Citation

Hip Hop Pedagogy: Towards a Critical Social Praxis

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Abstract:

This presentation will discuss the significance of Hip Hop as an educational resource. It will be grounded in Asa Hilliard’s discourse on the formal and informal context of socialization, which emphasizes the dual role of schools and society in shaping one’s consciousness. As such one can examine the dynamic utility of Hip Hop within both the formal and informal domains of knowledge production, worldview, and social engagement.

This exploration will be dichotomized into domains. First is the expression of socially conscious Hip Hop in Chicago. This sub genre of Hip Hop has positioned itself as a social critique and commentary, a platform for political education/counter-narrative, and also as a dynamic and unorthodox artistic endeavor. Hence I will demonstrate the manifestations of Chicago Hip Hop as a grassroots and organic political discourse, one that is simultaneously critical and instructive.

The second theme of this presentation is the relevance of Hip Hop with regards to education. The utility of Hip Hop as a pedagogical instrument requires greater exploration and clarification. Herein, I will draw upon my subjective experience as a Hip Hop workshop facilitator from 2001-2004. During this time period I facilitated several workshops on the South of Side of Chicago and in Central Illinois that covered a cross-section of themes. These included the history and political-economy of Hip Hop, the four elements of Hip Hop, the recording industry and the exploitation of recording artists, and the challenges and benefits of independent artistry. This session will draw upon this work and other areas of my teaching experience that are conceptually relevant with the goal of demonstrating the varied ways in which Hip Hop can inform the act of critical instruction.

Lastly, this presentation will demonstrate the dynamic spatial, instructional, and conceptual modalities of social justice education. With regards to Hip Hop it will convey the numerous ways via which art, politics, and community socialization intersect.
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Association:
Name: 33rd Annual National Council for Black Studies
URL:
http://www.ncbsonline.org


Citation:
URL: http://citation.allacademic.com/meta/p329154_index.html
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MLA Citation:

Rashid, Kamau. "Hip Hop Pedagogy: Towards a Critical Social Praxis" Paper presented at the annual meeting of the 33rd Annual National Council for Black Studies, Renaissance Atlanta Hotel Downtown, Atlanta, GA, <Not Available>. 2014-11-30 <http://citation.allacademic.com/meta/p329154_index.html>

APA Citation:

Rashid, K. "Hip Hop Pedagogy: Towards a Critical Social Praxis" Paper presented at the annual meeting of the 33rd Annual National Council for Black Studies, Renaissance Atlanta Hotel Downtown, Atlanta, GA <Not Available>. 2014-11-30 from http://citation.allacademic.com/meta/p329154_index.html

Publication Type: Panelist Abstract
Abstract: This presentation will discuss the significance of Hip Hop as an educational resource. It will be grounded in Asa Hilliard’s discourse on the formal and informal context of socialization, which emphasizes the dual role of schools and society in shaping one’s consciousness. As such one can examine the dynamic utility of Hip Hop within both the formal and informal domains of knowledge production, worldview, and social engagement.

This exploration will be dichotomized into domains. First is the expression of socially conscious Hip Hop in Chicago. This sub genre of Hip Hop has positioned itself as a social critique and commentary, a platform for political education/counter-narrative, and also as a dynamic and unorthodox artistic endeavor. Hence I will demonstrate the manifestations of Chicago Hip Hop as a grassroots and organic political discourse, one that is simultaneously critical and instructive.

The second theme of this presentation is the relevance of Hip Hop with regards to education. The utility of Hip Hop as a pedagogical instrument requires greater exploration and clarification. Herein, I will draw upon my subjective experience as a Hip Hop workshop facilitator from 2001-2004. During this time period I facilitated several workshops on the South of Side of Chicago and in Central Illinois that covered a cross-section of themes. These included the history and political-economy of Hip Hop, the four elements of Hip Hop, the recording industry and the exploitation of recording artists, and the challenges and benefits of independent artistry. This session will draw upon this work and other areas of my teaching experience that are conceptually relevant with the goal of demonstrating the varied ways in which Hip Hop can inform the act of critical instruction.

Lastly, this presentation will demonstrate the dynamic spatial, instructional, and conceptual modalities of social justice education. With regards to Hip Hop it will convey the numerous ways via which art, politics, and community socialization intersect.


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Participatory Action Research and International Solidarity:Towards a Social Scientific Praxis in Support of Social Movements

Nonprofits and Social Justice: Using Critical Discourse Analysis to Examine Two Minority-Serving Nonprofits’ Work toward Social Justice


 
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