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Hip Hop as Critical Pedagogy Final
Transcript of Hip Hop as Critical Pedagogy Final
2. Why Hip Hop and Education?
3. How: inside the curriculum and pedagogy
4. Reflections & Implications
Hip Hop as Critical Pedagogy
the Hip Hop Curriculum Project
Hip Hop Curriculum
Set it Off
into Hip Hop Curriculum
March 4, 2013
In the Mix
March 25, 2013
Lesson Plan Template
Core Writer Support
Rip the Show
April 8, 2013
Bang it Out
May 5, 2013
Model (They Schools)
The Main Gig
May 6, 2013
Experiencing the Lessons
From Rhymes to Re-Education
1. Hip Hop is
2. Hip Hop pedagogy will likely continue to
3. Hip Hop pedagogy can increase student
(Akom, 2009; Hall, 2009; Hill, 2009; San Vicente, 2006; Stovall, 2006).
4. Hip Hop is
(Akom, 2009, pg.56).
5. Hip Hop culture has
(De Leon, 2004, pg.1).
6. Critical Hip Hop exposes and
7. Hip Hop is
8. Hip Hop is a universal
(Bridges, 2009, p.170).
9. Hip Hop is
(Bridges, 2011, pg. 327).
10. Hip Hop is a form of social
activism and resistance
Bridges, 2011, pg. 327).
• School-based educators
• Community-based educators
• Graphic designers
• MCs/Spoken word artists
• Music producers
• Youth counselors
• School board central staff
EAW TDSB TARO
Hip Hop is...
5. Beat Boxing
6. Street Fashion
7. Street Language
8. Street Knowledge
9. Street Entrepreneurialism
About the project
Hip Hop as Critical Pedagogy
Hip Hop 101
Why we love what we love
Why people love hip hop
Questions for Consideration:
1. What is the goal of the activity from your perspective?
2. What do you like about the activity?
3. What do you not like, or what questions or concerns (e.g. What might be missing?) do you have about the activity?
4. What work might you do before, during, and after the activity to make it as effective as possible in your context?
5. How might you incorporate this activity, as is or modified, in your work with young people?
Hip Hop Pedagogy
Hip Hop Curriculum:
K - 12
24 plus lessons/activities
about/through hip hop
educator audience: community-based and school-based educators
anti-oppressive (explores themes of identity, power and resistance)
Alison Gaymes San Vicente
Rugged (Ramon San Vicente)
Yelly (Danielle Koehler)
Inside the lessons
How has Hip Hop shaped your journey?
People say we have the same faces
I miss you so much, I wish that we could trade places
All you gotta do is keep yourself in check
You’d rather sell drugs, what’s the next step, I hope it ain’t dead
That’s the reason why you should stop rockin’ the red
You gotta stop it
Don’t even rock it, don’t put it in your pockets
Your head or your waist, cause what if a bullet passes your head
That’ll be the thing that made you die
Every time I think of you it brings tears to my eyes
Got me sayin’ why all my people gotta die
You said that you would always be by my side but now you’re not here
All that does is bring anger and rage, make me feel like doing something
To any crip that comes in my face, bust his life
Writin’ this to you in case you don’t make it tonight
Or could it be you got shot over a fight
Or you got stabbed with a knife, only God knows
Got killed cause a bandanna and the colour of your clothes
You’re laughin’ but you need to think about it though
Don't Rock It
Let's get Started
Identity Power Resistance
Sojourner San Vicente
Ramon San Vicente
"Education either functions as an instrument which is used to facilitate integration of the younger generation into the logic of the present system and bring about conformity, or it becomes the practice of freedom, the means by which men and women deal critically and creatively with reality and discover how to participate in the transformation of their world."
Paula Freire, Pedagogy of the Oppressed
It involves teaching about Hip Hop, as well as utilizing various aspects of Hip Hop culture (e.g. music, dance, graffiti art, fashion, entrepreneurship, etc.) as a means of engaging young people, speaking to their lived experiences, and providing opportunities for them to talk back to the dominant narrative.