoncé on YouTube. Not combined by Iggy and Cyrus can step in and step out. Do the counterfeit moment and jump back into whiteness for profit.

What is the true value of broadcasting black girlhood?

How do we see or better yet, trust, the true value of being a black girl with these counterfeits of currency circulating on YouTube — the most public, public on the planet as Mike Wesch articulated in his YouTube ethnography.

We had the amazing blogger interested in digital black girls Hannah Giorgis visit our ANT4800 class this week. I audio recorded her visit. I may upload it if she gives us permission. She opened up a dialogue with a provocative quote from Junot Diaz, whose work I have yet to discover but if this is any indication, I am way behind the curve and will be catching up. And from this quote I got deeply connected to that my Black Girls YouTube project on twerking is very much about making some new mirrors for girls and for us women, too.

“You guys know about vampires? … You know, vampires have no reflections in a mirror? There’s this idea that monsters don’t have reflections in a mirror. And what I’ve always thought isn’t that monsters don’t have reflections in a mirror. It’s that if you want to make a human being into a monster, deny them, at the cultural level, any reflection of themselves. And growing up, I felt like a monster in some ways. I didn’t see myself reflected at all. I was like, “Yo, is something wrong with me? That the whole society seems to think that people like me don’t exist?” And part of what inspired me, was this deep desire that before I died, I would make a couple of mirrors. That I would make some mirrors so that kids like me might see themselves reflected back and might not feel so monstrous for it.”

Junot Díaz

MORE TO COME:

Stay tuned for a new vlog of mine on twerking and a video from my distinguished lecture at Rollins College last week.

Paulo_Freire

GONE? Handclapping Games, Suggestive Lyrics, and Social Innovation

When we think of African American popular music, our first thought is probably not of double-dutch: girls bouncing between two twirling ropes, keeping time to the tick-tat under their toes. But this book argues that the games black girls play –handclapping songs, cheers, and double-dutch jump rope–both reflect and inspire the principles of black popular musicmaking. – Kyra D. Gaunt, Ph.D.

Depardon, Harlem 1981

BLACK GIRLS, HANDCLAPS & A DOUBLE-DUTCH ROPE

I was searching through my YouTube messages and subscribers today. Never even looked at who’s subscribed to my YouTube account before. Still learning the ropes of the YouTube community. I lucked upon the channel of EbonyJanice Peace who subscribes to my channel. I subscribed to hers and checked out her videos. Lo and behold, she is talking my talk–handclapping game-songs and the underlying meaning of the lyrics we chanted day in and day out.

Joan Morgan’s seminal text When Chickenheads Come Home to Roost inspired EbonyJanice to vlog about several handclapping game chants unpacking the suggestive meanings in all.

She says:

         I thought it was incredible that
0:15 black girls in Chicago, black girls in Virginia, and black girls in Ohio and
0:21 black girls in California
0:23 all had learned these sing-song handgame rhymes
0:26 how did that happen who was transporting these
0:30 messages from Virginia to California
0:33 Miss Mary Mack, for example , who taught black girls in Virginia
0:36 little black girls in Idaho, Miss Mary Mack?

 

She asks the question that guided my work for my book The Games Black Girls Play. She asked

it made me think about the conversations
0:52
that are… are just in our DNA or something(?). How do we just know these things?
Check out my book for my answers. (see below for links to reviews). Suffice it to say, it’s not DNA (exactly). It’s learned.
The Games Black Girls Play illustrates how black musical styles are incorporated into the earliest games African American girls learn–how, in effect, these games contain the DNA of black music. Drawing on interviews, recordings of handclapping games and cheers, and her own observation and memories of gameplaying, Kyra D. Gaunt argues that black girls’ games are connected to long traditions of African and African American musicmaking, and that they teach vital musical and social lessons that are carried into adulthood. In this celebration of playground poetry and childhood choreography, she uncovers the surprisingly rich contributions of girls’ play to black popular culture.

 
 

WHAT HAPPENED TO HAND GAMES?

One is that the grapevine of Twitter is not the first time we were so hyperconnected. Patterns of segregation and the impact of patterns of desegregation have led many black families to remain connected in their private and public lives because they were and are still not fully accepted in the public sphere of accomondations. Plus all our folk back in the 1970s were still back in the South or in segregated communities and still are. But the games are not as significant. YouTube videos and online videos on Instagram and VINE have become the 21st century games.
EbonyJanice goes on to say handgames live on and they will be here forever. Well? I haven’t been convinced over the last five years or so. I would suggest that girls handgames ARE declining in significance. They are being replaced by handheld mobile devices and a much more sedentary lifestyle which is not necessarily good for any of us much less black girls.
Black girlhood is changing and my theory about it from studying black girls who twerk from their bedrooms on YouTube is that we are no different that the rest of the wider (whiter) population. Our patterns of participation are online. We moved from the read-only culture of previous music media (BET, Soul Train, radio and TV shows) to read-write culture but black girls tend to not create, invent, or riff as much with their online video production. They don’t even talk as much it seems.

 

BLACK WOMEN OVERSHADOW BLACK GIRLS
(Think #BlackTwitter)

What complicates things further is that within this category “black girls” are women of various ages who endearingly call themselves “girls” or “gurl” and the demographic categories of adolescents and teens are being drowned out by us.
The games represented, for me, the kind of social innovation that marks the revolution of networked individualism, hyperconnectivity and social media like Black Twitter.
I was an early adopter of the #BlackTwitter hashtag and moniker. I blogged about it first in 2011 with about 12,000 reads on the TED Fellows blog to speak out against the prosecution of Kelley Bolar-Williams, a single mom who was sent to jail after my post, for sending her kids to a white school district and being found guilty.

 

LOVE & LOSS — WHERE’S OUR DIGITAL DOUBLE-DUTCH?

There is so much work to be done about the loss of culture due to changes in social media. While we are highly active on social media, on mobile media–I just read a report that said black teens interact with celebrities on the Twitter and other social media accounts much more than whites, I think I am as good as an example as most black female teens in that making/creating media vs. consuming media is not our first action.
I am thinking about all the time I spent reading about #Ferguson and black men or women killed by the police the last 7 days. And how much I’ve written or published online myself other than short media. It’s time to reinveest in the creative culture we already have. To convert it into new media. To create more voice, original content, remix, and other from black girls–and I mean black teens and adolescents as well as black women, particularly online video.
More to come as this fall I teach my Anthropological Analysis course and resume by Black Girls Twerking on YouTube project.

 

Book Reviews: The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop.

  1. Review-a-Day: bitch, Sunday, August 20th, 2006
  2. Review by Matthew Somoroff from Mark Anthony Neal’s MAN-in-Exile Blog.
  3. AllHipHop.com Review by Nadiyah R. Bradshaw

And consider purchasing the book at The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop

2007 Alan Merriam Prize presented by the Society for Ethnomusicology
2007 PEN/Beyond Margins Book Award Finalist