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Means of Conveyance: Spoken Word Pedagogy, Hip Hop Literacies, And MEANS OF CONVEYANCE: SPOKEN WORD PEDAGOGY, HIP HOP LITERACIES, AND THE CHALLENGES OF FOSTERING POETRY SPACES Adam D. Henze Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the School of Education, Indiana University June 2020 ProQuest Number:27999906 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent on the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. ProQuest 27999906 Published by ProQuest LLC (2020). Copyright of the Dissertation is held by the Author. All Rights Reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee _____________________________________ James Damico, Ph.D., Co-Chair _____________________________________ Jessica Lester, Ph.D., Co-Chair _____________________________________ Carmen Medina, Ph.D. _____________________________________ Phil Carspecken, Ph.D. _____________________________________ Adrian Matejka, M.F.A. May 21, 2020 ii For Tavis, Tess, Will, Norris, and Rage iii Acknowledgements Allan Wolf, teaching artist and founder of the Southern Fried Poetry Slam, said: “If you’re not being fed—be the bread.” Near the completion of this dissertation, I asked Allan to elaborate on his mantra. He told me, “In the first place it is a reminder that we all have the potential to become our own source of sustenance. In the second place it reminds us that if we include others in our banquet, we are rewarded by more than just a good meal. Abundance feeds off of itself.” There are many people in my life who live Allan’s mantra, who have nurtured and sustained me in abundance. This dissertation is a trail of breadcrumbs—a testament to the teachers and artists who fed me and encouraged me to develop my own voice. But this dissertation is also about the power of naming. As such, there are some bakers in my life, who kneaded and pounded my voice, that I need to name. Thank you to the pioneer architects like Allan. Thank you to the elders who laid a foundation for communal art and education. Thank you to the organizers and innovators who inspired me. Thank you to creators of the art, music, and literature who emboldened me. While countless people educated me, there are three teachers who nourished me. I am eternally grateful for my elementary art teacher, Mrs. Hocker, and my high school English teachers, Mrs. Forester and Mrs. Hull. You are my models for being a giving educator. Thank you to Brandon Cosby, Dan Durbin, Matt Gerbig, Jace Lux, Chris Grove, Bonny McDonald, Jenni White, and the other coaches who taught me to speak with conviction. Thank you to Mary McGann, Gordon Mendenhall, Ray Smith, Jessica Lester, Lucinda Carspecken, Audrey Cunningham, and the other professors who taught me about the debt we iv owe to students. Thank you to Cheryl Kirby Stokes, Donna Stephenson, Anthony Guest-Scott, and the other coordinators who taught me the value of building platforms for young people. Thank you to Rebecca Painter, who invited me into her maximum security classroom. Thank you to Wendi Middleton, for encouraged me to make prison education my life’s mission. To Lyndsey Lane, who taught me to weigh my battles when advocating for others. To Lizz Straight, who taught me the value of “ministry” in prison literacy. Thank you to Saundra Faulkner, Monica Prendergast, John J. Guiney Yallop, and the other people who have mentored me in the poetic inquiry community. Thank you to my friends at Indiana Humanities, and stakeholders of all the organizations who have supported my art and education initiatives. An extra thank you to Jeni Kirby, Renee Lucas, Chanel Stickles, Margaret Beth Gore, Kay Moore, Trish Campbell, and the other office administrators who kept me in line and helped me when I needed it. You are the true architects of education. Thank you to Taji Gibson, Brooke Harris Garad, Rose Jackson Buckley, Sandy Washburn, Mariella Arredondo, and my colleagues who uplifted me and pushed me to be the best version of myself. Thank you to Sandi Cole, for encouraging me to break down the barriers in education, especially the ones around me. To my friends who have stuck with me since our formative years: thank you to Nick Romerhausen, who taught me kindness is a core component of communication. To Kate Hertweck, who challenged me to be a better man. Thank you to Chris Blackford, who taught me the language of loyalty. To Courtney Wright, my “duo patnah” for life. To Dave Nagel, who taught me that friendship takes deep dedication. To Crystal Roberson, who taught me to celebrate a snapshot of every day. v To my cohort: thank you to Mike Kersulov, because “Vroom, vroom, vroom.” To Alex Panos, who set the bar for being a passionate academic. To Joanne Yi, who taught me laughter and grace are essential to this work. To Alex Hollett, who taught me to honor other voices when I grace the stage. To Jill Scott, who taught me how to turn adversity into a smile and a story. To Casey and George Pennington, who taught me to find self-respect through resilience. To Summer Davis, for gifting me a blanket and asking about my day. To Mat Bumbalough, for being a good neighbor. To Evan Treece, who taught me to balance living and learning. To Jaclyn Dillman, who taught me rigor is no replacement for self-forgiveness. Thank you to Stacy Bernaugh, who taught me to refine my hustle. Thank you to David Burns, who showed me the importance of growth and evolution. Thank you to James Hatchett, who taught me how to put my dreams on many plates and keep them spinning. To Kia Wells, who taught me to put the kids first. To Lauren Hall, who taught me the power of community. To Erin Livingston, who taught me to search for self-fulfillment. To Rebekah Jorjorian, for teaching me to believe in my own growth. To Marny Clark, who shaped up my soul and my beard too. For Chris Joslin, who taught me to celebrate the things I love. To Corey Ewing, who taught me to take service to others seriously. To Manny Casillas, for taking me to see a movie. Thank you to the poets. To Cuban Hernandez, who taught me to “survive!” To Sierra DeMulder, for teaching me to believe I am worthy. To Jonathan Brown, for all the late night rock talks. To Sarita Goods, who taught me to take my business seriously. To Kirk Hardesty, who taught me to carry the spirit of legacy. To Ebony Payne, for teaching me to celebrate myself. To Shadow, for putting a chain around my neck in the streets of New Orleans. To Too Black, who taught me to elevate my critique. To Jasper Wirtshafter, who made me sprinkle my words with kindness. To Tony Brewer, for your letter and reminding me that poetry is a public service. vi Thank you to Adrienne Nadeau, Robin Jackson, Thomas Budday, George Yamazawa, Asia Samson, Dorian Rogers, and Mike Bertram, for sending me messages that made me smile. To Isis Pettway, Dara Mathis, Rick O’Neil, Jennifer and Robert Webb, Leah and Rick O’Neill, Mesh Kauser, Anara Whitebear, Steph Madison, Mikel Cole, Danielle Hernandez, Lorain Martin, Heather Reichert, and Buky-boo, for checking in on me. Thank you to Rebekah Sinders, for helping me get this dissertation APA ready. Thank you to my partner, Siren Hand, for your trust and support, and for agreeing to quit this study. Thank you to my mother, Susan Henze, and my father, David Henze, and my family who have supported me. Thank you to my brother, Aaron Henze, always my biggest supporter. Thank you to my students, who were my true teachers. Finally, thank you to my friends in the poetry community who have passed away since I started my journey into graduate school in 2010. This dissertation is dedicated to you. vii Adam D. Henze MEANS OF CONVEYANCE: SPOKEN WORD PEDAGOGY, HIP HOP LITERACIES, AND THE CHALLENGES OF FOSTERING POETRY SPACES This dissertation examined the relationships between teachers, students, and “teaching artists” (Graham, 2009) who use poetry as a vehicle for literacy learning. One popular practice is the use of “spoken word,” (Somers-Willett, 2009) a fiery brand of performative poetry popularized by artists from the hip hop music scene (Hill, 2009) and the competitive poetry slam circuit (Woods, 2008). A wealth of qualitative studies extol the virtues of “spoken word pedagogy,” (Kim, 2013; Low, 2011; Weinstein, 2010) noting its power when used as a vehicle for writers to construct literate identities (Fisher, 2007) and form critiques of socio-political issues (Jocson, 2008). To best understand how these dialogic communities operate in precarious times, this study explored the numerous, overlapping spaces where spoken word is used as a pedagogy for multiliteracies. This dissertation employed a practice that Prendergast (2009) called “poetic inquiry,” a creative approach to qualitative inquiry where the researcher adopts the tools a poet uses to search for truth in the world. To explore critical issues in the global spoken word community, a new, hip-hop-infused version of poetic inquiry was created for this study, called “(re)mixed methods.” The findings of this four year study reveal that collaborative teams of poets often face concrete challenges sustaining educational poetry programs, which threaten the relationships necessary to hearten such communities.
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