EDUCATION + VIDEO: The Black Studies Debate

The Trouble With

Black Studies

 

May 9, 2012 - 3:00am

For a week now, friends have been sending me links from a heated exchange over the status and value of black studies. It started among bloggers, then spilled over into Twitter, which always makes things better. I'm not going to rehash the debate, which, after all, is always the same. As with any other field, black studies (or African-American studies, or, in the most cosmopolitan variant, Africana studies) could only benefit from serious, tough-minded, and ruthlessly intelligent critique. I would be glad to live to see that happen.

But maybe the rancor will create some new readers for a book published five years ago, From Black Power to Black Studies: How a Radical Social Movement Became an Academic Discipline (Johns Hopkins University Press) by Fabio Rojas, an associate professor of sociology at Indiana University. Someone glancing at the cover in a bookstore might take the subtitle to mean it's another one of those denunciations of academia as a vast liberal-fascist indoctrination camp for recruits to the New World Order Gestapo. I don't know whether that was the sales department's idea; if so, it was worth a shot. Anyway, there the resemblance ends. Rojas wrote an intelligent, informed treatment of black studies, looking at it through the lens of sociological analysis of organizational development, and with luck the anti-black-studies diatribalists will read it by mistake and accidentally learn something about the field they are so keen to destroy. (Spell-check insists that “diatribalists” is not a word, but it ought to be.)

Black studies was undeniably a product of radical activism in the late 1960s and early ‘70s. Administrators established courses only as a concession to student protesters who had a strongly politicized notion of the field’s purpose. “From 1969 to 1974,” Rojas writes, “approximately 120 degree programs were created,” along with “dozens of other black studies units, such as research centers and nondegree programs,” plus professional organizations and journals devoted to the field.

But to regard black studies as a matter of academe becoming politicized (as though the earlier state of comprehensive neglect wasn’t politicized) misses the other side of the process: “The growth of black studies,” Rojas suggests, “can be fruitfully viewed as a bureaucratic response to a social movement.” By the late 1970s, the African-American sociologist St. Clair Drake (co-author of Black Metropolis, a classic study of Chicago to which Richard Wright contributed an introduction) was writing that black studies had become institutionalized “in the sense that it had moved from the conflict phase into adjustment to the existing educational system, with some of its values accepted by that system…. A trade-off was involved. Black studies became depoliticized and deradicalized.”

That, too, is something of an overstatement -- but it is far closer to the truth than denunciations of black-studies programs, which treat them as politically volatile, yet also as well-entrenched bastions of power and privilege. As of 2007, only about 9 percent of four-year colleges and universities had a black studies unit, few of them with a graduate program. Rojas estimates that “the average black studies program employs only seven professors, many of whom are courtesy or joint appointments with limited involvement in the program” -- while in some cases a program is run by “a single professor who organizes cross-listed courses taught by professors with appointments in other departments.”

The field “has extremely porous boundaries,” with scholars who have been trained in fields “from history to religious studies to food science.” Rojas found from a survey that 88 percent of black studies instructors had doctoral degrees. Those who didn’t “are often writers, artists, and musicians who have secured a position teaching their art within a department of black studies.”

As for faculty working primarily or exclusively in black studies, Rojas writes that “the entire population of tenured and tenure-track black studies professors -- 855 individuals -- is smaller than the full-time faculty of my own institution.” In short, black studies is both a small part of higher education in the United States and a field connected by countless threads to other forms of scholarship. The impetus for its creation came from African-American social and political movements. But its continued existence and development has meant adaptation to, and hybridization with, modes of enquiry from long-established disciplines.

Such interdisciplinary research and teaching is necessary and justified because (what I am about to say will be very bold and very controversial, and you may wish to sit down before reading further) it is impossible to understand American life, or modernity itself, without a deep engagement with African-American history, music, literature, institutions, folklore, political movements, etc.

In a nice bit of paradox, that is why C.L.R. James was so dubious about black studies when it began in the 1960s. As author of The Black Jacobins and The History of Negro Revolt, among other classic works, he was one of the figures students wanted to be made visiting professor when they demanded black studies courses. But when he accepted, it was only with ambivalence. "I do not believe that there is any such thing as black studies," he told an audience in 1969. "...I only know, the struggle of people against tyranny and oppression in a certain social setting, and, particularly, the last two hundred years. It's impossible for me to separate black studies and white studies in any theoretical point of view."

Clearly James's perspective has nothing in common with the usual denunciations of the field. The notion that black studies is just some kind of reverse-racist victimology, rigged up to provide employment for "kill whitey" demagogues, is the product of malice. But it also expresses a certain banality of mind -- not an inability to learn, but a refusal to do so. For some people, pride in knowing nothing about a subject will always suffice as proof that it must be worthless.

 

__________________________

 

Left of Black S2:E33 | May 21, 2012

Race, Writing and

the Attack on

Black Studies

w/ Adam Mansbach &

La TaSha Levy

on Season Finale of

Left of Black

 

Host and Duke University Professor Mark Anthony Neal is joined via Skype by writer Adam Mansbach, the author of several books including Angry Black White Boy (2005), The End of the Jews  (2008) and the New York TimesBestseller Go the F**K to Sleep.  Mansbach discusses the inspiration for Macon Detornay—the protagonist of Angry Black White Boy—the surprise success of his “adult children’s book” and his new graphic novel Nature of the Beast.  Finally Neal and Mansbach discuss race in the Obama era and the legacy of the Beastie Boys.
Later, Neal is joined, also via Skype, by LaTaSha B. Levy,  doctoral candidate in the Department of African-American Studies at Northwestern University. Levy and several of her colleagues including Keeanga Yamahtta Taylor and Ruth Hayes, the subjects of a celebratory profile in The Chronicle of Higher Education, were later attacked by a blogger at the same publication, raising questions about the continued hostility directed towards the field of Black Studies.  Neal and Levy discuss the responses to the attack, as well as her research on the rise of Black Republicans. 
***
Left of Black is a weekly Webcast hosted by Mark Anthony Neal and produced in collaboration with the John Hope Franklin Center at Duke University.
***

Episodes of Left of Black are also available for free download in HD @iTunes U 

 

>via: http://newblackman.blogspot.com/2012/05/left-of-black-s2e33-race-writing-and....

 

 

HISTORY: Frederick Douglass most photographed American of the 19th century > The New Haven Register

Frederick Douglass

most photographed

American

of the 19th century;

images used

to prompt change


 

Frederick Douglass

NEW HAVEN — The most photographed American of the 19th century wasn’t a bearded guy in a stovepipe hat.

It wasn’t a president, an inventor, a captain of industry, a general or a crusty gent writing under the pen name Twain.

It was a former slave, Frederick Douglass, who rattled the chains of oppression in the nation’s face.

“There are at least 160 photographs of Douglass that we’ve found so far,” said Zoe Trodd, a faculty fellow at Columbia University who is in New Haven to do research for a pair of scholarly projects on the famous abolitionist. She outlined some of that research at an event held by the Yale University’s Gilder Lehrman Center for the Study of Slavery, Resistance and Abolition.

Until recently, Gen. George Armstrong Custer was thought to be the most photographed American of the 1800s, with about 155 known photos, Trodd explained. After that are Abraham Lincoln and writer Walt Whitman, with 130 photos each.

Author Mark Twain and showman Wild Bill Cody actually had more photographs taken, but many of those came after the year 1900. As for the most photographed people in the world in the 19th century, that would be members of the British royal family, with roughly 600 photographs each.

But unlike any of those others, Douglass used his image explicitly to provoke social change.

“It became one of his most powerful arguments against slavery and for full and equal citizenship,” according to Trodd. “Douglass is shattering expectations in his photographs. He’s transforming the African American body into an emblem of heroism and pushing the boundaries of possibility for black masculinity.”

Two of the Douglass photos were taken in Connecticut, Trodd noted, including one taken in New Haven in the 1860s.

The existing photographic record of Douglass begins with an 1841 daguerreotype image, taken just a few years after Douglass escaped to freedom from slavery. He was 23. The final photo of Douglass came on his deathbed, in 1895.

In between were images — many of them iconic — that presented an aura of dignity, determination and gravitas.

Trodd said Douglass orchestrated most of his photos with a clear vision of how he wanted to be presented. He almost never smiled. He didn’t use props. He removed elaborate backdrops and decorative elements.

In part, Douglass was trying to counteract the many images of African Americans in submissive poses, wearing little clothing. He also wanted to negate cartoonish representations of black facial features.

In later years, after he’d become world famous, he used his photographic image to offset paintings and sketches in the media that made his features look more Caucasian.

“He’s battling racist caricatures,” Trodd said.

The result is a visual legacy that continues to this day. Trodd has documented murals, statues and public displays of Douglass in New York City, Baltimore, Los Angeles, Detroit, Dayton, Washington, D.C., Boston and elsewhere. Douglass also adorns books, stamps, paintings, drawings and web sites.

Meanwhile, the search for more Douglass photographs continues. Ideally, Trodd said, she’d like to locate another five or 10 photos.

You never know when Gen. Custer’s researchers will try to make a last stand.

 

VIDEO: 1959: The Year that Changed Jazz > Open Culture

Ornette Coleman Quartet

1959:

The Year that

Changed Jazz

1959. It was a pivotal year for jazz. Musicians started breaking away from bebop, exploring new, experimental forms. And four absolutely canonical LPs were recorded that year: Kind of Blue by Miles Davis; Time Out by Dave Brubeck; Mingus Ah Um by Charles Mingus; and The Shape of Jazz to Come by Ornette Coleman. 1959 also found America on the cusp of great social and political upheaval. Integration, Vietnam, the Cuban Missile Crisis — they were all coming around the bend, and sometimes figures like Mingus and Coleman commented musically on these events.

This transformative period gets nicely covered by the recent BBC documentary, 1959: The Year that Changed Jazz. The outtake above focuses on Ornette Coleman and his innovative work as a free jazz musician. If it whets your appetite, you can dive into the full program on YouTube. The documentary featuring interviews with Brubeck, Coleman, Lou Reed, and Herbie Hancock is available in four parts: Part 1, Part 2Part 3 and Part 4. It runs roughly 60 minutes.

via Metafilter

 

AUDIO: A Child’s Introduction to Jazz by Cannonball Adderley > Open Culture

Cannonball Adderley

 

A Child’s Introduction to Jazz

by Cannonball Adderley

(with Louis Armstrong &

Thelonious Monk)

 

In 1961, Julian “Cannonball” Adderley, the jazz saxophonist best known for his work on Miles Davis’ epic album Kind of Blue (listen here), narrated a children’s introduction to jazz music. Part of a larger series of educational albums for children, this 12-inch LP offered an “easy-going, conversational discussion of the highlights of the jazz story,” highlighting the “major styles and great performers” that began in New Orleans and spread beyond. Included on the album are some legendary jazz figures — Louis Armstrong, Fats Waller, Jelly Roll Morton, Duke Ellington, Coleman Hawkins, Sidney Bechet, Thelonious Monk, and, of course, Cannonball himself. The album, A Child’s Introduction to Jazz, has long been out of circulation. But you can catch it on YouTube, or above.

Thanks to James for telling us about this album on our Facebook page. Feel free to message us good ideas for posts at Facebook or cc: us on Twitter (cc: @openculture). And then there’s always old-fashioned email.

 

PUB: Telling Tales Press Short Story Writing Competition (Kenya) > Writers Afrika

Telling Tales Press

Short Story Writing Competition

(Kenya)


Deadline: 30 September 2012

TellingTales Press wishes to announce a short story writing competition for youth and budding writers. Interested participants are requested to submit their scripts by 30th September. Winning scripts will be published in an anthology, courtesy of TellingTales Press, as well as cash prizes for the first, second and third placed positions. This short story writing competition is aimed at reaching out to youthful writers with great potential in providing revolutionary works of literature.

RULES

=>The competition is FREE. You are also allowed to enter a MAXIMUM of three entries to compete for the ultimate prize.

=>Only manuscripts with 1,500 words or less shall be accepted. Any manuscript outside this margin will be disqualified.

=>All entries must be in English and unpublished.

=>Entries must be in an electronic format, that is, word documents with 12pt Arial font double spaced (see submission guidelines for more details).

=>All entries must be submitted by 30th September.

=>Winners will be notified by 15th October through E-mail. Their names will also be published on our Announcements page.

=>The competition is open to everyone. Youthful writers are encouraged to submit their manuscripts.

PRIZES

=>1st prize: Kshs. 5,000
=>2nd prize: Kshs. 3,000
=>3rd prize: Kshs. 1,500
=>4th through 20th scripts shall be published in an anthology of short stories.

A list of the top 20 scripts will be made available on our website by 15th October. Any changes to this date will be communicated.

MANUSCRIPT LAYOUT AND FORMATTING

=>Electronic files should be in Word Document format (".doc", ".docx")
=>1 inch margins on all four sides of the page
=>12 pt font Arial double-spaced
=>Do not include any other material that is not part of the manuscript. If you have instructions or comments to the editor, please provide them on a separate document.

SUBMISSION REQUIREMENTS

If your script conforms to the above layout requirements, then please provide the following to accompany the manuscript:

=>Manuscript Submission Form (download here)
=>A synopsis of the manuscript

Note that these two documents have to be in a Word document format and will be sent as attachments together with the actual manuscript.

Download: manuscript submission form

CONTACT INFORMATION:

For submissions: submit your manuscript here

Website: http://www.tellingtalespress.com

 

 

PUB: Free to Enter: William Soutar Short Story Writing Prize 2012 (worldwide) > Writers Afrika

Free to Enter:

William Soutar Short Story

Writing Prize 2012 (worldwide)


Deadline: 18 June 2012

(Note: The competition is free to enter and open to anyone in the world over the age of 16.)

The 2012 William Soutar Writing Prize has been launched and this year the competition is open to short story writers. This is the tenth year of the prize which awards poets and short story writers in alternate years and is run by Perth & Kinross Council's Libraries and Information Services in memory of Perth's most famous poet.

The first prize is a week's writing course at one of the prestigious Arvon writers' centres, worth around £600 and there is a second prize of £100. There will also be a special local award of £50 for the best short story by a resident of Perth and Kinross. Entries this year will be judged by writer and broadcaster Billy Kay.

GUIDELINES

This is an annual competition now in its tenth year, alternating between poetry and short stories. For 2012, short stories may be entered. Entry is free and open to anyone in the world over the age of 16, but you are limited to two short stories.

JUDGE: Billy Kay

PRIZES

  • First Prize A writing course at Moniack Mhor, the Arvon Centre in Scotland (for which the normal fee would be approximately £600), or another of the UK Arvon Centres. The winner will be announced on Writers’ Day, Saturday 25 August 2012

  • Second Prize £100 Book Tokens

  • Local Prize £50 of Book Tokens will also be awarded for the best work from a resident of Perth and Kinross

THE COMPETITION RULES

• The deadline for all entries is Monday 18 June 2012

• All entrants must be 16 years of age or over

• Stories must not exceed 2000 words

• A maximum of two stories may be submitted

• All entries must be typed or word processed, on one side of the paper only

• Two copies of each sort story submitted must be provided

• Entries may be in English or Scots

• The competition is open to anyone throughout and outside the United Kingdom

• All entries are judged anonymously and the name of the writer must not appear on the manuscript

• Stories must not have been previously published

• Competition entries cannot be returned - please do not include a pre-paid envelope

• The Judge’s decision is final and no correspondence can be entered into

• Alterations cannot be made to stories once they have been submitted

• Entries must be accompanied by an entry form

• There is no entry fee for this competition

• Local entries (writers living in Perth & Kinross at time of entry) can also be additionally entered for the local Soutar prize. They should tick the LOCAL box on the entry form

• It is the entrant’s responsibility to ensure that the above rules are adhered to

Failure to comply with the above rules will result in disqualification from the competition. The winner(s) will be notified a few days before the formal announcement on 25 August 2012. Unsuccessful entrants will not be individually notified. If a local entrant wins one of the main prizes, they will not also be eligible for the local prize.

The winning names will be posted on our website. The writers of the winning short stories grant Perth & Kinross Libraries and Information Services the right to use the stories in publicity material for one year from 25 August 2012. The copyright of each story remains with the author.

Download: entry form

CONTACT INFORMATION:

For submissions: return your completed form and two copies of each submission to Jill Mackintosh, AK Bell Library, York Place, Perth PH2 8EP, UK

Website: http://www.pkc.gov.uk/

 

 

PUB: Guy Owen Award

48:2 cover
Guy Owen Award
 

 

$1,000 and publication for an unpublished poem. Submit three to five poems (10 pages maximum), a $20 entry fee (includes one-year subscription to journal), and SASE for reply only, between March 1 and June 15 (postmarks). Include contact information on cover sheet only. All entries considered for publication. Send to:


Southern Poetry Review
Guy Owen Prize
Dept. of Languages, Literature and Philosophy
Armstrong Atlantic State University
11935 Abercorn Street
Savannah, Georgia 31419-1997

 

Previous Winners

2011: Catherine Staples, "Red Rover." Final judge, Carl Dennis.
2010: Elton Glaser, "Do the Do." Final judge, Betty Adcock.
2009: Elton Glaser, "Slow Fuse Around the Cranium." Final judge, David Wagoner.
2008: George David Clark, "Jellyfish." Final judge, Jane Hirshfield.
2007: Marianna Busching, "Ode to the Innards." Final judge, Linda Pastan.
2006: R. T. Smith, "Plantation of the Mad." Final judge, Dave Smith.
2005: Enid Shomer, "'Gowned Waiting'." Final judge,Fred Chappell.
2004: Alison Jarvis, "Listen." Final judge, David Kirby.
2003: Andrew Grace, "For Tityrus." Final judge, Ellen Bryant Voigt.
2002: Debra A. Daniel, "Hymn of Invitation." Final judge, Peter Meinke.

 

INFO: BOL - Blue Notes, Sean Haefeli, 9 versions of "Some Day We'll All Be Free"

 

Our week begins with stirring jazz from the South African band the Blue Notes. We introduce singer/songwriter Sean Haefeli who is producing jazz-based contemporary music. We conclude the week with nine versions of the seventies anthem “Some Day We’ll All Be Free” featuring the composer Donny Hathaway, pianist Bobby Lyle, vocalist Puff Johnson, guitarist/vocalist George Benson, guitarist Charlie Hunter,Sergio Mendes, pianist Laurent Coq, vocalist Bobby Womack and the queen, Aretha Franklin.

www.kalamu.com/bol

 

 

__________________________


We say we’d like to hear something different from the same-old, same-old; why does all the music on the radio have to sound so much alike? Yet, when we encounter something truly different, what do we do? In general we ignore the different because in order to appreciate the newness we would have to move outside of our status-quo comfort zones.

I was intrigued when I first heard Sean Haefeli’s music but also a bit irritated that I couldn’t immediately identify what all was going on. Then I saw a photo of Sean and that significantly upped my confusion index. And that last name, was it Middle Eastern? But he was from Chicago—as if there were no Muslims of color in Chi, whose Southside back in the day was one of the headquarters and concentrations of the Nation of Islam.

And his music; the lyrics sound like modern poetry, sort of a cross between Ezra Pound in the metro and some alternative spoken word down by the Green Mill in Chicago. Jazz is the major influence but there are strong pop elements as well. Like I said, something different. Moreover, the music is adventurous. He takes unexpected twists and turns, puts lyrics you have to listen to at least thrice in order to decipher the deeptitudes being discussed. Some times it swings, some times it grooves but there is always something emotionally moving going on.

—kalamu ya salaam 

 

 

ART: Redemption Song (Jamaica) - live . laugh . love . locs, 18-15n-77-30w

18-15n-77-30w:  ckamaria:   This statute known as &lsquo;Redemption Song&rsquo; is located at Emancipation Park in Kingston, Jamaica, which was constructed in July 2002 according to its&nbsp;website. The work is symbolic of the emancipation of Jamaicans from slavery in 1838. From what I&rsquo;ve&nbsp;gathered, it was done by a Jamaican artist, Laura Facey Cooper, and was considered controversial by many Jamaicans because they believed it promoted nudity. &nbsp;In addition to that, many of them were offended by the male statue&rsquo;s nakedness, in particular, his penis size, and also that the sculptor was too &lsquo;light-skinned&rsquo;. The dichotomy is that the opposition to the statue are prime examples of how the body can be freed easily, but freeing the mind requires more work, which causes us to question whether slavery has truly ended. &nbsp;Those views about the &lsquo;color&rsquo; of the sculptor &amp; black nudity lends itself to an uneducated public on artistic concepts; and the deeply-embedded facets of white supremacy coupled with the erasure of African memory. In many parts pre-colonial Africa, nudity wasn&rsquo;t largely regarded as sexual but rather, a way to deal with humid conditions, however, when the slave traders arrived, they viewed the so-called rampant nudity as indicative of a savage sexual nature. Once enslaved in these foreign lands, African men &amp; women were mentally reconditioned to accept a Westernized view of themselves &amp; to embrace &amp; idolize whiteness. This, of course, went on for centuries spanning several generations. To that end, here we are, in the 21st century, dealing with a statue that&rsquo;s suppose to be a tribute to freedom. &nbsp;The sculptor&rsquo;s vision of having the bodies rise from water reconnects to the African philosophy of the power of water with its ability to cleanse &amp; renew. &nbsp;The nakedness factors into the concept of freedom as both the man and woman gaze upwards to God, presenting themselves as vulnerable &amp; in search of heavenly guidance. &nbsp;For me, the statue is divine but I am almost certain that if a statue of this kind was done in the States, it may damn near send some twisted individuals into a certified tizzy.&nbsp;   <a href=
REDEMPTION SONG
http://18-15n-77-30w.tumblr.com/ "See the woman standing there naked with her high breasts," one mother told her two daughters as they stood before the statue. "See the man standing opposite with his penis still flacid and they're not even touching. That is emancipation." 

18-15n-77-30w:

ckamaria:

This statute known as ‘Redemption Song’ is located at Emancipation Park in Kingston, Jamaica, which was constructed in July 2002 according to its website. The work is symbolic of the emancipation of Jamaicans from slavery in 1838. From what I’ve gathered, it was done by a Jamaican artist, Laura Facey Cooper, and was considered controversial by many Jamaicans because they believed it promoted nudity.  In addition to that, many of them were offended by the male statue’s nakedness, in particular, his penis size, and also that the sculptor was too ‘light-skinned’.

The dichotomy is that the opposition to the statue are prime examples of how the body can be freed easily, but freeing the mind requires more work, which causes us to question whether slavery has truly ended.  Those views about the ‘color’ of the sculptor & black nudity lends itself to an uneducated public on artistic concepts; and the deeply-embedded facets of white supremacy coupled with the erasure of African memory.

In many parts pre-colonial Africa, nudity wasn’t largely regarded as sexual but rather, a way to deal with humid conditions, however, when the slave traders arrived, they viewed the so-called rampant nudity as indicative of a savage sexual nature. Once enslaved in these foreign lands, African men & women were mentally reconditioned to accept a Westernized view of themselves & to embrace & idolize whiteness. This, of course, went on for centuries spanning several generations.

To that end, here we are, in the 21st century, dealing with a statue that’s suppose to be a tribute to freedom.  The sculptor’s vision of having the bodies rise from water reconnects to the African philosophy of the power of water with its ability to cleanse & renew.  The nakedness factors into the concept of freedom as both the man and woman gaze upwards to God, presenting themselves as vulnerable & in search of heavenly guidance.  For me, the statue is divine but I am almost certain that if a statue of this kind was done in the States, it may damn near send some twisted individuals into a certified tizzy. 

http://18-15n-77-30w.tumblr.com/

“See the woman standing there naked with her high breasts,” one mother told her two daughters as they stood before the statue. “See the man standing opposite with his penis still flacid and they’re not even touching. That is emancipation.”

 

INCARCERATION: Louisiana is The Prison Capital of the World > Loop21

 

 

 

 

 

 

 

 

 

 

State's incarceration rate is seven time higher than all of China

A lot more than Saints are marching through Louisiana.

NOLA.com reports that the state affectionately known as "the Boot" has the highest imprisonment rate in the country. Since the U.S. has the highest imprisonment rate on the planet, this means the state of Louisiana has the highest imprisonment rate in the world. If that doesn't sound alarming enough to you, consider this. Louisiana is the 33rd largest state out of 50, with a population of just over 4 million, and has an incarceration rate seven times higher than all of China, the most populated country in the world with 1.3 billion people.

It should come as no surprise that the majority of Louisiana's prisons are privately owned. The more prisoners locked up, the more people who work in the system get to keep their jobs.

Here are a couple more alarming stats:

  • One in 86 adult Louisianians is doing time, nearly double the national average

  • Among black men from New Orleans, one in 14 is behind bars; one in seven is either in prison, on parole or on probation

  • A two-time car burglar can get 24 years without parole

  • A trio of drug convictions can be enough to land you at the Louisiana State Penitentiary at Angola for the rest of your life

The high incarceration has yet to have a positive impact on the the crime rate as the state consistently ranks among the highest in violent and property crimes. It was also recently ranked as the most violent state in the country.

__________________________

Louisiana is

the world's prison capital


Published: Sunday, May 13, 2012, 5:00 AM     Updated: Sunday, May 13, 2012, 11:20 AM
Louisiana is the world's prison capital. The state imprisons more of its people, per head, than any of its U.S. counterparts. First among Americans means first in the world. Louisiana's incarceration rate is nearly triple Iran's, seven times China's and 10 times Germany's.

 

SCOTT THRELKELD / THE TIMES-PICAYUNE Inmates return to their dormitory from the cafeteria at Richland Parish Detention Center in September. Prison overcrowding has become a thing of the past, even as the inmate population multiplies rapidly.Louisiana Incarcerated: state is No. 1 in prisonersgallery (19 photos)

The hidden engine behind the state's well-oiled prison machine is cold, hard cash. A majority of Louisiana inmates are housed in for-profit facilities, which must be supplied with a constant influx of human beings or a $182 million industry will go bankrupt.

 

Several homegrown private prison companies command a slice of the market. But in a uniquely Louisiana twist, most prison entrepreneurs are rural sheriffs, who hold tremendous sway in remote parishes like Madison, Avoyelles, East Carroll and Concordia. A good portion of Louisiana law enforcement is financed with dollars legally skimmed off the top of prison operations.

If the inmate count dips, sheriffs bleed money. Their constituents lose jobs. The prison lobby ensures this does not happen by thwarting nearly every reform that could result in fewer people behind bars.

Meanwhile, inmates subsist in bare-bones conditions with few programs to give them a better shot at becoming productive citizens. Each inmate is worth $24.39 a day in state money, and sheriffs trade them like horses, unloading a few extras on a colleague who has openings. A prison system that leased its convicts as plantation labor in the 1800s has come full circle and is again a nexus for profit.

In the past two decades, Louisiana's prison population has doubled, costing taxpayers billions while New Orleans continues to lead the nation in homicides.

One in 86 adult Louisianians is doing time, nearly double the national average. Among black men from New Orleans, one in 14 is behind bars; one in seven is either in prison, on parole or on probation. Crime rates in Louisiana are relatively high, but that does not begin to explain the state's No. 1 ranking, year after year, in the percentage of residents it locks up.

In Louisiana, a two-time car burglar can get 24 years without parole. A trio of drug convictions can be enough to land you at the Louisiana State Penitentiary at Angola for the rest of your life.

Almost every state lets judges decide when to mete out the severest punishment and when a sympathetic defendant should have a chance at freedom down the road. In Louisiana, murderers automatically receive life without parole on the guilty votes of as few as 10 of 12 jurors.

The lobbying muscle of the sheriffs, buttressed by a tough-on-crime electorate, keeps these harsh sentencing schemes firmly in place.

"Something has to be done -- it just has to be done -- about the long sentences," said Angola Warden Burl Cain. "Some people you can let out of here that won't hurt you and can be productive citizens, and we know the ones who can't."

Every dollar spent on prisons is a dollar not spent on schools, hospitals and highways. Other states are strategically reducing their prison populations -- using tactics known in policy circles as "smart on crime." Compared with the national average, Louisiana has a much lower percentage of people incarcerated for violent offenses and a much higher percentage behind bars for drug offenses -- perhaps a signal that some nonviolent criminals could be dealt with differently.

 Louisiana Incarcerated: Intro VideoLouisiana Incarcerated: Intro VideoLouisiana has more citizens in prison than anywhere else in the world. A New Orleans Times-Picayune team of reporters led by Cindy Chang along with photographer Scott Threlkeld investigates why. Here is a video preview of this Times-Picayune special Report.Watch video  

Do all of Louisiana's 40,000 inmates need to be incarcerated for the interests of punishment and public safety to be served? Gov. Bobby Jindal, a conservative Republican with presidential ambitions, says the answer is no. Despite locking up more people for longer periods than any other state, Louisiana has one of the highest rates of both violent and property crimes. Yet the state shows no signs of weaning itself off its prison dependence.

"You have people who are so invested in maintaining the present system -- not just the sheriffs, but judges, prosecutors, other people who have links to it," said Burk Foster, a former professor at the University of Louisiana-Lafayette and an expert on Louisiana prisons. "They don't want to see the prison system get smaller or the number of people in custody reduced, even though the crime rate is down, because the good old boys are all linked together in the punishment network, which is good for them financially and politically."

Keeping the beds full

In the early 1990s, when the incarceration rate was half what it is now, Louisiana was at a crossroads. Under a federal court order to reduce overcrowding, the state had two choices: Lock up fewer people or build more prisons.

It achieved the latter, not with new state prisons -- there was no money for that -- but by encouraging sheriffs to foot the construction bills in return for future profits. The financial incentives were so sweet, and the corrections jobs so sought after, that new prisons sprouted up all over rural Louisiana.

The national prison population was expanding at a rapid clip. Louisiana's grew even faster. There was no need to rein in the growth by keeping sentencing laws in line with those of other states or by putting minor offenders in alternative programs. The new sheriffs' beds were ready and waiting. Overcrowding became a thing of the past, even as the inmate population multiplied rapidly.

"If the sheriffs hadn't built those extra spaces, we'd either have to go to the Legislature and say, 'Give us more money,' or we'd have to reduce the sentences, make it easier to get parole and commutation -- and get rid of people who shouldn't be here," said Richard Crane, former general counsel for the Louisiana Department of Corrections.

 

 Lt. Dee Hutson: 'It's a career.'Lt. Dee Hutson: 'It's a career.'Lt. Dee Hutson talks about the benefits of his work as a corrections officer at Richland Parish Detention Center, about 15 miles southeast of Monroe, Louisiana.Watch video  
Today, wardens make daily rounds of calls to other sheriffs' prisons in search of convicts to fill their beds. Urban areas such as New Orleans and Baton Rouge have an excess of sentenced criminals, while prisons in remote parishes must import inmates to survive.

 

The more empty beds, the more an operation sinks into the red. With maximum occupancy and a thrifty touch with expenses, a sheriff can divert the profits to his law enforcement arm, outfitting his deputies with new squad cars, guns and laptops. Inmates spend months or years in 80-man dormitories with nothing to do and few educational opportunities before being released into society with $10 and a bus ticket.

Fred Schoonover, deputy warden of the 522-bed Tensas Parish Detention Center in northeast Louisiana, says he does not view inmates as a "commodity." But he acknowledges that the prison's business model is built on head counts. Like other wardens in this part of the state, he wheels and deals to maintain his tally of human beings. His boss, Tensas Parish Sheriff Rickey Jones, relies on him to keep the numbers up.

"We struggle. I stay on the phone a lot, calling all over the state, trying to hustle a few," Schoonover said.

Some sheriffs, and even a few small towns, lease their prison rights to private companies. LaSalle Corrections, based in Ruston, plays a role in housing one of seven Louisiana prisoners. LCS Corrections Services, another homegrown company, runs three Louisiana prisons and is a major donor to political campaigns, including those of urban sheriffs who supply rural prisons with inmates.

Incarceration on the cheap

Ask anyone who has done time in Louisiana whether he or she would rather be in a state-run prison or a local sheriff-run prison. The answer is invariably state prison.

 

fullpage-4reasonswhyLA-051312.jpgHow Louisiana became the prison capital of the world (view full size graphic)   

 

Inmates in local prisons are typically serving sentences of 10 years or less on nonviolent charges such as drug possession, burglary or writing bad checks. State prisons are reserved for the worst of the worst.

Yet it is the murderers, rapists and other long-termers who learn trades like welding, auto mechanics, air-conditioning repair and plumbing. Angola's Bible college offers the only chance for Louisiana inmates to earn an undergraduate degree.

Such opportunities are not available to the 53 percent serving their time in local prisons. In a cruel irony, those who could benefit most are unable to better themselves, while men who will die in prison proudly show off fistfuls of educational certificates.

Louisiana specializes in incarceration on the cheap, allocating by far the least money per inmate of any state. The $24.39 per diem is several times lower than what Angola and other state-run prisons spend -- even before the sheriff takes his share. All local wardens can offer is GED classes and perhaps an inmate-led support group such as Alcoholics Anonymous. Their facilities are cramped and airless compared with the spacious grounds of state prisons, where inmates walk along outdoor breezeways and stay busy with jobs or classes.

With a criminal record, finding work is tough. In five years, about half of the state's ex-convicts end up behind bars again.

Gregory Barber has seen the contrast between state and local prisons firsthand. He began a four-year sentence for burglary at the state-run Phelps Correctional Center -- a stroke of luck for someone with a relatively short sentence on a nonviolent charge who might easily have ended up in a sheriff's custody.

 

chart-prisonpop-051312.jpgLouisiana's prison population since 1977 (view full size graphic)   

 

With only six months to go, the New Orleans native was transferred to Richwood Correctional Center, a LaSalle-run prison near Monroe. He had hoped to end his time in a work-release program to up his chances of getting a good job. But the 11th-hour transfer rendered him ineligible. At Phelps, he took a welding class. Now, he whiles away the hours lying in his bunk for lack of anything better to do. The only relief from the monotony is an occasional substance-abuse rehab meeting.

"In DOC camps, you'd go to the yard every day, go to work," said Barber, 50, of state-run prisons. "Here, you just lay down, or go to meetings. It makes time pass a little slower."

Downward spiral

 

chart-louisianaworld-051312.jpgView full size   

 

While Louisiana tops the prison rankings, it consistently vies with Mississippi -- the state with the second-highest incarceration rate -- for the worst schools, the most poverty, the highest infant mortality. One in three Louisiana prisoners reads below a fifth-grade level. The vast majority did not complete high school. The easy fix of selling drugs or stealing is all too tempting when the alternative is a low-wage, dead-end job.

More money spent on locking up an ever-growing number of prisoners means less money for the very institutions that could help young people stay out of trouble, giving rise to a vicious cycle. Louisiana spends about $663 million a year to feed, house, secure and provide medical care to 40,000 inmates. Nearly a third of that money -- $182 million -- goes to for-profit prisons, whether run by sheriffs or private companies.

"Clearly, the more that Louisiana invests in large-scale incarceration, the less money is available for everything from preschools to community policing that could help to reduce the prison population," said Marc Mauer, executive director of The Sentencing Project, a national criminal justice reform group. "You almost institutionalize the high rate of incarceration, and it's even harder to get out of that situation."

Louisiana's prison epidemic disproportionately affects neighborhoods already devastated by crime and poverty. In some parts of New Orleans, a stint behind bars is a rite of passage for young men.

About 5,000 black men from New Orleans are doing state prison time, compared with 400 white men from the city. Because police concentrate resources on high-crime areas, minor lawbreakers there are more likely to be stopped and frisked or caught up in a drug sweep than, say, an Uptown college student with a sideline marijuana business.

With so many people lost to either prison or violence, fraying neighborhoods enter a downward spiral. As the incarceration rate climbs, more children grow up with fathers, brothers, grandfathers and uncles in prison, putting them at increased risk of repeating the cycle themselves.

'Don't feel no pity'

Angola is home to scores of old men who cannot get out of bed, let alone commit a crime. Someone who made a terrible mistake in his youth and has transformed himself after decades in prison has little to no chance at freedom.

 

map-incarceration-051312.jpgWorld and state incarceration rates (full full size graphic)   

 

Louisiana has a higher percentage of inmates serving life without parole than any other state. Its justice system is unstintingly tough on petty offenders as well as violent criminals. In more than four years in office, Jindal has only pardoned one inmate.

"Louisiana don't feel no pity. I feel like everybody deserves a second chance," said Preston Russell, a Lower 9th Ward native who received life without parole for a string of burglaries and a crack charge. "I feel like dudes get all this education ... under their belt and been here 20, 30 years. You don't think that's enough time to let a man back out and give him another chance at life?"

An inmate at Angola costs the state an average of $23,000 a year. A young lifer will rack up more than $1 million in taxpayer-funded expenses if he reaches the Louisiana male life expectancy of 72.

Russell, 49, is in good health. But as he gets older, treating his age-related ailments will be expensive. The state spends about $24 million a year caring for between 300 and 400 infirm inmates.

Now in his 13th year at Angola, Russell breaks into tears recounting how he rebelled against the grandmother who raised him, leaving home as soon as he could. First he smoked weed, weed became crack, then he was selling drugs and burglarizing stores in between jobs in construction or shipping.

The last time he stole, Orleans Parish prosecutors tagged him as a multiple offender and sought the maximum -- the same sentence given to murderers. In the final crime that put him away for life, he broke into Fat Harry's and stole $4,000 from the Uptown bar's video poker machines.

Political will

Tough fiscal times have spurred many states to reduce their prison populations. In lock-'em-up Texas, new legislation is steering low-level criminals into drug treatment and other alternatives to prison.

In Louisiana, even baby steps are met with resistance. Jindal, who rose to the governor's office with the backing of the sheriffs' lobby, says too many people are behind bars. Yet earlier this year, he watered down a reform package hammered out by the Sentencing Commission he himself had convened. The commission includes sheriffs and district attorneys, so its proposals were modest to begin with.

Measures like those in Texas, which target a subset of nonviolent offenders, are frequently lauded but may not be enough. To make a significant dent in the prisoner numbers, sentences for violent crimes must be reduced and more money must be invested in inner-city communities, according to David Cole, a professor at Georgetown Law School. Such large-scale change -- which has not been attempted in any state, let alone Louisiana -- can only happen through political will.

In Louisiana, that will appears to be practically nonexistent. Locking up as many people as possible for as long as possible has enriched a few while making everyone else poorer. Public safety comes second to profits.

"You cannot build your way out of it. Very simply, you cannot build your way out of crime," said Secretary of Corrections Jimmy LeBlanc, who supports reducing the incarceration rate and putting more resources into inmate rehabilitation. "It just doesn't work that way. You can't afford it. Nobody can afford that."

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Cindy Chang can be reached at cchang@timespicayune.com or 504.826.3386.

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