Black History Month: Its Importance and the Relevance of Coverage by Foreign Journalists

In this Educational Program, foreign journalists learned about the history and origins of the Black History Month and get valuable insights that could inform their daily coverage about American Black history.

The speaker is Luvell Anderson, Associate Professor of Philosophy at Syracuse University, New York, and Affiliate Faculty member of Women's and Gender Studies and African American Studies. 

Luvell Anderson

Anderson is an associate professor of philosophy at Syracuse University, New York, and an Affiliate Faculty member of Women's and Gender Studies and African American Studies. Anderson earned his PhD. in Philosophy at Rutgers University. He is the co-editor of The Routledge Companion to the Philosophy of Race and the forthcoming Oxford Handbook of Applied Philosophy of Language. He is the author of several articles on the semantics and pragmatics of racial slurs, epistemic injustice, and racial humor. 

Anderson is currently writing the books Ethics of Racial Humor (OUP) and The Philosophy of Race and Racism (Routledge). His research and teaching interests include philosophy of language, African American philosophy, aesthetics, humor, and social ontology. 

This interview was conducted on Tuesday, March 12 by journalist Patricia Vasconcellos, Board Member of the Club of Foreign Correspondents in the USA (AFPC-USA) and White House Correspondent for the Brazilian TV Network SBT.

AFPC-USA is solely responsible for the content of this educational program. Below, readers will find a summary of some of the most important takeaways from the presentation.

ON THE ORIGINS OF BLACK HISTORY MONTH

• Anderson explains that Black History Month originated as Negro History Week in 1926, founded by historian Carter G. Woodson. It aimed to combat prejudices against Black Americans by educating the masses about their contributions to history. In 1976, it expanded to Black History Month, coinciding with the bicentennial of the US founding, the 50th anniversary of the organization's founding, and the centennial of Woodson's birth.

• February was chosen to align with existing celebrations of Abraham Lincoln's and Frederick Douglass's birthdays, providing a foundation for the expanded understanding of Black history.

ON THE INFLUENCE OF AFRICAN AMERICANS ON THE ARTS

• Anderson highlights the significant contributions of African Americans to the arts throughout history. He notes that the arts have been a platform where African Americans have been able to innovate and excel, particularly in music, comedy, and visual arts. He references arguments made by figures like W.E.B. Du Bois or James Baldwin, suggesting that African Americans have played a crucial role in shaping America's unique cultural identity and contributions to the world, including its music forms and culinary traditions.

• Anderson also discusses the importance of the arts during the early to mid-20th century, citing movements like the Harlem Renaissance, which aimed to express and affirm the humanity of black people through artistic expression, connecting with audiences through literature, music, and visual arts.

ON WHAT FOREIGN JOURNALISTS NEED TO UNDERSTAND TO DO BLACK HISTORY COVERAGE

• Anderson emphasizes the importance of understanding and covering Black history, not just during Black History Month but also in the broader context of shaping historical narratives. He highlights two key instances, one involving Ron DeSantis in Florida and the other related to an executive order issued by the Trump administration, to illustrate the significance of Black historical narratives. “Those in power are concerned to determine which way we go, which way we think about it,” he says, “and we should pay attention to that.”

• He notes that in Florida, DeSantis has sought to prohibit what he labels as "woke" diversity, equity, and inclusion (DEI) initiatives, which he portrays as attempts to indoctrinate individuals into feeling guilt or superiority based on race. Anderson argues that DeSantis' actions represent an attack on alternative historical perspectives, particularly those that challenge conventional narratives about America's founding and its founders. This demonstrates the importance of recognizing and understanding the ideas and constructs expressed in Black historical accounts.

• Similarly, the Trump administration's executive order aimed to establish a preferred version of American history, labeled as the "1776 Commission," which sought to promote a specific narrative while suppressing alternative perspectives. Anderson sees this as another example of state intervention in historical interpretation, emphasizing the significance of understanding how historical stories are shaped and which narratives are prioritized by those in power.

• Overall, Anderson urges foreign journalists to recognize the broader implications of these events, emphasizing the need to critically examine historical narratives and the motivations behind efforts to control or manipulate them. He stresses that understanding and covering Black history is essential for uncovering truths and challenging power dynamics in historical storytelling.

ON THE IMPACT THIS ENVIRONMENT HAS HAD ON INTELLECTUAL FREEDOM

• Anderson expresses concern about intellectual freedom and the need for diverse perspectives in academia. He emphasizes the importance of allowing a broad range of views to coexist and acknowledges that people will have different interpretations of history and truth. He advocates for an environment where scholars and researchers are free to pursue knowledge without fear of punishment or censorship, highlighting the necessity of open discourse and rigorous inquiry to arrive at a more comprehensive understanding of reality.

• Anderson underscores the role of universities in fostering an environment conducive to genuine research and critical thinking, free from government interference or narrow agendas. “I think it's crucial that we be given the space and the freedom to pursue research in genuine ways without having to worry about punishment or retribution from governments who have a very narrow way, a narrow idea, or have an agenda that doesn't always fit with pursuit of truth,” he says.

ON SUCCESSFUL EFFORTS AND INITIATIVES TO PRESERVE BLACK HISTORY

• Anderson mentions two prominent initiatives from the past decade aimed at preserving the truth on black history. Firstly, he cites the 1619 Project, led by Nicole Hannah Jones at The New York Times, which seeks to shed light on the legacy of slavery in America.

• Secondly, he highlights the opening of the National Museum of African American History and Culture in Washington, D.C., as a significant effort to educate the public about African American history and culture.

• He also discusses the Black Lives Matter movement, which emerged around 2012 in response to instances of violence against black people, such as the killing of Trayvon Martin. Anderson explains that the movement aims to address historical injustices and challenge the devaluation of black lives in America. 

• He notes that some individuals may oppose the movement's historical claims because they prefer a narrative that portrays America as a heroic nation with democratic values, rather than acknowledging past injustices.

ON WHY HE GOT INTO THIS FIELD OF RESEARCH AND HOW SUBJECTS LIKE PHILOSOPHY AND COMEDY HAVE IMPACTED HIS WORK

• Anderson became interested in the field of research on humor, particularly racial humor, from a young age, influenced by watching comedies with his mother. His interest in the topic was solidified during his graduate studies when his dissertation director, Howard McGarry, suggested he explore an essay on racist humor. 

• This recommendation led Anderson to delve deeper into the subject, eventually incorporating it into his dissertation. He observed a lack of literature on racial humor within the field of philosophy, motivating him to contribute to this under-theorized area. Despite limited existing research, Anderson recognized the importance of addressing racial humor, especially given its societal impact.

• Anderson's research focuses on the social and cultural conditions surrounding jokes rather than solely on the intentions behind them. He emphasizes the impact of these conditions on how jokes are received and interpreted by individuals. Rather than solely considering the intentions of the joke-teller, Anderson examines the broader cultural context, including the cultural moment or zeitgeist. 

• Anderson suggests that understanding these factors is essential for predicting whether a joke will be received humorously or whether it will be met with criticism.

ON WHICH TYPES OF STORIES HE FEELS IT’S NECESSARY TO TALK MORE ABOUT

• Anderson reflects on the lack of coverage of specific instances where communities of color face structural disadvantages. He mentions a story about a predominantly black community in southern Illinois that experienced sewage problems due to the deliberate routing of sanitation lines through their town, aimed at protecting nearby white communities. 

• Similarly, he discusses the Flint, Michigan water crisis and a water shortage situation in Jackson, Mississippi, both predominantly black communities facing governmental manipulations that prioritize white constituents' interests. 

• Anderson emphasizes the importance of highlighting these racialized disparities in national and international coverage, as they demonstrate systemic injustices faced by communities of color in places like Illinois, Michigan, and Mississippi.

ON HIS FUTURE PROJECTS

• Anderson that he is finalizing a book on the Ethics of Racial Humor, which is currently “with the press.” He then reveals his plans for his next project, which will explore the state of comedy and extract lessons about freedom, creativity, and communication. He intends to delve into recent controversies in comedy, such as those surrounding Dave Chappelle and Ricky Gervais, to examine how comedians address criticism and navigate moral principles, values, and constraints on creativity. 

• Additionally, Anderson aims to explore effective communication strategies in today's polarized society, drawing insights from the challenges faced by comedians and the comedic industry.

ON THE BEST RESOURCES FOREIGN JOURNALISTS CAN TAKE ADVANTAGE OF TO LEARN MORE ABOUT BLACK HISTORY

• Anderson recommends three accessible online resources for foreign journalists to learn more about Black history. 

• Firstly, he suggests the Schomburg Center for Research in Black Culture, located in Harlem, New York, which houses numerous artifacts related to Black American figures.

• Secondly, he mentions the Google Cultural Institute's Black History and Culture section, which provides a wealth of information and cultural artifacts. 

• Lastly, he recommends the NAACP Online, which offers valuable resources and information about Black history. All three websites are publicly accessible and offer a wealth of information for those interested in learning more about Black history.

CLOSING REMARKS

• Anderson emphasizes that the significance of Black history extends beyond its specific subject matter. He underscores that understanding Black history is crucial for comprehending history in general. He references Carter G. Woodson's motivation for creating Black History Week, which aimed to integrate Black history into everyday life and combat prevailing prejudices in historical narratives. 

• Anderson highlights the historical exclusion of Black voices and contributions from mainstream historical storytelling, citing the philosopher Hegel's claim that Africa and Black people had no place in world history. 

He asserts that protecting and celebrating Black history is essential for challenging such exclusionary notions and prejudices. Anderson concludes by warning against the dangers of omitting important parts of history, as it leads to a distorted narrative that harms those whose stories are ignored.