BLACK AMERICAN ENGLISH

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CK AMERICAN LISH NOCHILD LEFT BEHIND © 2003 MAURICE M. MARTINEZ, Ph.D. WATSON SCHOOL OF EDUCATION UNC WILMINGTON martin du (910)962-4279 

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'TO SUCCEED IS TO BE UNDERSTOOD = IN MAINSTREAM AMERICA, TO BE UNDERSTOOD IS TO BE ABLE TO SPEAK AND TO USE STANDARD ENGLISH. ™ WHAT IS STANDARD ENGLISH [SE]? STANDARD ENGLISH IS THE ENGLISH SPOKEN ON THE MAJOR NATIONAL TV NETWORKS: NBC, CBS, ABC, CNN, etc. INA MIDWESTERN (MINNESOTA TO MICHIGAN) DIALECT KNOWN AS “AMERICAN STANDARD ENGLISH” [ASE]. STANDARD ENGLISH IS ALSO KNOWN AS THE “LANGUAGE OF WIDER COMMUNICATION” [LWC] BECAUSE OF ITS WIDESPREAD USE IN THE MEDIA. 

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THERE ARE TWO SETS OF NORMS IN [SE]: =" INFORMAL STANDARD [USUALLY SPOKEN, SOMETIMES IN A REGIONAL DIALECT, WITH DISTINCTIVE PRONUNCIATION PATTERNS PREFERRED BY A GROUP OF SPEAKERS WHO ARE SET OFF FROM OTHERS GEOGRAPHICALLY, SOCIALLY, AND CULTURALLY] (Wolfram, et al, 1999) = THE FORMAL STANDARD [WRITTEN LANGUAGE TAUGHT IN SCHOOL ACCORDING TO NORMS IN GRAMMAR BOOKS AND EVALUATED IN STANDARDIZED TESTS], MORE RECENTLY REFERRED TO AS ENGLISH USED IN A “FORMAL REGISTER.” (Ruby Payne, 2001) 

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BLACK AMERICAN ENGLISH ™ MANY AFRICAN AMERICANS SPEAK AND USE A FORM OF ENGLISH THAT IS SOMEWHAT DIFFERENT FROM STANDARD ENGLISH. ™ EVERY LANGUAGE SYSTEM CONTAINS RULES. ™ THE RULES OF BLACK AMERICAN ENGLISH [BE] ARE FUNCTIONAL TO THOSE WHO USE THEM. ™ THESE RULES ARE SYSTEMATIC AND ARE APPLIED OVER AND OVER AGAIN IN EXACTLY THE SAME WAY. ™ MORE RECENTLY, BLACK ENGLISH HAS BEEN REFERRED TO AS ENGLISH USED IN A “CASUAL REGISTER.” (Payne) 

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UNAWARENESS OF THE RULES = OFTEN, THE STUDENT WHO SPEAKS BLACK AMERICAN ENGLISH IS UNAWARE OF THE RULES OF STANDARD ENGLISH ™ LIKEWISE, MANY TEACHERS ARE UNAWARE OF THE RULES OF BLACK AMERICAN ENGLISH ™ THE “BLAME” SHOULD NOT BE PLACED UPON THE STUDENT OR THE TEACHER, BUT UPON “UNAWARENESS.” 

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BECOMING AWARE THE PURPOSE OF THIS PRESENTATION IS TO PROVIDE KNOWLEDGE ABOUT SOME OF THE RULES AND FEATURES OF BLACK ENGLISH AS SPOKEN IN AMERICA. HOW CAN WE, AS TEACHERS, BEST SUCCEED IN OUR “NOCHILD LEFTBEHI ND” EFFORTS? WE CAN BEGIN BY TRYING TO UNDERSTAND THE LANGUAGE SPOKEN BY AFRICAN AMERICAN CHILDREN 

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WHY MUST WE UNDERSTAND BLACK ENGLISH? ™ ALL STUDENTS ARE TESTED ON THEIR KNOWLEDGE AND USE OF STANDARD ENGLISH [SE] [LWC]. ™ THESE TESTS DO NOT VALUE OR REWARD OTHER STRUCTURES OR FEATURES OF ENGLISH, AS FOUND IN BLACK ENGLISH. ™ SUCCESS IN SCHOOL IS MEASURED BY HOW WELL THE STUDENT USES STANDARD ENGLISH. ™ MANY AFRICAN AMERICAN STUDENTS ARE “LEFT BEHIND” BECAUSE OF THEIR LOW SCORES ON STANDARDIZED TESTS IN READING AND WRITING. 

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TOOLS FOR UNDERSTANDING * SOCIOLINGUISTS [ABRAHAMS, DILLARD, BARATZAND SHUY,LABOVY, JOHNSON, WOLFRAM, DANDY, SMITHERMAN,£ETC.] HAVE PROVIDED US WITH TOOLS TO BETTER UNDERSTAND—RATHER THAN CONDEMN—BLACK SPEECH. 

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TOOLS FOR UNDERSTANDING THEY HAVE LONG CONTENDED THAT BLACK ENGLISH CONTAINS: * PHONOLOGY [SPEECH SOUNDS, PRONUNCIATION PATTERNS] * LEXICON [VOCABULARY, TERMS, CODES, WORDSETS] " GRAMMAR [WORDS, INFLECTIONS, SYNTAX, RULES] " VERBS, AND OTHER FEATURES THAT ARE DIFFERENT FROM STANDARD ENGLISH. 

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TOOLS FOR UNDERSTANDING * TEACHERS WHO ARE AWARE OF THESE DIFFERENCES ARE BETTER PREPARED TO TEACH STANDARD ENGLISH TO AFRICAN AMERICAN CHILDREN. 

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WHAT IS BLACK ENGLISH? ™ BLACK ENGLISH IS THE LANGUAGE OF BLACK AMERICA. CAUTION: NOT ALL 36 MILLION AFRICAN AMERICANS CHOOSE TO SPEAK BLACK ENGLISH, ESPECIALLY THE EDUCATED MIDDLE AND UPPER INCOME BLACKS. ®™ BLACK ENGLISH HAS BEEN CALLED: NONSTANDARD BLACK DIALECT BLACK ENGLISH VERNACULAR [BEV] AFRICAN AMERICAN ENGLISH [AAE] AFRICAN AMERICAN VERNACULAR ENGLISH [AAVE] EBONICS [USEB] BLACK COMMUNICATIONS [BC] BLACK POVERTY LANGUAGE CASUAL REGISTER ENGLISH RAP 

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WHERE DOES [BE] COME FROM? ™ BLACK ENGLISH IS A FUNCTIONAL FORM OF COMMUNICATION THAT EVOLVED FROM THE CREOLIZATION OF PLANTATION ENGLISH AND THE TRANSPORTED LANGUAGES SPOKEN BY ENSLAVED AFRICANS. ™ BLACK ENGLISH REPRESENTS A CROSS- FERTILIZATION OF LANGUAGES NURTURED AND PASSED DOWN FROM ONE GENERATION TO THE NEXT IN AN ORAL AND AURAL TRADITIONAL CLIMATE, SINCE LAWS [BLACK CODES] MANDATED THAT ANY PERSON CAUGHT TEACHING A SLAVE TO READ OR WRITE COULD BE FINED AND PUT IN JAIL. 

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CONTACT BETWEEN LANGUAGES ENCOUNTERS BETWEEN TWO DIFFERENT SPOKEN LANGUAGES, BETWEEN THE COLONIZED AND THE COLONIZER, HAVE PRODUCED VARIANT FORMS OF EXPRESSION IN FIVE STAGES OF DEVELOPMENT FROM THE ORIGINAL “NATIVE” LANGUAGE OF THE COLONIZED TO THE “DOMINANT” ACADEMY MAINSTREAM STANDARD LANGUAGE OF THE COLONIZER. 

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TAGES OF CONTACT ETWEEN TWO LANGUAGES: . ORIGINAL . PIDGIN . CREOLE . DECREOLIZATION . DOMINANT Oa PWN = 

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1. ORIGINAL_ INDIGENOUS LANGUAGE OF PRIMAL [“FIRST” NOT PRIMITIVE] PEOPLE WHO WERE “DISCOVERED” BY OUTSIDE EXPLORERS AND SUBSEQUENTLY COLONIZED. MOTHER TONGUE “NATIVE” LANGUAGE LANGUAGE EXISTING AMONG A GROUP OF PEOPLE LIVING IN ISOLATION WITH NO CONTACT WITH ANOTHER OUTSIDE LANGUAGE GROUP e.g. AFRICANS; AMERINDIANS PRE-COLUMBIAN SOCIETIES [BEFORE COLUMBUS] 

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2. 1111 FIRST CONTACT LANGUAGE LINGUA FRANCA, COMMON JARGON MEDIUM OF DIVERSE LANGUAGE GROUPS OF PEOPLE WHO HAVE NO FIRST LANGUAGE IN COMMON LANGUAGE OF TRADE AND COMMERCE SIMPLFIED USE OF DESCRIPTIVE NOUNS, VERBS, AND ADVERBS e.g. “GO SMALL SMALL!” [GO SLOWLY] COMMON CORE WITH REGULAR PRINCIPLES OF SENTENCE CONSTRUCTION [Dillard, 1972, P. 75], SHARED SOUND FEATURES AND PATTERNS OF SPEECH INTONATION VARIATIONS 

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3. CREOLE WHEN PIDGIN BECOMES THE ONLY OR PRINCIPAL Pet OF A SPEECH COMMUNITY (DILLARD, 1972, |. PLANTATION CREOLE (SPOKEN BY SLAVES), HAITIAN (OLE, LOUISIANA FRENCH CREOLE. ETC. PATOIS [PROVINCIAL/RURAL FORM OF SPEECH] A MIXTURE OF FEATURES FROM BOTH ORIGINAL AND DOMINANT LANGUAGES e.g. “DID YOU HEARD WHAT I SAW?” “I’M NOT PLAYIN’ WITH YOU, NO!” “YOU GONNA PAY ME, FOR TRUE?” (NEW ORLEANS CREOLE ENGLISH) USE OF “ME” INSTEAD OF “I” e.g. : “ME BE BORN AT JAMAICA.” “ME ASK (AXE, OX) ME MUDDER.” [ALSO IN FRENCH]: “MOI ALLER” [ME GO] INSTEAD OF ۳ VAIS” [I GO] 

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4. DECREOLIZATION BIDIALECTICAL MOVEMENT AWAY FROM THE ‏اعم‎ OE SPOKEN CREOLE WITH AN INCREASING USE OF MAINSTREAM STANDARD DOMINANT LANGUAGE = STYLE CHANGE, A VARIATION IN TERMS OF FORMALITY [Dillard, 1973, P. 304] PROGRESSING FROM THE INTIMATE TO THE FORMAL AND SOMETIMES TO A “BOOGY” [BOURGEOISIE] STILTED UNNATURAL STYLE: INTIMATE—A SERIES OF (UNSPELLABLE) NASAL SOUNDS, USUALLY ACCOMPANIED BY SHOULDER SHRUGS, UNDERSTOOD ONLY BY IN-GROUP MEMBERS CASUAL—“I DUNNO” SEMI-FORMAL—“I DON’T KNOW” FORMAL—“I DO NOT KNOW” “BOOGY” STILTED -“INDEED, I KNOW NOT” 

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5. DOMINANT ACADEMY ENGLISH STANDARD FORM, MAINSTREAM LANGUAGE USED BY HOLDERS OF POWER AND WEALTH LANGUAGE OF EUROPEAN COLONIZERS THE RATE OF MOVEMENT FROM THE ORIGINAL LANGUAGE OF THE COLONIZED TO THE DOMINANT LANGUAGE OF THE COLONIZER IS OFTEN DETERMINED BY THE AMOUNT OF SOCIAL CONTACT AND FREEDOM ALLOWED TO THE COLONIZED. SOCIAL ISOLATION AND SEGREGATION SLOWS DOWN STANDARD ENGLISH LANGUAGE ACQUISITION 

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IN THE SECTIONS THAT FOLLOW ARE EXAMPLES OF FEATURES OF [BE]. I HAVE INSERTED A FEW [PS]“PERSONAL STORIES” OF MY EXPERIENCES AS A TEACHER IN ALL BLACK PUBLIC HIGH SCHOOLS IN NEW ORLEANS. 

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FEATURES 0۳ 514016 ENGLISH = PHONOLOGY = “SOUNDS MEAN MORETO METHAN PLAYING ALOT OF NOTES” - BB KING (Bluesman) ™ TEACHERS WHO USE A PHONICS APPROACH TO TEACH READING SHOULD BE AWARE OF THE REPERTOIRE OF SOUNDS IN BLACK ENGLISH. ® KENNETH R. JOHNSON, WALT WOLFMAN, BARATZ, AND OTHERS HAVE PRESENTED SPECIFIC CHARACTERISTICS, PHONOLOGICAL AND GRAMMATICAL STRUCTURES, AND FEATURES OF BLACK ENGLISH. HERE ARE SOME OF THEIR RESEARCH FINDINGS: 

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KENNETH R. JOHNSON: LANGUAGE CONSISTS OF SYSTEMATIC SOUNDS THAT PEOPLE MAKE WITH THEIR VOCAL CORDS THERE ARE TWO SOUNDS: 1.VOICED (A “BUZZ” OCCURS IN THE VOCAL CORDS) 2.VOICELESS (NO BUZZING SOUND IN THE VOCAL CORDS) 

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Sounds occur in a word in 3 ways: Beginning (Initial) sound Middle (Medial) sound Ending (Terminal) sound e.g. The sound “TH” [SE] speakers have 2 sounds for TH [BE] speakers have 5 sounds for TH depending on whether they are “voiced” or “voiceless” and where they occur ina word (Initial, Medial or Terminal) 

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Some examples of the TH sound in [SE] and [BE]: ™ VOICELESS/INITIAL POSITION: [SE] = Thing, thank, thigh, thought [BE]= Thing, thank, thigh, thought (NO DEVIATION) ®™ VOICED/INITIAL POSITION: [SE] = This, that, them, these, those [BE] = Dis, dat, dem, dese, dose THERE IS A “DUH” SOUND SUBSTITUTED FOR THE “TH” SOUND IN THE BEGINNING OF THE WORD 

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THE “TH” SOUND ®™ VOICELESS/MEDIAL: [SE] = Bathroom, birthday [BE] = Bafroom, burfday THERE IS AN “F” SOUND SUBSTITUTION "5 VOICED/MEDIAL: [SE] = Mother, brother [BE] = Muvah, bruvah [“MY MUVAH COOK GRITS.”] THERE IS A FRICATIVE “V” SUBSTITUTION NOTE: WHEN USING PROFANITY IN COMBINATION WITH THE “F” WORD [AS IN M.F.], [BE] SPEAKERS PRONOUNCE “MOTHER F ” CORRECTLY IN [SE]. 

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THE “TH” SOUND = VOICELESS/TERMINAL: [SE] = With, mouth, path, both, South [BE]= ۲۷۶ mouf, paf bof Souf THERE IS AN “F” SUBSTITUTION AT THE END [BE] SPEAKERS ENTER KINDERGARTEN SAYING “WIF’ AND GO THROUGH GRADUATE SCHOOL SAYING “WIF.” IN SPITE OF GOOD INTENTIONS, THE SCHOOLS HAVE NOT CHANGED MANY FEATURES OF BLACK SPEECH. 

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[PERSONAL STORY] I TAUGHT MATH FOR 8 YEARS IN ALL BLACK PUBLIC HIGH SCHOOLS IN NEW ORLEANS. ON THE BOARD I HAD WRITTEN THE FOLLOWING EQUATION: 3A + 3B = 33. AN AFRICAN AMERICAN STUDENT READ: “TREE AEY PLUS TREE BEE EQUAL TOITY-TREE.” 1 REALIZED THAT THERE WAS A COMPLETE ABSENCE OF THE USE OF THE “TH” SOUND. REMEDY: THE NEXT DAY, I WROTE ON THE BOARD: “THE THINKER THREW THREE THOUSAND THINKING THOUGHTS TO THEM, THESE, THEY AND THOSE.” SS WERE ASKED, IN A CARING WAY, TO IMAGINE THAT aw) CANDY STUCK ON THE FRONT OF THEIR TEETH AND. REMOVE IT BY STICKING THE TIP OF THE TONGUE OUT BEYOND. THEIR FRONT ROW OF TEETH, AS THEY SAID THE ABOVE EXPRESSION AT LEAST 20 TIMES DURING THE DAY. THERE WERE NO MORE “TREES” OR “TOITYS” MENTIONED IN MATH. IN ADDITION, STUDENTS WERE TAUGHT THAT IN THIS MATH EQUATION, THE SYMBOL = IS PRONOUNCED “EQUALS” ‘WITH AN S AT THE END], NOT “EQUAL.” 

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[BE] RULE = PLURAL ENDINGS: If in the context of the sentence one finds a reference to “more than one” (plural), it is not necessary to add an “s” to the noun e.g. 50 cents = 50 cent = THE CONTEXT CLARIFIES THE MEANING. e.g. “HE HAD A SECOND HAR TRANSPLANT” 

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CONSONANT REDUCTION BDGKPT (Consonant sounds in these letters are often not spoken or omitted) eg. [SE] [BE] NUMBER = NUMMER [“GIMMIE YO’ NUMMER.”] COMB = COM’ [“SHE COM’ HER HAIR.”] COLD = COL’ [“I WENT AN GOT ME ACOL’.”] GOING = GOIN’ [“YOU GOIN’ OR NOT?”] MASK = MAS’ [“ZORRO WOE A MAS’.”] HAPPEN = HAH’UM [DAS DA WAY IT HAH’UM] HEART = HAR also HARD = HAR [“DA’S HAR’.] TEST = TES [“TEACHER, WHEN WE GON’ HAVE A TES?”] TES PRESENTS ANOTHER PROBLEM. WITH THE OMISSION OF THE ENDING “T”, TES NOW ENDS IN A SIBILANT SOUND. WORDS THAT END IN “S” WHEN PLURALIZED, WE ADD “ES” TO THE WORD: e.g., KISS- KISSES; BOSS-BOSSES; HENCE: TES-TESSES. 

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FEATURES OF BLACK ENGLISH [“TEACHER, HOW MANY TESSES WE GON’ HAVE?”] THE TEACHER MAY RESPOND: [“DON’T SAY TESSES, SAY TESTS!”]. THE [BE] SPEAKER MOST OFTEN CAN’T HEAR THE DIFFERENCE. THE SAME IS TRUE FOR MASK: MASS-MASSES; FLASK-FLASSES [“HOW MANY FLASSES YOU BROKE IN THE LAB THIS YEAR?”] =| THE “SIZ” PLURAL ENDING (1 FOUND IN NEW ORLEANS) e.g. ANTS = ANTSIZ [“LOOK AT ALL DEM ANTSIZ?] ARTISTS = ARTISIZ [“WHERE THE ARTISIZ IS AT?”] ™ ACOMMOM USAGE: [SE] [BE] ASK = AXE 

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LET US COMPARE ANOTHER FORM OF [BE] FROM CARIBBEAN CREOLE IN JAMAICA [JE] IN THE PRONUNCIATION OF “ASK” IN THE FOLLOWING SCENARIO: ™ The teacher asks each pupil to get permission from his/her mother to go ona field trip. The next day, in response to the question: “Did you ask your mother?” the teacher heard: [SE] I asked my mother and she said that it was o.k. [BE] Ah axe ma mama ‘n she say it be cool. JE] Me ox me muddah (or“mooma’in rural Jamaica) ‘n she say dat be fine mon fo’ go onna trip, ‘long as yo teacher ‘member me mine run ‘pon you. " SMALL GROUP DISCUSSION: TRANSLATE [JE] & SHARE = [JEL TRANSLATION: “I ASKED MY MOTHER AND SHE SAID THAT IT WOULD BE FINE, MAN, FOR ME TO GO ON A TRIP, AS LONG AS YOUR TEACHER REMEMBERS THAT I HAVE YOU CONSTANTLY ON MY MIND, (THAT I AM CONCERNED ABOUT YOUR SAFETY.)” 

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[PS] PERSONAL STORY = I TAUGHT THE STANDARD ENGLISH PRONUNCIATION OF “ASK” AS FOLLOWS: “FIRST YOU HAVE TO SAY ‘ASS’ AS IN JACKASS. THEN YOU ADD A SOFT ‘KUH’ SOUND.” WE REPEATED IT TOGETHER SEVERAL TIMES: “ASS-KUH.” ‏لماع يديد ام اما‎ ™ OTHER FORMS OF OMISSION L-lessness (The letter “L” is omitted) e.g. HELP=HEP; SCHOOL=SCHOO; MYSELF=MA’SEF R-lessness (The letter “R” is omitted) e.g. CAROL=CAL; HAROLD=HAL DOOR = DOE; FLOOR = FLO’; MORE = MO’ 

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A SAMPLE OF SOME OTHER PRONUNCIATION FEATURES [BE] OUT CHERE LIBERRY ‘POSED ZINK FRIEN’ PEN WANNA GOTTA USE-DA GO CHIL’RUN USE-TA COME [SE] OUT HERE LIBRARY SUPPOSED SINK FRIEND PIN WANT TO GOT TO USE TO GO CHILDREN OFTEN CAME 

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A SAMPLE OF SOME OTHER PRONUNCIATION FEATURES [SE] [BE] ABOUT ‘BOUT BEFORE ‘FO BIRTH CERTIFICATE BURF SUSTIFICUT FIFTY, FITTY DOESN’T HAVE ANY AIN’T GOT NO OIL WELL ALL WHEEL CORNER CORNAH or CORNDA SINCE CENTS SURE SHO’ or SHORE TIN TEN FISH FEESH 

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LEXICON (VOCABULARY, CODES, WORDSETS) BLACK ENGLISH SPEAKERS HAVE A LARGE REPERTOIRE OF SLANG WORDS UNCOMMON TO STANDARD ENGLISH. MOST OF THE SLANG WORDS WE FIND IN AMERICA WERE COINED BY JAZZ MUSICIANS AND INNER CITY RAPPERS. AS SOON AS A SLANG WORD ENTERS THE MAINSTREAM AND IS USED BY STANDARD ENGLISH SPEAKERS, BLACK ENGLISH SPEAKERS OFTEN STOP USING THE WORD AND INVENT A NEW WORD. HOWEVER, SOME WORDS LIKE “COOL” AND “CRIB” REMAIN IN PERENNIAL USE FOR DECADES. 

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[BE] RULE = INVERSION = When the Standard English word takes on the opposite meaning (bad = good). [“YOU ‘N YO’ BAD SELF!”] ™ Words that indicate the possessive: THEY for THEIR ™ [SE] THEIR[The boys put their hats..] ®™ [BE] THEY [The boys put they hats...] 

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[BE] RULE One can judge the importance of a concept in a culture (group) by counting the number of labels (words) that the people in the culture have for the concept. (K.R. Johnson)(e.g., Alaskan Indians have 26 words for “snow”: wet snow, dry snow, slushy snow, melting snow, hard snow, etc., because snow is a very important concept to Alaskan Native Americans.) SMALL GROUP ACTIVITY: How many words can you think of for “Money?” [PAUSE 1 MINUTE BEFORE CONTINUING] ANSWERS: Book, Bread, Cake, Cash, Cheddar, Cheese, champ ener ‏رع‎ Coins, Crumbs, Douay Eagle, Fitty, Green, Jingle, Loot, Moola, Scrilla, The Benjamin, etc. 

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YCHOLOGICAL INTENT OF A RD KEN JOHNSON STATED THAT A WORD MAY HAVE THREE PSYCHOLOGICAL CHARACTERISTICS: * POSITIVE (COMPLIMENTARY, PRAISING, ETC.) " NEGATIVE (OFFENSIVE, DEROGATORY, INSULTING) " NEUTRAL (CARRIES NO VALUE JUDGEMENT) SOME WORDS CAN HAVE ALL THREE INTENTS ABOVE, DEPENDING UPON THE CONTEXT IN WHICH THE WORDS ARE USED. VOCABULARY: [BE] LEXICON WITH [SE] MEANINGS (2003) [BE] [SE] KRUNK HYPER, EXCITING, ENERGETIC, “UP” TIME, HOT BLING BLING BEJEWELED; GOLD CHAINS; SPARKLING. SICK WID [WITH] IT IMPASSIONED WITH SOMETHING GOOD DIS _TO INSULT, PUT DOWN SOMEONE ROLL THROUGH PASSING THROUGH; SHORT VISIT 

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VOCABULARY: [BE] LEXICON WITH [SE] MEANINGS [BE] [SE] 411_ DETAILS; GIVE ME THE DETAILS OR FACTS CRIP, C-‘STEP A DANCE SHINE JEWELRY ICE DIAMONDS ICED OUT __ WEARING A LOT OF DIAMOND JEWELRY JIGGED, JIGGED OUT —_ LOOKING GOOD WACK SOMETHING CRAZY; OUT OF IT; NORMLESS WORD!?. REALLY! WHAT? AGREEMENT; YES. “TUDE A POOR OR BAD ATTITUDE TIGHT UPSET, ANGRY PHATFINE, GOOD, BEAUTIFUL WILDIN’ [WHILE-LIN] _ ACTING CRAZY; BRAGGING; LOST CONTROL. ROLLIN’ HIGH ON ECSTACY (DRUGS) HYPNOTIC — ALCOHOL [BLUE DRINK] BEASTIN’ YELLING AT SOMEONE; AN AUTHORITARIAN TEACHER WHO IS MAKING A STUDENT DO A HARD TASK RAP TALK; RHYMES-TO-A-MUSICAL-RHYTHM-PATTERN MAD; COOL GOOD; THE BEST DIG TO UNDERSTAND SMOOVE CALM, MELLOW, NICE PERSON WHIPCAR SHOES; DUBS RIMS ON A CAR HIP SMART, AWARE, “WITH IT” 

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VOCABULARY: [BE] LEXICON WITH [SE] MEANINGS [BE] [SE] THE TRUTH THE REAL DEAL, BEST THING GOING DUMB EXCELLENT; VERY SATISFYING SHORTIE A GOOD LOOKING GIRL WIFEY MAIN GIRLFRIEND DADDY MAIN BOYFRIEND GRUB FOOD GEAR CLOTHES KICKS, BUNNIES SNEAKERS AIR FORCE ONES, G-NIKES GANGSTER NIKE SNEAKERS AIR JORDAN 18 SNEAKERS WORN BY MICHAEL JORDAN SOLDIERS REBOK CLASSICS IN SNEAKERS CRIB HOME THE HOOD THE (HOUSING) PROJECT COP BUY or GET WEAK ASUCKER 5-0; PO-PO COPS, POLICE, AUTHORITY BLITZED ALL PARTIED OUT, STONED SCRED SCARED BAGGED ARRESTED BOB; GAT; HEAT GUN BODIED KILLED CELLY CELL PHONE OG. ORIGINAL GANGSTER [LEADER] 

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VOCABULARY: [BE] LEXICON WITH [SE] MEANINGS [BE] [SE] THE CAN JAIL SMOKE WEED (MARIJUANA) BLUNT GETTING HIGH JACK PHONE CHILL OUT TO STOP ACTION OR HANG OUT HOMES; HOME A PERSON FROM THE SAME TOWN, DOG; GOD FRIEND HOMEBOY, HOMIE AGOOD FRIEND HOMESLICE BEST FRIEND SPORTIN’ TO WEAR A NEW STYLE; SHOW OFF FRONT or FRONTIN’ TURNING ON A FRIEND; BACKSTABBING BOOK; SCRILLA; CAKE MONEY BOUNCE LEAVE ["LET’S BOUNCE”} WE OUT-TEE WE ARE LEAVING JETTIN’; DIPPIN’ LEAVING QUICKLY SCRUB. ABUM; NOT GOOD IN SPORTS OR ANYTHING STEP OFF BACK OFF; BEAT IT; LAY OFF; CROKE YO ACALL TO SOMEBODY FRESH NEW A'IGHT or LGHT OK, ALL RIGHT SICK GOOD LOOKING SNEAKERS TYPE VERY ["I’M TYPE HUNGRY\"] 

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WORDS ARE RDS IF THE BLACK ENGLISH SPEAKER LACKS A STANDARD ENGLISH WORD, HE HAS A REPERTOIRE OF SLANG WORDS IN HIS VOCABULARY AVAILABLE FOR USE. IN THE AVOIDANCE OF PENDING CONFLICTS, ARGUMENTS, OR FIGHTS, TEACHERS SHOULD Tunt1n TO ADDITIONAL EXPRESSIONS LIKE: [BE] [SE] WHY YOU ALWAYS GRILLIN’ ME? WHY ARE YOU STARING AT ME? WHY YOU TRIPPIN’ | WHY ARE YOU GETTING UPSET? WHY YOU ALWAYS IN MY GRILL? WHY ARE YOU IN MY BUSINESS? NONE OF YO’ BEESWACK? —_ NONE OF YOUR BUSINESS. SEE ME FIVE TAKE IT OUTSIDE; LATER ON WE’RE GOING TO FIGHT AFTER SCHOOL. A’IGHT, YM DOWN. —_ALL RIGHT, ILL BE THERE. TALK TO THE HAND [A WOMAN WAVES HER HAND IN THE FACE OF ANOTHER WOMAN] I DON’T WANT TO HEAR IT! I'M NOT LISTENING. SHUT UP ‘FO 1 SPAZ ON YOU! SHUT UP BEFORE I BEAT YOU UP! 

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[PS] PERSONAL STORY: “ RWORD ADAY KEEPS IGNORANCE AWAY.” TO EXPAND STUDENTS’ VOCABULARY IN STANDARD ENGLISH, HAVE THEM CREATE A “BOOK OF NEW WORDS”. HERE’S HOW IT WORKS: UPON ENTERING THE ROOM, THE STUDENT FINDS A NEW WORD ON THE CHALKBOARD, A DEFINITION OF THE WORD, AND ITS USE IN A SENTENCE. e.g.: Eloquent (adj): marked by forceful and fluent ۹ vivid aud moving 0 “THAT WAS AN ELOQUENT SPEECH.” THE STUDENT COPIES THE NEW WORD UNDER THE CORRESPONDING ALPHABET FILE PAGE IN HIS/HER PERSONAL “BOOK OF NEW WORDS.” THE TEACHER AND STUDENTS READ THE CORRECT PRONUNCIATION OF THE NEW WORD THREE TIMES. STUDENTS ARE ASKED TO CREATE NEW SENTENCES AND TO SPEAK TO 20 PERSONS DURING THE DAY USING THE WORD “ELOQUENT.” ADDITIONAL RETENTION STRATEGIES CAN BE FOUND IN Phyllis Nobile’s “AGGRESSIVE LEARNING.” 

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INTONATION VARIATIONS ™ BLACK ENGLISH HAS ITS ROOTS IN ANCESTRAL TONAL-RHYTHMIC LANGUAGES THAT CAME FROM AFRICA. IT IS NOT JUST THE “WHAT” [THE CONTENT THAT IS CONTAINED IN THE SPOKEN MESSAGE] BUT “HOW” THAT MESSAGE IS DELIVERED. THIS INVOLVES THE USE OF A WIDE RESERVOIR OF “TONES” AND INFLECTIONS IN THE VOICE, RANGING FROM A HIGH FALSETTO TO A LOW BASS, INCLUDING TONES IN BETWEEN. = BLACK SPEECH IS A DEPARTURE FROM A MAINSTREAM MONOTONE. 

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INTONATION AND ™ VOICE QUALITY IS AFFECTED BY THE PSYCHOLOGICAL OR EMOTIONAL STATE OF THE SPEAKER. IF THE TOPIC IS EXCITING OR JOYFUL, THE VOICE MAY RISE TO A FALSETTO LEVEL. WHEN IT IS TIME TO BE CALM, COOL AND COLLECTED, THE VOICE DESCENDS INTO A BASS LEVEL. OFTEN, ONE CAN HEAR BLACK SPEECH IN A SLUR OF INDEFINITE PITCH AS FOUND ON THE SOUNDTRACK OF THE TV DANCE SHOW, “SOUL TRAIN,” AS THE VOICE MOVES FROM A HIGH FALSETTO TO A LOW BASS IN ONE CONTINUOUS NOTE OR SOUND. ™ WHEN READING A STORY TO AFRICAN AMERICAN CHILDREN, TEACHERS SHOULD MAXIMIZE THE RANGE OF TONAL INFLECTIONS IN THE VOICE, GIVING EACH CHARACTER A DIFFERENT VOICE LEVEL OR QUALITY [AS IN THE STORY OF THE THREE BEARS]. 

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CONSIDER THE FOLLOWING SCENARIO: AT A SOCIAL GATHERING, THREE YOUNG AFRICAN AMERICAN WOMEN ARE TALKING ABOUT THE MEN IN THE ROOM. THINK/PAIR/SHARE ACTIVITY: ™ HAVE SOMEONE READ THE DIALOGUE. = PAIR UP WITH SOMEONE TO DISCUSS THE MEANINGS = SHARE THOUGHTS WITH EVERYONE IN THE ROOM 

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--AN’ HE HEAVY IN CLASS --OFF THE DAMN CHAIN (daughter) --WHO DAT BRUTHA? (ooking at another man) --A SCRUB; HE NUTTIN’ --WORD? -HE BE DOIN’ WET. -THA’S WACK! --AN’ HE ALL-UH-TIME BE BLOWIN’ YO’ SPOT. --I HEAR THAT. --WORD! DIALOGUE—3 YOUNG --S’UP GIRL? --’SAP ‘NIN? --DIS PARTY BE KRUNK. --CHECK OUT HOMES! --YO, BLING BLING? --ICED OUT FOR DAYS! --GIMMIE THE 411. HE THUGGIN? --NAW, HE COOL! --YEAH, HE PACKIN’ --WORD! STEPPIN’ CRIP, DEF! 

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TRANSLATION: 3 YOUN -WHAT’S UP GIRLFRIEND? SAP ‘NIN? WHAT'S HAPPENING? S PARTY BE KRUNK. ~THIS PARTY IS EXCITING, “UP”! HOT! Por Cur OnE THEY, VOU MEAN THE GUY WEARING SHINING , BLING BLING? TEWELRY ~-HE WEARS A LOT OF DIAMOND JEWELRY ~-TELL ME ABOUT HIM. IS HE A THUG? ~-NO, HE LOOKS “TOGETHER” ~-YES, HE IS WELL-ENDOWED HE SURE CAN DANCE THE “CRIP.” (ORD! STEPPIN’ CRIP, DEF! ~-AND HE’S SMART IN SCHOOL ’ HE HEAVY IN CLASS 'F THE DAMN CHAIN! (laughter) ۱0 DAT BRUTHA? (looking at another man) SCRUB HE NUTIIN: ~-HE SMOKES MARAJUANA LACED WITH PCP (ANGEL --WORD? DUST) AND EMBALMING FLUID HE BE DOIN’ WET. ~-THAT’S NOT GOOD; THAT'S OUT OF IT ~-AND HE’S ALWAYS REVEALING YOUR PERSONAL --THA'S WACK! Pas ea ‏وی‎ EE --AN’ HE ALL-UH-TIME BE BLOWIN’ “OH XFS ۲ ‎~-REALLY! FORGET ABOUT HIM!‏ ی ‎--L HEAR THAT.‏ ‎--WORD! 

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GRAMMAR AND OTHER FEATURES THE TEACHER ASKS: “DID YOU DO YOUR HOMEWORK?” [BE] CHILD REPLIES: “TEACHER,I BEEN DONE DIDDAT!” MANY TEACHERS CRINGE UPON HEARING THE ABOVE AND SIMILAR BLACK ENGLISH EXPRESSIONS. THEY SHUDDER IN A BELIEF THAT THE CHILD USES SLOPPY OR POOR ENGLISH. EVEN WORSE ARE TEACHERS WHO REFER TO THE CHILD AS COMING TO SCHOOL WITHOUT LANGUAGE. 

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GRAMMAR AND OTHER FEATURES NOTHING COULD BE FARTHER FROM THE TRUTH! IN EVERY COUNTRY IN THE WORLD, CHILDREN GROW UP SPEAKING THE LANGUAGE OF THE SURROUNDING COMMUNITY WITH ITS NUANCES OF DIALECT, STRUCTURE, AND VOCABULARY. THE BLACK ENGLISH SPEAKING CHILD IS FOLLOWING THE RULES OF THE BLACK ENGLISH SPEAKING COMMUNITY. 

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VERB CONJUGATION: [BE] RULE: A REVERSAL: THE PAST TENSE IS INTERCHANGED WITH THE PAST PARTICIPLE e.g.: PRESENT PAST PAST PARTICIPLE [SE] DO DID HAVE DONE [BE] DO DONE DONE DID [DONE=HAVE] 

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VERB CONJUGATION: [SE] [BE] TAKE, TOOK, HAVE TAKEN TAKE, TAKEN, DONE TOOK SING, SANG, HAVE SUNG SING, SUNG, DONE SANG WRITE, WROTE, WRITE, WRITTEN, HAVE WRITTEN DONE WROTE [BE] RULE:"DONE" IS SUBSTITUTED FOR "HAVE" [SE] [BE] “I HAVE DONE" becomes "I DONE DID" "1 HAVE TAKEN" becomes "I DONE TOOK" "I DONE GOT OVER IT" (SONG LYRIC) [BE] RULE: “BEEN DONE” IS USED FOR THE FAR DISTANT PAST, [PAST COMPLETIVE], IT HAPPENED A wots LONG TIME AGO. THUS:"I BEEN DONE DID ۲۳ [“DAT”’= THAT] 

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SYNTAX [WORD ORDER] TO BE OR NOT TO BE According to E. Dandy (1991,p.69), “The verb to be has forms: AM, IS, ARE, WAS, WERE, WILL BE, BEEN that vary according to tense and number. DANDY STATES THAT: Black communicators omit be to show temporary condition: SHE TIRED. They use be to show repeated action: SHE (ALWAYS) BE TIRED 

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THE USE OF “BE” “BE” INCLUSION HE BE THERE! HE BE ALL UP IN YO’ FACE MEANS: HE WAS THERE OR HE USUALLY IS THERE “BE IS OMITTED HE THERE MEANS: HE IS THERE NOW. AGAIN, TIME IS AN IMPORTANT VARIABLE. IN TALKING ABOUT THE FUTURE, “BE” MAY BE: OMITTED: HE RUN TOMORROW OR INCLUDED: HE BE RUNNING TOMORROW 

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PRONOUN POWER THERE IS ANOTHER FEATURE I’D LIKE TO CALL “PRONOUN EMPOWERMENT,” WHERE THERE IS A FUSION BETWEEN THE SUBJECT PRONOUN AND THE VERB. IN SPOKEN BLACK ENGLISH, “BE” AND “DO” ARE OFTEN OMITTED BECAUSE THE LOCUS OF IMPORTANCE IS UPON THE PERSON IN THE FORM OF THE PRONOUN: 

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MPLES OF PRONOUN POWERMENT YOU A STORY (YOU’RE A LIAR) [THE “ARE” IS NOT NEEDED BECAUSE ALL ATTENTION IS IN THE PRONOUN “YOU.”] WE NOT TREATED RIGHT. [BEFORE NEGATIVES] HOW HE KNOW? [THE VERB “DO” IS IN THE “HE”] HE THE ONE! [BEFORE NOUN PHRASES] WE IN IT. [BEFORE PREPOSITIONAL PHRASES] 

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OTHER FEATURES OF BLACI ENGLISH COMPRESSED PHONETICS [CONTINUOUS SOUND IN ONE WORD]: “WASWRONWITCS{00? [WHAT IS WRONG WITH YOU?] ADDED PREPOSITION FOR BALANCE: HEUPPED AND DIED. SHEDONEDRANK UP ALLTHE WINE. WHOYOUWAITIN ON? [INSTEAD OF “FOR”] ADDED DOUBLE PREPOSITION: IMGONNAMAKEITONTOTHECRIB. 

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“SOMETIMES YOU HAVE TO SPEAK TWO LANGUAGES JUST TO SURVIVE IN AMERICA, AND YOU KNOW HOW THAT ARE.” --Julian “Cannonball” Adderley, DOUBLE NEGATIVES = STRONG POSITIVES HEAIN'TGON LAY NUTHIN' ON NOBODY NO MORE! [HOW YOU SAY SOMETHING IS MORE IMPORTANT THAN USING “ANYTHING” OR “ANYBODY” OR “ANYMORE.”] THE AFOREMENTIONED CHARACTERISTICS AND FEATURES OF BLACK AMERICAN ENGLISH ARE BUT A FEW EXAMPLES OF A LANGUAGE SYSTEM THAT IS SYSTEMATIC AND FUNCTIONAL. 

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CONCLUSION ANY PERSON WHO SPEAKS ENGLISH IN AMERICA SPEAKS A DIALECT [ACCENT] OF ENGLISH. [e.g., BOSTON'TO MISSISSIPPI, BROOKLY NTO NEW ORLEANS, CALIFORNIA TO ALABAMA, OREGON TO NORTH CAROLINA....ETC.] E PLURIBUS UNUM (ONE COMPOSED OF MANY): EACH DIALECT IS IMPORTANT AND ADDS TO THE CULTURAL ENRICHMENT OF AMERICA. WE CAN TEACH ALL CHILDREN STANDARD ENGLISH AS WELL AS ALLOW FOR CULTURAL LINGUISTIC. DIFFERENCES. THE FUNDAMENTAL QUESTION HERE IS: sf0WDOES KNOWLEDGE AND UNDERSTANDING OF LANGUAGE DIFFERENCES ENABLE A TEACHER TO HELP STUDENTS SUCCEED IN SCHOOL? 

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NO MATTER WHAT THE LANGUAGE: “WHAT CHILDREN CAN THINK ABOUT THEY TALK ABOUT. WHAT THEY TALK ABOUT THEY CAN WRITE. WHAT THEY CAN WRITE, THEY CAN READ. WHAT THEY CAN READ, OTHERS CAN ALSO READ.” --(Allen, 1976) 

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LANGUAGE IS POWER CULTURALLY SENSITIVE TEACHERS CAN TEACH BLACK ENGLISH SPEAKERS TO USE STANDARD ENGLISH, THE “LANGUAGE OF SUCCESS IN MAINSTREAM AMERICA.” THIS PRESENTATION IS ONLY THE TIP OF THE ICEBERG, A FRESH BEGINNING, A RENEWED LOOK AT BLACK ENGLISH. THERE IS MUCH MORE. 

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HOW THEN TO 7 SOME TEACHING TECHNIQUES: ® BE NOT AFRAID TO CORRECT--IN A CARING WAY—CHILDREN WHO SPEAK OR WRITE IN NONSTANDARD ENGLISH. ®™ START WITH THE CHILD’S HOME LANGUAGE. ™ NEVER BELITTLE OR MAKE FUN OF A CHILD’S HOME LANGUAGE (MOTHER TONGUE). ™ HELP CHILDREN UNDERSTAND THE PURPOSE FOR LEARNING STANDARD ENGLISH. ®™ BE FRANK! LET STUDENTS KNOW THAT IN MOST OF THE JOB MARKETS IN AMERICA, THE USE OF STANDARD ENGLISH IS A REQUIREMENT. 

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SOME TEACHING TECHNIQUES ™ EXPLAIN THAT STANDARD ENGLISH IS “ANOTHER WAY” OF SPEAKING. IT SHOULD NOT “REPLACE”, “ELIMINATE” OR “EXTINGUISH” THE CHILD’S HOME LANGUAGE. ™ A BLACK ENGLISH SPEAKING CHILD ONCE TOLD A TEACHER: “BUT MY MOMMA SAY IT THAT WAY.” THE TEACHER REPLIED: “YES, YOU’RE RIGHT, YOUR MOTHER’S WAY IS ONE WAY OF SAYING THIS. NOW, I’M GOING TO SHOW YOU ANOTHER WAY TO SAY THE SAME THING IN STANDARD ENGLISH.” ™ FOR YOUNG CHILDREN, ALLOW THEM TO COPY PORTIONS OF “BOOKS-OF-THEIR-CHOICE” WRITTEN IN STANDARD ENGLISH. ALSO, EXPOSE CHILDREN TO BOOKS WRITTEN BY AND ABOUT AFRICAN AMERICANS THAT MAY CONTAIN BLACK ENGLISH. 

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SOME TEACHING TECHNIQUES ™ USE TAPE RECORDERS: ENCOURAGE CHILDREN TO READ STANDARD ENGLISH LITERATURE WHILE RECORDING THEIR. VOICES. WHENEVER POSSIBLE, DO THE SAME THING WITH A VIDEOCAMERA. ™ USE TECHNOLOGY: WIRELESS COMPUTERS, WORD GAMES, PROGRAMS THAT REINFORCE LANGUAGE. = INSIST THAT CHILDREN USE COMPLETE SENTENCES AT ALL TIMES: WHEN ASKING A QUESTION, WHEN ANSWERING A QUESTION, AND WHEN CONVERSING IN SMALL GROUPS. ™ EMPHASIZE THE USE OF STANDARD ENGLISH THROUGH “READERS THEATER” WITHIN THE CLASSROOM IN A RELAXED, NON-THREATENING ATMOSPHERE. 

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SOME TEACHING TECHNIQUES ™ INCREASE THE RETENTION OF STANDARD ENGTISH VOCABULARY USING “AGGRESSIVE LEARNIN' TECHNIQUES: (SEE RECOMMENDED READING LIST) DAP THE WORD (DEFINE, ASSOCIATE, DRAW A. PICTURE SHOWING THAT YOU UNDERSTAND THE MEANING OF THE WORD). CONE TO TEACH STANDARD ENGLISH RULES OF MMAR AND PRONUNCIATION. REINFORCE LANGUAGE ACQUISITION WITH CHORAL READING, CALL AND RESPONSE ACTIVITIES, PARTNER READING, MOVEMENT AND MUSIC, SONG LYRICS, HUMOR (JOKE BOOKS, RIDDLES), APPROPRIATE PEER NaS AND COMIC BOOKS REFLECTING THEIR aa Rte PUT ‘EM ON THE STAGE! PRESENT SCHOOL PLAYS WHERE CHILDREN READ OR 0 STANDARD ENGLISH DIALOGUE. PARENTS ™ EXCITE, WRITE AND RECITE: USE POETRY AND THE “SPOKEN WORD.” ENCOURAGE STUDENTS TO WRITE AND RECITE (PERFORM) ORIGINAL POEMS. 

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AFFECTIVE DOMAIN: FEELINGS ARE ™ REMEMBER TO CONSIDER THE FEELINGS OF THE CHILD. ™ IMAGINE THIS: SUPPOSE YOU WERE ASKED TO SPEAK AND WRITE EXCLUSIVELY IN BLACK ENGLISH. ™ HOW WOULD YOU FEEL? 

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SUGGESTED READINGS SINCE THE LEGAL OUTCRIES IN ANN ARBOR, MICHIGAN, IN THE EARLY 1970s, AND AGAIN IN. OAKLAND, CALIFORNIA, IN THE MID-1990s, MUCH HAS BEEN WRITTEN ABOUT BLACK ENGLISH AND EBONICS. TO BETTER UNDERSTAND HOW TO MEET THE CHALLENGES OF TEACHING STANDARD ENGLISH, THE FOLLOWING LIST OF READINGS IS RECOMMENDED. A COMPREHENSIVE BIBLIOGRAPHY IS INCLUDED. 

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RECOMMENDED Dandy, Evelyn B. (1991). Black Communications: Breaking Down the Barriers. Chicago: African American Images. Dillard, J. L. (1973). Black English: Its ‏ا‎ Usage in the United States. New York: Vintage Books. Labov, William (1995). Can reading failure be reversed: a linguistic approach to the question. In V. L. Gadsden & D. A. Wagner (Eds.), Literacy Among African-American Youth (pp. 39-68). Cresskill, NJ: Hampton Press. Major, Clarence (1971). Black Slang: A Dictionary of Afro- American Talk. London: Routledge & Kegan Paul, Ltd. Major, Clarence (1994). From Juba to Jive: A Dictionary of African-American Slang. New York: Penguin Books. Martinez, Maurice M. (2000). The Use of “Call and Response Pedagogy” to Reinforce Mathematics Concepts and Skills Taught to African American | In Changing the Face of Mathematics. Reston, Virginia: National Council of Teachers of Mathematics. McKissack, Patricia C. (1986). Flossie and The Fox. New York: Dial Books for Young Readers. 

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RECOMMENDED Nobile, Phyllis E. (2000). Aggressive Learning. Pelham, NY:The Reading Company, P.O. Box 11, Pelham, N.Y. 10803, 1-888- 889-READ. Payne, Ruby K. (2001). A Framework for Understanding Poverty. aha! Process, Inc., P.O. Box 727, Highlands, TX 77562-0727. Smitherman, Geneva (2000). Talkin That Talk: Language, Culture and Education in African America. London and New York: Routledge. Wolfram, Walt (1997). “The Myth of the Verbally Deprived Black Child,” in Bauer L. and Trudgill. P. (eds) Language Myths. Wolfram, Walt (1998, June). Language Ideology and Dialect: Understanding the Oakland Ebonics Controversy, Journal of English Linguistics, 26(2). Wolfram, Walt, Adger, Carolyn, & Christian, Donna (1999). Dialects in Schools and Communities. Mahwah, J: Lawrence Erlbaum Associates, Publishers. 

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BIBLIOGRAPHY Abrahams, Roger D. (1964). Deep Down in the Jungle. Chicago: Aldine Publishing Co. Abrahams, Roger D. (1970). Positively Black. Englewood Cliffs, NJ.: Prentice-Hall, Inc. Allen, R.V. (1976). yang uae. Experiences in Communication. Boston: Houghton-Mifflin. Baratz, Joan C., and Regen W. Shuy (eds.) (1969). Teaching Black Children To Read. Washington, D.C.: Center for Applie Linguistics. Bentley, Robert H. & Crawford, Samuel D. (eds.) (1973). Black Language Reader. Glenview, Illinois: Scott, Foresman and Company. Kochman, T. (ed.) (1972). Rappin’ and Stylin’ Out:Communication in Urban Black America. Urbana: University of Illinois Press. Johnson, Kenneth R. (1966). “Improving Language Skills of Culturally Disadvantaged Pupils.” Teaching Culturallly Disadvantaged Pupils. Chicago. Johnson, Kenneth R. (1970). “The Vocabulary of Race.” In Language and Expressive Behavior in the Black Inner City, edited by Kochman. Champaign, Illinois. 

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BIBLIOGRAPHY (CONT.) Johnson, Kenneth R. (1970). “The Language of Black Children: Instructional Implications.” In Racial Crisis in American Education. by Green. Chicago. Johnson, Kenneth R. (1970). “A Strategy for Teaching Standard English to Disadvantaged Black Children Who Speak a Nonstandard Dialect.” In Teaching Language Arts to Culturally Different Children, edited by Joyce. Johnson, Kenneth R. (1971). “Black English”, lecture, Ann Arbor, Michigan. Labov, William (1970). The Logic of Non-Standard English, Urbana: National Council of Teachers. Labov, William (1982). Objectivity and Commitment in Linguistic Science: The Case of the Black English Trial in Ann Arbor, Language in Society, 11, pp. 165-201. Rose, T. (1994). Black Noise: Rap Music and Black Culture in Contemporary America. Hanover, NH: Wesleyan University Press. 

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BIBLIOGRAPHY (CONT.) Websites: http://privateww.essex.ac.uk/~ patrick] aavesem/Biblio.html Patrick, Peter L. (2003). A Bibliography of works on African American English (27 pages). TO GET A COPY OF THIS POWERPOINT: http://people.uncw.edu/martinezm [See: Black American English] 

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SPECIAL THANKS TO: ROJ SMOOVE CHARLES “HONEYBOY” OTIS BLAZE, MICHAEL AND AMELIA, JAVIER, BEVRON, BEVERLY AND MILES TORIN J. MARTINEZ THE NEW YORK CREW BEN “You know what I’m sayin’” THOMPSON Dr. PERCY HEATH And my wife, MARJORIE FORTHEIR INSIGHTFUL COMMENTS. ANGELA EDWARDS FOR HER TECHNOLOGICAL EXPERTISE DEAN CATHY L. BARLOW FOR HER GRANT SUPPORT, PROVIDED BY U.S. DEPARTMENT OF EDUCATION FUNDS, WATSON SCHOOL OF EDUCATION, UNCW #P342A010114 

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MUSIC SOUNDTRACK MUSICAL SELECTIONS: INTRODUCTION “MOSQUITO HAWK STOMP” ENDING “FRENCH FRY SANDWICH” CD: MARTY MOST, JAZZ POET, presents: DRUMSCUSSION AVAILABLE AT: 7 

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