Slam School: Learning Through Conflict in the Hip-Hop and Spoken Word Classroom by Bronwen E. Low

2013 ◽  
Vol 8 (1) ◽  
pp. 117-120
Author(s):  
Amanda Fields
Keyword(s):  
Hip Hop ◽  
Spoken Word ◽  
School Learning

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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