This dissertation is a qualitative case study exploring the understandings, beliefs, and practices of Youth Spoken Word Poetry (YSW) educators who work within the field of Hip Hop-Based Education (HHBE) and have grown from youth participants to adult professionals within an international YSW Network. This study examines how current YSW practitioners describe and understand their work, along with the multiple literacy practices they utilize related to spirituality and race. This study is framed by a sociocultural lens of education, includes a blend of qualitative research methods related to narrative approaches, and is inspired by literature grounded in Hip Hop-Based Education; Race and Education; and Spirituality and Education. It is a hope of this study that the findings lead to a more nuanced understanding of how HHBE functions within the landscape of education and impact how we approach HHBE moving forward. Major findings revealed that the participants describe themselves as racialized and spiritual beings in implicit and explicit ways. YSW participants in this study described the field of YSW as grounded in African American lineages and acknowledged that the field currently functions as pluralistic and multicultural. YSW participants describe spirituality as personal, collective, and transcendent experiences. Though participants defined spirituality differently, they described it as something that is present, naming it as an important factor to be considered when examining YSW practice. Core literacy practices participants engaged with and enacted within the YSW community related to race and spirituality included acknowledging their voice as something that was expressed individually, collectively, and universally and across time (past, present, and future). These findings highlight the value of communities that support: (1) Reflection, or honoring individual identities; (2) Refraction, or honoring Communities of Practice that shape our paths; and (3) Dispersion, or the use of stories to support dreaming, sharing, and revolutionizing the world as we know it.

Tese de Doutorado - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em Antropologia Social, Florianópolis, 2009. Orientadora: Carmen Silvia Rial. 2009 / Submitted by Nilson Junior (nilson.junior@unila.edu.br) on 2016-05-24T00:22:08Z No. of bitstreams: 2 272935.pdf: 37161829 bytes, checksum: 98e90b477b95d1753c05d0bb128de615 (MD5) Recibo Deposito Legal_TESE_Angela Maria de Souza.pdf: 222708 bytes, checksum: 34d136a7bdaf34efa719b584514c820c (MD5) / Made available in DSpace on 2016-05-24T00:23:05Z (GMT). No. of bitstreams: 2 272935.pdf: 37161829 bytes, checksum: 98e90b477b95d1753c05d0bb128de615 (MD5) Recibo Deposito Legal_TESE_Angela Maria de Souza.pdf: 222708 bytes, checksum: 34d136a7bdaf34efa719b584514c820c (MD5) Previous issue date: 2009 / Busco nesta tese intitulada "A caminhada é longa ... e o chão tá liso: O Movimento hip hop em Florianópolis e Lisboa" refletir sobre a complexidade estruturante da produção musical de grupos de rap no Brasil e em Portugal que refletem sobre os espaços (geográficos e sociais) ocupados, por homens e mulheres, nos centros urbanos de cidades como Florianópolis e Lisboa em suas produções musicais. Desta forma, busco analisar as práticas estético musicais dos rappers dentro do Movimento hip hop, principalmente a partir das relações construídas com as cidades nas quais estão e sobre a qual buscam refletir a partir de suas vivências nestes espaços urbanos. Além das relações estabelecidas em trabalho de campo, e que me oportunizaram uma observação mais detalhada, utilizo as músicas produzidas por estes rappers como importantes referências para minhas análises, principalmente a partir das narrativas que estas músicas contêm. Estas práticas musicais me possibilitaram: (1) refletir sobre a relevância da produção musical na determinação dos fluxos que os rappers estabelecem a partir de suas cidades, Florianópolis e Lisboa; (2) identificar as diferentes formas de compreensão do processo de alargamento do espaço ocupado pelo Movimento hip hop; (3) perceber aspectos que unem ou distanciam a produção musical do rap no Brasil e em Portugal; (4) analisar as formas de representação da cidade para refletir sobre a formação de diferentes estilos de rap. Perceber a produção e circulação destes grupos na cidade é refletir sobre a própria cidade a partir das diferentes coletividades que a povoam e dos usos que fazem dela. Me amparando nesta Etnografia defino quatro estilos de rap: rap de quebra, rap floripa e rap gospel - Florianópolis eo rap crioulo - Lisboa com os quais interagi no trabalho de campo e com eles procurei melhr perceber os usos e apropriações do espaços urbanos a partir de suas práticas estético-musicais, bem como das representações que controem sobre estes espaços a partir de suas vivências.

This dissertation explores the context of urban science education as it relates to the achievement and engagement of urban youth. This study provides a framework for Hip-Hop Pedagogy, an approach to teaching and learning anchored in the creative elements of Hip-Hop culture, in STEM as an innovative approach to teaching and learning demonstrates the effect that Hip-Hop Pedagogy, as a culturally relevant approach to teaching has on teaching and learning in an urban science classroom. This study establishes practical tools and approaches, which were formed from by theory and research that transcend the traditional monolithic approaches to teaching science. Participants in this study are middle school students who attend an urban school in one of the largest school systems in the country. This research showed that as result of utilizing Hip-Hop pedagogical practices, students reported that they developed a deeper understanding of science content, students were more likely to identify as scientists, and students were provided a space and opportunities to deconstruct traditional classroom spaces and structures.

Submitted by Kenia Bernini (kenia.bernini@ufpel.edu.br) on 2018-03-01T22:20:21Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Diogo_Raul_Zanini_Dissertação.pdf: 2385150 bytes, checksum: bf42e5827a0b0220d90095e8b3357c2f (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-03-05T21:40:29Z (GMT) No. of bitstreams: 2 Diogo_Raul_Zanini_Dissertação.pdf: 2385150 bytes, checksum: bf42e5827a0b0220d90095e8b3357c2f (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-03-05T21:41:05Z (GMT) No. of bitstreams: 2 Diogo_Raul_Zanini_Dissertação.pdf: 2385150 bytes, checksum: bf42e5827a0b0220d90095e8b3357c2f (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-03-05T21:41:12Z (GMT). No. of bitstreams: 2 Diogo_Raul_Zanini_Dissertação.pdf: 2385150 bytes, checksum: bf42e5827a0b0220d90095e8b3357c2f (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-03-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / A presente Dissertação propõe se debruçar sobre o Movimento Hip Hop em Porto Alegre/RS a partir do bairro Mário Quintana e da circulação dos ativistas do bairro pela cidade, abordando-o a partir dos estudos das diásporas negras. A criação do Fórum Permanente do Hip Hop em Porto Alegre resultou da necessidade do movimento em participar da formulação e implementação de políticas públicas específicas voltadas para promoção da igualdade racial, geração de renda, educação, cultura, autoafirmação, entre outras demandas sociopolíticas. Tais políticas se contrapõem à lógica da periferização da população negra e pobre e do racismo estrutural.Tendo como ponto de partida o Movimento Hip Hop do Bairro Mário Quintana, a proposta deste trabalho é acompanhar os ativistas do movimento em sua relação com o bairro, com os territórios em que residem e atuam, os eventos que eles constroem no bairro e com grupos e coletivos de outros bairros da cidade e do Estado do RS. Analisando, nessa perspectiva, a mobilidade desses ativistas pelo bairro Mário Quintana e para outros pontos da cidade e a relação com a construção de políticas públicas para o bairro, a cidade e o movimento Hip Hop / This dissertation proposes to focus on the Hip Hop Movement in Porto Alegre / RS from the neighborhood Mário Quintana and the movement of the activists of the neighborhood through the city, approaching it from the studies of black diasporas. The creation of the Hip Hop Permanent Forum in Porto Alegre resulted from the movement's need to participate in the formulation and implementation of specific public policies aimed at promoting racial equality, income generation, education, culture, selfassertion, among other sociopolitical demands. Such policies contradict the logic of the peripherization of the black and poor population and of structural racism. Starting from the Hip Hop Movement of the Mário Quintana Neighborhood, the purpose of this work is to accompany the movement's activists in their relationship with the neighborhood, the territories in which they reside and act, the events they build in the neighborhood and with groups and collectives from other districts of the city and the State of RS. Analyzing, from this perspective, the mobility of these activists in the neighborhood of Mário Quintana, and to other parts of the city, and the relation with the construction of public policies for the neighborhood, the city and the Hip Hop movement

In this dissertation, I examine the articulation of hip-hop in the mid-1980s as it emerged onto the national stage of American popular culture. Using Articulation Theory, I weave together an argument explaining how and why hip-hop went from being articulated as a set of multicultural and inclusive practices, organized around breaking, graffiti, and DJing, to being articulated to a violent, misogynistic, and homophobic hyper-masculine representation of blackness as essentially rap music culture. In doing so I also argue that there are real political, social, racial, cultural, and ideological implications to this shift in articulation; that something is at stake in defining hip-hop as both black and rap music culture. I put forward this argument by making three distinct steps over the course of this dissertation. First, I identify a change in how hip-hop was represented and thus articulated in popular media. Through an intertextual analysis of the hip-hopsploitation genre films I show that early hip-hop was being represented primarily as a set of cultural practices cohering around breaking, graffiti, and DJing rather than the now dominant articulation as rap music culture. Next I set forth one possible reason for this shift within the limiting conditions set by the available media technologies and means of commodification. The visual nature of hip-hop's early articulation coupled with the economic inaccessibility of consumer home video made breaking and graffiti difficult to commodify compared to rapping as an aural element. Using "technological determinist" theorists like McLuhan, Innis, and Kittler, I argue that understanding how hip-hop as been historically constructed requires analyzing the limiting effect that the material conditions of media technologies have on the production of hip-hop. Finally, I offer a second, racial and cultural reason for this shift in articulation, and begin identifying some of the significance of this shift. A key aspect of the articulation of hip-hop as rap music is the further connection to blackness. This connection may function to maintain white patriarchal hegemony by displacing it on the black body via rap music: a complex dynamic of disidentification and appropriation.

Orientador: Dagoberto José Fonseca / Banca: Claudete Camargo Pereira Basaglia / Banca: Valquíria Pereira Tonório / Resumo: Essa dissertação tem como objetivo compreender de que modo as mulheres negras atuam no mundo do graffiti e quais as possíveis transformações presentes nesse campo majoritariamente ocupado por representações masculinizadas. Buscamos verificar como as relações de gênero se apresentam na prática de graffiti, sob a perspectiva das categorias de raça/etnia, a fim de compreender o lugar das mulheres negras nesse universo. Para tanto, nos atemos à produção cultural de duas grafiteiras negras: a Negahamburguer, de São Paulo/SP e a NeneSurreal, de Diadema/SP. Ambas são referências no universo do graffiti e iniciaram a prática por meio de afinidades com o Movimento Hip-Hop. Orientada pelas reflexões dos Estudos de Gênero, partimos do referencial teórico proposto pela historiadora e pesquisadora brasileira Lélia Gonzalez, que se constitui no desenvolvimento de estudos debruçados a compreender as mulheres negras enquanto agentes do processo de construção e transformação cultural. / Resumen: Esta disertación tiene como objetivo comprender cómo actúan las mujeres negras actúan en el mundo del graffiti y cuáles son las posibles transformaciones presentes en ese campo mayoritariamente ocupado por representaciones masculinizadas. Buscamos verificar cómo las relaciones de género se presentan en la práctica de graffiti, bajo la perspectiva de las categorías de raza/etnia, a fin de comprender el lugar de las mujeres negras en este universo. Nos atemos a la producción cultural de dos grafiteras negras: la Negahamburguer, de São Paulo / SP y la NeneSurreal, de Diadema / SP. Ambas son referencias en el universo del graffiti y iniciaron la práctica por medio de afinidades con el Movimiento Hip-Hop. Orientada por las reflexiones de los Estudios de Género, partimos del referencial teórico propuesto por la historiadora e investigadora brasileña Lélia González, que se constituye en el desarrollo de estudios dedicados a comprender a las mujeres negras como agentes del proceso de construcción y transformación cultural. / Mestre

This thesis investigates the construction of identity and authenticity through sociophonetic variation, focusing on British Hip Hop artist Amy Winehouse. Prior work on British vocal artists’ phonetic variation has relied upon regional categorical frameworks (Trudgill, 1983; Carlsson, 2001) and found variation to be evidence of production errors and speakers’ misidentification of targeted speech patterns, resulting in summative interpretations of conflict between speakers’ discreet identities and speech pattern categories. More recent work has attended to linguistic processes within cultural movements influenced but not strictly delimited by sociolinguistics’ canonical categories of region, class, race, etc. Within the context of the Hip Hop cultural movement, which demands members maintain authenticity via its mantra of keepin’ it real, scholars have described processes by which authenticity is redefined and re-localized (Pennycook, 2007), emphasized the performative process of the construction of identity rather than the categorical delineation of identity (Alim, 2009), explicated the construction of authenticity within Hip Hop as inextricable from Hip Hop’s roots in the Black American Speech Community (Alim, 2006), and shown how linguistic processes mediate the markedness of artists’ Whiteness as they construct authenticity within Hip (Cutler, 2007). This work applies sociophonetic analytic tools to sung and spoken speech informed by indexical theory. Through indexical theory, the construction of identity is examined via the employment of variants that do not convey fixed meanings but instead create complex fields of possible meaning (Eckert, 2008). The variables examined include postvocalic contexts of the liquids /l/ and /r/ and intervocalic instances of /t/. Findings indicate that Winehouse’s use of non-rhotic postvocalic /r/ in spoken language, rhotic postvocalic /r/ in singing language, glottal [ʔ] intervocalic /t/ in spoken language, intervocalic /t/ as [ɾ] in singing language, and categorical use of vocalized postvocalic /l/, demonstrates a negotiation between a Hip Hop identity and a White British non-posh identity. Her spoken and singing language represent a re-localizing of Hip Hop’s demand for authenticity within Winehouse’s British context. Findings indicate that phonetic features can index a redefinition of authenticity as forms of talk, such as Hip Hop, gain ownership in new contexts.

Rome Sweet Rome, written, directed, composed, and choreographed by the Q Brothers Collective, is a hip-hop musical adaptation of William Shakespeare’s Julius Caesar. The University of Iowa Department of Theatre Arts produced Rome Sweet Rome in the fall of 2016 as part of the Mainstage season and the 2016-2017 Partnership in the Arts production. This thesis explores the unique production process of Rome Sweet Rome from the stage manager’s perspective. Since leadership, communication, and organization are essential attributes of stage managers, Samantha Paradis’ personal leadership, communication, and organization goals and outcomes for this production are addressed. Because theatre and life can be unpredictable this paper includes the analysis of new challenges that arose. Paradis concludes her exploration with final thoughts on the production and her development as a Graduate Stage Manager at the University of Iowa.

No description available.

The Chronik Disorder project consists of an exegesis and screenplay. The exegesis discusses research into the film genre, three-act structure, mythic structure and archetypes. The research then informed thematic ideas, character creation and a method for plotting the screenplay and developing the characters. Chronik Disorder is an Australian story, set in contemporary Melbourne, about adolescents and rites of passage. The story explores teenagers and the hip-hop subculture, gangs, graffiti and drug experimentation. The story deals with other issues such as vocational challenges; the breakdown of the nuclear family; father-and-son relationships; and Vietnam veterans and how the war affected them emotionally and impacted on their relationships with their sons. Harley, 17, a hooker in an under-eighteen's rugby union team, dreams of playing with the under-nineteen's Australian Wallabies. Harley's alcoholic father, Kev, takes out his pain caused by his experiences in Vietnam on Harley, who escapes by hanging out with graffiti-based gang Chronik Disorder. When his friend Damian dies, Harley blames himself, ruins his rugby career, and escapes by hanging out with his gang, committing crimes and taking drugs.