Hip hop and spoken word therapy with urban youth

2012 ◽  
Vol 25 (4) ◽  
pp. 219-224 ◽  
Author(s):  
Ian Levy
Keyword(s):  
Urban Youth ◽  
Hip Hop ◽  
Spoken Word

Promoting Academic Literacy with Urban Youth through Engaging Hip-Hop Culture

2002 ◽  
Vol 91 (6) ◽  
pp. 88 ◽  
Author(s):  
Ernest Morrell ◽  
Jeffrey M. R. Duncan-Andrade
Keyword(s):  
Urban Youth ◽  
Hip Hop ◽  
Academic Literacy ◽  
Hip Hop Culture

Creating Spaces for Urban Youth: The Emergence of Culturally Responsive (Hip-Hop) School Leadership and Pedagogy

2013 ◽  
Vol 8 (2) ◽  
Author(s):  
Muhammad Khalifa
Keyword(s):  
Identity Development ◽  
School Leadership ◽  
Urban Youth ◽  
Hip Hop ◽  
Culturally Responsive ◽  
Research Question ◽  
Ethnographic Study ◽  
Social Needs ◽  
Theoretical Frameworks ◽  
Student Identities

AbstractLadson-Billings, Gay and among others have demonstrated the strong need for educational curriculum and practice to respond to the specific academic, cultural, and social needs of culturally unique, minoritized students. This article focuses on culturally responsive leadership practices for students with Hip-Hop identity performatives. This research uses theoretical frameworks from culturally relevant pedagogies and the scholarship that addresses how young students negotiate, perform, and reinvent and reestablish themselves through Hip-Hop culture, literacy, and identity. Such scholarship situates Hip-Hop pedagogies and student identity. This 2-year ethnographic study of an alternative school reports on how a culturally responsive school leader recognized and validated Hip-Hop student identities. Though he was somewhat removed from the Hip-Hop performative himself, the principal was able to create a safe space in which these student identities were able to exist, and in doing so, prevent the visceral impulse toward marginalization and exclusionary practice of Black and Latino Hip-Hop students that so many of his teachers possessed. Thus, the study discusses leadership theory, as it answers the following research question: How can urban school leaders play a role in forging a space for Hip-Hop identity development in the schools they lead? Secondarily it asks – given the tensions and contestations in representations of Hip-Hop music – if they should actually do this, and if so, what are the characteristics of such leadership?

Hip-Hop, the “Obama Effect,” and Urban Science Education

2012 ◽  
Vol 114 (2) ◽  
pp. 1-24 ◽  
Author(s):  
Christopher Emdin ◽  
Okhee Lee
Keyword(s):  
Science Education ◽  
Academic Success ◽  
Urban Youth ◽  
Hip Hop ◽  
Science Classrooms ◽  
Urban Science Education ◽  
Hip Hop Culture ◽  
Urban Science ◽  
Science Educators

Background/Context With the ever increasing diversity of schools, and the persistent need to develop teaching strategies for the students who attend today's urban schools, hip-hop culture has been proposed to be a means through which urban youth can find success in school. As a result, studies of the role of hip-hop in urban education have grown in visibility. Research targeted toward understanding the involvement of urban youth in hip-hop and finding ways to connect them to school often rest primarily on the role of rap lyrics and focus exclusively on language arts and social studies classes. Purpose of the Study The purpose of this article is to move beyond the existing research on science education by utilizing an ongoing study to interrogate hip-hop culture, its relation to the “Obama effect,” and the role of hip-hop culture in creating new possibilities for urban youth in science. The discussion of hip-hop in urban schooling is grounded in the concept of social capital to explain what makes hip-hop youth who they are and how this knowledge can become a tool for supporting their academic success. Specifically, the discussion is based on theoretical constructs related to hip-hop in urban settings, including social networks, identity, and realness and emotional energy. Research Design To explore the complexities of hip-hop and the impact of the artifacts it generates on urban science education, we examined qualitative data illustrating the enactment of hip-hopness or a hip-hop identity in urban science classrooms. Specifically, we examined the “Obama effect” and its connection to hip-hop and science education. Findings The findings indicate that when teachers bring hip-hop into their science instruction, certain markers of interest and involvement that were previously absent from science classrooms become visible. Especially, the examples of the Obama effect in urban high school science classrooms in this article illustrate that science educators can strengthen hip-hop youth's connections to school and science by consistently using the science-related decisions President Obama is making as opportunities to teach science. Conclusions By engaging in a concerted focus on hip-hop culture, science educators can connect urban youth to science in ways that generate a genuine recognition of who they are, an appreciation of their motivation for academic success, and an understanding of how to capitalize on hip-hop culture for their identities as science learners. Such efforts can eventually lead urban youth to become “the best and brightest” in the science classroom and pursue careers in science-related fields.

Knowledge of Self: Possibilities for Spoken Word Poetry, Hip Hop Pedagogy, and “Blackout Poetic Transcription” in Critical Qualitative Research

2020 ◽  
Vol 2 (1) ◽  
pp. 56-82
Author(s):  
Anthony Keith ◽  
Crystal Leigh Endsley
Keyword(s):  
Higher Education ◽  
Qualitative Research ◽  
Hip Hop ◽  
Spoken Word ◽  
Spoken Word Poetry ◽  
Critical Methodology ◽  
Critical Qualitative Research ◽  
Hip Hop Pedagogy ◽  
Poetic Transcription ◽  
Alternative Identities

This article traces the development of Blackout Poetic Transcription (BPT) as a critical methodology for artist-scholars engaged with Hip Hop pedagogy in higher education spaces.  We include Keith’s outline of the BPT method and Endsly’s first hand account of implementing the practice in an undergraduate classroom. Together, the authors grapple with mainstream and alternative identities within their Hip Hop praxis as spoken word artists and educators.

Salinas, Raúl

2020 ◽  
Author(s):  
Louis G. Mendoza
Keyword(s):  
Human Rights ◽  
Latin American ◽  
Hip Hop ◽  
Life Writing ◽  
Spoken Word ◽  
Literary Canon ◽  
Free Verse ◽  
Literary Traditions ◽  
Prisoner Rights ◽  
Literary Output

The poetry, memoirs, essays, letters, prison journalism, and other forms of writing by Raúl Salinas (1934–2008) were grounded in his commitments to social justice and human rights. He was an early pioneer of contemporary Chicano pinto (prisoner) poetry whose work was characterized by a vernacular, bilingual, free verse aesthetics. Alongside other notables like Ricardo Sánchez, Luis Talamentez, Judy Lucero, and Jimmy Santiago Baca, Salinas helped make Chicana and Chicano prisoner rights an integral part of the agenda of the Chicana/o Movement through his writing and activism while incarcerated (1959–1972) and following his release. He was also a prolific prose writer in prison, and much of his journalism, reflective life writing, essays, and letters from his archives were published following his release. As important as his literary and political production in prisons was for establishing his literary recognition, it is important to note that the scope of his writing expands well beyond his prison experience. Though his literary and political interventions were important to a still emergent Chicana and Chicano literary, cultural, and political aesthetic, he was influenced by, but was not limited to, American and Latin American literary traditions. Given the scope of his life’s work, his indigenous and internationalist commitments, Salinas’ literary output make him a Xicanindio (indigenous identified Chicano) poet, a Latino internationalist, as well as a spoken word jazz and hip-hop artist whose work engaged, adapted and transformed elements of the American literary canon.

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