A Quote by John McWhorter

The contribution of West African languages to Ebonics is absolutely infinitesimal. What it actually is is a very interesting hybrid of regional dialects of Great Britain that slaves in America were exposed to because they often worked alongside the indentured servants who spoke those dialects that we often learn about in school.
Language is so specific to art, all the way to the past in China. Previously, people were not allowed to include various regional dialects in their films, but in every film that I've made, I've maintained the regional dialects of the characters because I wanted to make films that were locally specific.
To that class we may leave it to refine the vernacular dialects of the country, to enrich those dialects with terms of science borrowed from the Western nomenclature, and to render them by degrees fit vehicles for conveying knowledge to the great mass of the population.
I love learning about different dialects and I own all sorts of regional and time-period slang dictionaries. I often browse through relevant ones while writing a story. I also read a lot of diaries and oral histories.
The thing people have to remember is there's nothing natural about racism as it exists in America. I mean, we know this historically. We can look at 1619, when Africans first came here, and how early African slaves intermixed pretty indiscriminately with indentured white servants.
I'm from Connecticut, and we don't have any dialects. Well, I don't think we have any dialects, and yeah, it's very complex. That Rhode Island/Massachusetts New England region is arguably the hardest dialect to nail.
The places I come from have such rich languages, such a variety of expression. In Sierra Leone we have about fifteen languages and three dialects. I grew up speaking about seven of them.
I am very good with dialects, but the two that I can't do for some reason are the South African and Australian.
Writing in African languages became a topic of discussion in conferences, in schools, in classrooms; the issue is always being raised - so it's no longer "in the closet," as it were. It's part of the discussion going on about the future of African literature. The same questions are there in Native American languages, they're there in native Canadian languages, they're there is some marginalized European languages, like say, Irish. So what I thought was just an African problem or issue is actually a global phenomenon about relationships of power between languages and cultures.
Contrary to conventional wisdom, dance is not a universal 'language' but many languages and dialects. There are close to 6000 verbal languages, and probably that many dance languages.
I think dialects should be left alone. People should write in whatever dialect they feel they want to write. In the fullness of time, these dialects will sort themselves out.
Ebonics - or black English, as I prefer to call it - is one of a great many dialects of English. And so English comes in a great many varieties, and black English is one of them.
As a nation we love our dialects, and there is a lot of regional variance in the names for different foods - barmcake, bap or bun anyone?
Everywhere the sky is blue. There are a multitude of cuisines and dishes. I think of them as the languages and dialects of food.
Poetry must find ways of breaking distance.... all languages are dialects that are made to break new grounds.
In college, I went to school for acting; we had to learn phonetics just to be able to do dialects and all that stuff. I'm somebody who does better just hearing it. I'll just imitate it, and I get it better that way. When I know too much information, I'm not great.
I like playing with languages and dialects as we have so many in India. Adding a dialect just makes the dialogues more colorful.
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