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Decoding the Switch

A series of programs exploring practices of code-switching and the ethics of borrowing, performing and appropriating cultural codes

Values


Fields of Knowledge
  • Aesthetics / Media
  • Politics / Economics
  • Public culture
  • Social Justice

Organizing Institutions

Slought, Annenberg School for Communication and the School of Social Policy and Practice at the University of Pennsylvania

Organizers

Sharrona Pearl, Aaron Levy

Process initiated

10/08/2015

Opens to public

12/16/2015

Slought is pleased to announce "Decoding the Switch," a series of events, conversations, and exhibitions exploring practices of code-switching and the ethics of borrowing, performing and appropriating the cultural codes of others.

To switch codes, originally, meant to shift from one language system or dialect to another, sometimes even in the same conversation. Now the term is used to describe everything from transethnicity to radicalization, encompassing strategic and tacit performances and transgressions of race, sexuality, and identity alongside the rules governing professional and social behavior. As we begin this project, we ask: does the widespread use of this term evacuate the politics from these different contexts, framing all shifting of codes to be the same?

Our project thus seeks to interrogate both practices of code-switching and the use of the term itself. Through a series of public programs we will focus on particular examples of code-switching as a way to conceptualize and situate the performance of identity. Even as we turn to specific practices, we ask broader questions about the nature of code-switching and the ways in which it can reinforce and/or destabilize power-dynamics and social hierarchy. Code-switching can be at once escape and survival, strategic and performative, necessary and elective, deliberate and accidental.

Code-switching may also be invisible. To decode the code, one may need to know the code. Which causes us to wonder, as part of our own reflexive practice as organizers: can code always be revealed? Should all codes be decoded and crossed? Ought some codes to remain secret? With these questions in mind, we will consider the ethics and politics of coded and decoded behavior and raise questions concerning the borrowing, performing and appropriating of cultural codes at a moment when more and more of these practices are being interrogated and exposed.

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Codes are part of community. As discourses of racial tension and the assignment of difference overtake code-switching as a linguistic practice, the valence of coded communities has itself shifted.

In our exploration, we wish to emphasize the value of codes, even as we explore fantasies of trans-utopian futures in which difference has been universalized and codes rendered obsolete. We turn to scholars, activists, and artists who defend and protect their codes, as part of their challenge to the conditions in which some codes become tactics of resistance and survival.

Further resources

Code Switch: Frontiers of Race, Culture and Ethnicity (NPR)
http://www.npr.org/sections/codeswitch/

"You find the conquered mixing, cutting, folding, and flipping the ways of the conqueror into something that he barely recognizes and yet finds oddly compelling. [...]

The phrase 'code-switching' is overdone, but there is no cultural code from which all white people can 'switch' from. It's not even a code. It's just the world. "

-- Ta-Nehisi Coates

"Cultural identity [...] is a matter of 'becoming' as well as 'being.' It belongs to the future as much as to the past. It is not something which already exists, transcending place, time, history and culture. Cultural identities come from somewhere, have histories. But like everything which is historical, they undergo constant transformation. Far from being eternally fixed in some essentialized past, they are subject to the continuous 'play' of history, culture and power. Far from being grounded in mere 'recovery' of the past, which is waiting to be found, and which when found, will secure our sense of ourselves into eternity, identities are the names we give to the different ways we are positioned by, and position ourselves within, the narratives of the past.

[...] The ways in which black people, black experiences, were positioned and subject-ed in the dominant regimes of representation were the effects of a critical exercise of cultural power and normalization. Not only [...] were we constructed as different and other within the categories of knowledge of the West by those regimes. They had the power to make us see and experience ourselves as 'Other.' -- Stuart Hall, Cultural Identity and Diaspora