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The Kids Need Hip-Hop: Reengaging Students Through Culturally

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The Kids Need Hip-Hop: Reengaging Students Through Culturally The Kids Need Hip-Hop: Reengaging Students through Culturally Relevant Pedagogy Harjot Natt, B.A. Department of Graduate and Undergraduate Studies in Education Submitted in partial fulfillment of the requirements for the degree of Master of Education Faculty of Education, Brock University St. Catharines, Ontario © Harjot Natt 2014 Abstract My thesis advocates for critically-conscious hip-hop in classrooms to promote student engagement and culturally relevant pedagogical practices. This proposed approach to educating youth offsets the harmful effects of a normalized curriculum that limits students’ creativity and discounts their experiences as lifelong learners. My thesis gathers data from research literature on hip-hop and education, critically-conscious hip-hop lyrics, and also includes my own hip-hop muse to illustrate the positive tenets of critically-conscious hip- hop. The research literature in my thesis is gathered from multiple studies within North American high schools. My hip-hop muse interrelates with critically-conscious hip-hop lyrics because they both address contemporary issues through social commentary and critical awareness. The element of social commentary in my hip-hop muse is displayed through short poems and verses that outline my experiences in a normalized schooling environment. Throughout my thesis, I uncover the causes of student disengagement in classrooms, the ways in which critically-conscious hip-hop music serves as a tool for reengaging youth, and the approaches that must be taken in order to adequately integrate hip-hop into today’s classrooms. My thesis is important within the context of Canadian classrooms because it acts as an agent for social change and cultural relevance through a critical lens. The purpose of this approach, then, is to demonstrate an understanding of the complexity of our society and schooling system through social critique and proposals for change. More importantly, my thesis is grounded in equity; in which critically-conscious hip-hop serves as a bridge for students’ experiences, interests, and independent identities. ii Acknowledgements I met many exceptional people during this entire process who believed in my work. I am truly thankful for the support and encouragement I have received over the last three years. All of you have helped me to develop my own voice as both a learner and scholar within the field of hip-hop and education. I am pleased to thank the following individuals for their dedication, love, and support: To Alia Marie Natt: My wife, best friend, and biggest fan. I am so thankful that, for a slight moment, I was able to put aside my insecurities as a teenager and approach you that night at the movie theatre ten years ago. You gave me the love and strength that helped me to pursue my goals. Thank you for putting up with the late nights and loud hip-hop music. I can always count on you. To Dr. Dolana Mogadime: I remember back in 2010 when you told me that my writing on hip-hop and education was “brilliant”. I also remember how joyful I felt after that interaction; nobody had ever believed in me the way you did. You gave me hope as a student by telling me that my work was valuable and you also encouraged me to develop a critical voice. You are my mentor and a good friend who I am grateful for having in my life. To Dr. Shelley Griffin and Dr. Leanne Taylor: I truly valued your feedback on my work. Your insight assisted with creating consistency in my thesis. I am appreciative of the time and effort that you put into this entire process. You are both inspirational educators who have shown tremendous dedication and passion for the field of education. To Bev Jackson: Thank you for taking the time to edit my work. Your patience and support was greatly appreciated. iii To Mr. and Mrs. Natt: Mom and dad, I know you waited a long time to see some decent marks on my report card as a kid; but I think this thesis means much more than getting an A+ (I hope you agree). I love both of you. To my friends and family: Bibi, Gary, Positano, PomPom & Carl, Cam, Shadi, and everyone else who inspired me to share my thoughts and experiences. All of you are very important to me and I cherish our time together. To Roo: My friend, homie, and partner in crime. You helped me get through some of the darkest times in my life. I love you dearly. iv Table of Contents Page Abstract ................................................................................................................................... ii Acknowledgements ................................................................................................................ iii List of Tables ........................................................................................................................ vii List of Figures.......................................................................................................................viii CHAPTER ONE: INTRODUCTION ...................................................................................... 1 Theoretical Framework ........................................................................................................ 2 Student Disengagement and Lack of Cultural Relevance .................................................... 2 Critically-Conscious Hip-Hop Pedagogy ............................................................................. 4 Critical Reflexivity in Research through Counter-Storytelling ........................................... 6 Scenario One: Student Resistance to Oppressive Hegemonic Silences ............................... 7 Scenario Two: Inserting Hip-Hop into the Post-Secondary Landscape ............................... 9 The Emergence of Hip-Hop Culture .................................................................................. 11 Background to the Problem ................................................................................................ 14 Statement of the Problem ................................................................................................... 20 Purpose of the Study .......................................................................................................... 21 Importance of the Study ..................................................................................................... 22 Scope and Limitations of the Study ................................................................................... 24 Outline of the Thesis .......................................................................................................... 26 CHAPTER TWO: LITERATURE REVIEW ........................................................................ 29 Youth Disengagement ........................................................................................................ 33 Recognizing Student Disengagement Through Culturally Relevant Pedagogy ................ 34 Zero Tolerance Policies, Pushing Out Students, and Misconceptions About Safe Spaces 41 Curriculum Philosophy ...................................................................................................... 48 Adjusting the Classroom Climate ...................................................................................... 51 Hip-Hop as a Literacy Practice for Youth .......................................................................... 56 Summary ............................................................................................................................ 59 CHAPTER THREE: METHODOLOGY .............................................................................. 61 Research Methodological Design: Critical Discourse Analysis ........................................ 63 Research in Action: How to do Critical Discourse Analysis ............................................. 65 Critical Discourse Analysis and Hip-Hop Music ............................................................... 68 Critical Race Theory .......................................................................................................... 71 Counter-Storytelling ........................................................................................................... 72 Counter-Storytelling and Hip-Hop ..................................................................................... 74 Counter-Storytelling and its Potential Limitations……………………………….............75 Summary ............................................................................................................................ 76 CHAPTER FOUR: ANALYSIS ............................................................................................ 78 Educational Researchers Document The Hip-Hop Effect ................................................. 79 The Dark Side of Hip-Hop ................................................................................................. 85 Step Into My World: Critically-Conscious Hip-Hop ......................................................... 89 v Critically-Conscious Hip-Hop and Historical Inquiries ..................................................... 96 Critically-Conscious Hip-Hop and Social Commentary Through Counter-Narratives ..... 98 Critically-Conscious Hip-Hop and Youth Empowerment ............................................... 102 Critically-Conscious Hip-Hop and Deconstructing Masculinity ..................................... 104 Critically-Conscious Hip-Hop Through a CRT Framework ............................................ 106 The Past Is a Present: My Hip-Hop Muse .......................................................................
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