Journal of Cultural and Social Anthropology Volume 1, Issue 1, 2019, PP 16-25

Teaching Anthropology Concepts and Types of Text with Reggaetón

Keith V. Bletzer School of Human Evolution and Social Change, Arizona State University, Tempe, Arizona, USA *Corresponding Author: Keith V. Bletzer, School of Human Evolution and Social Change, Arizona State University, Tempe, Arizona, USA, Email Id: [email protected].

ABSTRACT This case study analyzes phases of collaborative exchange between teacher and two sets of students on how to best represent types of text in separate videos. The first phase emphasized ‘digital-storytelling’ lessons in an elective class, designed to provide charter high school students with practical experience in using Microsoft Photo Story© and Audacity©. The second phase was designed to prepare community college students for two final essays in a social science course. To accommodate a variation in academic level, the videos were critiqued by students at each school and re-developed for each level, i.e., charter high school and community college. Keywords: types of text; Reggaetón; community college; charter high school; Microsoft Photo Story© and Audacity©

INTRODUCTION Present-day students use online media and with a university and a multi-campus community computerized technology within an ever- college. increasing globalized world. They are willing to The charter school quarter system is organized share ideas on media and technology, which can by 80-minute classes (block schedule), which provide critical feedback to teachers. As reduces number of classes taken per day, but not teachers have a responsibility to ensure that time in class. Dependent on accumulated students acquire competency in writing and credits, students take an elective with a different reading, this relationship should include teacher each quarter and spend a full year in educational exchange between teacher and advisory with the same teacher. Thus, I had a students, beneficial to each. Teacher-students new elective class of students four times each collaboration in this case study differs from year and the same advisory students for a full insertion participation, such as teacher-as- year. Similar to other areas of the United States moderator for Socratic Seminars. [1-2], families opted for a charter school with I review two-phase development of Reggaetón individualized instruction and small classes. videos representing types of text, first created at Receiving updates on educational strategies, a charter high school. To represent one type of parents had computer access to their child‟s text (argumentation, informational, narrative) in grades. These strategies encourage families to each video, content was derived from publicly support their child‟s schoolwork and the available music and images, augmented by my learning process [3], which supports the student notations on Reggaetón. Charter school videos as a person. A few students were living „on their were generated with student feedback in an own,‟ usually in a group home, which requested elective class. weekly updates on academic progress. When I transferred to teach anthropology at a In contrast to high school quarters, community community college, first-phase videos were college semesters are typically 3-credit-hours, adapted to instruct students on writing guided by a state education curriculum, which anthropologically in a course emphasizing emphasizes intensive writing, cultural diversity, intensive writing, culminating in two major and global diversity. Owing to first-day essays. Both schools are located in the variations, sections of the same course vary by southwestern United States in a small city time in class (75 or more minutes). Classrooms

Journal of Cultural and Social Anthropology V1 ● I1 ● 2019 16 Teaching Anthropology Concepts and Types of Text with Reggaetón are equipped with tables or desks; learning Photo Story and Audacity to generate videos. activities are adapted to room architecture. This software can be downloaded to personal Instruction is supported by technology at both computers and/or as a school-wide application. schools, such as overhead projectors. Both programs are available at the charter Community college technology includes school. Audacity is available at the community assignment submission-upload software. Teaching college. Each program is suitable for class anthropology focuses on preparing students to instruction (teacher-centered), activity summaries meet academic requirements, especially (administrators, teachers), and assignments intensive writing, by providing appropriate (student-generated). skills and knowledge to complete writing assignments, which include two end-of-the-term TECHNOLOGY essays. Differing from hand-held devices for movie- making, Microsoft Photo Story© is software for Many students at both schools were raised collating text, images, and sound (music and and/or live in households representing varied speech). Rather than shoot film and add text [4], linguistic, national, and religious backgrounds. the program builds a photo-essay by adding A few community college students in contrast slides. Photo Story is academically suitable for are married and/or live in an apartment writing conventions, as one cannot mix font (leased/rented). Rare few have children. styles, sizes or colors on the same slide. Students at both schools may work part-time or, occasionally, full-time. Teachers accommodate Text is copied to each slide or typed manually to these everyday realities [4-6] and the Each image occupies one slide and can be structural vulnerability that this generates. imported in bunches or individually. Photo Story reads images in JPG, PNG, TIFF, but not Trained in ethnography, strengthened by formal PDF. Thus, one can use images from the teacher training on how students respond to Internet, digital photographs, or those created educational strategies, I brought to this process a perspective of vigilance. As further impetus, as via Power-Point. Images can be cropped and their order re-arranged. a young adult I lived in all but one place that were incubators for Reggaetón development, Each slide‟s motion (e.g., expand, pan, shrink), namely, Puerto Rico, Panama (twice), and New transition (e.g., circle, flip, turn), and on-screen York City and southern Florida (U.S. Latinx duration to tenth of a second, can be fine-tuned projects). I generally recognize cultural forms to fit a music clip, and/or narration created with across Caribbean musical genres. This does not Audacity or spoken into a microphone. place me in the same category as instructors Music is added from audio files or customized who incorporate adolescent Hip-Hop experience by one of 50 choices from twelve genres in classroom teaching, but it facilitates work (includes non-sound „silence‟), adjustable by with Reggaetón materials and opens instrumentation, intensity, mood, tempo, and constructive communication with students who volume. Unlike slide-constrained imagery and appreciate Reggaetón. By showing two text, customized music or „silence‟ continues, ethnographic videos on Reggaetón, I distinguish until another choice is made. One can preview a informational text from argumentation. At the work in progress to explore and make changes same time, I use the energetic enthusiasm in timing. embodied in its music through which I teach anthropology concepts. Audacity© is a sound-editing, assistive technology program that allows editing and re-arranging METHODS sound tracks from music and spoken narration. This case study describes two phases in These are saved in one format, and a completed development of instructional media representing file is exported in a format (MP3) that Photo two types of text: „informational‟ (announcements, Story can read. guidelines, historic accounts) and „argumentation‟ One can zoom-out to a whole track or zoom-in (persuasion, research results, theorized point-of- for fine-tuned editing. For effects, one can view). A third type of text, „narrative‟ (utilized adjust speed or tempo, create an echo, fade-in at the charter school), I exclude at the and fade-out, among alterations. One can work community college. with one clip or open several files individually Data for analysis are derived from class (re-naming each clip to avoid overriding the materials and journal entries. I use Microsoft originals).

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Splicing multiple clips allows uniform loudness presenting it to the full group. Topics were and smooth transitions in sound. contributions to North American society, emphasizing individuals from protected RECOGNIZING TYPES OF TEXT THROUGH populations. Three teams chose a woman REGGAETÓN (Latina astronaut; U.S. civil rights activist). One Participatory instruction was essential to the team chose a historic event (1930s Dustbowl two-phase case study. Merging images, audio Refugees). Thus, 12 students after a two-day and video [5], digital-storytelling is reflectively training were able in 90 minutes to integrate and critically engaged, and socially-oriented [6- varied elements (images, music, text, transition) 7], which fit the elective class. As writing into team videos created from Photo Story and enhancement is the community college focus, Audacity. None reached the three-minute goal. teaching students to tell the story through Possibly, compiling and coordinating slides argumentation, rather than report ideas with challenged them for “critical content informational text, is emphasized in videos that interpretation and validation” [10, p. 455], when contrast argumentation and informational text, putting together their video materials. These, respectively. then, were the digital-storytelling skills that students brought back for the last weeks of The informational video showcases school. anthropological concepts for four stages where Reggaetón blended cultural traditions, language This core group of students trained in Photo forms, and musical rhythms. The argumentation Story and Audacity made it possible to video makes the case that Reggaetón is incorporate digital-storytelling in elective grounded in „home culture‟ (identity by classes the final weeks of school and with a new neighborhood/street as place-of-origin for group of students the following year. I singers) and represents „newness,‟ such as incorporated student voice [11], whereby I asked meeting unknown people at dances that generate each student to use the student rubric to assess new relationships. Contrastive „home culture‟ Reggaetón videos that I had created. Nearly and „newness‟ characterize an early experience everyone returned the form (clarity, content- of young people in urban environments, for sequence, media-audio, narration, pacing). example, when they encounter the newness of Feedback recommended fewer slides with text age-appropriate school culture [8]. Apart from fading-in/fading-out, more time to read slides, assemblies of age-similar persons at clubs and and slower pace for main ideas. Students agreed dances, Reggaetón merges music traditions and that the media was audible, text narration was technological innovations by “a mix of genres,” legible, and images were appropriate. to quote Reggaetón pioneer, Daddy Yankee [9]. Reflecting on feedback, I recognized I had over- Through video content, students learn used narrative-historical materials. To this time, anthropological concepts: „revitalization‟ (update I was using Reggaetón clips to introduce practices), „innovation‟ (improve what is classroom expectations. Recalling student already invented), and „syncretism‟ (blended requests to play “that music” in Biology and sustainability), among others. Beyond musical Earth Science classes, I recognized that I had incorporation of singer and listener identities, tapped into a “common ground” for the development of Reggaetón as a musical collaborative sharing [12] to take lessons past genre represents „home culture‟ (Caribbean print decoding [13-14]. But I minimized music traditions) and „newness‟ of innovative argumentation. As a premier academic skill, technology for re-mixing sounds argumentation is “social” [15, p. 554] and (instrumentation and voices) in previously “epistemic” [p. 555]. I soon learned that unavailable forms. teaching argumentation requires consideration PRECURSOR VIDEOS of what students need in a particular course linked to what they receive through school For training in Photo Story and Audacity curriculum. another charter school teacher and I accompanied 12 students to a two-day training Revision continued, emphasizing three types of at the county‟s educational resource center. The text, particularly that of argumentation. All three final training activity was preparing a three- videos became works-in-progress. Attending a minute video in 90 minutes. Four student teams state conference, I participated in a workshop on generated a video that each group verbally Richard Mayer‟s The Cambridge Handbook of described on the final day of training, while Multimedia Learning [16]. Considering the

Journal of Cultural and Social Anthropology V1 ● I1 ● 2019 18 Teaching Anthropology Concepts and Types of Text with Reggaetón three videos, I could conjure Photo Story‟s club, as did a few parents, invited adults, and procedures to Mayer‟s principles of students. Students were ticket-takers, room „sequencing‟ (simple to complex in steps), attendants, ushers, soda dispensers, technicians, „signaling‟ (critical ideas highlighted), and and occasional parking lot attendants (no one „contiguity‟ (concepts organized by spatial wanted to miss the show). Similar to rap and and/or temporal proximity), among others. For Hip-Hop as what one does and how one lives example, to add time to read slides, suggested [22], this show took place “in real life” [23], by students, I concurrently clustered pertinent allowing students to demonstrate complex music clips, images and text to help the viewer organizational skills. Rather than work with an to focus on central ideas. I retained images of expert on a chosen academic topic (e.g., [24]), effective pixel proportions (840 X 480), or exchange mediated communications with recommended by a workshop participant. Given same-age adolescents in another setting (e.g., concerns for thematic content in Reggaetón [25]), charter school students enacted interest, (e.g., [17]), I generated the videos. I explained voluntarily, and shared their varied expertise by to students that I was taking a teacher‟s producing a musical show outside the challenge to create a digital-story – at that time, classroom. three videos. This allowed each student to develop and share a project with classmates, as CONSOLIDATING VIDEOS closure to the class. None chose a Reggaetón During an interlude of teaching English one year counterpart, which avoided style copying. each at two public schools, I had time to Students learned by doing projects [18] consider the Reggaetón videos as instructional requiring self-critique and peer review to media. Given curriculum-determined validate their creations. Generating videos instruction, I never used them for lessons. But I allowed me to model effects, respond to continued reflecting how assignments might be inquiries, and demonstrate in class how I enhanced by multi-model educational tools. handled their feedback by explaining Photo This two-year experience continued to strengthen Story and/or Audacity choices displayed in the my skills in teaching ethnographically through videos. participatory observation, guided questions and collaboration, which ground fieldwork [26, p. Student feedback switched from written to 116-140], as much as they are useful in a verbal over remaining weeks of school. The classroom. following year each elective class was offered the rubric form to assess a teacher-created Offered a position to teach anthropology at a video-in-progress. Combining written and verbal local community college, I spent my first weeks feedback emphasizes transactive discussion. in designing lessons, which staff call “building a Across the reviews (individually by paper; course.” The first term that I taught verbally by full class), comments were anthropology, I showed videos in alphabetical thoughtful, sensible and helpful. Based on one order and asked for feedback. Students agreed comment that music was mostly in Spanish, as a full-group that the first (argumentation) later versions of Photo Story gave translations or “jumps around too much,” “it‟s too choppy,” interpreted themes with color transition. Global and “it‟s not tied together.” Thus, comments interest in Reggaetón (e.g., [19]) and one precursor focused on coherence-comprehension genre, Hip-Hop (e.g., [20-21]), goes beyond appropriate for college students, not the Spanish. secondary school students with whom I created it. The second video (informational) “has better “That music” incorporated into class instruction, flow,” “it has something to say,” and “sound and students‟ discovery that I had attended a goes with writing.” This one, I recognized local Reggaetón concert („narrative‟ video should go first to provide the background on displayed an image of the concert ticket), led to where-and-when Reggaetón developed into a a surprise. As my second year was ending, globalized phenomenon. Students also several students announced a small Reggaetón recognized my efforts to teach citation and show they were organizing with a Reggaetón bibliography, even in the videos. duo from New York City. Acquiring experience over two years when he was not in school, one Because intensive writing is required, the final student led this effort. When students showed two assignments are essays. To prepare students me the promotional poster, professionally for writing anthropologically, I utilize four printed, I was awestruck. As my third year tools: (1) Excerpt from documentary film, Obit.: began, I attended the event in a small-venue Life on Deadline [27], that identifies

19 Journal of Cultural and Social Anthropology V1 ● I1 ● 2019 Teaching Anthropology Concepts and Types of Text with Reggaetón professional strategies for writing short is “conscious, deliberate, and organized efforts assignments, typically two-three paragraphs in by some member(s) of a society to create a more length; (2) How-to-write-for-an-anthropology- satisfying culture… [which] appear at moments journal recommendations, prepared by the of cultural stress” [p. 300]. These innovative editor-in-chief and copyeditor of American forms may go “mainstream,” as occurred with Ethnologist, appropriately titled, “Tell the Reggaetón, or remain “constricted” [p. 300]. Story” [28]; (3) discussion of first paragraphs in „Hybridization‟ is mixing forms, such as “style chapters from the anthropology textbook, of music” blended with cultural expressions of Cultural Anthropology: Global Forces, Local identity or politics [30, p. 266, 271-272]. Lives [29], which illustrate the basics of „Adaptation‟ is initial borrowing, and effective anthropological writing, i.e., „insider „syncretism‟ is “mixing or blending of elements view‟ (local language) and „inductive reasoning‟ from two or more cultural sources to produce a (transforming particular cultural concepts into better culture or system” [29, p. 300]. pan-human generalizations), by showcasing a When Daddy Yankee (Ramón Ayala) single ethnography on the chapter topic; (4) two characterizes this multi-faceted process, revised videos that represent multi-modally two illustrated in Reggaetón-Informational, “The types of text – the focus of this case study. mix of all those genres made Reggaetón,” he is Three tools are presented separately as a referring to Reggae, Dancehall, and their computer-assisted lesson in the early weeks of Caribbean precursors (soca, salsa, plena, the anthropology course (i.e., 1, 2, and 4). First- merengue, bomba) that blended with Meren-Rap paragraph discussions (i.e., 3) take place for and Hip-Hop through techno-mixing. In other nearly every discussion of new textbook words, Reggaetón is syncretism with origins chapters. specific to place (circum-Caribbean) and time Reggaetón-Informational states in its Preface, (millennial technology), related to post-colonial “Reggaetón grew through revitalized 'diasporas,‟ i.e., population migrations. Using technologies, and diffusion of ever-evolving, Audacity, I edited the soundtrack of an MTV innovative genres,” and Objective, “Students- (pay channel) interview with Daddy Yankee by Will-Be-Able-To hear & see Reggaetón as Sway Calloway [9] and inserted audio-excerpts: syncretism of distinctive styles through circum- (a) progression from pre-Reggae ska, Reggae Caribbean connections, facilitated by and Dancehall in Jamaica [31-32] to (b) Spanish globalization.” Remaining sections focus on Reggae in Panama [33-34], which (c) merged Reggaetón precursors in Jamaica, Panama, with Spanish Hip-Hop [22] resulting from Puerto Rico, and „syncretism‟ with input from English Hip-Hop adjustments blended with Dominican and Cuban performers in the Caribbean salsa and plena rhythms [22, 35-37], northeastern and southeastern United States. which (d) further syncretized as Reggaetón in This later blending became globally recognized Puerto Rico [36] and circulated to circum- as Reggaetón. Each section includes music Caribbean places (Figure 1). This syncretized credits, identified by genre, and scholarly musical genre as Reggaetón Latinx diffused sources. Terms from anthropology within the globally to new audiences. informational video identify cultural change as To present its premise, Reggaetón-Argumentation Reggaetón developed: (a) „revitalization‟ states in the Preface, “Reggaetón shares ideas (Jamaican Reggae led to Dancehall, popularizing about social practices,” before its Objective, its acceptance by a wider audience in Jamaica), “Students-Will-Be-Able-To hear and see how (b) „hybridization‟ (Reggae in English by Reggaetón embraces newness and holds to Jamaican ancestry musicians in Panama was home culture.” For an opening, six slides translated into Spanish to reach a Latinx contrast other genres by noting a key feature in audience), (c) „adaptation‟ (honoring the origins each that is missing in Reggaetón: authority of Reggaetón by „borrowing‟ the Jamaican Den- linkages in Corridos, nostalgia in Hip-Hop, job Bow beat of pre-Reggae), and (d) „syncretism‟ conflicts in Country, parent-child tension in (Puerto Rico and Caribbean-similar places, Rock-&-Roll, historic sadness in Blues, and blending „hybridized‟ Reggae with Spanish Hip- spirituality allusions in Reggae. The next slide Hop). Cultural transfers diffuse “from one asks, “Reggaetón – What makes it distinct?” society to another” [29, p. 221-223], merge with which sets the stage for analyzing what makes existing culture [p. 234] and lead to „innovation‟ Reggaetón unique. The main premise is [p. 9]. Once syncretized, Reggaetón „diffused‟ summarized with super-imposed text over (circulated) to a global audience. „Revitalization‟ multiple slides: “newness is new people, new

Journal of Cultural and Social Anthropology V1 ● I1 ● 2019 20 Teaching Anthropology Concepts and Types of Text with Reggaetón experiences,” “home culture is already in beat, begins this analysis. place.” This sequence begins and ends, Its vigorous rhythm enhances an obvious “Reggaetón embraces „newness‟ while holding reference to agrarian production. A follow-up to „home culture‟.” Lettering in colors signals slide notes that “corn and peanuts” were widely the central idea by shifting from aqua (opening) distributed circum-Caribbean foods, pre- to white (middle) before returning to aqua historically past the Age of Discovery that (closing). An agrarian song on desire for corn, brought colonial incursions to the Caribbean. Más Maíz (More Corn) [38], with a Reggaetón

Figure1. Circum-Caribbean Paths of Reggaetón Innovation and Diffusion Several slides list 26 „home culture‟ names Such transformations suggest that “neo-liberalism identified in Reggaetón [39]. Located mostly in generates marginality” [29 p. 266-269] and Puerto Rico and the Dominican Republic, “precarity” [p. 289-292]. Singers, nonetheless, named places are neighborhoods (e.g., Loiza, remain loyal to „home culture‟ identity as Villa Duarte), cities (e.g., San Juan, Miami), or “barrio-centric” [43; see also 31], i.e., “glocally- sectors (e.g., Alto Manhattan, i.e., Upper tough, raw.” Manhattan). A parallel connection to “roads and Thus, the anthropological term, „glocal,‟ fits streets” as „home culture‟ leads to ten slides that early development of Reggaetón, when youth of describe how contemporary descendants of incubator countries embraced millennial Jamaicans, who built the trans-isthmic canal, technology and created underground mixed live in central Panama neighborhoods but tapes, circulated among club MCs in Jamaica, continue contacts with Jamaica (home culture) bus drivers in Panama, and friends in Puerto and retain some cultural practices (home Rico. Another slide connects these ideas, culture), while establishing new lifestyles proposing that music acquires local-regional (newness) and livelihood (newness). Final slides popularity, before becoming global [43-45]. In illustrate references to „home culture‟ articulated sum, local practices influence globalization, as through Reggaetón: Khris and Angel in Ven much as globalization affects local communities. Bailalo (Come Dance) sing about their Other slides transition to social spaces that hometown, Santo Domingo [40], and Vico C in represent „newness‟ in Reggaetón, such as Mi Barrio (My Neighborhood) sings about Spanish “clubs and dancing,” as Ivy Queen sings, “Yo Harlem, and a sub-place, La Marketa (The Market) quiero bailar” (I want to dance) [46], with an [41]. Lyrics by these and other performers rarely observation that “dancing” and “clubs” are the mention neighborhood transformations, wherein most common words in Reggaetón [39]. This “communal character… collective solidarity… leads to generalizing on dancing popularity in have withered away” [42, p. 60]. Caribbean countries and code-switching in

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Reggaetón, which demonstrates insidership [47] The initial rationale was recognizing that charter through „home culture‟ as well as „newness.‟ school students enjoyed Reggaetón clips within Thus, another form of „newness‟ is coded brief videos on classroom rules and expectations, language in Reggaetón: yale refers to „woman‟ and/or appreciated the teacher‟s efforts to bring in Spanish (adapted from Jamaican speech); something of interest to them [13]. In the first sudor refers to sweating in pleasurable dancing phase, digital-storytelling was a strategy through rather than physical labor; rakata refers to which students gained practical experience with neighborhood sidekicks with whom one goes Photo Story and Audacity, which enhanced club-hopping; calle or „street‟ as masculine literacy through digital projects that they domain contrasts to „home‟ as female domain. created. My collateral excursion into As Ivy Queen sings, “Vida es así” (Life is like development of three videos, shared with that) [48], a free translation illustrates her students, was meant to enhance learning portrayal of feminism in Reggaetón [49]: “Life process. Second phase at the community college is like that… Happiness is… Someone to emphasized video revision to illustrate-represent console me… Treat me differently… Reggaetón as „informational‟ text and ((soothing)) Easy now, be calm.…” The closing „argumentation‟ (separate videos) to prepare term psychitriarse (“to bust a flow”) refers to students for final essays in an intensive-writing feeling better by sharing feelings with others and anthropology course. To report ideas in an essay listening to others share feelings. Sung by a based on library research is closer to Jamaican ancestry singer in Panama, this final term informational writing than developing a thesis, within a brief vocabulary-glossary precedes slides resolving a research problem, or answering a that close Reggaetón-Argumentation by identifying theoretical question, which require argumentation. new-generation performers. The two videos are designed to portray informational text as distinct from argumentation, From charter school to community college, no which is the goal of writing anthropologically. music was replaced or deleted. Instead, I revised text and imagery, and moved slides that contrast Preliminary development (charter school) and Reggaetón with other genres to the opening. subsequent revision (community college) Musical selections were not contested by charter incorporated feedback from students, who were school or community college students. When I invited to review the videos for suitability reached (what I thought were) final versions at (secondary school sensibilities) and instructional the charter school, I had spent considerable time relevance (college-level instruction). Feedback researching literature on Reggaetón (and one was written and verbal at the charter school, person whom I interviewed), enabling me to whereas students provided full-class verbal collate a reasonable portrayal and explore „home feedback at the community college. This culture‟ and „newness‟ in content and performance approach to collaboration between teacher and [50-51]. When I read about controversial lyrics students blends ongoing interactive lessons with (this century) by a pioneer, which demeaned student feedback that leads to developing vulnerable groups that protested, I deleted two enhanced multi-media materials that are images and deleted the singer‟s name from the pedagogically sound, where Reggaetón is a Daddy Yankee interview. The revision is what I learning modality. show to community college students. This ONCLUSION synopsis of content and intent of two videos, C then, represents types of text illustrated through Students are sufficiently knowledgeable to Reggaetón. Over eight minutes, 15 seconds, contribute to enhancement of lesson content and Reggaetón-Informational includes 185 slides, 25 delivery. This process produces results (content) cited songs, 59 unduplicated images (sources and illustrates learning that is experienced as an credited), and 12 scholarly sources. Over eight interactive educational process (delivery). minutes, 22 seconds, Reggaetón-Argumentation Re-structuring two Reggaetón videos as multi- includes 153 slides, 12 cited songs, 21 modal representations from one academic level unduplicated images (sources credited), and (charter school) to another (community college) eleven scholarly sources. enhances pedagogical goals that facilitate RESULTS AND DISCUSSION college-level instruction of students in anthropological writing, which culminates in their Two-phase creation of separate videos illustrates strengthened skills for final essays. Teaching types of text (informational; argumentation) ethnographically reveals appropriate contexts for with Reggaetón as a musical learning modality. implementing instructional innovations.

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[27] Gould V. (director) Obit.: Life on Deadline. (studio album). Location-in-transition: MVP Kino Lorber, Inc., and Green Fuse Films, Inc; Records; 2004. 2017. [41] Lozada Cruz LA. Para mi barrio (recorded by [28] Besnier N, and Morales P. Tell the story: How Vico C). En Honor a La Verdad (CD). Miami to write for American Ethnologist. American Beach, FL: EMI Music Distribution; 2003. Ethnologist, 2018;45(2): 163-172. Available [42] Wacquant L. Urban Outcasts: A Comparative from: doi.10.1111/amet.12629. Sociology of Advanced Marginality. Malden, [29] Eller JD. Cultural Anthropology: Global MA: Polity Press; 2008. Forces, Local Lives. 3rd ed. New York, NY: [43] Rivera RZ. Policing morality, mano dura Routledge; 2016. (heavy-handed) style: The case of underground [30] Holland D, Lachicotte W Jr, Skinner D, and rap and reggae in Puerto Rico in the mid-1990s. Carole C. Identity and Agency in Cultural In: Rivera RE, Marshall W, Hernandez DP. Worlds. Cambridge, MA: Harvard University (eds.) Reggaetón. Durham, NC: Duke Press; 1998. University Press; 2009. p. 111-134. [31] Daynes S. Time and Memory in Reggae Music: [44] Holman Jones S. Torch Singing: Performing The Politics of Hope. Manchester, NY: Resistance and Desire from Billie Holliday to Manchester University Press; 2010. Edith Piaf. Lanham, MA: AltMira Press; 2007. [32] Marshall W, Rivera RE, and Hernandez DP. [45] Rose T. Black Noise: Rap Music and Black Introduction: Reggaetón‟s socio-sonic circuitry. Culture in Contemporary America. Middletown, In: Rivera RE, Marshall W, Hernandez DP. (eds.) Reggaetón. Durham, NC: Duke CT: Wesleyan University Press; 1994. University Press; 2009. p. 1-16. [46] Pesante MI, and Landrón O. Yo quiero bailar [33] Nwankwo ICK. The Panamanian origins of (recorded by Ivy Queen). Diva (studio album). Reggae en español (in Spanish): Seeing history Washington DC: Mad Jam Studios; 2003. through „Los Ojos Café‟ of Renato. In: Rivera [47] Agha A. Language and Social Relations. RE, Marshall W, Hernandez DP. (eds.) Cambridge, MA: Cambridge University Press; Reggaetón. Durham, NC: Duke University 2007. Press; 2009. p. 89-98. [48] Pesante MI, Saldaña F, Masis M. Vida es así [34] Twickel C. Reggae in Panama: Bien (real) (recorded by Ivy Queen). Drama Queen (studio tough. Translated from German by Dauber, N. album). Carolina, Puerto Rico: Más Flow In: Rivera RE, Marshall W, Hernandez DP. Studios; 2010. (eds.) Reggaetón. Durham, NC: Duke [49] Báez JM. En mi imperio (In my empire): University Press; 2009. p. 81-88. Competing discourses of agency in Ivy Queen‟s [35] Marshall W. Dem Bow, Dembow, Dembo: Reggaetón. Centro Journal, 2006;18(2): 62-81. Translation and transnation in Reggaeton. Lied [50] Lam WSE, Rosario-Ramos E. Multilingual und populäre Kultur (Song and Popular literacies in transnational digitally mediated Culture), 2008;53: 131-151. ISSN:1691-0548. contexts: An exploratory study of immigrant [36] Marshall W. From Música Negra to Reggaetón teens in the United States. Language and Latino: The cultural politics of nation, Education, 2009;23(2): 171-190. Available migration and commercialization. In: Rivera from: doi:10.1080/09500780802152929. RE, Marshall W, Hernandez DP. (eds.) [51] Gay G. Culturally Responsive Teaching: Reggaetón. Durham, NC: Duke University Theory Research and Practice. New York, NY: Press; 2009. p. 19-76. Teacher's College Press; 2000. [37] Flores J. From Bomba to Hip-Hop: Puerto Rican Culture and Latino Identity. New York, AUTHOR’S BIOGRAPHY NY: Columbia University Press; 2000. Formally trained in medical-cultural-social [38] Santiago V, Jr. Más maíz (re-mixed rural song, anthropology and public health, Keith Bletzer recorded by N.O.R.E. y La Familia). Ya Tú has focused on prevention-education activities Sabe (studio album). New York: SPK; 2006. and field research that blends community [39] Dinzey-Flores ZZ. De la disco al caserío (From training and social justice in four U.S. regions club to public housing project): Urban spatial and two countries in Latin America. He has aesthetics and policy to the beat of Reggaetón. directed team projects utilizing multi-sited El Centro Journal, 2008;20(2): 35-69. Available methodologies and performed single-investigator from: http://www.mtv2.com/#series/20186. field studies. He has U.S. teaching experience [40] Rivera Guzmán A, and Colón Rolon C. Ven full-time for grades 9-12 in the Southwest báilalo (recorded by Khris y Angel). Los MVP (charter high school five years; two public

Journal of Cultural and Social Anthropology V1 ● I1 ● 2019 24 Teaching Anthropology Concepts and Types of Text with Reggaetón schools one year each), part-time at community (Three graduate-level courses in the Southwest; colleges (one year in the Southwest; five years two auditorium-size undergraduate courses in in the Midwest) and part-time at two universities the Midwest). E-mail: [email protected]

Citation: Keith V. Bletzer . "Teaching Anthropology Concepts and Types of Text with Reggaetón”, Journal of Cultural and Social Anthropology, 1(1), 2019, pp.16-25.

Copyright: © 2019 Keith V. Bletzer. This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.

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