This study explores theoretical and pedagogical implications of space, language, and power in renegotiating identity for immigrant English Language Learners (ELLs) in secondary schools in the United States. The primary research question explored in the study is: How does spoken and written language and discourse shape the production of third spaces for renegotiating immigrant student identity in the ELL writing classroom? I adopt an epistemological lens of space from a postmodern geographic perspective that contends that space is socially produced and is co-constituted by material, abstract and lived spaces. The theoretical framework draws on constructs of social space, space-time, and the chronotope propose reconsideration of third spaces for immigrant ELLs. The context of the study is an intermediate ELL writing classroom designed around immigrant students developing academic and critical literacy grounded in their lived spaces of immigration. The methodology employed combines ethnography of the classroom space with critical discourse analysis of critical spatial events that are analyzed as moments of spatial production. Ethnographic narrative of the classroom space, governed by guiding concepts of critical literacy and shared behavioral norms, centers on the focal immigration unit in which student immigration narratives provide overarching chronotopes of immigrant student identities. Analysis of classroom spatial production highlights tensions in social space that are mediated by language, discourse and communication surrounding immigrant identities. Transcript analysis of critical spatial events traces intersecting space-times at global, local and micro-local scales of classroom discourse. Findings from ethnographic case study of one immigrant Latino male, who aspires to become a hip hop DJ, illustrate how hip hop discourses frame the chronotope of immigration and represent a shared third space between the teacher and focal student. This study contributes new ideas in theory and research methods by operationalizing third spaces for immigrant ELL student. Implications also follow for curriculum and instruction rooted in lived spaces of experience and for critical reflective practice for educators.

Este documento busca indagar sobre la participación de las raperas en la escena musical del hip hop en Lima. Atravesando el contexto del desarrollo del feminismo en el Perú y en Latinoamérica —en el sentido de hablar de la existencia de un rap femenino latinoamericano— se busca analizar la participación de las mujeres en el movimiento hip hop. Tomando en cuenta también la interacción entre el arte, las luchas sociales y el feminismo, es que finalmente se busca identificar los discursos feministas generados desde el contenido lírico de las canciones de raperas feministas limeñas. Desde el trabajo de campo, recolección de información en eventos y material fonográfico, hasta las entrevistas a cuatro raperas destacadas dentro de la escena limeña del hip-hop es que se busca retratar la realidad del papel de la mujer en el movimiento hip hop. Así mismo se indaga en la probabilidad de la generación de consciencia y empoderamiento de la mujer desde estos espacios, los cuales en sus inicios eran totalmente masculinizados. Con esta investigación también se busca generar nuevos cuestionamientos y motivar más investigaciones al respecto de la participación de las mujeres en las escenas e industrias musicales peruanas, promoviendo la reflexión sobre el rol de las mujeres en la música. Finalmente, esta investigación busca determinar si la participación de las mujeres en el movimiento hip hop en Lima generan un impacto desde la música y el arte, a través de sus producciones musicales y de eventos, para promover espacios justos, seguros y libres de discriminación creando una conciencia feminista en sus oyentes.

No description available.

No description available.

No description available.

One of the most critical issues impeding African American liberation today is the American education system, which overwhelmingly and disproportionately, negatively impacts African American youth. In defiance of the hegemonic system, African American adolescents have created alternative modes of expressing their native African sensibilities, connecting them back to traditional ancestral philosophy; one of the resulting cultural productions is Hip-Hop. The proceeding pages will offer a critical analysis of literature on Philosophy for Children (PFC/PWC), Africana Philosophy, and the use of Hip-Hop as a pedagogical tool in the classroom (CHHP), in order to discover connections between these three elements. The results showed significant similarities in the PFC/PWC and CHHP programs, supporting the hypothesis to develop a program incorporating both practices in the classroom as an alternative to Eurocentric pedagogy. Additionally this project creates space for future consideration of the connections between traditional Africana philosophy as praxis and Hip-Hop performance. / African American Studies

While there is growing research about the positive impact of teaching artists (TAs), these professional arts educators are an underused resource. As a TA, I have more than a decade of experience implementing spoken word and hip-hop as a pedagogical approach in urban public school classrooms. By conducting this autoethnographic study, I sought to explore insights from these 10 years of lived experience for understanding and documenting the critical principles of my practice as a TA. This autoethnography of my life as a TA tells stories from urban public school classrooms during my formative years as an educator. The research explored the impact my artistic practices have had on developing my pedagogical approach, including the emotional and financial challenges inherent to working on the margins. By interpreting and analyzing ethnographic material from five residencies, this research resulted in complex narrative accounts, which provide insights for the field of arts education, with a specific focus on TAs. Moreover, this study offers a visionary context for a liberatory educational praxis of spoken word and hip-hop in classrooms and communities.

Through ethnography, I examine how hip-hop’s expressive forms are being used as the raw materials of everyday life by residents of the San Francisco Bay Area, home to what many regard as one of the most stylistically prolific, politically charged, and racially diverse hip-hop “scenes” in the world. This focus on regional specificity provides a greater understanding of the impact hip-hop is having on the ground, as an aspect of localized lived practice. Throughout, I make the case for the importance of ethnographically grounded localized research on U.S. hip-hop, which is surprisingly still relatively rare. Most scholars simply stress its continuity within a set of deterritorialized Diasporic African and African-American verbal-art traditions. My aim is not to contest this assertion, but to add to the body of knowledge about one of the most significant cultural inventions of the twentieth century by exploring hip-hop’s racial heterogeneity and its regional specificity. Acknowledging this kind of diversity allows us to reconceive what hip-hop is and how it matters in U.S. society beyond the ways it is usually framed: as either an oppositional form of black-vernacular culture or a co-opted and corrupted commodity form that reinscribes hegemonic values more than it actually contests them. Examining hip-hop within a specific, regionally delineated community reveals how hip-hop’s role in American life is more nuanced and complex. It is neither a pure vernacular expression of an oppressed class nor merely a cultural commodity imposed upon consumers and alienated from producers. In the Bay Area, hip-hop “heads” simultaneously consume mass-produced rap while producing homespun forms of music, dance, slang, fashion, and folklore. Through these forms, they construct individual and group identities that register primarily in expressive, affective terms. These novel cultural identities complicate rigid social markers of race, gender, and class; more specifically, they challenge the widely held perception that hip-hop is solely the terrain of inner-city young African-American men. More fundamentally, a sense of belonging is engendered through localized modes of expression and embodied style that manifest through shared practices, discourses, texts, symbols, locales, and imaginaries. / text

Der Begriff HipHop-Feminismus wurde von der amerikanischen Kulturkritikerin Joan Morgan etabliert und beschreibt einen Feminismus, der den Lebenswelten HipHop-sozialisierter Frauen (of color) gerechter werden soll. Neben der selbstreflexiven Auseinandersetzung mit der eigenen Positionierung innerhalb einer als sexistisch geltenden Kultur, zählen auch kritische Diskurse um rassisierte Repräsentationen von women of color und die Aufarbeitung weiblicher HipHop-Geschichte zu den Themen des HipHop-Feminismus.

La Guadeloupe s’est construite avec la colonisation européenne à partir de la traite négrière, aux dépens des populations africaines, et de multiples vagues de travailleurs migrants (Indiens, Syriens, etc.). Certains auteurs conceptualisent les dynamiques identitaires et ethniques de ces populations soit par une construction identitaire mixte, la créolisation, en rupture avec « l’Ancien Monde » (Glissant, 1997 ; Bonniol, 2006, etc.), soit par une conception essentialiste, l’afrocentricité, en continuité avec l’Afrique, où l’aliénation des anciens empires coloniaux est dénoncée (Asante, 2007; Mazama, 1997). Comment les jeunes Guadeloupéens urbains d’aujourd’hui se représentent-ils leurs identités ? Participent-ils à ce débat idéologique ? Cette étude analyse treize entretiens semi-dirigés de jeunes d’une vingtaine d’années, résidant à Pointe-à-Pitre et ses périphéries urbaines et majoritairement issus de la culture hip-hop, ainsi qu’une série d’observations participantes réalisées dans les studios d’enregistrement de certains répondants (été 2014). À travers leurs discours, l’ethnicité guadeloupéenne est représentée par une vision pluriethnique et parfois mixte, à une vision d’ascendance africaine. Les représentations créoles ou afrocentriques sont rares. Certains jeunes mettent en avant leur africanité et d’autres s’en éloignent en s’identifiant à des ancêtres esclaves ou à une mixité ethnique. La culture hip-hop a également une place importante dans leurs représentations identitaires. Finalement, il est difficile de faire ressortir une tendance générale dans leurs discours, tant leurs dynamiques identitaires sont variées. Ce mémoire démontre l’intérêt de mettre en valeur la diversité des représentations identitaires et l’importance de considérer les discours identitaires individuels plutôt que ceux collectifs présents notamment dans la créolisation ou l’afrocentricité. / Guadeloupe was built around the slave trade of African people, European colonization, and multiple waves of migrant workers (Indians, Syrians, etc.). Some scholars conceptualize the ethnicities and identities of these populations as mixed and “new”; Creolization, where a link to the "Old World" is no longer relevant (Glissant, 1997: Bonniol 2006, etc.). Others see an essentialist notion of African identity, Afrocentricity, while old colonial empires’ cultural alienations are denounced (Asante, 2007: Mazama, 1997). How do young urban Guadeloupeans represent their own identities today ? Do they participate in this ideological debate through their identifications? This thesis is based on thirteen semi-structured interviews of youths in their twenties living in Pointe-à-Pitre and peripheral urban areas who mainly associate themselves with hip-hop culture, and a series of participant observations made in the recording studios of the project participants (summer 2014). Based on this research, I have concluded that Guadeloupe's collective identity can be represented as multiethnic, sometime comprised of a notion of mixed ethnicity, and often of African ancestry. However, representation of creole or afrocentric is rare. Moreover, some young people put forward their africanity, while others identify themselves with slave ancestors or mixed ethnicity. Hip-hop culture is also an important part of their identity representations. It is difficult to point out speech patterns because their identity dynamics are diversified. This study highlights the diversity of identity representations and the importance of considering individual identity dynamics rather than collective identity discourses present in particular in Creolisation or Afrocentricity