DOCSLIB.ORG

A Pedagogy of Freedom: Using Hip Hop in the Classroom to Engage African-American Students

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Pedagogy of Freedom: Using Hip Hop in the Classroom to Engage African-American Students A PEDAGOGY OF FREEDOM: USING HIP HOP IN THE CLASSROOM TO ENGAGE AFRICAN-AMERICAN STUDENTS _______________________________________________________________________ A Dissertation Proposal presented to the Faculty of the Graduate School University of Missouri-Columbia ________________________________________________________________________ In Partial Fulfillment of the Requirements for the Degree Doctor of Education ________________________________________________________________________ by TRACY D. HALL Dr. Barbara N. Martin, Dissertation Supervisor DECEMBER 2007 © Copyright by Tracy D. Hall 2007 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled A PEDAGOGY OF FREEDOM: USING HIP HOP IN THE CLASSROOM TO ENGAGE AFRICAN-AMERICAN STUDENTS ___________________________________________________ Professor Barbara Martin ___________________________________________________ Professor Sandy Hutchinson ___________________________________________________ Professor Patricia Antrim ______________________________________________________ Professor Doug Thomas _____________________________________________________ Professor Michael Jinks ACKNOWLEDGMENTS I am grateful to God for the wonderful people who have assisted me along the way to fulfilling my dream of earning a doctorate degree. First, my sincere appreciation to my dissertation supervisor, Dr. Barbara Martin, for your encouragement, support, guidance and great humor, throughout this dissertation writing process. For encouraging me to follow my heart and research a topic that was near and dear to my heart, I am forever grateful. Secondly, to my dissertation committee, Dr. Sandra Hutchinson, Dr. Michael Jinks, Dr. Patricia Antrim, and Dr. Doug Thomas, thank you from the bottom of my heart, for your knowledge, assistance and time. I appreciate you. A special thanks, also, to Dr. James Machel, and again to Dr. Sandy Hutchinson for those Wonderful Wednesdays and for your guidance and support from day one. And finally, to my wonderful family, words cannot express how much your love, patience and support have meant to me throughout these years. To my #1 fan, my best friend, and my husband, Anthony Hall, Sr., without your love, support and motivation, this would not have been possible. To my beautiful children, Taylor, Anthony, Jr., and Trevor, thank you for pitching in to help me as I pursued my dream. I am eternally grateful. Also, thank you to my other best friend since 1967, my loving and supportive mother, Gloria J. Harris. Your encouragement and words of advice have been invaluable. And to my third best friend, my sister, Kelly R. Daniel, thanks for the supportive emails throughout the years. I appreciate you. Gene, Danny, Danny II and Madear, thank you for everything. I thank God for all of you. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS................................................................................................. i LIST OF ILLUSTRATIONS............................................................................................. vi ABSTRACT...................................................................................................................... vii CHAPTER 1. INTRODUCTION ...........................................................................................................1 Conceptual Underpinnings of the Study..................................................................2 History of Critical Race Theory...............................................................................3 CRT in Education ....................................................................................................4 Storytelling...............................................................................................................4 Statement of the Problem.........................................................................................5 Purpose of the Study ................................................................................................7 Research Questions..................................................................................................8 Limitations and Assumptions ..................................................................................9 Design Controls .....................................................................................................10 Definitions of Key Terms ......................................................................................11 Summary................................................................................................................12 2. REVIEW OF LITERATURE ........................................................................................14 Origins of Hip Hop ................................................................................................16 Role of Technology and Hip Hop..........................................................................17 Hip Hop Community Defined................................................................................18 Categories of Hip Hoppers.....................................................................................18 Hip Hop Generation vs. the Civil Rights Generation ............................................19 Generational Conflict.............................................................................................20 Hip Hop’s African Connection ..............................................................................21 Oral Tradition.........................................................................................................21 Hip Hop: Voices from the Streets..........................................................................22 Role of Space .........................................................................................................23 Hip Hop Generation and Social Justice .................................................................24 Commercialism, Gangsta Rap and Moguls ...........................................................25 Commercialism..........................................................................................25 Gangsta Rap...............................................................................................26 Moguls .......................................................................................................27 Street Feminism, Misogyny and Sexism ...............................................................29 Street Feminism .........................................................................................29 Misogyny ...................................................................................................31 Sexism........................................................................................................31 Critical Race Theory, Hip Hop and the Classroom ...............................................33 CRT Evolution.......................................................................................................34 iii CRT in Education ..................................................................................................35 Storytelling.............................................................................................................36 White Teens and Hip Hop......................................................................................38 Engaged Pedagogy.................................................................................................38 Use in K-12 Classrooms ........................................................................................39 Use in Higher Education........................................................................................41 Engaged Pedagogy Criticism.................................................................................44 Urban Pedagogy.....................................................................................................44 Critical Race Theory and Educators ......................................................................45 Summary................................................................................................................46 3. RESEARCH METHODOLOGY...................................................................................48 Research Questions................................................................................................49 Rationale for use of a Case Study..........................................................................50 Population and Sample ..........................................................................................52 Data Collection and Instrumentation .....................................................................54 Data Analysis.........................................................................................................57 The Researcher’s Biases and Assumptions............................................................59 Summary................................................................................................................60 4. PRESENTATION AND ANALYSIS OF DATA .........................................................61 Study Design..........................................................................................................61 Data Collection Methods .......................................................................................62 Conceptual Underpinnings.....................................................................................63 Research Questions................................................................................................64
Load more

Recommended publications
  • Download Download
    TranscUlturAl, vol. 6.1 (2014), 70-83. http://ejournals.library.ualberta.ca/index.php/TC Conflicts of Interest, Culture Jamming and Subversive (S)ignifications: The High Fashion Logo as Locational Hip Hop Articulation Rebecca Halliday York University In the fall of 2012, an unheard of fashion label called “Conflict of Interest NYC” (C.O.I.) released three black and white, unisex t-shirts for sale online. Each t-shirt took the brand name and/or logo of a storied fashion house – Balenciaga, Bottega Veneta and Givenchy – and imposed a set of urban and sexualized representations and hip hop references to enact a high-end-low-end subversion of the brand’s connotations. The t-shirts came to public attention after Internet “street style” photographer Tommy Ton captured New York fashion editor Shiona Turini wearing a BALLINCIAGA t-shirt on the street at London Fashion Week and posted it on Condé Nast Media’s fashion bible Style.com. This article contextualizes the t-shirts within historical interactions between fashion and hip hop culture and reads the BALLINCIAGA t-shirt for its intertextual connections to hip hop and black oral tradition.1 In this sense, my analysis constitutes a “translation” of and between sets of cultural “codes” (Hall 21): in this instance, a translation of fashion brand names and subcultural references. Conflict of Interest’s t-shirts present a sophisticated incidence of culture jamming that parodies high fashion brands through hip hop references; it thus criticizes high fashion’s historical Eurocentric elitism and articulates urban conditions. While the t-shirts were not created as an explicit political protest, they are indeed subversive, and their creation and proliferation from within fashion illuminates the politics of fashion’s cultural appropriations and socioeconomic identities.
    [Show full text]
  • Kaya Hip-Hop in Coastal Kenya: the Urban Poetry of UKOO FLANI
    Page 1 of 46 Kaya Hip-Hop in Coastal Kenya: The Urban Poetry of UKOO FLANI By: Divinity LaShelle Barkley [email protected] Academic Director: Athman Lali Omar I.S.P. Advisor: Professor Mohamed Abdulaziz S.I.T. Kenya, Fall 2007 Coastal Cultures & Swahili Studies Kaya Hip Hop in Coastal Kenya Fall 2007 ISP, SIT Kenya By: Divinity L. Barkley Page 2 of 46 Table of Contents Acknowledgements………………………………………..………………….page 3 Abstract……………………………………………..…………………………page 4 Introduction…………………………………..……………………………pages 5-8 Hip-Hop & Kenyan Youth Culture Research Problem Status of Hip-Hop in Kenya Hypotheses The Setting……………………………….………………………………pages 9-10 Methodology: Data Collection……………………………………..…pages 10-12 Biases and Assumptions………………………..………...…………...pages 13-14 Discussion & Analysis…………………………………………………pages 14-38 Ukoo Flani ni nani? Kaya Hip-Hop Traditional Role of Music in African Culture Genesis of Rap/Hip-hop in American Ghettoes The Ties That Bind Kenyan Radio The Maskani Ghetto Life Will the real Ukoo Flani please stand up? Urban Poetry: Analyzing Ukoo Flani’s Lyrics Conclusion…………………………..……………………….…………pages 38-42 Conclusion Part I: The Future of Ukoo Flani Conclusion Part II: Hypotheses Results Conclusion Part III: Recommendations for Future SIT Students Bibliography………………………………………………..…………..pages 43-44 Interview/Meeting Schedule………………………………………………page 45 ISP Review Sheet…………….……………………………………….……page 46 Kaya Hip Hop in Coastal Kenya Fall 2007 ISP, SIT Kenya By: Divinity L. Barkley Page 3 of 46 Acknowledgements First and foremost, I would like to thank the entire Ukoo Flani crew for their contributions to my project. I am fascinated by your amazing talent and dedication to making positive music to inspire future generations. I am amazed at what you have been able to accomplish despite limited access to resources.
    [Show full text]
  • In the United States District Court for the Middle District of Florida Fort Myers Division
    Case 2:19-cv-00843-JES-NPM Document 1 Filed 11/25/19 Page 1 of 46 PageID 1 IN THE UNITED STATES DISTRICT COURT FOR THE MIDDLE DISTRICT OF FLORIDA FORT MYERS DIVISION : PRO MUSIC RIGHTS, LLC and SOSA : ENTERTAINMENT LLC, : : Civil Action No. 2:19-cv-00843 Plaintiffs, : : v. : : SPOTIFY AB, a Swedish Corporation; SPOTIFY : USA, INC., a Delaware Corporation; SPOTIFY : LIMITED, a United Kingdom Corporation; and : SPOTIFY TECHNOLOGY S.A., a Luxembourg : Corporation, : : Defendants. PLAINTIFFS’ COMPLAINT WITH INJUNCTIVE RELIEF SOUGHT AND DEMAND FOR JURY TRIAL Plaintiffs Pro Music Rights, LLC (“PMR”), which is a public performance rights organization representing over 2,000,000 works of artists, publishers, composers and songwriters, and Sosa Entertainment LLC (“Sosa”), which has not been paid for 550,000,000+ streams of music on the Spotify platform, file this Complaint seeking millions of dollars of damages against Defendants Spotify AB, Spotify USA, Inc., Spotify Limited, and Spotify Technology S.A. (collectively, “Spotify” or “Defendants”), alleging as follows: NATURE OF ACTION 1. Plaintiffs bring this action to redress substantial injuries Spotify caused by failing to fulfill its duties and obligations as a music streaming service, willfully removing content for anti-competitive reasons, engaging in unfair and deceptive business practices, Case 2:19-cv-00843-JES-NPM Document 1 Filed 11/25/19 Page 2 of 46 PageID 2 obliterating Plaintiffs’ third-party contracts and expectations, refusing to pay owed royalties and publicly performing songs without license. 2. In addition to live performances and social media engagement, Plaintiffs rely heavily on the streaming services of digital music service providers, such as and including Spotify, to organically build and maintain their businesses.
    [Show full text]
  • Tom Jennings
    12 | VARIANT 30 | WINTER 2007 Rebel Poets Reloaded Tom Jennings On April 4th this year, nationally-syndicated Notes US radio shock-jock Don Imus had a good laugh 1. Despite the plague of reactionary cockroaches crawling trading misogynist racial slurs about the Rutgers from the woodwork in his support – see the detailed University women’s basketball team – par for the account of the affair given by Ishmael Reed, ‘Imus Said Publicly What Many Media Elites Say Privately: How course, perhaps, for such malicious specimens paid Imus’ Media Collaborators Almost Rescued Their Chief’, to foster ratings through prejudicial hatred at the CounterPunch, 24 April, 2007. expense of the powerless and anyone to the left of 2. Not quite explicitly ‘by any means necessary’, though Genghis Khan. This time, though, a massive outcry censorship was obviously a subtext; whereas dealing spearheaded by the lofty liberal guardians of with the material conditions of dispossessed groups public taste left him fired a week later by CBS.1 So whose cultures include such forms of expression was not – as in the regular UK correlations between youth far, so Jade Goody – except that Imus’ whinge that music and crime in misguided but ominous anti-sociality he only parroted the language and attitudes of bandwagons. Adisa Banjoko succinctly highlights the commercial rap music was taken up and validated perspectival chasm between the US civil rights and by all sides of the argument. In a twinkle of the hip-hop generations, dismissing the focus on the use of language in ‘NAACP: Is That All You Got?’ (www.daveyd.
    [Show full text]
  • The Miseducation of Hip-Hop Dance: Authenticity, and the Commodification of Cultural Identities
    The Miseducation of Hip-Hop dance: Authenticity, and the commodification of cultural identities. E. Moncell Durden., Assistant Professor of Practice University of Southern California Glorya Kaufman School of Dance Introduction Hip-hop dance has become one of the most popular forms of dance expression in the world. The explosion of hip-hop movement and culture in the 1980s provided unprecedented opportunities to inner-city youth to gain a different access to the “American” dream; some companies saw the value in using this new art form to market their products for commercial and consumer growth. This explosion also aided in an early downfall of hip-hop’s first dance form, breaking. The form would rise again a decade later with a vengeance, bringing older breakers out of retirement and pushing new generations to develop the technical acuity to extraordinary levels of artistic corporeal genius. We will begin with hip-hop’s arduous beginnings. Born and raised on the sidewalks and playgrounds of New York’s asphalt jungle, this youthful energy that became known as hip-hop emerged from aspects of cultural expressions that survived political abandonment, economic struggles, environmental turmoil and gang activity. These living conditions can be attributed to high unemployment, exceptionally organized drug distribution, corrupt police departments, a failed fire department response system, and Robert Moses’ building of the Cross-Bronx Expressway, which caused middle and upper-class residents to migrate North. The South Bronx lost 600,000 jobs and displaced more than 5,000 families. Between 1973 and 1977, and more than 30,000 fires were set in the South Bronx, which gave rise to the phrase “The Bronx is Burning.” This marginalized the black and Latino communities and left the youth feeling unrepresented, and hip-hop gave restless inner-city kids a voice.
    [Show full text]
  • Drill Rap and Violent Crime in London
    Violent music vs violence and music: Drill rap and violent crime in London Bennett Kleinberg1,2 and Paul McFarlane1,3 1 Department of Security and Crime Science, University College London 2 Dawes Centre for Future Crime, University College London 3 Jill Dando Institute for Global City Policing, University College London1 Abstract The current policy of removing drill music videos from social media platforms such as YouTube remains controversial because it risks conflating the co-occurrence of drill rap and violence with a causal chain of the two. Empirically, we revisit the question of whether there is evidence to support the conjecture that drill music and gang violence are linked. We provide new empirical insights suggesting that: i) drill music lyrics have not become more negative over time if anything they have become more positive; ii) individual drill artists have similar sentiment trajectories to other artists in the drill genre, and iii) there is no meaningful relationship between drill music and ‘real- life’ violence when compared to three kinds of police-recorded violent crime data in London. We suggest ideas for new work that can help build a much-needed evidence base around the problem. Keywords: drill music, gang violence, sentiment analysis INTRODUCTION The role of drill music – a subgenre of aggressive rap music (Mardean, 2018) – in inciting gang- related violence remains controversial. The current policy towards the drill-gang violence nexus is still somewhat distant from understanding the complexity of drill music language and how drill music videos are consumed by a wide range of social media users. To build the evidence base for more appropriate policy interventions by the police and social media companies, our previous work looked at dynamic sentiment trajectories (i.e.
    [Show full text]
  • Drill Music in the Dock
    1 Drill music in the dock A look at the use of drill music in criminal trials and a practical guide for defence practitioners Introduction The recent Sewell report has, some might say deliberately and for political reasons, sparked further exchanges between the perceived opposing sides in the so-called ‘culture wars’. This has sought to paint an overall picture of the treatment of minorities in Britain which is it at odds with the lived experience of many. To give a judicial summing-up style warning up front: ‘if we appear to express a view, reject it unless it accords with your own’. The authors of this article are, at best, only really placed to speak of the situation as it affects the Criminal Justice System. How the dynamics and politics of race play out in our courtrooms up and down the country. In these places, inequalities are laid bare on a daily basis in terms of the proportional representation of the different ethnic groups. The recent Sewell report at least acknowledges this imbalance: “..people from ethnic minorities are overrepresented at many points of the criminal justice system. The largest disparities appear at the point of stop and search and, as the Lammy Review pointed out, at arrest, custodial sentencing and prison population. Among ethnic minority groups, Black people are usually the most overrepresented.1” 1 h#ps://assets.publishing.service.gov.uk/government/uploads/system/uploads/a#achment_data/file/ 974507/20210331_-_CRED_Report_-_FINAL_-_Web_Accessible.pdf 2 The David Lammy Review2 came to a number of conclusions about the way people, particularly young black men, are treated within the Criminal Justice System.
    [Show full text]
  • From Jay-Z to Dead Prez: Examining Representations of Black
    JBSXXX10.1177/0021934714528953Journal of Black StudiesBelle 528953research-article2014 Article Journal of Black Studies 2014, Vol. 45(4) 287 –300 From Jay-Z to Dead © The Author(s) 2014 Reprints and permissions: Prez: Examining sagepub.com/journalsPermissions.nav DOI: 10.1177/0021934714528953 Representations of jbs.sagepub.com Black Masculinity in Mainstream Versus Underground Hip-Hop Music Crystal Belle1 Abstract The evolution of hip-hop music and culture has impacted the visibility of Black men and the Black male body. As hip-hop continues to become commercially viable, performances of Black masculinities can be easily found on magazine covers, television shows, and popular websites. How do these representations affect the collective consciousness of Black men, while helping to construct a particular brand of masculinity that plays into the White imagination? This theoretical article explores how representations of Black masculinity vary in underground versus mainstream hip-hop, stemming directly from White patriarchal ideals of manhood. Conceptual and theoretical analyses of songs from the likes of Jay-Z and Dead Prez and Imani Perry’s Prophets of the Hood help provide an understanding of the parallels between hip-hop performances/identities and Black masculinities. Keywords Black masculinity, hip-hop, patriarchy, manhood 1Columbia University, New York, NY, USA Corresponding Author: Crystal Belle, PhD Candidate, English Education, Teachers College, Columbia University, 525 West 120th Street, New York, NY 10027, USA. Email: [email protected] Downloaded from jbs.sagepub.com at Mina Rees Library/CUNY Graduate Center on January 7, 2015 288 Journal of Black Studies 45(4) Introduction to and Musings on Black Masculinity in Hip-Hop What began as a lyrical movement in the South Bronx is now an international phenomenon.
    [Show full text]
  • Cash out Rapper Age
    Cash out rapper age click here to download John-Michael Hakim Gibson, (born August 15, ), better known by his stage name Cash Out (stylized Ca$h Out) is an American rapper originally from. About. Born John-Michael Hakim Gibson, he is an Atlanta-based Rapper who released mixtapes titled Keisha and Ya Feel Me. He released the song "We. Ca$h Out Net Worth, Bio and Wiki. Cash Out. Real name: John-Michael in with one of the biggest singles “Cashin Out” southern rapper Ca$h Out is back. Cashout wiki. Cashout Chicago rapper biography. Cashout songs and lyrics. Cashout. Age. Also known as. Birth date. Birth name. Born in. Origin, Chicago. Current City, Chicago. Styles, Drill music. Occupation(s), Rapper. Years active. Cash Out is best known as a Rapper who was born in Columbus on Wednesday, August 15, Cash is currently 27 years old. Out's birth sign is Leo. Find Cash Kidd biography and history on AllMusic - Detroit rapper Cash Kidd spits like a young Lil. Though only 22 years old, Chicago rapper CashOut is very streetwise for his age. He knows the rules of the game even though it may be dirty at. n a late-summer Wednesday morning, legendary rapper Nas is lounging “I was music guy for years, and then all of a sudden it's like I hit an age While Nas may have missed out on the sneaker and streetwear deals of. Ca$h Out is an emcee born in Columbus, Georgia and raised in Atlanta, which Cash Out was acquitted of a gun charge in Clayton County, Georgia in Payroll Giovanni is a known American rapper, originated from Detroit and who is a part of a popular gangsta rap group "Doughboyz Cashout".
    [Show full text]
  • Mediamonkey Filelist
    MediaMonkey Filelist Track # Artist Title Length Album Year Genre Rating Bitrate Media # Local 1 Kirk Franklin Just For Me 5:11 2019 Gospel 182 Disk Local 2 Kanye West I Love It (Clean) 2:11 2019 Rap 4 128 Disk Closer To My Local 3 Drake 5:14 2014 Rap 3 128 Dreams (Clean) Disk Nellie Tager Local 4 If I Back It Up 3:49 2018 Soul 3 172 Travis Disk Local 5 Ariana Grande The Way 3:56 The Way 1 2013 RnB 2 190 Disk Drop City Yacht Crickets (Remix Local 6 5:16 T.I. Remix (Intro 2013 Rap 128 Club Intro - Clean) Disk In The Lonely I'm Not the Only Local 7 Sam Smith 3:59 Hour (Deluxe 5 2014 Pop 190 One Disk Version) Block Brochure: In This Thang Local 8 E40 3:09 Welcome to the 16 2012 Rap 128 Breh Disk Soil 1, 2 & 3 They Don't Local 9 Rico Love 4:55 1 2014 Rap 182 Know Disk Return Of The Local 10 Mann 3:34 Buzzin' 2011 Rap 3 128 Macc (Remix) Disk Local 11 Trey Songz Unusal 4:00 Chapter V 2012 RnB 128 Disk Sensual Local 12 Snoop Dogg Seduction 5:07 BlissMix 7 2012 Rap 0 201 Disk (BlissMix) Same Damn Local 13 Future Time (Clean 4:49 Pluto 11 2012 Rap 128 Disk Remix) Sun Come Up Local 14 Glasses Malone 3:20 Beach Cruiser 2011 Rap 128 (Clean) Disk I'm On One We the Best Local 15 DJ Khaled 4:59 2 2011 Rap 5 128 (Clean) Forever Disk Local 16 Tessellated Searchin' 2:29 2017 Jazz 2 173 Disk Rahsaan 6 AM (Clean Local 17 3:29 Bleuphoria 2813 2011 RnB 128 Patterson Remix) Disk I Luh Ya Papi Local 18 Jennifer Lopez 2:57 1 2014 Rap 193 (Remix) Disk Local 19 Mary Mary Go Get It 2:24 Go Get It 1 2012 Gospel 4 128 Disk LOVE? [The Local 20 Jennifer Lopez On the
    [Show full text]
  • Stic.Man and Afya Ibomu by OUR HEN HOUSE Published November 9, 2013
    Interview with stic.man and Afya Ibomu By OUR HEN HOUSE Published November 9, 2013 Following is a transcript of an interview with STIC.MAN AND AFYA IBOMU conducted by JASMIN SINGER and MARIANN SULLIVAN of Our Hen House, for the Our Hen House podcast. The interview aired on Episode 200. JASMIN: Thankfully our guests today are thinking way outside the box with music, and they’re bringing lots of animal rights messages and veganism to their amazing platform. And we’re talking about Dead Prez, and specifically stic.man and his lovely partner in life, Afya Ibomu. And they are truly paving the way for new vegans and animal rights ambassadors to embrace the message, and they’re doing it in a unique and refreshing style. MARIANN: Yeah, I’m totally impressed by them, their knowledge, of particularly the health benefits of veganism and the impact it’s had on their own lives, and also broadening that to the social influences of the horrors of the standard American diet on people, and then conveying that musically. It’s just a great package. JASMIN: Dead Prez. Dead Prez is a hip hop duo composed of stic.man and M1, formed in 1996 in New York City. They are known for their confrontational style combined with socialist lyrics focused on both militant social justice and Pan-Africanism. The duo maintains an ethical stance against corporate control over the media, especially hip hop record labels. Stic.man is an American rapper, activist, and author. His wife, Afya Ibomu, is a holistic nutritionist, author, and the CEO of nattral.com, and has been a vegetarian since 1990.
    [Show full text]
  • A Walk Thru Faith
    © 2010 by Walk Thru the Bible Published by Baker Books a division of Baker Publishing Group P.O. Box 6287, Grand Rapids, MI 49516-6287 www.bakerbooks.com Ebook edition created 2011 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means—for example, electronic, photocopy, recording—without the prior written permission of the publisher. The only exception is brief quotations in printed reviews. ISBN 978-1-4412-3548-0 Library of Congress Cataloging-in-Publication Data is on file at the Library of Congress, Washington, D.C. Unless otherwise indicated, Scripture is taken from the Holy Bible, New International Version®. NIV®. Copyright © 1973, 1978, 1984 by Biblica, Inc.™ Used by permission of Zondervan. All rights reserved worldwide. www.zondervan.com Scripture marked NKJV is taken from the New King James Version. Copyright © 1982 by Thomas Nelson, Inc. Used by permission. All rights reserved. Contents Introduction Session 1 The Currency of the Kingdom Session 2 Evidence of the Unseen Session 3 Everyday Faith Session 4 Ask and Receive Session 5 Faith Anyway Session 6 Between Promise and Fulfillment Conclusion Leader’s Notes Introduction It helps us understand and causes us to be commended. It makes us heirs of righteousness, leads us where we need to go, enables us to receive the miracles of God, and gives us a lasting legacy. It blesses us, causes us to worship, and determines our identity. It makes us unafraid and enables us to persevere. It parts the seas and brings down walls.
    [Show full text]