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This dissertation examines elementary teacher candidates' perceptions of hip-hop culture and utilizing hip-hop pedagogy in a mathematics classroom. This study demonstrates how elements of hip-hop may be integrated into an elementary mathematics methods course to develop pedagogical knowledge that challenges teacher candidates to explore the benefits of utilizing hip-hop as a tool in the classroom. This study contributes to the growing body of research that investigates the use of hip-hop pedagogy in educator preparatory programs. Participants in this study were teacher candidates at a large university in Texas enrolled in the final year of their educator preparatory program. This research shows that as a result of integrating hip-hop pedagogy in the mathematics methods course, teacher candidates had increased knowledge and more positive perceptions of hip-hop culture, and they demonstrated a greater willingness to integrate hip-hop pedagogy in their future classrooms.

This article addresses the question how Bongo Fleva (or Flava, from the word ‘flavour’) - also defined as muziki wa kizazi kipya (‘music of a new generation’) - and Hip-Hop in Swa-hili, reflect Tanzanian urban youth culture, with its changing identities, life-styles, aspirations, constraints, and language. As far as young people residing in small centres and semi-rural ar-eas are concerned, I had the impression that they have the same aspirations as their urban counterparts, especially those in Dar es Salaam. They keep well up to date on urban practices through performances, radio and local tabloids, even if they lack the same job and leisure op-portunities as their city brothers. Although I do not take ‘youth’ as a fixed and homogeneous category, the ‘young generation’ has been assuming a central, though frequently ambiguous, position in many places in Africa (for this issue, see Burgess 2005). Here, however, I have chosen to focus on two urban contexts, namely Dar es Salaam and Mwanza, the sites of my one-and- -half-year fieldwork between 2004 and the end of 2005.

For over a decade now, Bongo Fleva has been the dominant category of popular music in Tanzania, surpassing Muziki wa Dansi (dance music) and Taarab in terms of its presence in the media. Bongo Fleva has become deversified in the last years and at present includes elements of traditional music as well as popular dance music, both of African and Western origin (Raab 2006: 43 ff.). As a result, contemporary Bongo Fleva is stylistically complex. Ther lyrics of Bongo Fleva are specifically determined by 1) the use of Swahili youth language and slang expressions. 2) the representation of modern and young lifestyles, and 3) socio-critical contens with pedagocial and moralistic tendencies. The lyrics of Bongo Fleva are marked by youth discourse which is most important for the construction of youth identities. While Bongo Fleva text with dialogic structure seem to continue the older tradition of Muziki wa Dansi, the dramatic texts remind of the way folk narratives are told in Tanzania. As the dramatic Bongo Fleva texts make use of direct speech, often of several characters, and without introduction, it seems that traditional techniques of story-telling have an effect on Bongo Fleva rap lyrics. In this article a rap text of this kind, Mikasi (\"Sex\"), released in 2004 by Bongo Fleva artist Ngwair, will be analysed with regard to its form, content and function. As it conteain different roles and dialogues, it is suitable for the investigation of youths`talk. A special focus will be put on the self-portrayal of the youths in the dialogues of the song, and on the question how boasting and dissing is performed in a dialogic text.

MultipliCities: The Infrastructure of African American Literature, 1899-1996 explores intersections between black fiction and canonical sociology through two extended case studies focusing on the authors Richard Wright and Paul Beatty. The formation of disciplinary sociology in the early twentieth century had a profound influence on the production and reception of African American literature. Sociologists at the University of Chicago were among the first to teach black fiction and poetry in the academy, and institutionalized a social scientific framework for comprehending black culture. This framework, which assumes that black writing produces racial knowledge about black experience, continues to pressure contemporary African American authors through the demands of the publishing industry today. At the same time, though, African American authors throughout the twentieth century have resisted sociological expectations for their work and responded critically to the social scientific study of the black community more broadly. MultipliCities studies black writers whose fiction is specifically critical of sociological conceptions of black personhood and place. While Richard Wright's best-selling Native Son (1940) has been canonized as a type of sociological fiction, I read against this critical tradition for the ways in which his juvenile delinquent protagonist, Bigger Thomas, evades his production as a social scientific object. I locate further evidence for Wright's revision of sociological knowledge production in his final, posthumously published novel, A Father's Law (1960; 2008), in which the main character is a sociologist and a serial killer who violently deforms the mastery of the social scientific expert. In my second case study, I turn to contemporary novelist Paul Beatty's post-civil rights era novel The White Boy Shuffle (1996), which I read as a mock ethnography in its description of a postindustrial ghetto that exceeds the sociological imagination of the so-called "culture of poverty." Though rap music is often interpreted as evidence of the alleged impoverishment of inner-city black community, in my final chapter I read Beatty's "hip hop novel" as challenging the social scientific expectations for black popular culture that are part of the ongoing legacy of the canonical sociology of race. / text

Orientador: Bernadete Aparecida Caprioglio de Castro / Resumo: Essa tese discorre sobre os saraus contemporâneos em São Paulo, compreendidos aqui enquanto manifestações originariamente periféricas resultantes da consolidação de uma cultura fortemente vinculada à literatura marginal/periférica e ao movimento hip-hop. Os saraus se apresentam enquanto espaços democráticos de expressão dos sujeitos periféricos, numa dinâmica que os coloca enquanto protagonistas de uma cena que se apoia sobre a voz e seu grito geográfico no território que ecoa para além da periferia. Nesse sentido, essa tese se propõe a mapear os saraus da cidade e do estado de São Paulo, promovendo uma cartografia da ação que faz do mapa um espaço de representação dessa manifestação de resistência diante do circuito cultural tradicional, apresentando o modo como essa cultura vai se consolidando e ocupando o espaço da cidade. Por fim, também apresenta a experiência da Parada Poética, um sarau realizado na antiga estação ferroviária de Nova Odessa/SP, afim de estabelecer um recorte mais aproximado dessa manifestação, de um ponto de vista interno e sob o viés da Ecologia de saberes, que mostra os detalhes e as singularidades que estão envolvidos na produção desse sarau e o modo como ele ressignifica o espaço que ocupa e transforma a cultura local. / Abstract: This thesis deals with the saraos in São Paulo, understood here as originally peripheral manifestations resulting from the consolidation of a culture strongly linked to marginal / peripheral literature and the hip-hop movement. The saraos present themselves as democratic spaces of expression of the peripheral subjects, in a dynamic that places them as protagonists of a scene that relies on the voice and its geographic cry in the territory that echoes beyond the periphery. In this sense, this thesis proposes to map the saraos of the city and the state of São Paulo, promoting a cartography of the action that makes of the map a space of representation of this manifestation of resistance before the traditional cultural circuit, presenting the way this culture goes consolidating and occupying the space of the city. Finally, he also presents the experience of the Poetic Parade, a sarau performed at Nova Odessa / SP train station, in order to establish a closer approximation of this manifestation, from an internal point of view and under the bias of the Ecology of Knowledge, which shows the details and the singularities that are involved in the production of this sarau and the way in which it reaffirms the space it occupies and transforms the local culture. / Doutor

Esta dissertação tem o objetivo de responder à seguinte questão: é possível abordar a música negra nas escolas, ao som do tambor africano, de modo a promover a aceitação e valorização deste instrumento e, consequentemente, da cultura afro-brasileira? Com a intenção de refletir e encontrar caminhos para iluminar essa questão, realizou-se um trabalho de campo na Escola de Aplicação da Faculdade de Educação da USP e na Escola Municipal Saturnino Pereira, ambas situadas no município de São Paulo, durante três anos, com turmas de 9º, 7º, 6º e 8º anos, respectivamente. Por meio de uma proposta de docência compartilhada com os professores dessas turmas, foram realizadas intervenções conjuntas em sala de aula, como forma de suscitar, especialmente entre os jovens afrodescendentes, um olhar crítico à toda forma de estigmatização do tambor e da sonoridade de matriz africana que dele emana. Em busca de novas práticas educacionais e analisando detalhadamente o cotidiano escolar, ao introduzir práticas e saberes dos afrodescendentes, promoveram-se rupturas de campo em duas dimensões do universo escolar: a) nos rituais e práticas de ensino em sala de aula; b) no imaginário da cultura escolar, envolvendo professores e alunos, a propósito do tambor. Os estudos realizados apontam que o tambor ocupa um lugar central, nos rituais de religiões de matriz africana, opondo-se aos instrumentos eurocêntricos e consagrados pelo mainstream, e que talvez, por isso mesmo, seja considerado inferior, do mesmo modo como toda a cultura proveniente da África. Dessa maneira, verifica-se uma série de estereótipos relacionados à cultura afro-brasileira, presentes nas atitudes de alguns docentes e alunos em face do instrumento, que tem dificultado a valorização, por parte dos estudantes afrodescendentes, de sua própria cultura. A fundamentação teórica que orientou tais reflexões baseou-se, principalmente, nas obras de Munanga (2005), Caputo (2012), Leite (2008), Gilroy (2001), Herrmann (2001) e Schafer (2011), além de outros autores, cujos escritos colaboraram para a fundamentação desta pesquisa. / This paper aims to answer the following question: is it possible to approach black music at schools, with the sound of African drums, in order to promote acceptance and appreciation of that instrument and consequently of Afro-Brazilian culture? With the purpose of reflecting on that question and shedding light on it, fieldwork was done at the Escola de Aplicação institute at the University of São Paulos School of Education and at the Escola Municipal Saturnino Pereira elementary school, both located in the city of São Paulo, involving, for three years, students from the 6th to the 9th grades in the Brazilian school system. Through a shared teaching project involving the teachers of those classes, concerted in-class efforts were carried out to promote critical thinking, especially among Afro-Brazilian students, about the many ways in which the drum is stigmatized along with the African sound character that it has. In search of new teaching practices and in performing an in-depth analysis of the day-to-day at the schools, the introduction of new practices and knowledge promoted a field disruption in two scopes of the school realm: the in-class teaching rituals and practices; b) the image that the school culture, including teachers and students, holds about the drum. The studies show that the drum plays a key role in the religious rituals of African origin, as opposed to Eurocentric instruments celebrated in mainstream culture, and that for that very reason, the drum is held as inferior, to the same extent that African culture as a whole is. Many stereotypes about Afro-Brazilian culture emerge from that perception, as observed in the attitude toward the instrument by part of both the students and the teaching staff. This has an impact on how Afro-Brazilian students view their own culture. The theoretical basis for our reflections drew mainly on the works by Munanga (2005), Caputo (2012), Leite (2008), Gilroy (2001), Hermann (2001) and Schafer (2011), as well as various other authors, whose theories helped provided the grounds for this study.

O presente estudo trata do desenvolvimento de ações culturais junto a jovens de periferia por meio de processos teatrais. Partiu-se do questionamento se é possível desenvolver tais processos utilizando características do movimento Hip Hop com a hipótese de que o vínculo com esse movimento facilita o acesso ao universo dos jovens. Os procedimentos metodológicos adotados para tal finalidade estão embasados nos conceitos da Peça didática de Bertolt Brecht e no Jogo teatral de Viola Spolin de maneira a utilizar as temáticas do movimento Hip Hop como modelos de ação durante as práticas com jogo teatral. Os resultados encontrados indicam que a junção entre processos teatrais e o movimento Hip Hop fornece uma interessante ferramenta de desenvolvimento de ações culturais, uma vez que foi constatada a criação de ambientes propícios à troca de experiências entre os jovens de forma que pudessem refletir juntos sobre o contexto social em que vivem e sua relação com a sociedade atual. / The present study deals the development of cultural actions for young people of periphery through theater processes. The initial questioning was to develop such processes using Hip Hop movement characteristics based on the hypothesis that this link facilitates the access to the youngers universe. The methodological procedures adopted for this purpose are grounded in the concepts of didactic piece of Bertolt Brecht and the theater game of Viola Spolin using themes from the Hip Hop as models for action during practice with theater game. The observed results show that the junction between theater processes and the Hip Hop movement provides an interesting tool for the development of cultural actions, as has been observed to create the propitious environments for the exchange of experiences between young people for they could reflect together on the context in which they live and their relationship to society.

Made available in DSpace on 2016-07-27T14:21:52Z (GMT). No. of bitstreams: 1 Karen Cristine Barbosa Costa.pdf: 1225636 bytes, checksum: 5f89af366fa38ab4a7a6402b6641e6e7 (MD5) Previous issue date: 2009-08-10 / Having as a start point the Phenomenology applied to an specific social context, the Hip Hop movement, this work concerns on the daily life of the movement youth to learn the meanings of living the time. We presented here an overview about Hip Hop, its main characteristics and elements. Then, we focused on the concepts of lived time and care, as well as their characteristics, after that, we conclude with some considerations about possible connections between these concepts allied to Hip Hop. The movement participants are described as active in the learning life, abandoning the figure of mere receptors of an unequal social model. That is, in the Hip Hop, they bring off their lives by means of an ethical education. Through the categories analysis on apprehended discourses, it is concluded that the Hip Hop gives to the participants acquisition opportunities of a life motivation, by the time experience in relation to the place and the others. Thus, it permits that, in the dialog between individual and its context, the foundation of a successful human being life. Furthermore, the Hip Hop movement visibility can contribute to the comprehension of the current society, recognizing in this movement capable subjects to formulate consistent suggestions of change, in an unequal social model context. / Tendo como ponto de partida a Fenomenologia aplicada a um contexto social específico, o movimento Hip Hop, este trabalho discorre sobre o cotidiano de jovens pertecentes ao movimento, com o objetivo de apreender os significados do viver o tempo. Apresentamos aqui um panorama sobre o Hip Hop, com suas principais características e os elementos que o compõe. Em seguida, abordamos os conceitos sobre o tempo vivido e o cuidar, bem como suas características, logo após, finalizamos com algumas considerações acerca das possíveis ligações destes conceitos com o Hip Hop. Participantes desse movimento são descritos ativos na aprendizagem da vida, deixando de serem meros receptores de um modelo social desigual. Ou seja, no Hip Hop eles resgatam suas vidas por meio de uma formação ética. Mediante o exame das categorias diante dos discursos apreendidos, é concluso que o Hip Hop confere aos seus participantes oportunidades de aquisição de um sentido para a vida, por intermédio da experiência do tempo em articulação com o espaço e com a relação com os outros. Com isso, permite-se que no diálogo do indivíduo com seu contexto sejam construídos, em indissociável inter-relação, os fundamentos de uma vida humana bem sucedida. Portanto, a visibilidade do movimento Hip Hop pode contribuir para uma compreensão da sociedade atual, reconhecendo neste movimento sujeitos competentes para formular propostas de mudanças abrangentes e consistentes, dentro de um modelo social desigual.

Made available in DSpace on 2016-04-27T16:32:51Z (GMT). No. of bitstreams: 1 Juliana Cristina Barbosa do Amaral.pdf: 2194681 bytes, checksum: d244f0f85decd87adad7d0e6b9484633 (MD5) Previous issue date: 2014-02-12 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / It was intended in this research to study the characteristics of performance and conduct of a youth group in a social-educational institution that offers cultural, related to Hip Hop movement activities, and in mainstream school where they are enrolled - both located in the municipality of Diadema - without the intention to compare them. Data collection was made in the years 2012 and 2013. We used a qualitative methodology to approach and meetings as instruments with characteristics of focus group, observation of activity of subjects in the two types of institutions guided by categories dialogue, participation, satisfaction and autonomy. Interviews with a headmistress, a pedagogical coordinator, responsible for the reading room teacher, a teacher of Physical Education and a matron of students were also made. This study was based on theoretical foundation exploiting the view of several authors such as Gimeno Sacristan, Michael, Apple, Parents and Dayrell. The data showed that satisfaction is one of the indications of how the other categories are being developed in institutions - those where satisfaction permeated the data obtained by the young people attending, it was also possible to observe participatory practices , openness to dialogue and autonomy to develop their regulars differentiated initiatives . It was also possible to notice that young people, in their majority, are a group of students that goes unnoticed to the eyes of adults, in reality not condone the actions of violation of school rules and bylaws, nor stand for excellence and outperformance. However, the observation of these young people, in carrying out activities in the socio-educational institution, presents itself very differently - there, participate in activities with commitment, collaborate as organizational functions and watch over equipment and institutional spacest / Pretendeu-se, nesta pesquisa, verificar as características de atuação e conduta de um grupo de jovens em uma instituição socioeducativa, que oferece atividades culturais, relacionadas ao movimento Hip Hop, e na escola de ensino regular onde estão matriculados ambas localizadas no município de Diadema , sem a intenção de compará-las. A coleta dos dados foi feita nos anos de 2012 e 2013. Utilizou-se uma metodologia com abordagem qualitativa, tendo como instrumentos reuniões com características de Grupo Focal, observação da atuação dos sujeitos, nos dois tipos de instituições norteada pelas categorias diálogo, participação, satisfação e autonomia. Foram feitas também entrevistas com uma diretora de escola, uma coordenadora pedagógica, uma professora responsável pela sala de leitura, um professor de Educação Física e uma inspetora de alunos. Fundamentou-se teoricamente em Gimeno Sacristán, Michael Apple, Pais e Dayrell. Os dados apontaram que a satisfação é um dos indícios de como as outras categorias estão sendo desenvolvidas nas instituições naquelas em que a satisfação permeou os dados obtidos pelos jovens frequentadores, foi possível observar também práticas participativas, abertura para diálogos e autonomia para seus frequentadores desenvolverem iniciativas diferenciadas. Foi possível perceber também que os jovens, em sua maioria, constituem um grupo de alunos que passa despercebido aos olhares dos adultos, ou seja, não compactuam das atitudes de violação ao regimento e normas escolares, tampouco se destacam por excelência e desempenho acima da média. Contudo, a observação desses jovens, durante a realização das atividades na instituição socioeducativa, apresenta-se de forma muito diferenciada nesse local, participam das atividades com empenho, colaboram como as funções organizativas e zelam pelos equipamentos e espaços institucionais