2019 ◽  
Vol 3 (3) ◽  
pp. 435-449 ◽  
Author(s):  
Myrtle D. Millares

This article engages the narratives of three Toronto hip-hop artists to explore the pedagogical possibilities revealed through the processes of performance identity construction. By immersing themselves in hip-hop communities, artists learn ways of knowing and negotiating their place at the interstices of the normative frameworks that underlie their unique combinations of cultural contexts. Artists’ stories reveal how they bring themselves into being through movement and sound. These narrations of identity become indicative of an artist’s style through performative iterations embedded with the opportunity for enacting difference. For hip-hop artists, deviating from performative expectations is not a mere possibility, but formative intention in the tradition of the African American practice of Signifyin(g), as delineated by Henry Louis Gates, Jr. Conversations with hip-hop artists invite reflection on what we could accomplish through a music education pedagogy that cultivates creative deviancy that reveals, breaks open and overturns limiting conventions.


2020 ◽  
Author(s):  
Shaila M Strayhorn ◽  
Perla Chebli ◽  
Catherine Pichardo ◽  
Yamilé Molina ◽  
Carol J Ferrans ◽  
...  

2009 ◽  
Vol 48 (1) ◽  
pp. 25-39 ◽  
Author(s):  
RANDI S. COWDERY ◽  
NORMA SCARBOROUGH ◽  
CARMEN KNUDSON-MARTIN ◽  
GITA SESHADRI ◽  
MONIQUE E. LEWIS ◽  
...  

2021 ◽  
pp. 104837132110124
Author(s):  
Kendra Kay Friar

Scott Joplin (1868–1917) was an African American composer and pianist of singular merit and influence. This article is the second in a three-part series considering the biographical, artistic, and cultural contexts of Joplin’s life and work. “King of Ragtime Composers,” focuses on Scott Joplin’s artistic processes, including his structuring of melodic and harmonic content and his novel contributions to ragtime. The discussion is followed by suggested student activities written in accordance with NAfME’s 2014 National Music Standards, including performing a ragtime accompaniment, playing an original Orff arrangement of Joplin’s “The Easy Winners,” improvising within a ragtime framework, and listening to and analyzing performance choices.


2009 ◽  
Vol 49 (1) ◽  
pp. 84-100 ◽  
Author(s):  
Amy E. Harley ◽  
Angela Odoms-Young ◽  
Binta Beard ◽  
Mira L. Katz ◽  
Catherine A. Heaney

Author(s):  
Lasana D. Kazembe

For historically marginalized groups that continue to experience and struggle against hegemony and deculturalization, education is typically accompanied by suspicion of, critique of, and resistance to imposed modes, systems, and thought forms. It is, therefore, typical for dominant groups to ignore and/or regard as inferior the collective histories, heritages, cultures, customs, and epistemologies of subject groups. Deculturalization projects are fueled and framed by two broad, far-reaching impulses. The first impulse is characterized by the denial, deemphasis, dismissal, and attempted destruction of indigenous knowledge and methods by dominant groups across space and time. The second impulse is the effort by marginalized groups to recover, reclaim, and recenter ways of knowing, perceiving, creating, and utilizing indigenous knowledge, methods, symbols, and epistemologies. Deculturalization projects in education persist across various global contexts, as do struggles by global actors to reclaim their histories, affirm their humanity, and reinscribe indigenous ways of being, seeing, and flourishing within diverse educational and cultural contexts. The epistemologies, worldview, and existential challenges of historically marginalized groups (e.g., First Nations, African/African American, Latinx, Asian, and Pacific) operate as sites and tools of struggle against imperialism and dominant modes of seeing, being, and making meaning in the world. Multicultural groups resist deculturalization in their ongoing efforts to apprehend, interrogate, and situate their unique cultural ways of being as pedagogies of protracted resistance and praxes of liberation.


2018 ◽  
Vol 22 (2) ◽  
pp. 297
Author(s):  
Agnieszka Łobodziec

Although black American womanist literary perspectives and ethical literary criticism theory emerged from different socio-cultural contexts, a number of intersections between the two can be discerned. One of the objectives of this paper is to analyze the reasons for which some Chinese scholars and African-American women literary theoreticians are skeptical of mainstream Western literary criticism schools, which they view as insufficient for exploring works of literature derived from fusions of non-Western and Western cultural contexts. Secondly, the paper elucidates the particular value systems exhibited by fictional characters portrayed by the African-American women writers under survey. At this juncture, the means by which the writers challenge value systems based upon Western essentialist racial conceptualizations will be given primary attention. Also, the historical context of the development of womanist ethics and literary practice, particularly the manifestation of original social ethics in response to historical oppression, will be focused upon. Lastly, the didactic function of womanist literature will be considered because, more often than not, black American woman writers have endeavored to produce fiction that serves as guideposts towards conflict resolutions, involving, to a great extent, revaluation of mainstream values.


Sign in / Sign up

Export Citation Format

Share Document