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As a platform for communicating the issues of marginalized peoples, hip-hop remains a universal, relevant art form. Moreover, hip-hop culture’s affirmation of liberation pedagogy has great potential not only to address many current issues in educational contexts, but also to create more egalitarian ambitions in western public schools.
Viewing the plurality of creativity in music as being of paramount importance to the field of music education, The Routledge Companion to Creativities in Music Education provides a wide-ranging survey of practice and research perspectives. Bringing together philosophical and applied foundations, this volume draws together an array of international contributors, including leading and emerging scholars, to illuminate the multiple forms creativity can take in the music classroom, and how new insights from research can inform pedagogical approaches. In over 50 chapters, it addresses theory, practice, research, change initiatives, community, and broadening perspectives. A vital resource for music education researchers, practitioners, and students, this volume helps advance the discourse on creativities in music education.
Popular music is a growing presence in education, formal and otherwise, from primary school to postgraduate study. Programmes, courses and modules in popular music studies, popular music performance, songwriting and areas of music technology are becoming commonplace across higher education. Additionally, specialist pop/rock/jazz graded exam syllabi, such as RockSchool and Trinity Rock and Pop, have emerged in recent years, meaning that it is now possible for school leavers in some countries to meet university entry requirements having studied only popular music. In the context of teacher education, classroom teachers and music-specialists alike are becoming increasingly empowered to introduce popular music into their classrooms. At present, research in Popular Music Education lies at the fringes of the fields of music education, ethnomusicology, community music, cultural studies and popular music studies. The Ashgate Research Companion to Popular Music Education is the first book-length publication that brings together a diverse range of scholarship in this emerging field. Perspectives include the historical, sociological, pedagogical, musicological, axiological, reflexive, critical, philosophical and ideological.
Through a transnational, comparative and multi-level approach to the relationship between youth, migration, and music, the aesthetic intersections between the local and the global, and between agency and identity, are presented through case studies in this book. Transglobal Sounds contemplates migrant youth and the impact of music in diaspora settings and on the lives of individuals and collectives, engaging with broader questions of how new modes of identification are born out of the social, cultural, historical and political interfaces between youth, migration and music. Thus, through acts of mobility and environments lived in and in-between, this volume seeks to articulate between musical transnationalism and sense of place in exploring the complex relationship between music and young migrants and migrant descendant's everyday lives.
Pierre Bourdieu has been an extraordinarily influential figure in the sociology of music. For over four decades, his concepts have helped to generate both empirical and theoretical interventions in the field of musical study. His impact on the sociology of music taste, in particular, has been profound, his ideas directly informing our understandings of how musical preferences reflect and reproduce inequalities between social classes, ethnic groups, and men and women. Bourdieu and the Sociology of Music Education draws together a group of international researchers, academics and artist-practitioners who offer a critical introduction and exploration of Pierre Bourdieu’s rich generative conceptual tools for advancing sociological views of music education. By employing perspectives from Bourdieu’s work on distinction and judgement and his conceptualisation of fields, habitus and capitals in relation to music education, contributing authors explore the ways in which Bourdieu’s work can be applied to music education as a means of linking school (institutional habitus) and learning, and curriculum and family (class habitus). The volume includes research perspectives and studies of how Bourdieu’s tools have been applied in industry and educational contexts, including the primary, secondary and higher music education sectors. The volume begins with an introduction to Bourdieu’s contribution to theory and methodology and then goes on to deal in detail with illustrative substantive studies. The concluding chapter is an extended essay that reflects on, and critiques, the application of Bourdieu’s work and examines the ways in which the studies contained in the volume advance understanding. The book contributes new perspectives to our understanding of Bourdieu’s tools across diverse settings and practices of music education.
Three award-winning activists and novelists-Black Artemis, E-Fierce, and J-Love, join social justice educator Marcella Runell Hall and a diverse team of seasoned educators to develop this collection of engaging and timely standards-referenced lesson plans for 6-12 and beyond. These lessons explore the tools of oppression that keep us divided such as violence, patriarchy and racism. The lessons are based on the popular books: The Sista Hood: On the Mic, Picture Me Rollin' and That White Girl.
Black Canadian Studies is the exploration of the range of histories, experiences, contributions, perceptions, feelings, convictions, triumphs, and obstacles awaiting to be overcome, of identified Black people of African descent resident in Canada. Black Canadian Studies revolves around the agency of Black people as the subject of investigation. Their stories, their interpretations, their pride, their independence, their self determination, their challenges, their triumphs, their shortfalls and sense of freedom and justice, are at the forefront of investigation. Multiple Lenses: Voices from the Diaspora Located in Canada is an essential introduction to an understanding of the experience of Black people in Canada over a four hundred year period. Through the lenses of history, law, literature, film, music, Black community organizations, media, sports, Black spirituality, party politics, labour markets, education and lived experience, renowned commentators explore through Canadian eyes, how Black people in Canada have identified themselves, and been identified over this period. What factors influenced that process? Black people in Canada are not part of "imagined communities" but real people with visceral connections, flesh and blood, striving to build lives under often unimaginable hardships. This book is dedicated to such Black people and their allies who, together, have fashioned meaning and hope in an often hostile environment.
State of the hip-hop union -- The meaning of hip-hop -- From a cool complex to complex cool -- Thug life and social death -- The bridge : summary of chapters two and three -- Hip-hop authenticity in black and white -- Parental advisory : explicit lyrics -- The last verse -- Obama as hip-hop icon.
Ebony Roots, Northern Soil is a powerful and timely collection of critical essays exploring the experiences, histories and cultural engagements of black Canadians. Drawing from postcolonial, critical race and black feminist theory, this innovative anthology brings together an extraordinary set of well-recognized and new scholars engaging in the critical debates about the cultural politics of identity and issues of cultural access, representation, production and reception. Emerging from a national conference in 2005, the book records, critiques and yet transcends this groundbreaking event. Drawn from a range of disciplines including Art History, Communication Studies, Cultural Studies, Education, English, History and Sociology, the chapters examine black contributions to and participation within the realms of popular music, television and film, the art world, museums, academia and social activism. In the process, the burning issues of access to cultural capital, the practice of multiculturalism, definitions of black Canadianness and the state of Black Canadian Studies are dissected. Attentive to issues of sexuality and gender as well as race, the book also explores and challenges the dominance of black Americanness in Canada, especially in its incarnation as hip hop. Acknowledging a differently constituted and heterogeneous black Canadianness, it contemplates the possibility of an identity in dialogue with, and yet distinct from, dominant ideals of African-Americanness. Ebony Roots also explores the deficit in Black Canadian Studies across the nation’s universities, drawing a line between the neglect of black Canadian populations, histories and experiences in general and the resulting lack of an academic disciplinary infrastructure. Poignant blends of the personal and the political, the chapters are both scholarly in their critical insights and rigour and daring in their honesty. Ebony Roots defiantly foregrounds the often-disavowed issues of institutional racism against blacks in Canadian academia, education and cultural institutions as well as the injurious effects of everyday racism. In so doing, the book challenges the myth of Canada as a racially benevolent and tolerant state, the ‘great white north’ free from racism and the legacy of colonialism. Instead the very definitions of Canada and black Canadianness are unpacked and explored. Ebony Roots is a necessary history lesson, a contemporary cultural debate and a call to action. It is a momentous and overdue contribution to Black Canadian Studies and a must read for academics, students and the general public alike.
“K for the Way” explores writing, rhetoric, and literacy from the perspective of the Hip Hop DJ. Todd Craig, a DJ himself, establishes and investigates the function of DJ rhetoric and literacy, illuminating the DJ as a fruitful example for (re)envisioning approaches to writing, research, and analysis in contemporary educational settings. Because it is widely recognized that the DJ was the catalyst for the creation of Hip Hop culture, this book begins a new conversation in which Hip Hop DJs introduce ideas about poetics and language formation through the modes, practices, and techniques they engage in on a daily basis. Using material from a larger qualitative research study that illustrates the Hip Hop DJ as a twenty-first-century new media reader, writer, and literary critic, Craig blends interviews from prominent and influential DJs in the Hip Hop community with narrative and interdisciplinary scholarship from writing studies, Hip Hop studies, African American studies, urban education, and ethnomusicology. The voices of DJs sit front and center, presenting a revolutionary conversation about writing and communication in the twenty-first century. Weaving Craig’s life experiences with important discussions of racial literacies, “K for the Way” is a layered and utterly singular exploration of culture, identity, and literacy in America.
