The Dreamkeepers. Gloria Ladson-Billings
secular. MCs like Lupe Fiasco and Omar Offendum do not hide their Muslim faith. They work in local, national, and global contexts—with music and film about Trayvon Martin and Arab Spring. Hip-hop filmmaker Eli Jacobs-Fantauzzi makes global hip-hop films like “Inventos: Hip-hop Cubanos” and “Home Grown: Hip Life in Ghana.”
Scholars like Chris Emdin (Teachers College, Columbia) and his former student Edmund Adjapong (Fordham University) and Ian Levy (Manhattan College), Marc Lamont Hill (Temple University), Elaine Richardson (Ohio State University), H. Samy Alim (UCLA), A.D. Carson (University of Virginia) are all part of a group of scholars who have incorporated hip-hop in their teaching and community activism. They understand that youth culture is vital for connecting with and engaging a new generation of students. The very thing we want students to do with text can be done with hip-hop. For example, we can take the lyrics of a hip-hop piece and ask students to explain the song’s plot, theme, and setting. Or we can ask students to read a piece of history and then create eight bars that explain a historical event. In New York Chris Emdin works with students in science to create hip-hop pieces to explain science concepts. Students can remember rules of mathematics by putting them to a catchy beat, “You know a fraction is a part of a whole. I said a fraction’s just a part of a whole!”
I began working actively with our campus’ award winning First Wave Hip-Hop Scholars Program in 2014. Prior to then I served as a member of the program’s advisory board but by 2014 the students were clamoring for more course offerings in education and hip-hop.2 I agreed to craft a course we called “Pedagogy, Performance, and Culture” to serve both First Wave Scholars and students generally interested in hip-hop and education. Our class started with about 20 students and our format was to meet once a week for 2.5 hours in class followed by another 1.5-hour public lecture. With a little support from the Office of Multicultural Arts Initiatives (OMAI) we pulled together a series of weekly lectures comprised of artists, scholars, and entertainment businesspeople to take on topics like race and culture, the art world, education, how business can determine what art we have access to, and of course, hip-hop. The public lecturers also came to our class before their public lectures and gave the students a chance to be one on one with some very talented people. Before each public lecture I designated one member of the class to introduce the speaker with a poem or spoken-word piece. In every case the lecturers, as well as the general public who attended the lecture, were amazed by the talent of our students.
On the first day the course was to begin I received a call from a local television reporter saying, “I heard you’re going to be teaching a course about hip-hop and education. I’d like to interview you about it.” I agreed to the interview and at the conclusion of the interview the interviewer asked if he could visit and film in the class. I hastily dashed off an email to the students and asked people who objected to email me back. I did not receive any emails but when the class met, I began by asking if anyone objected to having a reporter and camera person present. No one objected (after all, half the class were performers) and shortly after starting the class the reporter and camera person arrived. The next day the segment ran on our local news broadcast.
A week or so later, I traveled to Spain for an academic award and during my time there my phone started blowing up with text messages—“Hey, you’re on CNN,” “Your hip-hop class is all over CNN,” and “Yo, we’re watching you on TV!” Somewhere buried among all the texts and emails I was receiving was a message from CNN wondering if I would be willing to sit for an interview. When I returned to Madison, I made my way to the campus Public Broadcast affiliate studio and sat for an interview with one of their midday shows. I could not help but acknowledge that despite all of the work I had done to this point, it was my engagement with youth culture that caught the attention of a wider public. It was a true awakening for me to continue to explore the way that youth culture can have a powerful influence on teaching and learning.
That semester we had speakers that included songwriter Jack Knight, VP of programming for New York’s Hot 97, Ebro Darden, United States State Department Musical Ambassador for Hip-Hop, Toni Blackmon, Executive Director of Urban Word NYC, Michael Cirelli, feminist scholar Brittney Cooper from Rutgers University, Hollywood and Broadway actor Coleman Domingo, and science educator and co-creator of #HipHopEd Christopher Emdin of Teachers College, Columbia University. That lineup drew a wide audience of campus and community, young and old. The merging of the classroom and the community was a powerful example of culturally relevant pedagogy.
The final public event was a performance by members of the class. Originally, I had planned for the First Wave students to do an artistic performance that incorporated ideas from the class and the non–First Wave students would create a curriculum innovation—a unit of study, a course syllabus, or a series of lessons and activities. As the semester moved along, I decided that everyone in the class would do the public performance. I allowed the students to form their own groups with the one prohibition being no group could be comprised of only First Wave students or non–First Wave students. On the night of the performance there was a nervous energy backstage and the audience we had cultivated over the semester showed up to see the student performances.
At the end of the evening our students received standing ovations. It was impossible to determine which students were the seasoned performers versus the novices. The students did a marvelous job of integrating the ideas from the course academic readings. Their sketches touched on racism, inequality, oppression, achievement, assessment, and diversity. Their work was so professional that one of the students expanded on his spoken word piece created for the performance and entered it in a national competition aimed at preventing school dropout. He ultimately won that competition, went on to Graduate School, earned a MFA, and is now a working actor in Los Angeles.
To extend the influence of this work the Office of Multicultural Arts Initiative organized a weeklong summer institute for teachers titled, “Hip-Hop in the Heartland.” In this weeklong experience teams of educators from all over the country came to learn about how to better incorporate youth culture into their practice. We brough top named scholars, poets, and upper classmen/women from our First Wave Hip-Hop Arts Scholars’ program. The teachers learned about the art form, wrote lessons, designed curricula, and by the end of the institute appeared on stage as a part of a public performance. Michael Cirelli, Executive Director of Urban Word NYC, and I were the faculty of record, but generally we had a poet-in-residence to help organize the sessions. The teachers generally left the institute excited about the ways they could transform their classroom. Unfortunately, a number of them ran into obstacles trying to make changes in their schools. Some individual teachers, particularly secondary English teachers, were more successful in incorporating what they learned in their classrooms but were unable to get their administrators to see the value of what they were doing for the entire department or school.
The failure of administrators to recognize how youth culture, i.e., hip-hop, could enhance student achievement and engagement prompted OMAI to create a one-day workshop each spring for superintendents and principals. We presented scholarly information on incorporating youth culture, student engagement, and academic success. Our big message to administrators was don’t get in the way of teachers who were trying to be innovative in order to reach all students. The combination of scholars and student performances helped us reach some of those administrators and convinced another few to support teams of teachers from their schools to attend the summer institute.
The effort we are doing at the University of Wisconsin–Madison is perhaps one of the more robust attempts at infusing youth culture into the classroom from intermediate elementary grades to high school to college. There are other efforts throughout the nation to incorporate youth culture into educational experiences. Rawls and Robinson3 working in Brooklyn, NY and Columbus, OH demonstrate how quickly youth culture moves in and out of vogue—Pokémon cards, Fidget Spinners, baggy versus tight clothing are all examples of things that youth culture have adopted as a means of self-expression. Interestingly, these youth culture trends come in and out of style quickly and by the time most adults acknowledge them they seem to disappear. Schools’ response to most youth culture trends is to ban them. Students are told their Fidget