#150Futures Live Syllabus Ainsworth, Lynn. “They dance their troubles away.” Toronto Star [Toronto] 1 Jan 1985: 6. Barr, Greg. “Rap ground disappoints 500 teenage fans.” Ottawa Citizen [Ottawa] 14 August 1989: A16. Barr, Greg. “Maestro, if you please…” Ottawa Citizen [Ottawa] 08 June 1990: C3. Campbell, Mark V. “The Politics of Making Home: Opening Up the Work of Richard Iton in Canadian Hip Hop Context.” Souls 16, no. 3-4 (2014): 269-282. Campbell, Mark V. “Everything’s Connected: A Relationality Remix, A Praxis.” The CLR James Journal (2014). Chamberland, Roger. 2001. “Rap in Canada: Bilingual and Multicultural”. In Global Noise, edited by Tony Mitchell, 306-23. Middleton, CT: Weleyan University Press. Cutler, Cecelia. “Hip-Hop Language in Sociolinguistics and Beyond.” Language and linguistics compass 1, no. 5 (2007): 519-538. Clarke, Sandra, and Philip Hiscock. “Hip-hop in a post-insular community: Hybridity, local language, and authenticity in an online Newfoundland rap group.” Journal of English Linguistics 37, no. 3 (2009): 241- 261. Dimanno, Rosie. “Breakdamcers twirl and jump in quest to become champions.” Toronto Star [Toronto] 27 May 1984: A4. Erskine, Evelyn. “Musical plea says it’s time for rap, reggae to run together.” Ottawa Citizen [Ottawa] 02 Feb 1990: C6. fogarty, Mary. “Breaking expectations: Imagined affinities in mediated youth cultures.” Continuum 26, no. 3 (2012): 449-462. fogarty, Mary. ““Each one, teach one”: b-boying and ageing.” Ageing and Youth Culture: Music, Style, and Identity, London and New York: Berg (53–65) (2012). forman, M. (2000). ‘Represent’: race, space and place in rap music. Popular Music, 19(1), 65-90. #150Futures Live Syllabus forman, Murray. “Straight Outta Mogadishu”: Prescribed Identities and Performative Practices among Somali Youth in North American High Schools (1).” TOPIA: Canadian Journal of Cultural Studies 5 (2001). Holland, Chris. “Rap’s funky thunder zaps your feet to the beat.” Toronto Star [Toronto] 4 April 1985: E12. Ibrahim, Awad El Karim M. “Becoming black: Rap and hip-hop, race, gender, identity, and the politics of ESL learning.” TESOL quarterly 33, no. 3 (1999): 349-369. Ibrahim, A. (2016). Critical Hip-Hop ill-literacies: Re-mixing culture, language and the politics of boundaries in education. Journal of the American Association for the Advancement of Curriculum Studies 11, 1-11. Ibrahim, A. (2017). Don’t call me Black! Rhizomatic Analysis of Blackness, Immigration, and the Politics of Race without Guarantees. Educational Studies 43(3). Ibrahim, Awad. The rhizome of Blackness: A critical ethnography of Hip-Hop culture, language, identity and the politics of becoming. Peter Lang, 2014. Ibrahim, Awad. “Marking the unmarked: Hip-hop, the gaze and the African body in North America.” Critical Arts: A Journal of South-North Cultural and Media Studies 17, no. 1_2 (2003): 52-70. Ibrahim, Awad. “Performing Desire: Hip-Hop, Identification, and the Politics of Becoming Black.” Racism, Eh (2004): 274-93. Ibrahim, Awad el Karim Mohamed. “Hey, whassup homeboy?, becoming Black; race, language, culture, and the politics of identity; African students in a franco-Ontarian high school.” PhD diss., National Library of Canada= Bibliothèque nationale du Canada, 1998. Ibrahim, Awad. “When life is off da hook: Hip-Hop identity and identification, BESL, and the pedagogy of pleasure.” Negotiating the self in another language: Identity formation in a globalized world (2011): 221- 238. Krewen, Nick. “Dream Warriors are boombastically back.” The Spectator [Hamilton] 01 Dec 1994: 7. LePage, Mark. “Poor organization gives Palladium bad rap.” Montreal Gazette [Montreal] 19 feb 1990: B15. Low, B. (2007). Hip Hop, language, and difference: The N-word as pedagogical limit-case. Journal of Language, Identity and Education 6(2), 147-160. Low, B. (2010). The tale of the talent night rap: Black popular culture in schools and the challenge of interpretation. Urban Education 45, 194-220. Low, B. (2011). Slam school: Learning through conflict in the hip-hop and spoken word classroom. Stanford University Press. Low, B. and Sarkar, M. (2012). “On va vivre on va die et tout ca: Un regard sociolinguistique sur l’état du rap plurilingue à Montreal. Kinephanos 3(1), 20-47. Low, B., Tan, E., & Celemencki, J. (2013). “Keepin’ it Real” in the classroom: The discourse of authenticity and challenges for critical Hip-Hop pedagogies. In Marc Lamont Hill & Emery Petchauer (Eds.), Schooling Hip-Hop: New approaches to Hip-Hop based education (pp. 187-216). New York: Teachers College Press. #150Futures Live Syllabus Low, B. and Sarkar, M. (2014). Translanguaging in the multilingual Montreal hip-hop community: Everyday poetics as counter to the myths of the monolingual classroom. In Angela Creese & Adrian Blackledge (Eds.), Heteroglossia as practice and pedagogy (pp. 99-118). Springer. Low, Bronwen, et al. “Building an urban arts partnership between school, community-based artists, and university.” Learning Landscapes 10(1) (2016): 153-172. Marsh, Charity. “Hip hop as methodology: Ways of knowing.” Canadian Journal of Communication 37, no. 1 (2012): 193. Marsh, Charity. “Don’t call me Eskimo: The politics of hip hop culture in Nunavut.” Musicultures: The Canadian Journal for Traditional Music 36 (2009): 108-129. Marsh, Charity. “Keepin’ It Real?: Masculinity, Indigeneity, and Media Representations of Gangsta’Rap in Regina.” Making it Like a Man: Masculinities in Canadian Arts and Culture (2011): 149-171. Marsh, Charity. “Interview with Saskatchewan hip hop artist Lindsay Knight (aka Eekwol).” Canadian folk Music 43, no.1 (2009). Motapanyne, J. Maki. “The Black female Body and Artist in Canadian Hip Hop: The Question of femini (st) ne Space.” New Dawn, Journal of Black Canadian Studies 1, no. 1 (2006). Motion Live Entertainment & Saada. 2006. The Northside Research Project: Profiling Hip Hop Artistry in Canada. Olshansky, Michael P., Rachel J. Bar, Mary fogarty, and Joseph fX DeSouza. “Supplementary motor area and primary auditory cortex activation in an expert break-dancer during the kinesthetic motor imagery of dance to music.” Neurocase 21, no. 5 (2015): 607-617. Potter, Mitch. “Meet Canada’s hip-hop hope.” Toronto Star [Toronto] 18 Nov 1988. Salem, Rob. “Irrestible [sic] breakin’ film dishes up mindless fun”. Toronto Star [Toronto] 20 Jan 1985: G3. Sarkar, Mela, Lise Winer, and Kobir Sarkar. “Multilingual code-switching in Montreal Hip-Hop: Mayhem meets method, or,‘Tout moune qui talk trash kiss mon black ass du nord’.” In ISB4: Proceedings of the 4th International Symposium on Bilingualism, pp. 2057-2074. Somerville, MA: Cascadilla Press, 2005. Scobie, Niel. ““Jamaican funk–Canadian Style”: Diasporic Dialogue and Hybridized Identity in the Music of Michie Mee.” MA diss., Carleton University Ottawa, 2015. Simard, Helen. “Breaking down the differences between breakdancing and b-boying: a grounded theory approach.” MA diss., UQAM, 2014. Stevens, Lys. “Breaking Across Lines: an ethnography of Montreal hip-hop street dance.” MA diss., Université du Québec à Montréal, 2008. Stoute, Lenny. “Mee’s funky hip-hop beat no flimsy House of cards.” Toronto Star [Toronto] 13 May 1988: D16. Walcott, Rinaldo. “Post-Civil Rights music or why hip hop is dominant.” Action, Criticism & Theory for Music Education 4, no. 3 (2005). Walcott, Rinaldo. “Performing the (Black) postmodern: Rap as incitement for cultural criticism.” Counterpoints 96 (1999): 97-117. #150Futures Live Syllabus Walcott, Rinaldo. “Towards a Methodology for Reading Hip Hop in Canada.” In keynote address at the Researching Black Canadian Musics and Black Music Cultures in Canada Conference, pp. 28-49. 2003. Walcott, Rinaldo. “Chapter five: Towards a Methodology for Reading Hip Hop in Canada.” Multiple Lenses: Voices from the Diaspora located in Canada (2009): 48. Warner, Remi. “Hiphop with a Northern Touch!? Diasporic Wanderings/Wonderings on Canadian Blackness.” TOPIA: Canadian Journal of Cultural Studies 15 (2006): 45-68. .