#HipHopMusicEd

As a teacher you’re always learning twice. As a music teacher pick music that allows for you to learn as well as your students. Take the Barbara Lindquist approach to ethnomusicological teaching of music. We teach the post hip-hop generation, why not think forward to tomorrow by using the music of today instead of the music of yesterday i.e. European Classical. Granted, study of that music has its merit and positive outcomes, BUT why that music, in this country, at this time? It’s 2015 and we still haven’t got the collective nerve to sit and analyze our, American, own music.. (Insert sad face). That’s why teachers learn twice, when they have to tackle the universal design of their lessons to help their entire class population, and the second time when they are overcoming their own bias in respect to the music. music teachers, take a stand and devote a couple of lessons to analyzing hip-hop music in your classroom, regardless of what type of class. Be brave and open up the canon. Do not worry about how authentic it is, do the research in respect to the beat producers and deejays. Don’t try to synthesize black culture (stereotypes) in your approach, even though it’s an important part. Just observe, pay respect to the ethos and the people that created it (urban minorities in the 1970’s). Replicate and analyze the music while making comments on topics/themes, musical elements, and truly studying what you and your students are working together on. Ask questions like; what do you see, what you hear, what does it mean to you. There is so much potential in the use and study of this music. The goal shouldn’t be to just make it an end, but rather to allow it to be a means as well.

#HipHopMusicEd #musiced #hiphopmusic #teacherasadvocate #socialjustice #hiphop

TEACHING AS ADVOCACY

I found that this topic isn’t talked about enough in the realm of education, Teaching as Advocacy. We generally talk and pontificate more about about content and assessment than we do about the specifics of advocacy. You may ask, “what are we advocating for or on behalf of?” Well, I think it should be advocacy for the student and on the behalf of the student. However, I want to make it clear that we should be focusing on real world goals and aims with our students. Now, who decides what real world means… I don’t know for sure. I will assume that it should be the community, family and more specifically teacher and student. The schematic used to craft these experiences and later reflect on them, should revolving between both a subjective and objective view. We should be teaching students abstractly and concretely. We should be using these different teaching tools to advocate for the student and on the student’s behalf. We should be advocating them to growth in as many ways possible. We should be advocating for them to experience as many learning opportunities as possible. We should be advocating for them to see things in as many ways possible.

How do we do this? I am working on a better defining how I do this in my classrooms. If you have suggestions please feel free to share. Make sure you are kind and clear in your response. Thanks in advance!

 

 

What is Hip Hop Pedagogy? 

 

As a current graduate student in the Music & Music Education program at Teachers College, Columbia University I have decided to write frequently and persuasively about Hip Hop Pedagogy in the domain of music education. My name is Jarritt A Sheel and I am currently a Ed.D. student in the Music & Music Education program at Teachers College, Columbia University. I am an avid fan of hip-hop music and hip-hop culture, a professional musician (trumpet), I lead a jazz big band, and I have been a music educator for the past 15 years. I am throughly enamored by all art forms, but specifically the medium sound we call Music.

As a child I was pretty lucky to grow up during the period leading up and encompassing what many consider the “Golden Age of Hip -Hop”, the period of the late 1980’s until the mid-1990’s. My mother was born in the 1950’s, which meant she was a member of the baby-boomer generation, post WWII. She grew up listening to all sorts of Rock, Blues, Funk, Soul, etc. You name it, it was on the radio and she probably had a copy of that record in her collection. She introduced me to the world of music and more importantly fostered my curiosity about the then expanding field of hip-hop music. She bought me a RUN DMC record and took me to see, although we both didn’t know what it was about, “Tougher Than Leather”. After bout 30 minutes of this early hip-hop movie featuring RUN DMC, The Beastie Boyz and many other Def Jam label artist, we exited stage left… because I was merely 12 years old. However, she sparked within me the love for controversial art and more importantly that of Hip-Hop.

Hip Hop is an original art culture that rose out of the metropolis of New York City, specifically the Bronx, in the 1970’s. It is an American folk music that has traditions, like all American Folk, in telling the story of the people. A matter of fact I would go as far as saying that Hip Hop is the greatest of all American Folk musics. It is wonderful, sublime, hideous, grotesque, lustful, beautiful, ugly, mournful, celebratory, liberating, and oppressive all at the same time. The time period out of which hip-hop grew, the 1970’s, was a particularly frustrating time in America for the middle and lower socio-economic groups in the area of finance and social mobility. Introduce the 1973 oil crisis, Urban Decay, and the financial meltdown of one of the biggest cities in the nation (looming financial default of New York City late 1970’s) and you have a potent cocktail for failure amongst those living near, on or below the poverty line. 

The 1970’s was all ready an interesting time of contraction and expansion. The nation was expanding its identity while those involved in social-economic engineering, outside of academia, were looking at the contraction of the wealthy through the monopolization of the free market. A great example of that would be the movie “Trading Places” starring young Eddie Murphy and Dan Ackryod. Which loosely discusses, through comedic foils, the intentional and systematic engineering of the socio-economic structure in America. The Bronx was burning and the music, like art always does, told the story. These are the lyrics of the early hip-hop group Grand Master Flash and the Furious Five hit “The Message”

 

[Intro x2]

It’s like a jungle sometimes

It makes me wonder how I keep from goin’ under

 

[Verse 1]

Broken glass everywhere

People pissin’ on the stairs, you know they just don’t care

I can’t take the smell, can’t take the noise

Got no money to move out, I guess I got no choice

Rats in the front room, roaches in the back

Junkies in the alley with a baseball bat

I tried to get away but I couldn’t get far

Cause a man with a tow truck repossessed my car

 

[Hook]

Don’t push me cause I’m close to the edge

I’m trying not to lose my head

It’s like a jungle sometimes

It makes me wonder how I keep from going under

 

[Verse 2]

Standin’ on the front stoop hangin’ out the window

Watchin’ all the cars go by, roarin’ as the breezes blow

Crazy lady, livin’ in a bag

Eatin’ outta garbage pails, used to be a fag hag

Said she’ll dance the tango, skip the light fandango

A Zircon princess seemed to lost her senses

Down at the peep show watchin’ all the creeps

So she can tell her stories to the girls back home

She went to the city and got so so seditty

She had to get a pimp, she couldn’t make it on her own

 

[Hook]

 

[Verse 3]

My brother’s doin’ bad, stole my mother’s TV

Says she watches too much, it’s just not healthy

All My Children in the daytime, Dallas at night

Can’t even see the game or the Sugar Ray fight

The bill collectors, they ring my phone

And scare my wife when I’m not home

Got a bum education, double-digit inflation

Can’t take the train to the job, there’s a strike at the station

Neon King Kong standin’ on my back

Can’t stop to turn around, broke my sacroiliac

A mid-range migraine, cancered membrane

Sometimes I think I’m goin’ insane

I swear I might hijack a plane!

 

[Hook]

 

[Verse 4]

My son said, Daddy, I don’t wanna go to school

Cause the teacher’s a jerk, he must think I’m a fool

And all the kids smoke reefer, I think it’d be cheaper

If I just got a job, learned to be a street sweeper

Or dance to the beat, shuffle my feet

Wear a shirt and tie and run with the creeps

Cause it’s all about money, ain’t a damn thing funny

You got to have a con in this land of milk and honey

They pushed that girl in front of the train

Took her to the doctor, sewed her arm on again

Stabbed that man right in his heart

Gave him a transplant for a brand new start

I can’t walk through the park cause it’s crazy after dark

Keep my hand on my gun cause they got me on the run

I feel like a outlaw, broke my last glass jaw

Hear them say “You want some more?”

Livin’ on a see-saw

 

[Hook]

 

[Verse 5]

A child is born with no state of mind

Blind to the ways of mankind

God is smilin’ on you but he’s frownin’ too

Because only God knows what you’ll go through

You’ll grow in the ghetto livin’ second-rate

And your eyes will sing a song called deep hate

The places you play and where you stay

Looks like one great big alleyway

You’ll admire all the number-book takers

Thugs, pimps and pushers and the big money-makers

Drivin’ big cars, spendin’ twenties and tens

And you’ll wanna grow up to be just like them, huh

Smugglers, scramblers, burglars, gamblers

Pickpocket peddlers, even panhandlers

You say “I’m cool, huh, I’m no fool”

But then you wind up droppin’ outta high school

Now you’re unemployed, all null and void

Walkin’ round like you’re Pretty Boy Floyd

Turned stick-up kid, but look what you done did

Got sent up for a eight-year bid

Now your manhood is took and you’re a Maytag

Spend the next two years as a undercover fag

Bein’ used and abused to serve like hell

Til one day, you was found hung dead in the cell

It was plain to see that your life was lost

You was cold and your body swung back and forth

But now your eyes sing the sad, sad song

Of how you lived so fast and died so young so

[Hook]

 

This great work of Hip Hop Culture was a signal of the disparity that existed amongst the haves and have-nots here in NYC. It is still apparent where the disparity existed over 40 years ago. Those lines of stratification (scars) can still be seen on the geography – travel ways of NYC (bus, train, road, subway). It can be seen in the topography of the Bronx. It can be most distinctly heard on the music of the era and the area. I was forever changed by hip-hop music and the culture coming out of NYC in the 1980’s through the 1990’s as a young person. It continued in my adult life through the far-reaching effects of the dissemination of hip-hop culture in my community through people like Uncle Luke, 2 Live Crew, jam Pony Express, Dj Uncle Al, and the list goes on. But one thing remain, the fact that it was a folk music, and illegal to be played on most radio stations. It was the voice of the youth and the changing culture here in America. It was, like the above transcribed lyrics of that famous piece “The Message” a polaroid of the climatic time period in which it was created. This Polaroid is a reflection of the critical thinking that was happening during that time period. It is my assertion that Hip Hop Culture is not only an artistic expression of the counterculture in NYC during the 1970- 1990’s but more importantly it is a critical reflection of American culture. In critical theory terms, it helped a whole generation estrange themselves from the ideological sediment of the time.

 

SO, WHAT IS HIP HOP PEDAGOGY?

Pedagogy: the method and practice of teaching, esp. as an academic subject or theoretical concept.

To be involved in a Hip Hop Pedagogy is to welcome an invitation into the shared reality of those that are participants in it. It is to enable all of its inhabitants with the tools and choice to intervene in the transformation of their world. It is a solicitation to become more involved in democratic debate about the state of our society, culture, country and community on multiple layers and perspectives.  The discourse of power and freedom inherent in the subject of Hip-Hop culture is something that should be readily used in the instruction of the student. Typically, it’s the student’s want and need to develop a deeper understanding of the world and their place in it. The culture begs for the participant to share their voice in the debate. The history of Hip-Hop is one of controversy and crisis wrapped up in a palatable feast of beats & lyrics served on top of a plate of graffiti. The accompanying libation is a dark burgundy one named “Chateau de Breaking; popping and locking”, which is served in a wineglass constructed of community activism and multicultural advocacy (critical race theory).

So, what does Hip-Hop pedagogy look like? It is a contemporary form of democratic education, which invites heavy student involvement in the construction of the classroom and the lesson (Brooks & Brooks). It advocates for the whole development of the student as total human being, rather than simply as a citizen or participant. It evokes the development of the self and more specifically the individual’s voice. Hip-Hop is not merely the music of a specific ethnic or socio-economic group. It is a culture that developed, like many in American history out of the crisis, conflict and controversy of the time. More importantly it is a discourse that is centered on the concepts of power and freedom, and is inclusive of the educative process we call life.

Classes & courses that are developed in the domain of Hip-Hop pedagogy should make the participants question their surroundings, situatedness, and circumstances.  Hip-Hop pedagogy should also be a multilayered approach. It is one that engages students where they are and uses a variety of the elements found in the culture to proctor aesthetic experiences for and in the participants (disruptions). Hip-Hop pedagogy is a circuit that connects teacher & student, citizen & community and society & culture to one another. This circuit allows for the exchange of ideas and understandings, with the goal of joint meaning making to happen. It is elastic and flexible with a structure that is informed by the past (traditions), but bound only by the imagination.

Hip Hop Pedagogy should help immerse the participants in awareness in all of the various tenses that they exist (Past, present & Future). Past tense shall be defined as the critical reflection, Present tense is the acute awareness of “Now” and the Future tense is that of the ever evolving imagination of “What If.” These three tenses are all important in the development of the totality of the humanism that we all have. It’s not simply a means to end, or an end unto itself, but is more radically involved in the process of ever becoming more than before. Hip -Hop Pedagogy is a critical take on multiple openings and entry points contained in a relevant wrapper.

Hip-Hop is in its essential and rawest form, uses the power of the imagination. It takes place in the virtual space of the mind for those that implore it to express the lived world experiences that they’ve engaged in. Hip-Hop is dance, clothing, speech, literature, visual art, code & symbol, music, and everyday life. It is a way of living like those of jazz, country, rock, folk, punk, funk, soul and a whole myriad of other musical cultures that sprung up from the well-spring of America culture. Each of which have its own unique style of life.

Hip-Hop pedagogy should be centered on the concepts of agency, activism, and democracy, open spaces, open encounters, inclusion, lived worlds and shared realities. The lyrics of some of the finest hip-hop songs speak eloquently about the lived experiences (worlds) of those involved. They (songs) talk about socio-economic disparity in society and the discourse(s) of power and freedom. Hip-hop pedagogy is about creating an exchange in various forms on multiplicity of levels. The art of Banksy and Lee Quinone’s, the beats of J- Dilla and MF Doom, the lyrics of Rakim and Drake all speak for and about those in a similar group of society, or is it that they speak for every man? Everything that is folk (counterculture) ultimately becomes part of the popular. That point speaks to the cyclical nature of the various discourses involved in hip-hop culture and more specifically hip-hop pedagogy. It’s about the turning over of the traditional to make way for the innovation (R. Barthes). It’s about allowing the student the opportunity to be involved in crafting their understanding of the world around them while giving them voice.

How can we use Hip Hop Pedagogy, which I will help flush out the literature in future post – scholarship, in the domain of Music Education? Well, there lies the rub. American Music Education, that dubious character, first has to acknowledge Hip-Hop as a musical form worthy of study. Then and only then can we actively … as a whole use hip-hop pedagogy as a integrated part of music education in our classrooms. Let me clarify right now, there are band directors and art educators that have been and are currently using hip hop pedagogy in their classrooms and studio environments, all over American and furthermore .. the world. However, it is not currently accepted as a valid form or music or culture by academia and the aesthetic police. The aesthetic police are those that assert themselves to the grand title of judge of which aesthetic experiences as well as how they “should be” used in the context of learning. They are rarely correct, and even when they are …typically use this opportunity to pontificate about their rightness. We see this every week on the various news outlets, and can only surmise that this type of policing has been going on for sometime in culture..period.

 

So, if we are to have a through discussion on the use of Hip Hop Pedagogy in the Music Classroom… we must first start with the unpacking of the music’s validity. We must say that Hip Hop is real music and it is worthy of study in major universities and music programs. We also have to give room and space for all other forms of American folk, but that discussion can be tabled until another time soon coming.

I hope you enjoyed this first rant on the Hip Hop Pedagogy and Music Education. I will try my best to write as often and eloquently as I possibly can to showcase the need to talk about the power, effectiveness as well as the need for such programing.

 

-Best

 

Jarritt A Sheel 

 

Honesty, O’ the honesty of making Art

There’s something so honest about creating art. It’s not a particular art form, nor the quality of the artist, but rather the act of engaging in soul search. Creating and/or remixing the images, the words, sounds, and feelings bound inside the soul of a man, is a heroic act. There is an honesty found in the act of creating art that chastened the hearts of those engaged in it. The baring of deep dark secrets and the cathartic release of emotions previously unconfronted can make a normal man turn strange, and that is the moment of courageous and valiant repose that we artist look for. This search is truly a lifelong journey and one that is hard to put into words. Next time, ask a musician, a dancer, painter, actor, etc. to explain this urge to be free. This honesty allows many to be free, FREE of all sorts of hang ups and twisted knots found in the very being of us all. That is all….

Sincerely,
Jarritt Ahmed Sheel