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Proquest Dissertations Gettin' Skooled: How Hip-Hop Culture Shapes the Identities of Urban Youth Jacqueline Celemencki Department of Integrated Studies in Education McGill University, Montreal; August, 2007 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts, Educational Studies. Library and Bibliothèque et 1+1 Archives Canada Archives Canada Published Heritage Direction du Bran ch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada Your file Votre référence ISBN: 978-0-494-51368-2 Our file Notre référence ISBN: 978-0-494-51368-2 NOTICE: AVIS: The author has granted a non­ L'auteur a accordé une licence non exclusive exclusive license allowing Library permettant à la Bibliothèque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans loan, distribute and sell theses le monde, à des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, électronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in et des droits moraux qui protège cette thèse. this thesis. Neither the thesis Ni la thèse ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent être imprimés ou autrement may be printed or otherwise reproduits sans son autorisation. reproduced without the author's permission. ln compliance with the Canadian Conformément à la loi canadienne Privacy Act some supporting sur la protection de la vie privée, forms may have been removed quelques formulaires secondaires from this thesis. ont été enlevés de cette thèse. While these forms may be included Bien que ces formulaires in the document page count, aient inclus dans la pagination, their removal does not represent il n'y aura aucun contenu manquant. any loss of content from the thesis. ••• Canada Abstract This thesis examines the ways in which a group of male youths from Montreal interpret the world and construct their identities through the lens of hip-hop. The theoretical framework draws mainly from discussions of youth subcultural theory as articulated by the Center for Cultural Studies in Birmingham, as weil as current research on hip-hop culture and youth identities. Using narrative inquiry as a methodological framework, this study highlights how the participants' perceive their neighbourhoods through gangster rap culture, and construct their identities according to these perceptions. This study also reveals how the participants' create original rap lyrics as a self-reflexive tool, and how listening to rap music shapes their linguistic expression. Cette thèse examine les manières dont un groupe de jeunes hommes Montréalais interprète le monde et construit son identité via le prisme du hip-hop. Le cadre théorique vient principalement des discussions sur la théorie de la « sous-culture jeunes » qui se sont tenues au Centre des Etudes Culturelles à Birmingham, ainsi que des récentes recherches sur l'identité des jeunes au sein de la culture hip-hop. En utilisant l'enquête narrative comme cadre méthodologique, cette étude met l'accent sur la facon dont les participants perçoivent leurs quartiers au travers de la culture gangster rap, et construisent leurs identités selon ces perceptions. Cette étude indique également comment les participants faconne leur « rap » comme un outil de reflexion, et comment l'écoute du rap influence leur expression linguistique. Acknowledgements First and foremost, 1 would like to give a big up to the participants in this study for living their hip-hop, and for sharing their lives with me. Without you this study would not have been possible. To my incredibly patient and supportive supervisor, Dr. Bronwen Low, for providing excellent feedback as 1 wrote my many drafts, and for believing in my work. Shirley Steinberg, for your help during the initial stages of my research. To Catherine Hughes, for saving me from many deadline catastrophes. Ma famille: Mom, Dad, Nathalie and Michelle, for your unconditionallove and support, especially while 1 was hunched over my computer at various family gatherings. To John Pascarella, thanks for your feedback and critical questions. Le voisin, Greg D. for help with the translation and for being my thesis respite during the summer that 1 wrote this.To Seth Sugar, thank you for your loyal friendship and encyclopedie knowledge. To Brian M. Peters, for your mentorship and freestyle-rap phone messages. To Iris Glaser, for your amazing friendship over time and space. And lastly, a big SHOUT OUT! to the former and current generation ofhip-hop heads around the world still keepin' it real. My wish is that this work does not collect dust on a library shelf: jcelem@ .. Table of Contents Abstract Acknowledgments Chapter 1:Gettin' Skooled through Hip-Hop Culture 1 Corning of Age in the New Dawn of Aquarius- A Brief Auto-Ethnography 1 Chapter 2: A Brief Hip-Hop Historiography 7 The Cross-Bronx Highway Project 8 Reaching Back in Time- The Roots of Hip-Hop 9 The Original Hip-Hop Party 11 Looking Back, Looking Forward 15 Chapter Surnmaries 16 Chapter 3: Theorizing Y outh ldentities and Popular Culture 18 The Frankfurt School 19 Chicago School of Urban Sociology 20 Centre for Contemporary Cultural Studies in Birmingham (CCCS) 21 Subculture 22 Concluding Thoughts 24 Chapter 4: Varions Approaches to Hip-Hop and Youth Culture Research 28 Hip-Hop as an International Language of Resistance and Negotiation 29 Hip-Hop as Social Activism 31 Hip-Hop and Racial Identities 32 Gangster Rap and Black You th Identity 36 Concluding Thoughts 39 Chapter 5: Mapping out a Methodology- Narrative lnquiry 41 Gathering Stories-Gathéring Data 43 Analyzing the Data 44 Keepin'it Real 45 Procedures 47 Chapter 6:Hip-Hop is Who We-A Collection of Reflections and Observations 51 Growing up Brown-ish, Kosher-ish, and becoming Hip-Hop-ish 51 The Players 53 The Meeting 55 Holla if ya Hear Me!- Rap Music as a Vehicle for Self-Expression 56 Neighbourhood and Identity 59 ldentity and Gangster Rap 61 The Inner City vs. the Suburbs 65 Rap and Role Models 68 Rappin' it Up 69 Chapter 7: Conclusion- Let Me Break it Down For You One Last Time 71 Works Cited: 75 Appendix A: 80 Discussion Prompts Appendix B: 81 Questions for Further Research Appendix C: 82 Participants' Original Rap Lyrics Certificate of Ethical Acceptability of Research Involving Humans: 84 Chapter l:Gettin' Skooled through Hip-Hop Culture Hip-hop culture is one of the most visible and vibrant youth cultures today. lts global spread can attest toits popularity, which is such that youth researchers today are examining the ways in which youth are drawing on hip-hop culture to shape their identities and teachers are increasingly using hip-hop in the classroom as a pedagogical aid (Bennett, 1999; Clay, 2005; Morrell, 2004; Pough, 2004). This thesis, entitled "Gettin' Skooled: How Hip-Hop Culture Shapes the Identities of Urban Y ou th", examines the role that hip-hop culture plays in shaping the identities and perceptions of young, urban men attending an inner city Montreal high school. The research examines how hip-hop culture functions as a lens through which the participants' cons tru ct reality and perform the ir identities. In accordance with the narrative inquiry methodological framework I used for conducting my research, this thesis begins with an introduction of my persona! struggles in constructing and articulating my identity as a youth. In order to contextualize hip-hop's current popularity marginalized youth, this persona! introduction is followed by a brief history of hip-hop in North America. Coming of Age in the (New) Dawn of Aquarius- A Brief Auto-Ethnography Coming of age as a teen in the early 1990s, I had an ongoing love affair with popular culture, and in particular, hippie subculture. My days of aquarius were highlighted with many rock concerts, barefoot picnics in the park, and the occasional protest. Hippie subculture provided an impetus for me to orchestrate my one-woman revolution against the mainstream, neo-conservative/traditional 1 values 1 was raised with. On weekends, my friends and 1 would scour local thrift stores looking for the longest and most colourful dresses, crocheted hats, and beaded necklaces-anything that would contribute to the penultimate 'flower child' look, a throwback to my parents' generation. 1 attended the infamous Sunday tarn-tarn jams on Mount Royal in Montreal with a fervor and devotion typically reserved for the deeply religious. These Sunday excursions were the highlight of my week, so intent was 1 to worship at the temple of what 1 revered at the time to be my hippie mecca. 1 even had special outfits that 1 reserved for these occasions, replete with belis around my ankles and decorative sparkles dotting the circumference of my eyes, ali in efforts to become part of the visuallandscape 1 so desperately wished to become part of. During my little counter-cultural revolution, much to my parents' horror, 1 unceremoniously and effortlessly ditched my on-again/off-again love affair with organized religion to full y immerse myself in the temporal reality of my new adopted subculture. From the ages of roughly 14-18, hippie was my religion. No longer concemed with trying to explore different ways of reaching God through religious prayer, 1 focused my energy on fitting in with my hippie peer groups, forging friendships based on our mutuallove of music, environmental activism, and vegetarianism (not to mention the occasional shared joint).
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