The reading this week was
particularly intriguing as I was wholly unfamiliar with non-Western
rhetorics. Borcher’s treatment of the
subject provides a nice overview and introduction.
I’m particularly drawn toward
Afrocentric rhetorical theories because I often discuss and explore the topics
of white privilege and racial disparities in our justice system. Of course, it makes sense that western
theoretical approaches would be privileged in academic knowledge bases and I
welcome the inclusion of non-Western approaches.
The Knowles-Borishade model opens
up two interesting lines of thought for me.
First, the way they position audience is significant. In contrast to a western approach where audience
is simply the recipient of the rhetorical message, in the Afrocentric approach,
the audience is an active, engaged actor in the rhetorical process as both the
chorus and the responder. This
re-positioning of audience to a more centralized locale means the audience is
part of the meaning-making and not a receiver or just situated at one end of a
recursive cycle. In many ways, this
model recalibrates the entire process in my mind. I realize that it specifically is intended
and used to describe oration with African-style roots or orators from the black
community but just as Western rhetorical models have been used to explain
non-Western rhetoric, I wonder if this model can be used to explain
non-Afrocentric rhetoric? Or, is it
intended to be limited to that particular rhetorical tradition? At what point do we cross the boundaries into
cultural appropriation?
Second, by including the spiritual
elements and discussing the concepts of rhythm and movement between chorus and
caller, the model captures one of those ineffable qualities of “good” rhetoric
– rhetoric that moves you, that gets you caught up in it, makes you swoon and
sway, tremble and want to act on what you just heard. With my admittedly limited knowledge of
Western rhetorical models, it is hard to capture precisely the points of order
in the rhetorical context that cause those moods and swells but the
Knowles-Borishade model, by using Asante’s Afrocentric approach, is able to do
just that.
In other words, by widening our
cultural lens, we can expand our theoretical possibilities in interesting ways,
which is clearly the point!
Good point about widening our cultural lenses. Should we teach other forms of rhetorical reasoning in our courses on writing? on rhetoric?
ReplyDeleteI absolutely think so. For example, the Martin Luther King "I Have A Dream" speech is arguably one of the most analyzed pieces of rhetoric and yet the Knowles-Borshade model was able to offer new insight into King's success with this speech. Also, I think there is an ethical element to this -- once we are aware of other cultural voices and models that are appropriate to the field of study, if we intentionally ignore them, are we not participating in the silencing of those voices? And, in doing so, aren't we perpetuating the privileging of dominant voices, even if they aren't the most "correct"? Lots to think about here.
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ReplyDeleteGood post Casey. I specifically like how you discussed the spiritual elements and rhythm that accompany this rhetorical method. You are absolutely right when you say that it moves you and makes you want to act. Because it involves the audience so much and seems that it connects with emotions on a deep level, it is easier to get wrapped up in or connect to the argument or persuasion being presented. I found this model very interesting because my husband is African American, so I can see how the rhythm and audience call-and-response play a part in just every day conversation with his side of the family. When we are discussing something, they always say things like, "that's right" or "uh huh" and I didn't really think about it being a cultural style or process before now.
ReplyDeleteCasey, like you I was intrigued by the more active role the audience played in Afrocentric rhetoric. I am interested in your thoughts of using an Afrocentric model to analyze western rhetoric. It would certainly give you a different lens to view audience through. I think other aspects, particularly the spiritual component would also be interesting.
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