Journal of Negro Education
Towards A Pedagogy of Hip Hop in Urban Teacher Education
Author(s): Thurman Bridges
Source: The Journal of Negro Education, Vol. 80, No. 3, Preparing Teachers to Teach Black
Students; Preparing Black Students to Become Teachers (Summer 2011), pp. 325-338
Published by: Journal of Negro Education
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TheJournal
80(3),325-338
Education,
ofNegro
Towards
A Pedagogy
of Hip
Hop
in
Urban
Teacher
Education
Thurman Bridges
Morgan State University
Thisarticledrawsfroma qualitativestudyof tenBlack male K-12 teachersfromtheHip Hop
Generationwho are closelyconnectedto Hip Hop cultureand have beeneffective
in addressing
theacademicand social needsofBlackboys.Throughan analysisoftheirsocial, educationaland
culturalexperiences,this articlehighlights
threeorganizingprinciplesdrawnfromHip Hop
- (a) Call to Service, (b) Commitment
Culture
to Self-Awareness
, and (c) Resistanceto Social
- whichprofoundlyshaped the teachingidentitiesof these Black men. The author
Injustice
discussesthe implicationsof theseprinciplesfor conceptualizing
and creatingteachingand
environments
that
are
Black
male
teachers
and
increasethecapacityofall
learning
supportive
for
teachersto effectively
teachdiversestudent
populations.
Keywords:teachereducation,Blackmaleteachers,Hip Hoppedagogy
as itrelatesto training
teachers
Hip Hop has becomea buzzwordinteachereducation,
particularly
forservicein urbanschools.The idea of borrowing
is
frompopularcultureto supportinstruction
notnew to teachereducation.However,theacademicchallengesfacingurban,and particularly
Black male students,
has heightenedimperatives
to findinnovativemodels fordrawingmore
Black menintoteachingandforeffectively
teachersofall backgrounds
to educatediverse
training
student
has been an increasing
focuson Hip Hop
populations.One responseto theseimperatives
anditspotential
forteachingand learning.
in thefieldof educationand in broader
Hip Hop has beenbothdemonizedand commodified
U.S. society.It has been characterized
as hyper-masculine,
overtlysexual,and criminaland,as
antithetical
to
the
and
academic
ofurbanyouth.
such,
positive,personal,
growthand development
Atthesametime,Hip Hop has beencommodified
and soldto youngpeopleofall backgrounds
by
the media and entertainment
and it has been packagedas an instructional
tool for
industry,
and,often,narrowscurricular
advancingtraditional
goals.It is no coincidencethattheseprocesses
of demonization
and commodification
reflectparallelpracticesin schoolsand societythatstrip
creatorsand supporters
awaythevalue and promiseof Black boysand men,whoare theprimary
ofHip Hop.
Given the currentcontextof urbaneducationand the nationalinitiativeto increasethe
numbersof Black male teachersin U.S. public schools,it is an opportunetime forteacher
educationto capitalizeon therelationship
betweenBlack men,urbanyouth,and Hip Hop culture
to attract
Black male teachersand to captivatethemindsof students
fromall cultures.However,
thiswillrequirea deeperand moreauthentic
ofthemeaningand value of Hip Hop
understanding
anditsimplications
fortheeducationofteachersandstudents.
Thisarticledrawsfroma qualitative
studyof 10 Black maleK-12 teachersfromtheHip Hop
Generation
who are closelyconnectedto Hip Hop cultureand have been effective
in addressing
the academicand social needs of, especially,Black boys. Throughan analysisof theirsocial,
educationalandculturalexperiences,
thisarticlehighlights
threeorganizing
drawnfrom
principles
- (a) call to service,(b) commitment
to self-awareness,
and (c) resistanceto
Hip Hop culture
- whichprofoundly
social injustice
oftheseBlack men.The author
shapedtheteachingidentities
discussesthe implicationsof these principlesfor conceptualizing
and creatingteachingand
environments
that
are
for
Black
male
teachers
and
that
increasethecapacityof
learning
supportive
all teachersto effectively
teachdiversestudent
in
urban
schools.
populations,
particularly
©TheJournal
2011,Vol.80,No.3
ofNegroEducation,
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All use subject to JSTOR Terms and Conditions
325
Re-conceptualizing Hip Hop Culture
Black menas conduitsforreformation
in re-conceptualizing
My interest
Hip Hop andre-imaging
in urbanteachereducationundergirds
the fundamental
beliefin theircollectivecapacitiesto
journeys
encourageurbanyouthto makemeaningof,and morefullyengagein,theireducational
towardsserviceto humanity,
whilecreatingclassroomcontextsthatnormalizetheirorientations
thethreeorganizing
socialjustice,and community
activism.Therefore,
self-awareness,
principals
oftheBlackmale
ofHip Hop discussedin thisarticlenotonlyframethepedagogicalorientations
teachersin this study,but theyalso represent
principalsthatshouldbe used to supportthe
of
and
urban
intellectual,
social,
youth.
personaldevelopment
Since theterms"Hip Hop" and "Hip Hop Generation"
are heavilyused in thisarticle,this
of each beforedelvingintoan
authorwill firstunpackbothtermsand providedeeperdefinitions
forurbanteachereducation.
ofHip Hop andtheirimplications
analysisofthethreeprinciples
and
"Hip Hop" is a termused to describethe collectiveexperience,modes of thinking,
epistemologies of urban youth. Largely influenced by Afrika Bambaataa (visit
for more information),
Hip Hop is a
www.oldschoolhiphop.com/artists/deejays/afrika.htm
of
for
the
of
cultivated
life
urban
on
tenets
way
youth,grounded
peace, love,unity,and having
fun. These are generallyexpressedthroughthe nine elementsof Hip Hop: (a) Breakin'
(Breakdancing),(b) Emceein' (Rapping),(c) GraffitiArt (Aerosol Art), (d) Deejayin', (e)
Beatboxin',(f) StreetFashion, (g) StreetLanguage, (h) StreetKnowledge,and (i) Street
elementof
(KRS-One, 2003). 'Education'too has emergedas a fundamental
Entrepreneurialism
Hip Hop andservesas theimpetusforthisstudyandarticle.
As proponents
and creatorsoftheoriginalphilosophy
oftheHip Hop community,
Blackmen
- bornbetween1965 and 1984 (Collins,2006; KRS-One,2003)- are
of theHip Hop Generation
oftheirearlyexperiences
withHip Hop cultureas a powerful
social
uniquedueto theintersections
and politicalvoice forpeopleof colorandtheirexperiences
withracismand classismin theU.S.
educationalsystem(Brown,1999; Lynn,1999,2002). The interaction
betweenthesediametrically
- one thatengendered
a sense of voice and agencyamongpeople of color
opposedexperiences
- contributes
and the otherthatfosteredfeelingsof inferiority
and lack of self-worth
to this
reliance
on
artists
as
and
teachers
populations'
Hip Hop
surrogate
Hip Hop cultureas alternative
classrooms(Collins,2006).
The Hip Hop Generation
embodiesa newtypeof activismandis distinctive
as itis thefirst
to
be raised in a raciallyintegrated
U.S. society.As the offspring
to Civil Rightsand Black
Nationalistmovements,
theHip Hop Generation
has borethefruitof votingrights,educational
and affirmative
actioncampaigns.However,theytoo have experienced
therapiderosion
reform,
of theracial,social, and educationalgainsthattheirforeparents
workedso diligently
to achieve
Kitwana
asserted:
(Bynoe,2004; Kitwana,2002; KRS-One,2003).
(2002)
We've[theHipHopGeneration]
a different
senseofurgency
rooted
inwhatwe'velostina
developed
- whatsomecritics
meregeneration
havedeemedthereversal
of civilrights
gains,suchas welfare
- as wellas innewattacks
reform
andthedecline
ofaffirmative
action
Blackyouth
likepolice
targeting
and the incarceration
of hundreds
of thousands
of Hip-Hop
brutality,
anti-youth
legislation,
generationers.
(p. 147)
This generation
of Black male teachersrecognizestheundeniablegainsachievedduringthe
Civil Rightsera,buttheytoo are awareand criticaloftheunfinished
businessoftheCivil Rights
andBlack Nationalist
movements.
Data fromthisstudyrevealedthattheyrecognizethecentrality
of racismin Americanlife,but morespecifically,
the deleteriouseffectsof
theyproblematize
racismon marginalizedpeople and communities.
Furthermore,
theyrely on the critiqueand
resistancefoundwithinHip Hop cultureto exposeracistpracticeswithinpublicschoolsystems,
law enforcement,
andthebroaderlegalsystem(Kitwana,2002).
326
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2011,Vol.80,No.3
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Theorizing Hip Hop: A Critical Cultural Movement
The goal is to re-introduce
Hip Hop to thefieldof urbanteachereducation.This articlesituates
Hip Hop andHip Hop pedagogyas morethanan educationaltoolor a segmentofpopularculture
or a theoretical
thatBlack andLatinoyouthpredominate,
butas a criticalepistemology
framework
ofthefunction
of schooling,and
thatchallengesourbeliefsaboutteaching,
shapesourconception
ourunderstandings
educators.ThisauthordefinesHip Hop as
informs
ofthequalitiesof effective
towardshealing
a "CriticalCulturalMovement"due to its historicand continuedorientations
brokenfamiliesand supporting
culturaland spiritualconnectedness;resistingand critiquing
and divisiveness;andfighting
(literally)
peoples,spaces,and systemsthatpromotefragmentation
- a movementtowardsself-actualization.
fora peaceful,restorative,
and humanizingexistence
in mainstream
GiventhepiecesofHip Hop thatgarnerpopularity
media,thenotionthatHip Hop,
or even public education,may have the powerto heal or to promotehealing,mustcome as a
to some.Nevertheless,
as willbe detailedthroughout
thearticle,studyparticipants
surprise
spoke
and
about
the
of
frequently specifically
healingpower Hip Hop in itsabilityto givevoice,shape,
and dimension
to theoftenignoredand disregarded
sourcesof painthatBlack mennegotiateand
the world,bell hooks(1994) describedthis
ultimately
fightagainstin the U.S. and throughout
- thatis, to teachin a waythenurtures
thesoul ofthe
processofhealingas an engagedpedagogy
student.
She argued:
To teachina manner
andcaresforthesoulsofourstudents
is essential
ifwearetoprovide
thatrespects
thenecessary
wherelearning
Thatmeansthat
conditions
can mostdeeplyand intimately
begin...
mustbe actively
teachers
to a processofself-actualization
committed
thatpromotes
theirownwellthatempowers
students,
beingiftheyaretoteachina manner
(pp.13-15)
The idea thatteachersandtheact ofteaching(whichis inclusiveof all learningenvironments
whereparticipants
are engagedin an activeprocessofmakingmeaningoftheirpurpose,function,
and legacy- Hip Hop included)relatesnotonlyto an exchangeof ideas,butalso connectsto our
beliefsaboutourselvesandthosewithwhomwe exchangeideas,speaksloudlyto thepedagogical
orientations
ofthisstudy'sparticipants.
One participant
thispointbystating:
clearlyarticulates
WhenI'mteaching,
I seetheir
souls.I lookintheir
outwhotheyare,andI
eyes,andI seeme.I figure
teachthem
from
thatvantage
I think
thatifyouvisited
point.
myclass,youwouldseepeace.You would
seea lotofhonesty.
You wouldseea lotofsharing.
You wouldseea lotoflivesbeingexposed.
I think
thatyouwouldseewhatpeacereally
is.(Bridges,
2009,p. 178)
forthosewho studyand are deeplyengagedin Hip Hop, as are mosturbanyouth,
Similarly,
access to thethreadsofresistance
(acrossitselements)againstoppressivesociopoliticalstructures
are effortless.
For thatreason,it is through
Hip Hop thatmanyyouthof colorchooseto exercise
"
theirpowerto pushagainstthestatusquo. Freire(2007) calledthistheprocess" conscientizacao
to thisexperienceis thebeliefthatself-actualization
can onlyemergefrom
(p. 35). Fundamental
an intimate
The collectivegivesbirthto theindividual,
sojourntowarda collectiveconsciousness.
It is thenthrough
thestruggle
selflinkingthembothinextricably.
againstthatwhichis depleting,
and
foul
in
nature
individual
that
and
collective
resistance
serving,
develops(Freire,2007).
Another
withHip Hop
participant
supportsFreire'sanalysisandpersonalizeshis experiences
by situatingit as a space wherepeople of color revivetheirspiritualfootingand assess the
conditions
oftheircommunities.
He asserted:
It speaksto thestruggles,
theaspirations,
thechallenges,
HipHop is theBlackman'sNegrospiritual.
andtheshortcomings,
all inthesameplace.Ina lotofways,HipHophasbecomewhatthechurch
used
to be whichwas a placeforlotsofdifferent
thecommunity.
It's thatuniversal
pointsofviewwithin
tobring
walksoflifetogether
toshareanexperience
meeting
place.Ithastheability
peopleofdifferent
©TheJournal
, 2011, Vol.80,No.3
ofNegroEducation
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327
fortheirrights.
of culture,
of love andto fight
It is a placewherewe seekspiritual
renewaland
validation.
2009,p.170)
(Bridges,
as we oftenassociatepeace
The notionoffighting
forpeace mayinitially
seemcontradictory
of theprocessof
withcomplacency
or passivityor indifference.
However,thisconceptualization
towardthat
relatesto a struggle
peace, again informed
by Freire'stheoriesof conscientizacao,
- FREEDOM! Freire(2007) argued:
whichis natural,
innate,andessentialto humanexistence
Whosuffer
ofoppression
Whocanbetter
theeffects
morethantheoppressed?
understand
thenecessity
forliberation?
thepraxisoftheir
Theywillnotgaintheliberation
bychancebutthrough
questforit,
tofight
their
ofthenecessity
forit.Andthisfight,
becauseofthepurpose
through
recognition
givenit
willactually
constitute
anactofloveopposing
thelovelessness
whichliesattheheart
bytheoppressed,
lovelessness
evenwhenclothed
infalsegenerosity,
oftheoppressors'
violence,
(p. 45)
In keepingwiththearticulation
ofHip Hop as a CriticalCulturalMovement,
itis important
to
notethat,historically,
thanfighting,
Hip Hop crewsgrewoutof former
gangswho would,rather
was to
engage in battlesof words,of beats,and of dancing.The goal of these interactions
determine
who could 'rockthemie' better(Bynoe,2004; KRS-One,2003; Rose, 1994). Hip Hop
battles,be theyrapping,dancing,deejayin', or bombing,eventhoughtherewas 'dissing' (joking
at the opponentsexpense), was not about dehumanizingor debasing othersbut about
one's skilland wit.Hip Hop pioneer,RussellSimmons,supports
thisassertionby
demonstrating
stating:
TheHipHopcommunity
is a spiritual
andcompassionate
Itsability
tospeakinhonest
and
community.
truthful
artforms
ofthelate20th
around
theworldmakesitoneofthemostpowerful
waystomillions
and21stcentury.
andnaysayers,
togrowandtransform
theminds
wecontinue
Despitethepublicoutcry
ofyoung
inAmerican
culture
andintegrated
peopleina waythatmakesoursthemostinsightful
youth
inKRS-One,
2003,p. 180)
History.
(RussellSimmons
It is notsurprising
thenthatdeejay's and emcee's throughout
urbancommunities,
mostlyin
New York Cityand bordering
northeastern
states,turnedto Hip Hop music,blockparties,and
to ease tensionsbetweenrival gangs in an effortto bringcommunities
healthycompetition
together,in love. In fact, withinthose spaces, which representedour most vulnerable
the governingrule of law was peace not conflictand healing ratherthan
communities,
victimization.
It is throughthis humanizingspirit,this dispositiontowardjustice, and this
movementtowardfreedom,thatthe authorextractsfromthatwhichis so readilyhated and
and
regardedas degenerate
(Hip Hop andBlack men)to theorizeHip Hop as critical,as cultural,
as praxis.
Principles of Hip Hop for Urban Teacher Education
- (a)
of threeorganizing
Following,is theexamination
principlesdrawnfromHip Hop Culture
- that
call to service,(b) commitment
to self-awareness,
and (c) resistanceto social injustice
oftheintersections
betweenHip Hop music,criticalpedagogyand
emergedfroman investigation
the teachingorientations
of the Black male educatorsin this study.The goal is not to be
essentialist
or to over-generalize,
butratherto shed lighton and theorizeaboutthehumanizing,
critical,and,in mostcases, transformative
pedagogicalorientations,
shapedby Hip Hop culture,
thattheseBlack male teachersbringto theirurbanclassrooms.Thisauthorinitiated
a discussion
of each principlethrough
an analysisof relevantHip Hop lyrics,conceptsof criticaltheory,
and
thevoicesofBlackmaleteachersfromthisstudy.
328
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Call toService
In this section,the ways are considered,if at all, thatpre- and inserviceteachersare being
of vulnerablestudent
populationsand theways
preparedto supporttheeducationaldevelopment
of teachersthatare underdeveloped,
thatteachereducationmaybe complicitin theirproduction
to servingstudents,
butin theircommitment
notintheirpedagogicalortheoretical
understandings,
Black
In heranalysisofthespiritual
connectedness
thateffective
families,andtheircommunities.
to teachingas
Irvine(2003) describedthiscommitment
femaleteachersbringto urbanclassrooms,
a "calling"(p. 12). The idea ofteachingas a callingsuggeststhatteacherswhopossessan ethicof
self-esteem
outcomesforstudentsof color (heightened
caringyieldingpositivesocio-emotional
to the studentsand
are motivatedby a spiritualconnectedness
and feelingsof self-efficacy)
communities
theyserve.This notionof teachingas a callingis reliedon to supportthethinking
thatis neededto attractand sustaineffective
teachersin urban
aboutthe typeof momentum
classrooms.
was a cleararticulation
thata desireto serveand address
Consistent
acrossstudyparticipants
the social, emotional,spiritual,and academicneeds of studentsand familiesfromvulnerable
communitiesplayed the most significantrole in their motivationsto become educators
Freire(2007) describedthis
(standardizedtestingand mandatedcurriculum
notwithstanding).
commitment
to community
as essentialto the development
of a transformative
connectedness
educationalmovement.He argued,"the starting
pointfor organizingthe programcontentof
educationor politicalactionmustbe the present,existential,
concretesituation,
the
reflecting
of
the
aspirations
people"(p. 95).
believedthat,as educators,Black menplay a significant
role in helpingBlack
Participants
maleyouth,in particular,
to overcomethechallengestheyfacein urbanschoolsand communities.
"thereis no magicalcurriculum;
thereis no magicschoolbuilding.
Accordingto one participant,
The magicis in you,thepeople"(Bridges,2009,p. 175). Speakingspecifically
to Black man,this
issued a challengeencouraging
theHip Hop Generation
to re-examinetheteaching
participant
and is committed
to
self-reflection,
professionas one thatpromotesserviceto the community,
the
dire
conditions
urban
and
families.
alleviating
facingmany
youth
identities
as Black male teachersweredirectly
connectedto their
Furthermore,
participants'
withHip Hop. That is how theyunderstoodthe ideals and goals thatHip Hop
relationship
urbanyouth,was congruent
withand intimately
embodies,as it relatesto moldingand nurturing
connectedto theirintrinsic
to teach.Connecting
motivations
Hip Hop to his pedagogicalbeliefs,
one participant
stated:
Thetreatment
ofyourbrothers,
therespect
ofeachother,
therespect
ofcommunity,
thaťsthefabric
I
was raisedup in and that'swhereHip Hop started.
It was started
in thecommunities,
fromthe
forthecommunities.
eachother
likeyourfamily
members.
That'sthe
communities,
So,youaretreating
samewayI approach
2009,p. 177)
mystudents.
(Bridges,
Most participants
theircomingof age withinHip Hop cultureas, like one said, a
identified
"soundtrack"(Bridges,2009, p. 177) to theirdailylives,whichinfluenced
theirdesiresto serve.
was
a
of
source
and
a
constant
that
them
investedin public
Hip Hop
strength
inspiration kept
education,eventhoughtheybelievedthatK-12 publicschoolsare basicallyunfitto servedBlack
children.
As such,theirexperiences
withandlove ofHip Hop andthestoriesexposedthrough
Hip
linkedto theircommitment
and approachesto teachingurbanyouth.One
Hop musicis naturally
argued:
participant
You areserving
trueHipHop.You areserving
thecommunity
becauseyoucomefrom
[Asa teacher]
thecommunity.
You areexposing
thethings
thatarehappening.
You areexposing
thethings
thatare
ittoother
togivethemhope,
goingoninyourlife,andyouareconveying
peopletogivethem
strength,
togivethem
somethings
towishtofor,ora waytogetoutofit.(Bridges,
2009,pp. 177-178)
©TheJournal
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All use subject to JSTOR Terms and Conditions
329
orientations
towardservicereachbeyondtheoften-expressed
desires
Clearly,theparticipants'
of pre-and inserviceteachersto 'give back' to thosecommunities
Black,Latino
(predominantly
and impoverished)
thatare in need of savingor a savior. It is important
to note thatthese
of
on
influence
urban
teacher
education
rootedin a more
are
conceptions Hip Hop's potential
and
framework.
The
is
transformative
to
shed
humanizing,
liberating,
goal
lighton thespiritof
of this study'sparticipants,
thatcenters
service,foundwithinHip Hop and the orientations
individualand community
empowerment.
Seamlesslyconnectedto theseproposedprinciplesof
socialjustice,andactivism.
self-awareness,
Hip Hop,empowerment
promotes
The O.C., in the song Times Up, providesan examplethroughrap lyricsof Hip Hop's
commitment
to service.He wrote,"Insteadof puttingbraincells to worktheyabuse it, nonor sexual. I'm here to make a
conceptual,non-exceptional,
everybody'seithercrime-related
besides all the ruffin"(O.C., 1994). ConsistentwithfindingsfromLynn's (2002)
difference,
researchon themotivations
ofBlackmaleteachers,
thissongspeaksto theresponsibility
ofBlack
mento support
thesocialandintellectual
ofurbanyouth.Similarly,
KRS-One(2003)
development
It was a strategy
overthestreets!
to
argued,"Fromtheverybeginning,
Hip Hop was aboutvictory
beat thestreets"(pp. 181-182).This idea of gainingvictoryoverthestreets(avoidingcriminal
andstayingalive) is a representation
ofthewaysin whichHip Hop challengesBlackmen
activity
tohelpshapethelivesandguidetheexperiences
ofurbanyouth(Lynn,2002).
in
the
the
Goodie
Mob wrote,"We don'tevenknowwhowe are,
Additionally,
songFighting,
buttheanswerain'tfar,matter
offactitsrightup underournose,butthesystemtaughtus to keep
thatbook closed,see thereasonwhyhe gottalie and deceiveis so thatwe won'tact accordingto
gettheblessingswe supposedto receive"(GoodieMob, 1995).Here,GoodieMob urgedlisteners
to believein anddeveloptheirinnateskillsandtalentsas a waythatrepelshegemonic
messagesof
self-hate
and Black inferiority,
whichthepubliceducationalsystemhas historically
usedto dwarf
thesocial,political,andintellectual
ofBlackyouth.
development
TalibKweli's (1998) song,Manifesto
thisanalysis:
, supports
- itsall capitalism.
Supplyandthedemand
Niggasdon'tsellcrackcausetheyliketoseeblacksmoke,
crack
sell
cause
tosee what'sgoingon around
niggas
theybroke. . . Don'ttakea scholar
you,either
oryouain'tis whatitcomesdownto.Haveyouforgotten?
Wepickin100%designer
name
youwiddit
brand
cotton
watchin.
theystillplottin,
mythird
eyeis steady
Kwelicritiques
thatdiminish
thecapacityofurbanyouthto create,cultivate,
unjustsocial systems
and managetheirown intellectual
and creativeproductssuchthattheymaysustaincomfortable
lives forthemselves
and thelargercommunity.
He further
identifies
theproliferation
of alcohol
and drugsin vulnerablecommunities
as a by-product
of largersocietaltoxicitiesthatdestroy
Black families.Kweli's ever-present
"thirdeye" represents
theprotective
or as I term
instincts,
"otherfathering,"
thatmany Black men bringto urbanspaces, particularly
classrooms.His
analysisspeaksto a growingcommitment
amongBlack men,especiallythosewho are deeply
towardstransforming
thelives and existential
engagedin Hip Hop culture,
experiencesof urban
Black boys,in particular,
to be self-sufficient
criticalthinkers,
rather
than
youth.By encouraging
themwith
urgingthemto keep"thatbook closed"(as articulated
by GoodieMob), andproviding
to "beatthestreets"(as describedby KRS One), Black maleteachersand Hip Hop are
strategies
in
and muchneededworkof injecting
theirstudents
and
engaged theimportant,
transformative,
listeners
withthetoolsto resistthepressures
ofengagingin antisocialbehavior.
KRS-One's notionof victoryoverthe streetssupportsMorrell(2002) and Stovall's(2006)
analysisof Hip Hop cultureas a representative
expressionof the lived experiencesof youthof
colorinurbancommunities.
O.C., GoodieMob,andKweli's lyricssubstantiates
Similarly,
Lynn's
in theirBlackmale
reflected
(2002) researchthatassertsBlackmaleteachersoftensee themselves
students
andteachwiththeintended
goal ofsavingtheirlives.
The fulfilling
of one's responsibility
to servethe sociopoliticalneeds of urbanfamilies,to
educatedisenfranchised
in
that
and to physicallyprotect
youth ways
promoteempowerment,
vulnerablecommunities
fromrepressivesocial structures
and culturaldomination
is fundamental
330
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2011,Vol.80,No.3
ofNegroEducation,
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of theBlack male teachersin this
to Hip Hop's call to serviceand thepedagogicalorientations
- this culturalwork- demandsthaturbanteachersand urban
study.This level of stewardship
and thatthey
teachereducatorsinvestand reinvestin theprocessestowardsdeep self-reflection,
same
too support
urbanstudents
that
journey.
through
toSelf-Awareness
Commitment
whichleadsto heightened
selfto theartof teaching,is a processof self-reflection,
Foundational
butratheris a sojourn
awareness.Self-awareness
is notrepresented
by a locationor destination,
of one's beliefs.How mightwe begintheprocessof engagingin theact
towardthefundamentals
of teachingwithoutfirstexaminingourbeliefsaboutthepurposeof education,
thesocial context
ofurbanschooling,thepowerofknowledge,
andourselvesas actorswithinan educationalsystem
thathas historically
as Freire(2007) terms,the"domestication"
(p. 51) of vulnerable
promoted,
populations,
people of color?Also, how could any of us considerourselvescritical
particularly
culturaleducators,given our access to the ambitionsof countlessurbanyouth,withoutfirst
analyzingthatwhichwe knowaboutourselvesand whichwe thinkwe knowaboutour students
andtheirfamilies?
Woodson's (1933) seminalanalysisof thebrandof schoolingwithwhichurbanyouthare
the critiqueof thepoliticsof knowledgeand its impacton youthof
generallyexposed,informs
color.He asserted:
their
attention
alsotothefolklore
oftheAfrican,
tothephilosophy
inhisproverbs,
to
Theyshoulddirect
thedevelopment
oftheNegrointheuseofmodern
andtotheworksofNegrowriters
....
language,
Insteadof cramming
theNegro'smindwithwhatothers
haveshownthattheycan do, we should
hislatent
thathemayperform
insociety
a partofwhichothers
arenotcapable,
develop
powers
(p. 150)
Traditionalschool curriculum,
throughits historicalrejectionof the ideals, worldviews, and
of peopleof color,servesas a mechanism
contributions
to facilitate
thespiritual,
and
intellectual,
sociopoliticaldormancyand dominationof urban youth and their families. Woodson's
and advocacyforthedevelopment
of a moreprogressive
perspectives
publiceducationalsystem,
are madeto analyzethesocial contextof
undergirds
mybeliefthatuntilmoreaggressiveefforts
urbaneducation,traditional
public schoolingwill continuein the traditionof 'mis-educating'
themto theback doorsof an alreadyfailing
(Woodson,1933) disadvantaged
youth,relegating
publicschoolsystem.
This conversationabout self-awareness
does not only relateto awarenessof self as an
individualwithdistinctqualities,characteristics,
and aspirations.
Self-awareness
epistemologies,
also relatesto a deeperunderstanding
of self,and our students,as connectedto a family,a
a collectivepeople,andtheworld.Thistypeof awarenessof selfhas thepotential
to
community,
shed lighton the unparalleledcreativity,
resilience,
complexityof thought,self-assuredness,
thatwe, as educators,
andourstudents
beauty,andspirituality
inherently
possesses.
In reflecting
on the significanceof his role as a teacher,one participant
describedhis
expectationsand aspirationsfor his studentsas directlyconnectedto his expectationsand
forhimself,
aspirations
bysaying:
I wanttobuildgoodpeople;I justwantthem
tocare,I wantthem
tolove,I wantthemnottowanttogo
see fights.
I wantthemto be ableto opendoorsfortheirelderswhenno oneis looking
or pickup
someone's
stuff
offoftheground
whensomeone
intheschool.I wantthem
tobe
maynotbe as popular
tothem.(Bridges,
genuinely
goodpeople.So thenI havetobe a goodpersonas an example
2009,p.
176)
Anotherparticipant
thedispositions
thathelp teachersbuilddeep relationships
with
highlighted
"If you walk downthesehallwaysand greeta student
withthewordsof peace,
students,
stating,
theywill respondto you,withoutevenknowingyou,withthosesamewords"(Bridges,2009, p.
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331
to live in accordance
that,as a teacher,itis hisresponsibility
176). He wentfarther
by explaining
to theexpectations
If he warnsstudents
notto drink,
thentheyshould
thathe setsforhis students.
be assuredthathe would not drinkeither.Also, if he encouragesstudentsto come to class
preparedandreadyto work,thentheyshouldbe assuredthathe too is preparedandreadyto teach
to thebestofhis ability.
all ofthestudyparticipants
In a discussionabouttheprocessof developingurbaneducators,
a reflective
inparticular
identified
as essential.One participant,
defined,
processof self-awareness
as a prerequisite
teacheras onewhois spiritually
investedintheircommunity,
quality,an effective
theirfamilies,
andtheirstudents.
his loveofteachingto his loveoffamily,
he stated:
Connecting
that'sthefabric
I
Thetreatment
ofyourbrothers,
therespect
therespect
ofcommunity,
ofeachother,
It was started
in thecommunities,
was raisedup in andthat'swhereHip Hop started.
fromthe
forthecommunities.
eachother
likeyourfamily
That'sthe
members.
communities,
So,youaretreating
samewayI approach
2009,p. 177)
mystudents.
(Bridges,
In thesecases, self-awareness
meansrecognizing
one's role as a leader,teacher,and guideto
More importantly,
self-awareness
meansrecognizing
thatourstudents'hopes,dreams,
humanity.
andaspirations
andinherently
areintimately
connectedto ourown.
failures,
This processtowardawarenessand itsmanifestation
in and through
Hip Hop has captivated
theheartsof theparticipants
and thoseof millionsof peoplethroughout
theworld.It is through
lessonslearnedfromHip Hop thatone participant
framedand made meaningof his role as a
teacher.He stated:
You areserving
trueHipHop-youareserving
thecommunity
becauseyoucomefrom
[Asa teacher]
thecommunity.
You areexposing
thethings
thatarehappening.
You areexposing
thethings
thatare
ittoother
togivethemstrength,
togive
goingoninyourlife,andyouareconveying
people[students]
themhope,togivethemsomethings
towishtofor,ora waytogetoutofit.(Bridges,
2009,pp. 177178)
The O' Jaysarticulated
thispointperfectly
whentheysang,"We gota messagein ourmusic.
There'sa messagein oursong.So openyourearsandlisten. . . Thingsain'tlikethey'resupposed
to be" (The O' Jays,1976).
In theirsong,YouMustLearn, Boogie Down Productions
theways
(BDP, 1989) exemplified
thatHip Hop has promoted
thisprocessof self-awareness
and
the
by reimagining reconstructing
lessonsthatstudents
learnaboutpeopleofcolorinU.S. publicschools:
I believethatifyou'reteaching
filledwithstraight
Teachthestudent
what
history
upfactsnomystery,
needstobe taught
... No onetoldyouaboutBenjamin
A brilliant
Blackmanthatinvented
Banneker,
thealmanac. . . With[Eli Whitney,
HaileSelassie,Grandville
Woodsmadethewalky-talky,
Lewis
on Edison,CharlesDrewdida lotformedicine,
Garrett
Latimer]
improved
Morganmadethetraffic
Harriet
theslavesatnight,
Tubman
freed
madea straightin'
MadameСJWalker
comb.. . The
lights,
atis itmight
beharsh,
'Causewe're
brainwashed.
pointI'mgetting'
(BDP,1989)
justwalkin'around
thesingularand oppressiveemphasison thecontributions
ofEuropeansby
Here,BDP dismantles
thecontributions
ofBlackpeopleinthedevelopment
oftheUnitedStates.Thistypeof
uncovering
counter-narrative
Black youth,witha lens through
whichto
providesall youth,butparticularly
situatethemselvesas seriousintellectual
with
the
to
contribute
to
and
redefine
beings
capacity
themselves
as globalleaders.
Goodie Mob, BDP, D-Nice, and countlessotherartistsand teachersuse Hip Hop cultureto
disenfranchised
theworldin
amplifythevoices of historically
peoplesas theyhave experienced
waysthatshedlighton theharshrealitiesof livingin a raciallyand sociallyoppressivesociety.
More specifically,
and pedagogicalpractices,fuel
publicschools,through
repressivecurriculum
the tenuouseducationalconditionsand largersocietalobstaclesfacingmanyBlack males. As
a space of intellectual
and cultural
such,it is withinand throughHip Hop, whichrepresents
332
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acceptance,ratherthan withinpublic schools where they oftenexperiencehumiliationand
theirtalents,elevatetheirvoices,and seekto transform
thatBlack malesnurture
their
degradation
lives.
ResistancetoSocial Injustice
The experiencethathad themostsignificant
as a teachereducatordraws
impacton myidentity
frommyfirst
to preparean
yearas a teacherin Richmond,
Virginia.I can recallclearlymyefforts
and
interactive
lesson
the
factors
to
the
social
unrest
engaging
addressing key
contributing
among
the Americancoloniststhatlead the Revolutionary
War. For thatlesson,I assembledperiod
the grievancesof the people ( CommonSense by
music,reproducedpamphletsrepresenting
ThomasPaine),and createddifferentiated
workstations
the classroomforstudents
to
throughout
thesociopoliticalcontextof thattime.Needlessto say,I was excitedto facilitate
the
investigate
processof historicalexploration.
Duringthefirstclass of theday,however,a studentposed this
whenwe
important
question:Mr. Bridges,whyshouldwe care abouttheAmericanRevolution,
are fighting
everyday
just to survive?How is thisgoingto help me to live a betterlifeRIGHT
NOW?
His questioning
forcedto me to challengewhatI had learned,as a pre-service
teacher,about
the intellectualneeds of urbanyouth.Beyond emphasizingprocesses of social controland
intellectual
classroommanagement
as well as singularand disjointed
docility(through
strategies,
courseson culturaldiversity)my formalteachertrainingfailedto prepareme to addresshis
questionor any questionsrelatedto a students'critiqueof povertyand social injustice.Witha
I was heraldedas
newlymintedgraduatedegreefroman eliteWhiteresearch-intensive
university,
theone who wouldbringground-breaking
theoriesand pedagogicalknowledgeto mystruggling
school.Yet, I was ill-prepared
to supportmy students'fundamental
quest forself-actualization
andrelevanceinthepublicschoolcurriculum.
The omissionof any analysisof thetheories,empiricalstudies,or personalnarratives
that
centerourstudents'experiences
withandresistance
againstracialandsocial oppression
represents
a significant
gap in teachereducation.I challengeour insistencethatstudentsengage in an
educationalprocessthatfails to reflecttheirstruggles,aspirations,and dreams.This typeof
to anymovement
towarda progressive,
or liberatory
schoolingseemsantithetical
transformative,
model forurban education.Additionally,
this type of dehumanizing
pedagogicalframework
ourstudents'disinterest
in publicschooling.I contenditis notthatourstudents
cannot
undergirds
or do not wantto learn,butthattheyrejectthatwhichfailsto addresstheirsocial, emotional,
and spiritual
needs.
intellectual,
Freire(2007) supports
thisargument
by stating:
. . . sooneror later,thesecontradictions
to tumagainsttheir
maylead formerly
passivestudents
domestication
andtheattempt
todomesticate
existential
reality.
Theymaydiscover
through
experience
thattheir
withtheir
tobecomemorefully
vocation
human
. . . sooner
present
wayoflifeis irreconcilable
orlatertheymayperceive
thecontradiction
inwhichthebanking
education
seekstomaintain
themand
thenengage
themselves
inthestruggle
forliberation,
(p. 75)
Drawingon theirown experiencesas Black males in theUnitedStatesand in K-12 public
relatedcloselytotheirstudents'voicesofresistance.
schools,myparticipants
that
Theyarticulated
distrustin teachers,school administrators,
and the overall educationalsystemnegatively
influenced
theirstudents'dispositions
towardschool.In fact,one participant
posed thefollowing
questions:"As a Black boyin America,whywouldI trustanyteacher?WhywouldI trustteachers
in generalifteachersputme outof school,putme outof class,getmad at me becausetheydon't
understand
me" (Bridges,2009, pp. 163-164)?Thiswas a commonsentiment
amongparticipants
as manyofthemrecounted
moments
whentheirexpressionsor questioning
lead to theirremoval
fromclass ortheschool.
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333
All of the studyparticipants
describedthe plightof Black males in the UnitedStatesas
of racism and negative
tenuous.They assertedthat Black men, due to the intransigence
a
to
American
are
threat
mainstream
viewed
as
society.They believed,as one
stereotyping,
that
been
in
has
set
this
has been to ensurethat
asserted,"Everysystem
up
country,
participant
Black menare notsuccessful"(Bridges,2009, p. 160). Theywenton to describeBlack malesas
an endangered,at-riskpopulationdue to factorslike high homicideand suicide rates,poor
physicaland mentalhealth,substanceabuse,and inadequateeducation.Because of thedangers
describedBlack and Latinoyouthas being"behindenemylines"
aforementioned,
participants
threat
of attackby law enforcement,
thecourt
(Bridges,2009,p. 161) as manyliveunderconstant
and
the
educational
systems,
public
system.
In thesongFighting
, Goodie Mob (1995) digsdeeperwiththeircritiqueof thesocial injustices
to fightagainstall
a collectiveresponsibility
perpetuated
againstBlack peoples and reiterates
formsofoppression:
I guessthat'swhatI'm writing
fortotryto shedsomelight,
butwe beeninthedarkness
forso long,
don'tknowrightfromwrong...
is
You'll finda lotofthereasonwe behindis becausethesystem
to keepourthird
twoeyescan'tsee,you
designed
eyesblind,butnotblindinthesensethatourother
timeinplacesyoudon'tevenneedtobe.
justend-investing
quality
GoodieMob critiquessystemsof oppression
a racistsocialorder.In theirassertion
thatperpetuate
thatracismand thefightagainstit is endemicin U.S. culture,theyuse Hip Hop as a venueto
ofpeopleand
oftheperspectives
andto advocatefortheacknowledgment
challengea historicism
communities
of color (Lynn,2002; Matsuda,1991; Parker& Lynn,2002; Smith
-Maddox&
Solorzano,2002; Solorzano& Yosso, 2002).
Also, D-Nice, in thesongSelf-Destruction
, providesa critiqueof racistsocial systemsand
offers
guidanceto urbanyouthregarding
productive
waysto "beatthestreets":
It's timeto standtogetherin a unitycause if not thenwe're soon to be self destroyed,
. . . Down theroadthatwe call eternity
whereknowledgeis formedand you'll
unemployed
learnto be self-sufficient,
to teachto each is whatRap intended.But society
independent
wantsto invade.So do notwalkthispaththeylaid.(StoptheViolenceAllstars,1989)
His analysisspeaksaboutdisengaging
behaviorsandencouragesBlack male
fromself-destructive
into
to embraceindependent
as a way to supporttheirdevelopment
youthin particular,
thinking
andpolitically
self-sufficient
activeadults.
Mostparticipants
outoffearof
saidthattheytemperexpressions
ofpowerandaggressiveness
victimized
or
of
malesare
that
Black
being
negatively
stereotyped.
Arguing society'sperceptions
as perpetrators
of
heavilyinfluenced
by imageson televisionin whichtheyare oveirepresented
crimeandviolence,oneparticipant
stated:
So youhavean incidentlike Sean Bell [an AfricanAmericanmanwho,on his weddingday,
died in a hail of 50 bulletsfiredby a groupof 5 policeofficers]
... So thecops had a itchy
- becausetheycouldn'ttakeno chances,man.Andthosetypesof things
quicktrigger
finger
notonlyshapeus as Black males,buttheyalso shapefuture
Black, White,
police officers:
it
their
of
us.
Latino, shapes
(Bridges,2009,p. 162)
perception
Thisis notto say thatBlack mendo notcommitcrimesor thatstudents
of colordon'tengagein
behaviorsthatnegativelyimpacttheirschool success.However,participants
arguedthatBlack
as
male's actions and intentions,
even when innocuous,are more likelyto be interpreted
due
their
how
and
schools
choose
to
to
the
media
and
teachers
in
interpret
threatening
portrayal
theirdispositions.
of
This analysisof the contextof social injusticein theUnitedStates,and thepropensity
as well as theemergenceof
urbanyouthto resistit (oftenin waysthatteachersmisunderstand),
to situate
theworld,providesteachereducationtheopportunity
movements
insurgent
throughout
334
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2011,Vol.80,No. 3
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theirframeworks
fordevelopingpre-and inserviceteachersaroundissuesofresistanceand social
their
change.Teachers,if borrowingfromHip Hop's principleof resistance,can strengthen
to
more
and
students'
voices
of
resistance
social
and
validate,shape,
capacities
effectively
amplify
critique.
Conclusion and Recommendations
The goal ofthisarticle,in theorizing
inprinciples
of service,self-awareness,
Hip Hop as grounded
and sociopoliticalresistance,
is to demystify,
humanize,and elevatetheexperiencesand cultural
the world.This authorsoughtto
expressionsof Black men and Americanboys and throughout
thatprovidesa venueby whichurbanyouth,particularly
Black
analyzeHip Hop as a framework
males,engagein a criticalanalysisof theirlived experiencesand the social conditionsof their
communities.
I illuminated
and criticaltheorists,
Throughthevoices of studyparticipants,
Hip Hop artists,
theirdissatisfaction
withthecurrent
contextofpubliceducationinurbanenvironments.
In general,
as
and
their
theyinterpreted schoolingexperiences repressive,
dehumanizing, depleting.
Although
manyhave learnedhow to navigatethe hostileeducationalterrain,the processhas leftthem
disaffected
and disconnected
fromschool.Black malesremainunderattackas
bruised,battered,
that,formany,have shapedtheir
theyare subjugatedto race,class,and gender-based
aggressions
aboutschoolsas unsafeemotionalandspiritual
thinking
spaces.
Giventheimperatives
to attract
Black mento theteachingprofession
andto makedeeperand
moremeaningful
connectionswithBlack male students,
it is necessarythatteachereducators
reexaminetheirbeliefsaboutwho can and shouldteach,and howtransformative
pedagogymight
be enacted.Additionally,
schoolsof educationand school districts
mustreevaluatetheirbeliefs
aboutteachingand learningby pushingpast archaicconceptionsof thedispositions
of desirable
teachers and students.Below, I provide practical implicationsfor establishinglearning
environments
thatare supportive
forBlack male teachersand thatincreasethe capacityof all
teachersto effectively
teachdiversestudent
inurbanschools.
populations,
particularly
Recommendations for Practice
ProspectiveTeachers
Teachereducationmustbeginto reconceptualize
theirrigidadherenceto standardized
testscores
and college gradepointaveragesas selectioncriterionforacceptingprospectivestudentsinto
teacherpreparation
Our goal shouldbe to recruitpre-service
teacherswho are deeply
programs.
investedin and closelyconnectedto urbancommunities,
who possess thesocial capitalto build
intimatebondswiththeirstudentsand families,and who,because of theirown comingof age
enactthetypeofteachingthatcaptivatesthehearts,
experiencesin disenfranchised
communities,
students
whomaybe academicallyastutebut
minds,and spiritsofurbanyouth.Instead,we attract
are oftenunawareof and resistant
to thecriticalexaminations
of intransigence
of racism,social
thatplague urbancommunities.
The use of testscores and
oppression,and economicdepravity
gradepointaveragesto makeprojectionsaboutone's futureabilityto teachseverelylimitsour
access to those who may be the most affectiveat teachingurbanyouth.It is recommended,
aboutwhocan and shouldteachandactivelyseek
however,thatwe beginto questionourthinking
outprospective
teacherswhopossessqualitiesand dispositions
thataremorecloselyalignedwith
theprinciples
ofHip Hop as discussedinthisarticle.The teachershortage
shouldbe no excusefor
and indifferent
teacherswho view teachingin
exposingour childrento uncaring,disaffected,
urbancommunities
as a transitional
or culturalexerciserather
a spiritual
callingto cultivateurban
youth.
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335
Access toK-12 Students
In myeightyearsinteachereducation,
as a student
andteacher,I am shockedattheabsenceofK12 students
in our schoolsof educationand dissatisfied
on
by theomissionof theirperspectives
teachersout
and beliefs.Instead,we sendourpre-service
effective
teacherqualities,dispositions,
to testtheirtheoriesand strengthen
theirpedagogies,makingurban
into urbancommunities
studentsobjectsratherthansubjectsof education.This modelprovesdamagingforbothK-12
students
and pre-service
teachers.It seemsmoreappropriate,
however,to frameourpedagogies
aroundtheneeds of studentsand the hopes of theirfamiliesand communities.
if
Furthermore,
morecritically
teachersandanalyzingthetheories
engagedin theprocessofdevelopingemerging
thatsupportourpedagogies,thenK-12 students
willbeginto developa naturalattraction
towards
thatwhichtheyhelpedto create.
School Model
Community
The data fromthisstudyrevealthatmyparticipants
are heavilyinvestedin and connectedto not
fromwhichtheycome.Ifpublicschools
communities
butalso thesurrounding
onlytheirstudents
would continueto establishpartnerships
with the local boys and girls clubs, religious
organizations(churchesand mosques),park and recreationalcenters,youthand community
and Blackcenters,fitnessfacilities,local barbershops,
clothingstores,Hip Hop organizations,
ownedbusiness,thentheywill have moreaccess to Black men and could beginto facilitate
a
betweenBlack men and Black boys in the community.
school
Also, a heightened
relationship
that
presencein thesespaces beginsthe important
processof healingtensionsand resentments
of Hip Hop, thefieldof
manyBlack menfeeltowardpublicschooling.Throughtheseprinciples
K-12 educationhas the potentialto create opportunities
for more Black men to reimagine
themselves
as teachersandteacherleaders.
Same Sex Classrooms
in addressing
thesocial and academicneeds
abouttheirinterest
My participants
spokefrequently
ofBlackmale students.
Morespecifically,
intheirstudents
and drew
theysaw theirlivesreflected
fromtheirlifeexperiences
to helpcultivate
thelivesof thestudents.
As such,K-12 schoolswould
attract
Black male teachersto urbanclassroomsby providingspace forprospective
Black male
teachersto exercisetheirown"brandofcaring,"whichmanyparticipants
as significant
articulated
to theirhumanizing
Same sex classrooms,whereBlack menand
teachingstylesand dispositions.
traditional
curriculum
and addressthesocial and
boyscan critically
engagewithand interrogate
personalchallengestheyface,wouldincreasebothBlack male teacherpresenceand Black male
students'interest
inK-12 schools.
andreinvestment
Recruitment
HistoricallyBlack colleges and universities(HBCUs), communitycolleges, and alternative
certification
wouldprovideK-12 schoolsaccess to Black menwhomayhaveotherwise
programs
overlookedteachingas a viable profession.Similarly,Hip Hop summits,historically
Black
and
conferences
Black
most
numbers
of
of
attract
conventions, religious
men,
fraternity
large
whomare formally
educatedand concernedwiththesocioeconomicchallengesfacingtheurban
communities.
effortsin these communities
would yield an increased
Heightenedrecruitment
in andpresenceofBlackmeninK-12 classrooms.
interest
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©TheJournal
2011,Vol 80,No.3
ofNegroEducation,
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337
Author
THURMAN BRIDGES is an Associate Professorof Teacher Educationat Morgan State
in Baltimore,
University
Maryland.His workexaminesthelives of teachers,Hip Hop pedagogy
andcriticaltheory.
All comments
andqueriesregarding
thisarticleshouldbe addressedto
[email protected]
338
©TheJournal
2011, Vol80,No.3
ofNegroEducation,
This content downloaded from 128.59.62.83 on Fri, 13 Sep 2013 06:51:19 AM
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