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Wayne State Gocha-Black NEG

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    • Critical Hip Hop Pedagogy
       
      Critical Hip Hop Pedagogy challenges traditional paradigms, while
      providing a framework to challenge systems that reproduce social
      inequality. Their belief that debate is a meritocratic educational
      system derives from a position of privledge.
      Akorn 09 (A. A. Akorn, San Francisco State University, “Critical Hip
      Hop Pedagogy as a Form of Liberatory Praxis, 2009)
      In this article I combine hip hop studies with critical pedagogy to
      introduce a new framework called CHHP. CHHP differs from hip hop
      pedagogy because it simultaneously (1) foregrounds race and racism and
      their intersectionality with other forms of oppression; (2) challenges
      traditional paradigms, texts, and theories used to explain the
      experiences of students of color; (3) centralizes experiential
      knowledge of students of color; (4) emphasizes the commitment to
      social justice; and finally, (5) encourages a transdisciplinary
      approach (Solorzano & Delgado Bernal, 2001). Embedded in this
      framework is a pedagogical approach that uses Freire’s problem-posing
      method and case study research as tools for helping student teachers
      to identity and name the societal and systemic problems students of
      color face, analyze the causes of the problem, and find solutions
      (Smith-Maddox & Solorzano, 2002, p. 80). This framework is important
      precisely because it challenges the role that schools play in
      reproducing social inequality. Schools use “hidden” and “official”
      curricula that promote the hegemony of the dominant class (Apple,
      1990), and embrace pedagogies that devalue the voices and backgrounds
      of urban and suburban students of color (Friere, 1970; McLaren, 2002).
      School cultures and practices encourage students to believe that a
      meritocratic educational system exists, that students are responsible
      for their own failure (Akorn, 2008a, MacLeod, 1987), and that issues
      of racial inequality, hip hop, and social justice are not worthy of
      study inside or outside schools.
      CHHP challenges these assumptions by suggesting that transformative
      education for the poor and disempowered begins with the creation of
      pedagogic spaces where marginalized youth are enabled to gain a
      consciousness of how their own experiences have been shaped by larger
      social institutions. Undoubtedly, it is difficult, however not
      impossible, to change the tacit beliefs, understandings, and world
      views that institutions of “higher learning” often hold toward youth
      of color and low-income youth. However, I contend that by implementing
      CHHP it is possible to increase the space in the curriculum for
      students to unlearn their stereotypical knowledge of race, class,
      gender, sexual orientation, and other axes of social difference while
      analyzing, problem solving, and theorizing what it means to be part of
      a diverse population (Smith-Maddox & Solorzano, 2002)
       
      Hip Hop as a liberatory practice functions within a historical and
      cultural manner that challenges the white education system
      Akorn 09 (A. A. Akorn, San Francisco State University, “Critical Hip
      Hop Pedagogy as a Form of Liberatory Praxis, 2009)
      In trying to make sense of the relationship between hip hop and
      critical pedagogy, I argue that the use of hip hop as a liberatory
      practice is rooted in the long history of the Black freedom struggle
      and the quest for self-determination for oppressed communities around
      the world. As early as the late 1970’s, hip hop artists, such as
      KRS-One, also known as “The Teacher,” criticized the educational
      system, its power, its practices, and its pedagogy. In particular,
      “The Teacher” was concerned about the role of an embedded
      Eurocentricity in the U.S. public school curricula and its impact on
      Black children and youth. In “You Must Learn” (KRS-One, 1989) “The
      Teacher” flows: “It seems to me in a school that’s ebony, African
      history should be pumped up steadily, but it’s not and this has got to
      stop.” In another rhyme that sounds like it is straight out of a Black
      History Class, KRS-One (1989) further elucidates the importance of our
      “real” history:
      No one told you about Benjamin Banneker, a brilliant Black man (who
      created an) almanac... Granville Woods made the walkie talkie, Louis
      Latimer improved on Edison, Charles Drew did a lot for medicine,
      Garret Morgan made the traffic light, Harriet Tubman freed the slaves
      at night.
      By using Critical Hip Hop Pedagogy (CHHP) as a form of literacy for
      freedom, KRS-One paved the way for a younger generation of critical
      hip hop pedagogies. For example, New York Based Hip-Hopers, dead prez,
      draw on Malcolm X, Carter G. Woodson, and other Black freedom fighters
      in “they schools,” while offering a scathing critique of the ways in
      which Black folks remain mentally incarcerated if and when we rely on
      a Eurocentric education system rather than developing curriculum that
      reflects our own culture, history, socioeconomic, and spiritual
      realities (Alridge, 2005). According to dead prez (2000):
      They schools can’t teach us shit. My people need freedom, we trying to
      get all we can get… Tellin’ me white mans lies straight bullshit. They
      schools ain’t teaching us what we need to survive, they schools don’t
      educate, they teach people lies
      Through the use of “imagining”—a term Alridge (2005) describes as “the
      process by which Hip Hoppers reproduce or evoke images, events, people
      and symbols for the purpose of placing past ideas into closer
      proximity to the present” (p.229)—they “they schools” (dead prez,
      2000) video is able to illuminate both symbolic and active forms of
      racism by equating the image of the noose with the ways in which the
      U.S. educational system means a slow death for too many students of
      color (Tatum, 1997)
       
       
      Current structures of education lead us to being passive receptacles
      ready to replicate the current oppressive educational system
       
      Akorn 09 (A. A. Akorn, San Francisco State University, “Critical Hip
      Hop Pedagogy as a Form of Liberatory Praxis, 2009)
      The elements that form the basic core of CHHP draw on YPAR, Freirian
      pedagogy, and critical race theory to challenge racism and other
      intersections of social difference in order to prepare young people to
      be prospective teachers inside and outside of urban and suburban
      schools. Freire’s work, in particular, provides us with the
      foundations for a theory of democratic schooling that is linked to
      serving the most marginalized groups in our society. His critical
      praxis starts from the premise that all education is political, and
      thus schools are never neutral institutions (Smith-Maddox & Solozano,
      2002). Freire (1970) firmly believed that one of the ways that schools
      maintain and reproduce the existing social order is by using the
      “banking method of education” (p.71). This approach often leads to:
      (1) students being viewed as passive receptacles waiting for knowledge
      to be deposited from the teacher, (2) mono-directional pedagogical
      formats whereby students do not feel their thoughts and ideas are
      important enough to warrant a two-way dialogue with teachers;
      (3)”cradle classrooms,” in which students are dependent on teachers
      for the acquisition of knowledge; and (4) students viewing schools as
      key mechanisms in the reproduction of inequality rather than places
      where education is seen as a practice of freedom, a place to build
      critical consciousness, and social mobility (Ginwright &Cammarota,
      2002)
       
       
      Hip Hop helps fight racism by invading the homes of the white youth
      Reid 09 (Shaheem, MTV News ‘Hip-Hop Has Done More Than Any Politician
      To Improve Race Relations.’ March 20, 2009)
      Jay-Z believes the influence that he and his peers have had on society
      goes beyond simply entertaining and showing people fresh new dances,
      the fliest clothes or high-priced luxury items.
      In the new issue of Best Life magazine, the Brooklyn-born mogul speaks
      about the powerful effect hip-hop has had on the country.
      "[Hip-hop] has changed America immensely," He is quoted in the
      magazine as saying. "Hip-hop has done more than any leader,
      politician, or anyone to improve race relations."
      "Racism is taught in the home ... and it's very hard to teach racism
      to a teenager who idolizes, say, Snoop Dogg," Jay continued. "It's
      hard to say, 'That guy is less than you.' The kid is like, 'I like
      that guy, he's cool. How is he less than me?' "
       
       
      Hip Hop is political, MLK was Hip Hop
      Cooper 08 (Barry Michael, Writer, Journalist, and filmmaker,
      Huffington Post, “When Politics Became The New Hip Hop,” October 15,
      2008)
      The definition of Hip Hop has always been a political one: at the
      heart of democracy lies the aorta of free speech. Be it George Orwell,
      V.I. Lenin, Karl Marx, or Donald Oliver Soper shooting the gift (of
      gab) in London at Speaker's Corner of Hyde Park, or KRS-One and Chuck
      D voicing their opposition to Reaganomics and a Dickensian New York in
      the late '80s, or Jay-Z, Puff, and Kanye describing theirBrave Rich
      World from Gulfstream-V windows 40,000 feet above Monaco in rhythmic
      iambic pentameter, Hip Hop is the vox of the common man speaking to
      power.
      FDR was Hip Hop: "There is nothing to fear but fear itself."
      MLK was Hip Hop: "I have a dream that my four little children will one
      day live in a nation where they will not be judged by the color of
      their skin but by the content of their character."
      JFK was Hip Hop: "And so my fellow Americans: ask not what your
      country can do for you - ask what you can do for your country."
       
      A2: Hip Hop Bad
       
      They look at Hip Hop through a lens of homogeneity. Not all hip hop is
      bad, it can be revolutionary
      Akorn 09 (A. A. Akorn, San Francisco State University, “Critical Hip
      Hop Pedagogy as a Form of Liberatory Praxis, 2009)
      Even though for generations Black people have successfully undertaken
      the task of educating our own children and youth, teachers in the late
      twentieth and early twenty-first century have been slow to critically
      engage with hip hop as a viable discursive space full of liberatory
      potential. I am not suggesting that all forms of hip hop are
      emancipatory, revolutionary, or even resistive—many forms are not—and
      some are quite the opposite. However, I am suggesting that given the
      long history of socio-political conscious hip hop as a tool for
      illuminating problems of poverty, police brutality, patriarchy,
      misogyny, incarceration, racial discrimination, as well as love, hope
      joy—academic institution’s under-utilization of hip hop’s liberatory
      potential in the classroom is surprising.
       
       

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