The M.A. Educational Transformation and the Program in Education, Inquiry & Justice invite you to a series on Historicizing the Anti-“CRT” Movement: Implications for Teaching, Policy, and Resistance featuring Dr. Noreen Naseem Rodríguez (University of Colorado Boulder) and Dr. LaGarrett King (University at Buffalo). Friday, March 25, 5:00pm-6:30pm ET White Gravenor 206 Georgetown University This […]
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Published 1:00 PM Top: Jalen Arthur, Liam Archer, Will Hammond; Bottom: Afua Nyantakyi, Glen Waters, Kendall Bryant Illustration by Max Zhang
To call the present moment in pop culture a “renaissance in Black art” would be a given. On silver screens and through radio waves, between stanzas, and, yes, in even TikTok shorts, Black artists are and always have been cultural vanguards, even while powerful institutions have failed to paythemproper dues. In a year stocked with violence, loss, and grief, Black art has been a lightning rod for joy and mourning alike.
At Georgetown, too, the Black creative community thrives on, producing vibrant art on a campus much more designed for white consultants than Black artists. As singers, actors, poets, dancers, rappers, writers, or something else entirely, these creatives have developed unforgettable, heartful work.
Only 26 Georgetown students are taking a class on Indigenous people this semester. Of the over 6,000 undergraduates attending Georgetown, that’s only four thousandths of a percent.
That’s how many students are enrolled in PHIL 156, Intro to Indigenous Philosophy, the lone three-credit course on Indigeneity being offered this semester. Sure, other professors could bring in discussions about Indigenous people into their curriculum but they aren’t required to. And if a student is hoping to go to some department-sponsored events and learn on their own time, that might be a bit challenging as Georgetown has no formal Native or Indigenous studies program.