WEBVTT

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KAREN: So what does it mean
to be truly authentic,

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and how does this idea
of authenticity impact

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what it means to be
whole or personhood?

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And so, like, looking at
yourself, how do you identify,

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and how is your identity
your chosen identity

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based on your conceptualization
of what it means

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to be authentically something?

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Does, like, how you
define authenticity

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and your relationship to
authenticity impact how

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you choose to identify?

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RACHEL: And sort of as an extension
of this-- and these kind of

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go together.

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That's why we're
saying them together.

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Do the languages, or does
the language that you speak,

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or that your
ancestors spoke affect

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this concept of authenticity?

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So if you're the son of someone
whose parents spoke a language,

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but you don't speak it, do
you feel less authentic,

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or does it make you feel more
authentic in some manner?

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Or are there linguistic
discourses of power

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that affect how you
perceive the roles

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that the languages that you
speak or that of your ancestors

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spoke affect your
choice of identity--

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and how authenticity of my
language plays a role in it?

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KAREN: Should we present
the second question?

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MICHEL DEGRAFF: I think we
should start answering, right?

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So thank you so much.

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AUDIENCE: I guess I don't
mind answering first.

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So I guess the first thing--

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so I'll answer one and two,
but I'll start with two,

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because this is something
that I always think about--

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is the fact that I don't speak
Spanish makes me less authentic

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in whatever Hispanic or
Mexican identity I have,

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because I'm not able--

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I feel like I wasn't
allowed to identify

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with the Hispanic or
Mexican community,

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because I didn't speak Spanish.

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And like, you
know, growing up, I

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guess it was different
for my mother.

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It didn't matter to her, and
I guess at that timeframe,

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you know, whatever
the population-- like,

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Spanish is becoming a very
profound language in the US,

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and so, like, maybe
during my mother's time

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there weren't a whole lot
of Spanish speakers, so,

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like, for her, it didn't matter.

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And like, my
grandmother growing up,

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it was, like, not
OK for her to speak,

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and so I feel like it's
different for my mother

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because she doesn't care.

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Honestly, I don't know how
I should ask my mom how

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she identifies with herself,
but it's very different

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because, for me, I do feel like
that was important whereas it

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wasn't important for her.

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And I still don't feel authentic
in my Hispanic or Mexican

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identity, because I don't
speak the language--

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and that maybe, in some
ways, speaking the language

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would allow me to
identify more with,

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like, the culture, because
I feel like it's important.

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And then I guess,
overall, authentic,

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I honestly hate thinking
of it like that,

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because I am so
un-authentic then,

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because I'm African-American,
I'm white, and I'm Hispanic,

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and nobody considers me
authentic because it's like,

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how can you be
authentic if being--

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I feel like being
authentic, in this way,

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means, like, having to
identify specifically

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with one or another, and you
can't authentically be all--

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you can't be more than one.

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I don't know if
that makes sense.

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And I guess for me, it's
just like my identity,

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I just have to pick and choose
what I liked, what was OK,

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and some of it has
been imposed on me.

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There are aspects of my identity
that I didn't get to choose

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and that I'm trying to change,
because like now feeling woke,

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I guess, and learning about
different aspects of my culture

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and history regarding
whatever it may be,

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I feel like I'm trying to
change aspects of my identity

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that were not--

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yeah, I hope those
answered your questions.

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I got really flustered, because
there's this camera over here.

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Normally, it wouldn't
matter, but yeah--

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so I hope that
answers your question.

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MICHEL DEGRAFF: So let me make a
note-- let me make a note here,

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because I think you've
mentioned the camera.

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But this is not live,
which means that--

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AUDIENCE: It doesn't matter.

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MICHEL DEGRAFF:
No, with whatever

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you decide that you don't want
to be going to the billions

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will be moved, OK?

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AUDIENCE: No, I
wouldn't do that.

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MICHEL DEGRAFF: OK, so I want
you to feel totally comfortable

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that if you say
anything that you feel

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should stay in the class here--

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I think it's OK.

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We'll just-- we'll just
edit it and make sure that--

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AUDIENCE: No, it's
not that about.

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It's just--

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AUDIENCE: Beyond having it, OK.

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AUDIENCE: It's the
idea somebody out

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there would end up watching
and listening to what I say.

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MICHEL DEGRAFF: But
one thing that you

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have to think about, too--

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I mean, which is
actually key, so there

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are lots of other folks, you
know, even younger than you.

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At least, you can step
back, and as you've just

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said-- you said, OK, now
I need to remove that

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from my identity.

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I need to make this choice.

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I need to think about what
was imposed to myself.

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We see that-- how many people
don't have this capacity

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to actually step back and self
analyze the way you just did,

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you see?

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AUDIENCE: I like
to analyze myself.

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MICHEL DEGRAFF: Yeah,
but that's something

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that you're sharing
with other people that

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might help them a lot, you
know, because it frees you

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to be able to do that, right?

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AUDIENCE: Sometimes.

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MICHEL DEGRAFF: It's a
path to freedom in a way--

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self-liberation, yeah.

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AUDIENCE: I think I also feel
constraining at the same time,

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because it's so hard to--

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because I think like some
of the things-- like,

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some of these things are
so ingrained into society

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and for different people--

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like, how you see
yourself in the world.

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And it's really hard
to change perception.

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For instance, I have talked
about this, but like,

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hair, African-American
hair, and trying

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to change my perception
of African-American hair

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relates in some ways to changing
perceptions of my own identity

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because they're related,
if that makes sense?

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Yeah, other people can--

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AUDIENCE: I guess I don't know.

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I think it's, like, kind
of unfair not for you guys

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because we all do it, but
it's unfair to to use the word

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authentic when referring
to something like identity,

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or culture, or a group of
people, because it's like--

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I mean, I don't think
it was a word that

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was intended for a person.

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It's very much like one
of those adjectives that's

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for inanimate objects, you know?

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It's like for things
that don't have--

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AUDIENCE: Gold.

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AUDIENCE: Yeah like gold,
like authentic, like something

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that you can define.

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Like, OK, if something's
authentically gold,

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that means it's 100% gold.

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But you can't put
bounds on things

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like people, and cultures,
and identities to the point

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where you have a
concrete definition,

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because no person's ever going
to get that perfect definition.

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MICHEL DEGRAFF: But it has
always been the tendency

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to try to quantize these--

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so you mentioned gold, right.

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So in the history of Haiti,
there was this famous French--

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she was Creole French,
meaning that she

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was of French ancestry, but
he was born in the Caribbean.

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His name was [INAUDIBLE],, and
he added one chapter where he

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created this calculus of--

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he could compute 128 parts
of black versus white.

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So he had this calculus of if
you half black, half white,

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then you're mulatto.

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If you're quarter black
with three quarters white,

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then you're Quadroon.

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And he had terms.

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He had adjectives--
talking about adjectives--

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he had adjectivves for
each of these categories,

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but how do you compute that?

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How can you look at someone and
decide that they are 128 black

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versus the rest, white?

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But there was this
strong belief somebody

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that you could do
that, and that actually

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each of these
partitions would define

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[INAUDIBLE] biological reasons.

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But if you were half
black, half white,

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you would behave
like this, or you

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would have physical
properties from these lines.

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But if you were one quarter
white and three quarters black,

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then you could predict what
your behavior and your physique

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would actually look like.

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Think of Jim Crow in the US,
so one drop of black blood--

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one drop of black blood would
make you non-white, right?

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But it's good to have people
to think of it in these terms

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and try to remove ourself
from this cognition.

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AUDIENCE: So I guess what
I'm thinking about is--

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I remember you told this story
early in the semester about

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how there are these
documentarians from New

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York who came to do
interviews with you--

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MICHEL DEGRAFF: That's right.

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I was thinking of that, yeah.

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AUDIENCE: --and they
felt bad because the idea

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that, like, they were
less Haitian for not

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speaking Haitian creole.

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So I agree that the
idea of authenticity

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implies that there is
this paradigm-like way

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to be an identity,
but so I don't know.

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Like, it's not clear to me--

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it seems possible that, like,
the paradigm Haitian does speak

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Creole, though I don't know.

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I wonder about that.

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AUDIENCE: I also feel like that
I agree with that statement.

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However I feel that
maybe in the future

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it won't be a possible paradigm
just because of migration

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and the fact that there can
be a Haitian who is, like,

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three generations away from
that parent that was Haitian,

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and they're still allowed
to say that they're Haitian.

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They don't speak Creole.

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They may be, I don't know,
have whatever you can

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define as the paradigm Haitian.

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So I guess for now that
might be a true statement

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to a certain extent,
but I don't think that--

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but I think that that was the
point of the concept of us

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and authenticity.

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MICHEL DEGRAFF: And we still got
to mention Achebe and Wachongo,

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right, because they had the
whole debate about what's

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authentic African rights, right?

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And that was actually
part of bigger constraints

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where they were debating
what makes them authentic.

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AUDIENCE: Yeah. but the problem
is like the line drawing.

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Like, oh, you're
not a real Haitian.

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MICHEL DEGRAFF: Yeah, yeah.

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AUDIENCE: I guess one
thing I could add here

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is like, a lot of your examples
were, like, mixing authenticity

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for, like, different
cultures and that

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not being authentic any more.

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But one thing I really liked
that you guys brought up

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was the idea of, like, tracks--

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and especially what
he said about India,

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where when you think
of India, there's

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this one thing you can think
of, whether it's like the food

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or like the culture.

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And that's like
very north Indian.

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Like, I come from south India,
and if I like-- as I came here,

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I chose to be more Indian.

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Like, I got more involved
on clubs on campus and stuff

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like that, but like--

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and the Indian I'm
becoming is very

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different than my
actual heritage.

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MICHEL DEGRAFF: Yeah--

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AUDIENCE: Yeah.

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So I have all these
connections on like cultures

00:11:19.345 --> 00:11:22.782
that I think I'm getting,
but it's actually not

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really connected to
my family at all.

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And I guess that's partially
because I don't speak

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the language that they
have, so none of my culture

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came from, like,
my family really.

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But also by not speaking that
language, like, everything

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about my culture from
home whether it's

00:11:41.233 --> 00:11:43.636
religion or anything
like that, it's

00:11:43.636 --> 00:11:44.904
kind of very separated from me.

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So I guess I kind
of understand it,

00:11:47.173 --> 00:11:49.442
but I don't really understand
the roots of most of it.

00:11:49.442 --> 00:11:52.111
Whereas everything here that
I'm leaning, I'm like, oh, OK.

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Like, this makes sense, and
this is what everyone does.

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I mean, to be like
an Indian in America.

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MICHEL DEGRAFF: OK.

00:11:58.350 --> 00:12:00.319
So I think that that goes
back to your question,

00:12:00.319 --> 00:12:02.722
because if you
think of who is now

00:12:02.722 --> 00:12:07.827
one of the best known Haitian
writers, Edwidge Danticat,

00:12:07.827 --> 00:12:10.262
that we've read in this
class, and in which--

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OK, she was in Haiti until
age 12, and then at age 12,

00:12:13.199 --> 00:12:16.402
she came to Brooklyn,
New York, and now she's

00:12:16.402 --> 00:12:17.803
one of the best Haitian writers.

00:12:17.803 --> 00:12:20.806
And she sees herself
as Haitian, you see?

00:12:20.806 --> 00:12:23.943
And she speaks Creole, but
she doesn't write in Creole.

00:12:23.943 --> 00:12:26.645
All of the text that she
has become famous for,

00:12:26.645 --> 00:12:28.514
they are English texts.

00:12:28.514 --> 00:12:30.216
But for me, when I
read Edwidge Danticat,

00:12:30.216 --> 00:12:33.319
as we did here in the
class, I hear Haiti,

00:12:33.319 --> 00:12:35.521
I see Haiti, I feel
Haiti, because she's

00:12:35.521 --> 00:12:38.924
managed to write as a
Haitian although she

00:12:38.924 --> 00:12:40.793
didn't speak Creole.

00:12:40.793 --> 00:12:46.365
And as she does, she's also
become a very powerful woman.

00:12:46.365 --> 00:12:49.535
Another case is
Wyclef Jean, right?

00:12:49.535 --> 00:12:52.505
You guys know this hip
hop artist, Wyclef?

00:12:52.505 --> 00:12:54.907
So Wyclef has done
so much for Haiti.

00:12:54.907 --> 00:13:00.946
In fact, at some point, even
was to be Haitian president,

00:13:00.946 --> 00:13:01.981
and he was--

00:13:01.981 --> 00:13:03.682
actually, that's a
good story, because he

00:13:03.682 --> 00:13:06.252
was excluded from running
because he was not

00:13:06.252 --> 00:13:07.386
Haitian enough legally.

00:13:07.386 --> 00:13:09.121
He had spent too much
time out of Haiti.

00:13:09.121 --> 00:13:13.793
But yet, he's one of the best
known Haitians in the world

00:13:13.793 --> 00:13:17.429
today, Wyclef Jean, because
a major hip hop artist,

00:13:17.429 --> 00:13:19.932
and he sings mostly in
English, but he also

00:13:19.932 --> 00:13:22.434
has some songs in Creole
actually to remind people

00:13:22.434 --> 00:13:23.569
that he is Haitian.

00:13:23.569 --> 00:13:25.805
And always, when he sings--
when he goes to a concert,

00:13:25.805 --> 00:13:28.674
he wrap himself up
with the Haitian flag,

00:13:28.674 --> 00:13:34.013
so he's very pro-Haitian without
having the full inventory

00:13:34.013 --> 00:13:36.248
of what defines Haitianes

00:13:36.248 --> 00:13:38.784
So I think I like watching this
person show's-- the idea that

00:13:38.784 --> 00:13:42.254
you can create your own
identity even in America,

00:13:42.254 --> 00:13:44.123
and that's what an
identity should do for it.

00:13:44.123 --> 00:13:45.324
It should be an asset.

00:13:45.324 --> 00:13:48.360
It should be a tool for us
[INAUDIBLE] the world, not

00:13:48.360 --> 00:13:49.962
something that we
need to hold as fact.

00:13:49.962 --> 00:13:51.664
And if you look at the
literature on stereotype

00:13:51.664 --> 00:13:53.399
threat, that's the
way it was actually,

00:13:53.399 --> 00:13:56.502
so people were being hindered
in their performance because

00:13:56.502 --> 00:13:57.536
of identity.

00:13:57.536 --> 00:14:00.306
It was because of them being
put in a box because of that.

00:14:00.306 --> 00:14:02.708
You see what you guys all
think that, well, we can use it

00:14:02.708 --> 00:14:05.544
in a way, like what you said,
it would me to create my own

00:14:05.544 --> 00:14:07.980
and be powerful with it
and be happy with it.

00:14:07.980 --> 00:14:10.816
You see, now, it's other
people who put me in the box.

00:14:10.816 --> 00:14:16.055
And I think that's what we
should think about when people

00:14:16.055 --> 00:14:17.790
are imposing on us
to actually described

00:14:17.790 --> 00:14:21.026
as moving between
imposed identities

00:14:21.026 --> 00:14:23.762
that they want to pull
yourself away from,

00:14:23.762 --> 00:14:26.131
and eventually if you do
that, well, you become

00:14:26.131 --> 00:14:28.000
happier, right, hopefully?

00:14:28.000 --> 00:14:29.969
AUDIENCE: Hopefully.