HIP-HOP’s FUTURE #HIPHOPMUSICED

  

#hiphopmusiced today is dedicated to learning more about the future of hip-hop. In the featured picture, you will see the tremendous variety of great emcees (musicians/lyricist) in whose hands lay the future of the culture. As a music educator, I am always looking to be able to recognize the contemporary in art. I endeavor to know the most I can about the current trends and artist of the culture. These are but a few of the great new update hip-hop artist shaping the direction of, and voicing the issues of the American experience. #kendricklamar #dejloaf #bigkrit #joeybadass #actionbronson #frankocean #jcole #hiphopfuture #hiphop 
   
    
    
   

How Do Music Teachers Use Hip-Hop Music in Their Classrooms?

I have been reviewing the literature on hip-hop pedagogy and its uses in the music classroom, and many of them see the use of hip-hop music and culture primarily as a means to foster intertextual and subjectivities within the domain of literacy, the written word. However, there are a few scholars that have written about the potential for the music’s use within music education. These music education scholars are Greg Dimitriadis and Adam Kruse. There a plethora of scholars (Akom, Morrell, Duncan-Andrade, Emdin, Soderman, Folkestead, etc) from a variety of educational areas that have written about hip-hop’s pedagogical uses in the classroom, but the focus of these articles are main centered on the cultural relevance and understandings that are created when teachers and students interact with hip-hop. I am interested in finding what is happening in the music classrooms all-around America in regard to the uses of hip-hop music and culture. Why is there a huge gap in the literature in regard to the uses of hip-hop in the music classroom, and what does this mean for its future uses?

I started to dig further and found that my initial response was one of disdain toward to the academy for not valuing the music that I so loved. I later started to wonder why there really wasn’t any data reflecting a serious study of the music’s effects on music education. Where was the empirical data? Where were the studies demonizing or reaffirming the power of the music within the walls of k-12 or post secondary school? I search and I searched and found that the researchers writings mainly reflect the experiences and interests that they have. I know anecdotally that there are teachers all across American that use hip-hop music culture in their classrooms, but no one has really taken the time to report it. Most practitioners are busy doing, and most researchers are busy experiencing and chronicling the outcomes. There are areas that are not communicated by either group. Hip-hop is one of those areas. Sam Seidel wrote a powerful book called “Hip-Hop Genius: Remixing High School Education” which recounts the story of a successful arts program in Minnesota that uses the study of the culture as a means to educate youth. So, I know that if there is one model for the infusion of hip-hop into music education there must be at least one more. As the demographic of the teaching forces changes over the next 20 years, we must be prepared to change the types of ensemble formats that pre-service teachers have access to while in college. The average 18-25 year old student is part of the post-hip-hop generation, and even if there are not huge fans of the music or culture, they have never none a time when the music did not exist. I often relate to those who know me well, that I didn’t know any Beatles music until I was in the early thirties, because the experiences and music I had at school and home were heavily influenced by Stevie Wonder, Andre Crouch and many jazz legends. So, what would my conception of relatable music and musical experiences have been if there was band or ensemble at school that was part of my enculturation as a educator? I can also recount my visit to Dillard School of the Arts in Fort Lauderdale, FL. They have recording arts program headed by one Israel Charles has developed a great program around the use of music technology to do project based learning. There have been several successful hip-hop artist that have come out of the program, as well as musicians and lovers of music that have graduated from that program, myself included.

So, how do music educators use hip-hop in their classrooms? According to Kruse (2014) and Dimitriadis (2009) there are currently three forms of Hip-hop pedagogies that have been identified by scholars 1) hip-hop as a bridge 2) hip-hop as a lens and 3) hip-hop as a practice. Each of these can be used in the musicking classroom (Chris Small). I recently shared a google survey with music educators of all levels, via social media. Link provided here —–> https://docs.google.com/forms/d/1Ku6DGBwBl3VLKg6LSENP3iiuE_OVbjCVbkJcTmv17yk/viewform?usp=send_form  Please feel free to fill this out, if you are a teacher, past or present, and have or are interested in using hip-hop music/culture and its pedagogies in your classrooms. When I am finished collecting data in the upcoming days, I will share the results of what teachers are or are not doing with hip-hop.

 

P.S. I have been using the term “cultural appropriation” as of late and will start using another term to express my wishes for the use of hip-hop music in education. I have recently seen the term “musical exchange” and think this is

Teacher Orientation to Popular Music #HipHopMusicEd

#HipHopMusicEd

Music educators your lack of experience w/ and/or interest in popular American music limits not only your experience, but that of your students in the musicking classroom.

As I get older I am starting to understand that the only limits that exist in my classroom are those that I and my students create. I am currently researching the preferences and dispositions of preservice teachers and the education programs they are involved in. It’s important that we all understand that teacher orientation is typically dictated by teacher pedagogy and methods courses they are engaged during study. This is sets the foundation for what many teachers (professionals) will use as their teaching premise for the rest of their careers. The more limited, or shallow, these types of musical experiences that student-teachers have, the more likely they are to replicate them in their future teaching. This is evident in the limited selection of performance formats found throughout American music classrooms.

Teaching programs should in theory, be a place where student-teachers muddle through diverse experiences that are suppose (purposed) to help bring the unknown into the space of the known (Dewey). We have to stop replicating what we think is unequivocal permanent fact, and start trying to meet our students where they are and engage in relevant learning activities. Critical Hip-Hop Pedagogies are a wonderful set of approaches to bringing in relevance into the music classroom. Let’s help children find relevance in our classrooms by we ourselves, as teachers, tackling difficult topics with hip-hop pedagogies (practice, lens, bridge). Most teachers only replicate the experiences they have had in their learning experiences and rarely move outside of this paradigm. So, how do we repair this rigid range (limited) of experiences?

Let’s take the clarion call of such educators, ethnomusicologists and scholars like Adam Kruse, Barbara Lindquist, Randall Allsup, Lucy Green, and many others that ask us to question the familiar, and engage in a search of the practices of popular music and musicians. There is so much rich, diverse and important topics that can be uncovered in working with popular music. The first step is that teachers con not simply stay in the lane of practitioners, but have to also move into the lane of researcher. Practicing these popular forms of music can have deep benefits, and can help us gain so much through critical reflection. Students are worried about you being cool because you are authentic, they are in your class to learn and grow. They relate to you because of the level of honesty and how you share the ways in which you came to understand the topic. Reading a chapter and simply sharing this isn’t enough. Popular music forms have to be taught in various formats in undergraduate programs in order for change to happen. Let’s start now, to honor the great music of America. Let’s celebrate the J-Dilla’s, Stevie Wonder’s, Stephen Foster’s, Irving Berlin’s, Kanye West’s, Eminem’s, Katie Perry’s, James Brown’s, Johnny Cash’s, Wille Nelson’s, Louis Jordan’s, Miles Davis’, Wynton Marsalis’, Pete Seegers, and Kendrick Lamar’s of the music world. If we start with our teachers we can open up spaces of inquiry in our music classrooms that have never really existed before. Let’s tackle these forms, genres and topics.

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I Love You Dr Maxine Greene

Maxine Greene

Maxine Greene

Maxine Greene

 

 

Maxine you will remain on my mind and on my heart for the rest of my life. Thank you for the many moments you shared with me. Your intellect, bravery, courage and elasticity to any situation presented to you is a real testament to what is needed and is good in mankind. I will miss you dearly. Maxine, I love you…

 

“There are no final words, but only questions.” – Maxine Greene

 

TRIBUTE TO MAXINE….

“[O]f all our cognitive capacities, imagination is the one that permits us to give credence to alternative realities. It allows us to break with the taken for granted, to set aside familiar distinctions and definitions” (p. 3).   – Maxine Greene

During this recent spring semester (2014) Teachers College, Columbia University I had the fantastic opportunity to take a course from Dr Maxine Greene. This experience truly changed my life forever. My time with Maxine helped change the why I imagine the world and my place in it. Her attitude is amazing, and I truly love her incredible curiosity for the varieties of freedom that exist in the world. She has become my intellectual mentor. Her positive comments have helped me be braver and sure of the direction that I am traveling in. Her works, “The Dialectic of Freedom” as well as “Releasing the Imagination” have given me tremendous amounts of reflective material to build my understanding of freedom, power and the connection that the imagination has to it. She and Stephen D. Brookfield have given me an insight into critical pedagogy and its place in current education.

 

Aesthetic experience is tremendous! Thanks Maxine for allowing me into your home and sharing your thoughts with me. I love you and admire your courage. I hope that I will be half as productive and courageous as you!

Maxine Greene (born December 23, 1917) is an American educational philosopherauthorsocial activist, and teacher.

American educational philosopher, author, social activist and teacher who values experiential learning in its “entirety”, Maxine Greene has influenced thousands of educators to bring the vitality of the arts to teachers and children.[citation needed] For Greene, art provided a conduit to mean-making, a way of making sense of the world. For more than 30 years she has been Lincoln Center Institute (LCI)[1] philosopher-in-residence.

Greene earned her PhD. (1955) and M.A. (1949) from New York University and a B.A. from Barnard CollegeColumbia University (1938). She taught at New York University,Montclair State College and Brooklyn College. In 1965, she joined the faculty at Teachers College, Columbia University.[2]

In 1973 she was one of the signers of the Humanist Manifesto II.[3] As Philosopher-in-Residence of Lincoln Center Institute for the Arts in Education since 1976, Greene conducts workshops (especially in literature as art) and lectures at LCI’s summer sessions.[4]

In 2003, she founded the Maxine Greene Foundation for Social Imagination, the Arts, and Education.[5] The foundation supports the creation and appreciation of works that embody fresh social visions. Its goal is “to generate inquiry, imagination and the creation of art works by diverse people.”[6] Grants of up to $10,000 are awarded to educators and artists.

In 2005, she inspired the creation for the High School of Arts, Imagination and Inquiry[7] in association with LCI and New Visions for Public Schools.[8][9] The school encourages students to expand their imaginative capacities in the arts and other subject areas.

Greene is past President of the American Educational Research Association (AERA), Philosophy of Education SocietyAmerican Educational Studies Association (AESA), and theMiddle Atlantic States Philosophy of Education Society.

 

She is the recipient of honorary degrees in the Humanities from Lehigh UniversityHofstra University, the University of Colorado at DenverIndiana UniversityGoddard College,Bank Street CollegeNazareth College (Rochester, New York), McGill UniversityCollege Misericordia, and Binghamton University.

She was awarded the Medal of Honor from Teachers College and Barnard College; Educator of the Year Award from Phi Delta Kappa; the Scholarly Achievement Award from Barnard College; AERA’s Lifetime Achievement Award; and received a Fulbright Program fellowship, which took her to New Zealand.

In 2004, the Teachers College Trustees created the Maxine Greene Chair for Distinguished Contributions to Education.

 

Major works:

  • The public school and the private vision : a search for America in education and literature (New York : Random House, 1965)
  • Critical Literacy: Politics, Praxis, and the Postmodern (State University of New York, 1993)
  • Existential Encounters for Teachers (Random House, 1967)
  • The Dialectic of Freedom (Teacher’s College Press, 1988)[10]
  • Landscapes of Learning (Teacher’s College Press, 1978)[11]
  • A Light in Dark Times: Maxine Greene and the Unfinished Conversation, with William Ayers & Janet L. Miller (Teachers College Press, 1997)[12]
  • The Public School and the Private Vision: A Search for America in Education and Literature (Jossey Bass Publishers, 1965)[13]
  • Teacher as Stranger: Educational Philosophy for the Modern Age (Wadsworth Publishing, 1973)
  • Variations on a Blue Guitar: The Lincoln Center Institute Lectures on Aesthetic Education (Teacher’s College Press, 2001)[14]
  • Releasing the Imagination: Essays on Education, the Arts, and Social Change (National Association of Independent Schools, 2004)[15]

Other important works include:

  • Arts and the Search for Social Justice (Lecture at The Maxine Greene Foundation for Social Imagination, The Arts & Education, 2003)
  • Active Learning and Aesthetic Encounters (Talks at the Lincoln Center Institute, National Center for Reconstructing Education, Schools and Teaching, 1994)
  • Education, Freedom and Possibility (Russell Lecture, 1975)
  • Lending the Work your Life: A Celebration with Maxine Greene (Lincoln Center Institute, 2006)[16]
  • Naturalist-humanism in eighteenth century England: An Essay in the Sociology of Knowledge (Thesis, 1956)
  • A Teacher Talks to Teachers: Perspectives on the Lincoln Center Institute (Lincoln Center, 1980)