Culturally Sustaining Pedagogy and Hip-Hop Based Education

2018 ◽  
pp. 1008-1017 ◽  
Author(s):  
Azure C. Covington ◽  
Ayana Allen ◽  
Chance W. Lewis
Keyword(s):  
Professional Development ◽  
Academic Achievement ◽  
Student Engagement ◽  
Teacher Knowledge ◽  
Hip Hop ◽  
Hip Hop Culture ◽  
Culturally Sustaining Pedagogy ◽  
Hip Hop Pedagogy ◽  
Professional Development Needs ◽  
Relevant Pedagogy

Culturally sustaining pedagogy (CSP) (Paris & Alim, 2014) presents a new lens by which culturally relevant pedagogy can evolve with the ever-evolving youth culture of today. The evolution of hip-hop culture serves as an example of CSP that can be used to increase student engagement and academic achievement through the use of hip-hop based education (HHBE). However, current HHBE research fails to address the professional development needs of those who do not identify with hip-hop culture but want to implement hip-hop pedagogy into their instructional practice. This chapter presents a professional development design for hip-hop based education that is to serve as the beginning of teacher knowledge construction in frameworks of CSP for increased student engagement and academic achievement.

Culturally Sustaining Pedagogy and Hip-Hop Based Education

2016 ◽  
pp. 486-495
Author(s):  
Azure C. Covington ◽  
Ayana Allen ◽  
Chance W. Lewis
Keyword(s):  
Professional Development ◽  
Academic Achievement ◽  
Student Engagement ◽  
Teacher Knowledge ◽  
Hip Hop ◽  
Hip Hop Culture ◽  
Culturally Sustaining Pedagogy ◽  
Hip Hop Pedagogy ◽  
Professional Development Needs ◽  
Relevant Pedagogy

Culturally sustaining pedagogy (CSP) (Paris & Alim, 2014) presents a new lens by which culturally relevant pedagogy can evolve with the ever-evolving youth culture of today. The evolution of hip-hop culture serves as an example of CSP that can be used to increase student engagement and academic achievement through the use of hip-hop based education (HHBE). However, current HHBE research fails to address the professional development needs of those who do not identify with hip-hop culture but want to implement hip-hop pedagogy into their instructional practice. This chapter presents a professional development design for hip-hop based education that is to serve as the beginning of teacher knowledge construction in frameworks of CSP for increased student engagement and academic achievement.

scholarly journals “Counterstory Mapping Our City”: Teachers Reckoning with Latinx Students’ Knowledges, Cultures, and Communities

2020 ◽  
Vol 22 (2) ◽  
pp. 30
Author(s):  
Erin Lee Dyke ◽  
Jinan El Sabbagh ◽  
Kevin Dyke
Keyword(s):  
Professional Development ◽  
High School ◽  
Academic Achievement ◽  
Teacher Education ◽  
Charter School ◽  
School Context ◽  
Cultural Knowledge ◽  
Cultural Assimilation ◽  
The South ◽  
Culturally Sustaining Pedagogy

The study focuses on a two-week unit with 90 students at an urban, Latinx-serving charter middle and high school in the south midwestern U.S. to create digital counterstory maps. The maps then served as the organizing content for a subsequent week-long summer professional development the authors led for their teachers. Analysis suggests the significance of engaging the students’ counterstories and cultural knowledge for designing teacher education committed to culturally sustaining pedagogy (CSP). Further, it articulates the challenges for engaging CSP with students and teachers in a charter school context in which disciplinary and curricular mandates conflate cultural assimilation with academic achievement.

Culturally Relevant Applications of Digital Audio Workstations in the Heterogeneous GT Classroom

2015 ◽  
pp. 221-251
Author(s):  
Chris Deason
Keyword(s):  
Classroom Environment ◽  
Hip Hop ◽  
Culturally Relevant ◽  
Learning Motivation ◽  
Classroom Environments ◽  
Digital Audio ◽  
Hip Hop Culture ◽  
Learner Achievement ◽  
Hip Hop Pedagogy ◽  
K 12

The purpose of this chapter is to discuss, explain, and share how the author has used culturally relevant instructional methods (i.e., hip-hop pedagogy) and Digital Audio Workstations (DAWs) in K-12 classroom environments to impact learning motivation and learner achievement from 2005 to 2012. Emphasis is placed on the elements of hip-hop culture (i.e., rapping, graffiti art, beat making, and break dancing) combined with DAWs to impact learning motivation and learner achievement in the heterogeneous Gifted and Talented (GT) classroom. Recommended hardware and software is discussed. Examples include audio interfaces, cables and microphones required, recommended audio recording software, and classroom environment preparations. Photographs and illustrations are included to make the chapter applicable to practitioners in classroom environments and educational researchers.

Culturally Relevant Pedagogy 2.0: a.k.a. the Remix

2014 ◽  
Vol 84 (1) ◽  
pp. 74-84 ◽  
Author(s):  
Gloria Ladson-Billings
Keyword(s):  
Culturally Relevant Pedagogy ◽  
Hip Hop ◽  
Culturally Relevant ◽  
Teaching Practice ◽  
Cultural Landscapes ◽  
Teacher Education Programs ◽  
Culturally Sustaining Pedagogy ◽  
Push Forward ◽  
History Of ◽  
Relevant Pedagogy

In this article, Ladson-Billings reflects on the history of her theory of culturally relevant pedagogy and the ways it has been used and misused since its inception. She argues for the importance of dynamic scholarship and suggests that it is time for a “remix” of her original theory: culturally sustaining pedagogy, as proposed by Paris (2012). Ladson-Billings discusses her work with the hip-hop and spoken word program First Wave as an example of how culturally sustaining pedagogy allows for a fluid understanding of culture, and a teaching practice that explicitly engages questions of equity and justice. Influenced by her experience with the First Wave program, Ladson-Billings welcomes the burgeoning literature on culturally sustaining pedagogy as a way to push forward her original goals of engaging critically in the cultural landscapes of classrooms and teacher education programs.

scholarly journals Hip Hop Pedagogy as Culturally Sustaining Pedagogy

Arts ◽  
2018 ◽  
Vol 7 (4) ◽  
pp. 97 ◽  
Author(s):  
Melanie Buffington ◽  
Jolie Day
Keyword(s):  
Art Education ◽  
Hip Hop ◽  
Black Female ◽  
Contemporary Culture ◽  
Art Educators ◽  
Culturally Sustaining Pedagogy ◽  
Cultural Appreciation ◽  
Hip Hop Pedagogy ◽  
Visual Artist

This paper argues that Hip Hop Pedagogy is a version of Culturally Sustaining Pedagogy and should be a part of art education. Further, we believe that when exploring Hip Hop Pedagogy, teachers need to reference the work of Black female and non-binary artists. After an overview of Hip Hop Pedagogy and Culturally Sustaining Pedagogy, we argue that these approaches should be a consistent part of art education. Through the work of contemporary visual artist and DJ, Rozeal, we offer suggestions for art educators about how they might transition their practice to embrace some aspects of Hip Hop Pedagogy. Specifically, through sampling and the distinction of cultural appreciation versus appropriation, we believe that art educators can change their practice to make their teaching more relevant to their students and to contemporary culture.

Listening differently: youth self-actualization through critical Hip Hop literacies

2020 ◽  
Vol 19 (3) ◽  
pp. 269-285
Author(s):  
Lauren Leigh Kelly
Keyword(s):  
Young People ◽  
Critical Literacy ◽  
Hip Hop ◽  
Literacy Development ◽  
English Education ◽  
Critical Study ◽  
Content Type ◽  
Hip Hop Culture ◽  
Self Actualization ◽  
Hip Hop Pedagogy

Purpose This study aims to refocus the field of Hip Hop based education on youth identities and epistemologies rather than on the tangible artifacts of Hip Hop culture. It argues that centering classroom pedagogy and curriculum on youth self-actualization best supports the critical literacy development of students grappling with social and structural inequities within an ever-evolving youth and media culture. Design/methodology/approach Building upon previous literature on critical literacy, Hip Hop pedagogy and adolescent identity formation, this paper shares data from a semester-long teacher–researcher case study of a high school Hip Hop literature and culture class to explore how young people develop critical literacies and self-actualizing practices through a critical study of youth culture. Findings For youth engaged in Hip Hop culture, co-constructing spaces to discuss their consumption of popular media and culture in class allows them to openly grapple with questions of identity, provide support for each other in dealing with these questions and reflect more critically upon their self-constructed, performed and perceived identities. Originality/value This form of English education challenges traditional notions of teaching and learning as it positions students as co-creators of curriculum and as part of the curriculum itself. Building on research that frames Hip Hop pedagogy as a culturally relevant tool for engaging urban youth, this paper argues that educators should approach critical Hip Hop literacy development as a means by which young people across diverse educational and social backgrounds come to know themselves and others as part of the process of self-actualization and critical resistance.

Introduction

2011 ◽  
Vol 40 (3) ◽  
pp. 1-3
Author(s):  
Christopher Driscoll
Keyword(s):  
African American ◽  
American Academy ◽  
Annual Meeting ◽  
Hip Hop ◽  
Religious Studies ◽  
Hip Hop Culture

At the 2010 annual meeting of the American Academy of Religion held in Atlanta, GA, a group of young scholars organized a wildcard session titled “What’s This ‘Religious’ in Hip Hop Culture?” The central questions under investigation by the panel were 1) what about hip hop culture is religious? and 2) how are issues of theory and method within African American religious studies challenged and/or rethought because of the recent turn to hip hop as both subject of study and cultural hermeneutic. Though some panelists challenged this “religious” in hip hop, all agreed that hip hop is of theoretical and methodological import for African American religious studies and religious studies in general. This collection of essays brings together in print many findings from that session and points out the implications of hip hop's influence on religious scholars' theoretical and methodological concerns.

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