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We acknowledge the Kaurna people – the traditional owners of

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Daniel Bousfield

on 5 November 2016

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Transcript of We acknowledge the Kaurna people – the traditional owners of

Rap Culture & Curriculum
We acknowledge the Kaurna people – the traditional owners of the lands and waters where the city of Adelaide has been built.

Tarndanyunga Kaurna Yerta

This is an expression of respect and we view any acknowledgement as a significant and symbolic marker of cultural protocol.

Kaurna-miyrna, Kaurna-yarta, ngadlu tampinthi
How can the popular
culture of rap and hip hop be
used to critique Indigenous
The emergence of rapping provides the opportunity to respond to ‘white’ appropriation of the 60’s and 70’s black forums and agencies for collectives participation of black communities to reaffirm their blackness and to give new voice to the issues of poverty, racism, unemployment, police brutality, high suicide and imprisonment rates and a sense of inequality and social justice and dysfunction (Szwed, 1990; Kitwana, 2002; Dyson, 1996, 2003).
SACSA Framework:
How does it Fit?
• Critical interpretation- texts feature global and local issues
• Application – writing about global and local issues

• Analysis – of situations regarding human rights
• Action – counter oppression in the community
The Rap Up
• Relevant
• Engaging
• Culturally significant
• Effective

Rap Curriculum is:
The Australian Curriculum Studies Association (2005) defines curriculum as: The product of social, historical, political and economic forces involving interpretation, representation and assessment of culturally based knowledge, skills and values. (p. 3)

• White, C. (2009). "Rapper on a rampage": theorising the political significance of Aboriginal Australian Hip Hop and Reggae, Transforming Cultures e-Journal, vol. 4, no. 1, pp. 108-130.

• Stavrias, G. (2005). "Droppin'Conscious Beats and Flows: Aboriginal Hip Hop and Youth Identity." Australian Aboriginal Studies(2): 44.

• Mitchell, T. (2006). Blackfellas rapping, breaking and writing: A short history of Aboriginal hip hop. Aboriginal History, 30, 124.

• McCall, N. (1997). What's going on. New York: Vintage Books.

• Maddox, G. (2009). “Ridgy-didge rappers connect with their culture” The Sydney Morning Herald. http://www.smh.com.au/entertainment/music/ridgydidge-rappers-connect-with-their-culture-20100218-oh8h.html

• Blanch, F. R. (2011). Young Nunga males at play and playing up: the look and the talk. Discourse: Studies in the Cultural Politics of Education, 32(1), 99-112

• SACSA. (n.d.). Retrieved September 4, 2014, from http://www.sacsa.sa.edu.au/index_fsrc.asp?t=HOME

• http://cdn.theatlantic.com/static/mt/assets/food/Prejudice-Post.jpg


• Students engage in ‘group’ reading, viewing, analysing and interpretation of ‘rap’
• Creates even groups
• Provide handouts for each group
• Explain what is required of students for example making connections with the text ‘rap’
• Play Wire MC – ‘Words from the city’ YouTube clip
• Give students ideas of what they should look for; for instance, focus on theme, beliefs, culture, language etc.
• In groups discuss the video and make comments on handout provided.
Teaching cues:
• Encourage students’ to have a go
• Don’t be afraid to write down ideas that come to mind even if they are not answering the questions, keeping in mind the task.
• Collaborating together
• Go around to groups and see how they are going. Provide additional ideas and guidance.
• As a class go through each groups handout answers
Making connections with meaningful text 'rap' (lesson 1)
Lesson Plans
Full transcript