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UNIVERSITY of CALIFORNIA RIVERSIDE Cypher to Classroom: an Ethnography and Choreographic Reading on Teaching and Learning and E

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UNIVERSITY of CALIFORNIA RIVERSIDE Cypher to Classroom: an Ethnography and Choreographic Reading on Teaching and Learning and E UNIVERSITY OF CALIFORNIA RIVERSIDE Cypher to Classroom: An Ethnography and Choreographic Reading on Teaching and Learning and Embodied Hip Hop Pedagogies Otherwise A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Critical Dance Studies by Maïko Le Lay June 2020 Dissertation Committee: Dr. Imani Kai Johnson, Chairperson Dr. Jacqueline Shea Murphy Dr. Begoña Echeverria Copyright by Maïko Le Lay 2020 The Dissertation of Maïko Le Lay is approved: Committee Chairperson University of California, Riverside ABSTRACT OF THE DISSERTATION Cypher to Classroom: An Ethnography and Choreographic Reading on Teaching and Learning and Embodied Hip Hop Pedagogies Otherwise by Maïko Le Lay Doctor of Philosophy, Graduate Program in Critical Dance Studies University of California, Riverside, June 2020 Dr. Imani Kai Johnson, Chairperson This ethnographic research on embodied hip hop pedagogies bridges the fields of dance studies, hip hop, and education. This dissertation sheds light on the transgressive possibilities of embodied hip hop pedagogies, a curricular and pedagogical model I developed, which resists traditional Western teaching and learning systems by placing students’ realities at the center and capitalizing on the multidisciplinary, kinesthetic, and engaged nature of hip hop culture. In this dissertation, I perform choreographic readings of Western pedagogical and institutional spaces such as missionary buildings or classrooms and participate in action research in schools in the Inland Empire. I am particularly interested in the tensions between hip hop and Western hegemonic epistemologies. My analysis focuses on how bodies navigate their agency in these Western institutional spaces and how they resist and challenge such spaces through movement and hip hop. iv This research introduces the concepts of choreography of the classroom and critical moving and reinterprets the concept of the otherwise through a new valance (otherwise cypher, call-and-response and knowledge otherwise). The overall aim of this dissertation is to improve the current Eurocentric and disembodied culture of education through hip hop and movement. Embodied hip hop pedagogies can help future scholars, educators, and community leaders connect with students through popular culture and non-static teaching and learning. By placing hip hop—an African diasporic and once marginalized culture— and movement at the center of the curriculum, this research helps legitimize non-dominant knowledges, challenges the Cartesian mind and body split, and revalidates people’ s identities, narratives, and bodies. v Acknowledgements: I want to start this acknowledgement by thanking the participants of my research. Interviewees, hip hop activists, educators, students, artists, everyone who opened their door and took their time to help me conduct this research, I can’t thank you enough. This thick document exists thanks to you. So, thank you for sharing critical insight about your work and your life to help me accomplish this project. And, I thank myself for completing this dissertation despite all the ups and downs. Body, I did not think you would be capable of pulling through. I underestimated your force and will. Thank you for doing such an incredible job and remaining in good health. I would like to acknowledge the contribution of my advisor, Dr. Imani Kai Johnson. Thank you for always being real with me, pushing me, and believing in me even when I couldn’t. I also would like to thank my committee members, Begoña Echeverria and Jacqueline Shea Murphy whose expertise, open-mindedness, and interdisciplinary research helped me stay on track and motivated me. I have also received a great deal of support from Hillary Jenks and Rickerby Hinds who I consider my friends and mentors. It was reassuring to know that you had my back. I thank the UCR Dance Department for their financial and academic support, and in particular Katrina Oskie, Ni’Ja Whitson, Jose Reynoso, Anthea Kraut, and Linda Tomko for your academic support throughout this process. Thank you, Christine and the Gluck Fellows Program for the Arts, for providing me with tons of K-12 teaching opportunities in the Inland Empire, thus contributing in making me a better educator year after year. vi When the academic research felt far away from real life, the activist and mentorship work I did with colleagues from the Graduate Student Association and GradSuccess at UCR grounded me. I am extremely grateful for sharing the space with great advocates. I also thank Kelly Bowker, Iris Blake, and Joshua Rosales for editing this dissertation. My written-English has improved thanks to your help. Thank you Xio for being such an amazing mentor and providing essential feedback on my dissertation. Logan, thank you for our weekly chats with the Cali beers at the Getaway Café. I would like to give a big shout out to my husband, Sid, for being so patient and encouraging. I know it was hard for you as a graduate student too, and yet, you never stopped pushing me while keeping me grounded at the same time. Thank you for being there when I needed it the most. You are my strength. Bernauer Family, thank you for welcoming me in your family as soon as I got to the States. Thank you so much for offering your unconditional support for so long. I would like to thank my mother who pushed me to apply to the Critical Dance Studies program at UCR. I thank the French side of my family for always welcoming me in France when I needed my dose of stinky cheese, black provincial olives, a piece of real baguette, and slices of dry saucisson. Thank you for saving me a seat at la terrasse-café of the village each time I visited you. It takes a whole village to raise a scholar. So, to everyone: your effort will not be forgotten. You are all a true source of inspiration. This was an incredible journey thanks to all of you. Thank you. Merci. Arigatou. vii Dedicated to Muxu viii Table of Contents: INTRODUCTION ………………………………………………………………………1 Methodology …………………………………………………………………………… 6 Literature Review ……………………………………………………………………….14 Main Concepts & Key Terms …………………………………………………………. 39 Intervention ………………………………………………………………….…………. 47 Outline ………………………………………………………………….………………. 50 CHAPTER-CYPHER 1: AUTHOETHNOGRAPHIC EXPERIENCE OF CALL- AND-RESPONSE AND KNOWLEDGE OTHERWISE: CHOREOGRAPHIC READINGS OF HIP HOP EVENTS …………………………………………….. …..53 Introduction ………………………………………………………………….……….... 53 Case-study #1: Festival of Rhythm at the Riverside Municipal Auditorium ………..… 59 Case-study # 2: Floor Improv Day at Union Station, Los Angeles…………………….. 68 Case-study # 3: Ice Cube’s Concert at Del mar Thoroughbred Horserace …………….. 77 Case-study # 4: 3rd Annual Hip Hop Education Conference: Can’t Stop Hip Hop: The Education Movement – a Success .…………………………………………………..… 84 Cross-Analysis of Case-Studies .…………………………………………………..…… 93 Critical Reflections …………………………………………………..……………….. 104 Conclusion …………………………………………………..…………………………108 CHAPTER-CYPHER 2: HIP HOP AS EDUCATION AND KNOWLEDGE OTHERWISE: CHOREOGRAPHIC READINGS OF HIP HOP EDUCATION CLASSES ……………………………………………………………………………. 109 Introduction ………………………………………………………………….…….... ..109 Case-study #1: Rickerby Hinds – Hip Hop Theater Classes – Spring 2018 - UCR …..122 Case-study # 2: Bettina Love – Real Talk: Hip Hop Education for Social Justice – YouTube ……………………………………………………………………………….146 Case-study # 3: Tasha Iglesias – Hip Hop, Education, and Sports – Winter 2019 - UCR ………………………………………………………………………………………… 171 Cross-Analysis of Case-Studies .…………………………………………………..… .187 Conclusion & Critical Reflections………………………..……………………………217 CHAPTER-CYPHER 3: POLITICS AND MECHANICS OF GUEST TEACHING AT RIVERSIDE VALLEY: CHOREOGRAPHIC READINGS OF EMBODIED HIP HOP PEDAGOGIES CLASSES……………………………………………………. 223 Introduction ………………………………………………………………….…….... ..223 Ready! Politics and Mechanics of Collaboration Prior to Guest Teaching ……… …..240 Set - Collaboration and Curriculum Development …………………………………...258 Go – Embodied Processes of Teaching Embodied Hip Hop Pedagogies at RV: .…… 265 The Real Mechanics and Politics of Guest Teaching .………………… …..…………307 Critical Reflections………………………..………………………………………… 330 Conclusion………………………..……………………………………………………337 ix CONCLUSION – CYPHER: HIP HOP, PEDAGOGY, ACADEMIA, SELF, AND THE FUTURE OF IT ALL ………………………………………………………... 338 REAL TALK: CENSORED. THE OTHER THINGS YOU SHOULD KNOW ABOUT MY GRAD SCHOOL JOURNEY ………………………..……………... 343 BIBLIOGRAPHY …………………………………………………………………... 357 APPENDICES …………………………………………………..…………………... 361 Appendix A: Fieldwork Summary Chart ………………...…………………….….... .. 361 Appendix B: Sample Interview Questions ……………………………………..….... .. 363 Appendix C: Riverside Valley Middle School Documents ……………………….... .. 365 x List of Pictures: Picture 1: Source: “Vector Cloud Background (eps)”, Freepik. 2018………………….... 4 Picture 2: Le Lay, Maïko. “Riverside Municipal Auditorium Outdoor Patio during Festival of Rhythm with vendor booths, bar, and micro cypher in the back”, 2018…… 57 Picture 3: Le Lay, Maïko. “Riverside Municipal Auditorium indoor hall during Festival of Rhythm with red velvet seats in the back, open floor at the center”, 2018……….. …59 Picture 4: Le Lay, Maïko. “Other dancers and I creating the circle/cypher for the battle in the middle of the formal-looking indoor hall. We can also perceive an informal micro cypher in the back representing how dancers deconstruct the space”, 2018…………….60 Picture 5: Le Lay, Maïko. “A little boy feeling like a superhero seconds before
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