Over the past several decades, writing center scholarship has evolved to include multiple theories and pedagogies that led to widely used best practices. As is the case in many disciplines, often writing centers at large, research PWIs are most often cited and highlighted within the scholarship. While many of those readings do offer helpful strategies for working with students at all levels, often they do not account for the unique contexts and diverse student populations that make up many HBCUs. As a result, more research from a variety of writing centers is needed so practitioners see there are multiple ways to operate a successful center and facilitate effective sessions. These authors begin by describing their student population and the HBCU learning environment. They then articulate three specific strategies, many of which directly oppose current mainstream practices, implemented in their writing center that influenced their policies and procedures. Lastly, they explore larger implications for these findings, for they believe aspects of these practices, all with traditions deeply rooted in the often-undervalued affective components of literacy instruction at HBCUs, will advance ideas in the field and ultimately be helpful for staff and students in all writing center contexts.

In this article, we argue that HBCU composition faculty members impact the composition field through our innovative and unorthodox tactics that we label cross-boundary discourse, discursive homeplacing, and safe harboring. Our goal is to show that HBCUs are unique sites of inquiry and poised to be at the forefront of conversations about race and writing because of our institutional contexts and the student populations with whom we work each day.

Abstract Why do conversations regarding students’ right to their own language and antiracism in the writing center still invite insults and agitation? After all, these struggles for students’ rights to self-determination and their own language in composition are far from new. The narratives present within this writing move beyond mere analysis of how and why established institutions attempt to control, and, rather, put Laura Micciche’s theories of emotion and performance to the test. When teaching tutor training, readings regarding students' right to their own language and race potentially cause conflict and can, at least at first, elicit strong emotional responses. This article explores the value of such early emotional reactions to these readings. Can the tutors’ emotional performances, both in action and voice, eventually help to bring attention to, or subvert the backlash and attacks antiracism rhetoric tends to invite? Within its pages, Micciche’s Doing Emotion: Rhetoric, Writing, Teaching suggests that we perform emotional appeals rather than simply make them. Through performance, she claims, we present emotion, not as something that resides in people to be shared or withheld, but as encounters between people. This article’s narrative “reenactments,” then, are set to reveal the fears and desires behind the resistance I’ve both witnessed and encountered all while promoting what I deem to be a necessity for emotional performance in antiracism and writing center work.