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.

scholarly journals ‘Mic Check. Can You Hear Me?’ Suheir Hammad and the Politics of Spoken Word Poetry

1970 ◽  
pp. 8-14
Author(s):  
Theri Alyce Pickens
Keyword(s):  
United States ◽  
Hip Hop ◽  
Racial Profiling ◽  
The United States ◽  
Spoken Word ◽  
Spoken Word Poetry ◽  
Hip Hop Culture ◽  
Transportation Security ◽  
Transportation Security Administration ◽  
Historical Relationship

“Mic check? One-two. One-two. Can you hear me?” asks spoken-word artist and poet Suheir Hammad onstage (Lathan, 2007). Make no mistake about this question; it is not part of the sound check, nor is it part of a rehearsal. This is her poem. The audience can obviously hear her, but the question is not as straightforward as it appears. Here, Hammad blends the art of emcee-ing (one of the four main elements of hip-hop culture), with the typical language of a sound check and her experience of being racially profiled in, presumably, an American airport. In this vein, “mic” is not only short for microphone, but also the name of the United States’ Transportation Security Administration (TSA) officer, named “Mike”, who searches her bags. The question, “Can you hear me?”, is directed not only at the audience, but also at “Mike”. Hammad’s double speak continues throughout the poem, “Mic Check”, where she mobilizes the language of hip-hop to promulgate a stringent critique of the links between the United States’ historical relationship to imperialism and racial profiling targeted toward Arabs and those who supposedly appear Arab.

STEM Hip-hop Pedagogy

2019 ◽  
Author(s):  
Robert Cummings ◽  
Brittany Chambers ◽  
Amber Reid ◽  
Kinnis Gosha
Keyword(s):  
Hip Hop ◽  
Hip Hop Pedagogy

scholarly journals Love and homophobia in Malawi's spoken-word poetry movement

Africa ◽  
2021 ◽  
Vol 91 (3) ◽  
pp. 361-387
Author(s):  
Harri Englund
Keyword(s):  
Gender Stereotypes ◽  
Gender Relations ◽  
Spoken Word ◽  
The Internet ◽  
Modern Poetry ◽  
Spoken Word Poetry ◽  
The People ◽  
Popular Interest ◽  
The Aesthetic ◽  
Selection Of

AbstractBy the early 2010s, a number of Malawian poets in their twenties had begun to substitute the elliptical expression of earlier generations with a language that resonated with popular idioms. As poetry directed at ‘the people’, its medium is spoken word rather than print, performed to live audiences and distributed through CDs, radio programmes and the internet. Crafted predominantly in Chichewa, the poems also address topics of popular interest. The selection of poetry presented here comes from a female and a male poet, who, unbeknown to each other, prepared poems sharply critical of homosexuality and what they regarded as its foreign and local advocacy. The same poets have also gained success for their love poems, which have depicted intimate desires in remarkably compatible ways for both women and men. The poets who performed ‘homophobic’ verse went against popular gender stereotypes in their depictions of romantic love and female and male desires. This introductory essay, as a contribution toAfrica's Local Intellectuals series, discusses the aesthetic challenges that the new poets have launched in the context of Malawi's modern poetry. With regard to gender relations in their love poems, the introduction also considers the poets’ possible countercultural contribution despite their avowed commitment to perform for ‘the people’.

‘Why don’t you let me flow in my space?’

Matatu ◽  
2020 ◽  
Vol 50 (2) ◽  
pp. 444-455
Author(s):  
Hugh Ellis
Keyword(s):  
Public Sphere ◽  
National Culture ◽  
Social Issues ◽  
Women Performers ◽  
Spoken Word ◽  
Gender Based Violence ◽  
Spoken Word Poetry ◽  
Gender Based

Abstract The practice of performance or ‘spoken word’ poetry has gained a significant foothold among the youth in urban Namibia in the last two decades. While this poetry has been put to many socio-political uses, one of the main ones has been a protest against patriarchal elements in Namibian society and culture, and an outcry against Namibia’s high rates of gender-based violence. Patriarchal aspects of Namibia’s national culture are often explicitly linked to violence and to the intersectional nature of oppression. Spoken word poetry has also often given LGBT+ women a space to speak out against their oppression and to normalise their existence. This article shows how women performers have used and modified the conventions of poetry and song to get this challenging—in the Namibian context often radical—message across. The paper argues that poetry in this context has the potential to approximate a localised ‘public sphere’ where inclusive discourse can be held around social issues—bearing mind that people are not excluded from this discourse because of arbitrary reasons such as gender or sexuality.

scholarly journals EXAMINATION OF GRADUATE THESES CONDUCTED ON PRESCHOOL INCLUSION BETWEEN 2016-2020 IN TURKEY

2021 ◽  
Vol 4 (1) ◽  
pp. 88-99
Author(s):  
Mahide Özçelik ◽  
Mukaddes Sakallı Demirok
Keyword(s):  
Higher Education ◽  
Qualitative Research ◽  
Data Analysis ◽  
Document Analysis ◽  
Research Trends ◽  
Future Research ◽  
Research Model ◽  
Analysis Method ◽  
Data Collection Tool ◽  
Analysis Technique

  The aim of this study is to examine the current research trends in graduate theses on preschool inclusion in Turkey. Document analysis technique, one of the qualitative research methods, was used in the research. It was carried out on 31 graduate theses, which were obtained as a result of scanning the thesis archive of the Higher Education Council (YÖK) and were open to access between 2016 to 2020. The search was carried out by typing "pre-school integration" into the search engine of the Higher Education Institution's thesis archive. The theses included in the study were analyzed using the thesis analysis form prepared beforehand by the researchers. In the prepared form, the theses were analyzed according to the year, thesis level, university, institute, department, thesis supervisor title, research model, number of participants, data collection tool, data analysis method, and domestic and foreign references. The findings obtained within the framework of the examination were interpreted with percentage and frequency tables, and recommendations were made for future research. Key Words: Mainstreaming, preschool, thesis, document analysis.

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