Thesis (M.A.)--University of Toronto, 2006. / Source: Masters Abstracts International, Volume: 44-06, page: 2580.

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A pesquisa objetiva analisar em que medida as expressões estéticas do hip-hop, em especial a dança breaking, coadunam-se com a ideia de Béthune (2003) de telescopia histórica, de acordo com a qual tais manifestações tenderiam a atualizar a tradição cultural afro-americana e afro-brasileira por meio de um olhar estético contemporâneo, como estratégia de luta e de fortalecimento sociocultural para a juventude negra e periférica. Desse modo, considerando as necessidades da educação pública brasileira, pretende-se propor estratégias didáticas para preparar essa juventude para o futuro, garantindo-lhe uma educação justa. A proposta é priorizar o desenvolvimento de habilidades e de competências necessárias para o desenvolvimento da juventude periférica, concebidas neste trabalho como letramento de reexistência. Ou seja, que propicie uma leitura crítica do mundo com base em uma interpretação do corpo negro que se abre para uma afromemória. Nesse sentido, esta pesquisa repensa o corpo do (a) jovem negro (a), como portador de uma afromemória, cujos sentidos são ressignificados por meio da dança breaking, relacionando-a com a herança cultural trazida dos (as) africanos (as) escravizados (as), por meio do diálogo entre as experiências estéticas ancestrais e contemporâneas. Dessa maneira, pretende contribuir para a reinvenção de uma educação afrocentrada. As reflexões apresentadas priorizam as leituras da filosofia do campo negro apresentadas por Molefi Asante (1988, 2003), Achille Mbembe (2014) e Frantz Fanon (1968, 2008) e, especificamente, do hiphop, tomou-se como base os trabalhos de Ana Lúcia Souza (2011) e Marc Lamont Hill (2014). Tais leituras foram feitas no sentido de orientar a pesquisa de campo realizada na ONG Casa do Zezinho, situada no Capão Redondo e em algumas escolas municipais de São Paulo, como parte de dois projetos de políticas públicas realizadas pelo grupo de pesquisa, O Hip-Hop e as Culturas afro-brasileiras, do qual faz parte esta dissertação, sob coordenação da orientadora, cujo objetivo foi propiciar a formação de professores (as) das redes públicas de ensino, a título de contribuição para a efetivação de políticas públicas amparadas pela lei 10.639/03, e, desse modo, contribuir para a decolonização do currículo. / The research aims to analyze to what extent aesthetic expressions of hip-hop, especially breaking dance, are consistent with the idea of \"historical telescopy\" developed by Béthune (2003), according to which such manifestations would tend to update the Afro-American and Afro-Brazilian cultural traditions through a contemporary aesthetic view, as a strategy of struggle and socio-cultural strengthening for black and peripheral youth. Thus, considering the needs of Brazilian public education, the research intends to propose didactic strategies to prepare these youth for the future, guaranteeing a fair education. The idea is to prioritize the development of skills and of competences necessary for the development of the peripheral youth, conceived in this work as \"literacy of reexistence\". That is, to provide a critical reading of the world based on an interpretation of the black body that opens for an afromemory. In this sense, this work rethinks the young black\'s body as a carrier of an afromemory, whose meanings are resignified through breaking dance, relating it to the cultural inheritance brought by enslaved Africans, through the dialogue between ancestral aesthetic experiences and contemporary art. In this way, it intends to contribute to the reinvention of an Afro-centered education. The reflections presented prioritized the readings of the black field philosophy presented by Molefi Asante (1988, 2003), Achille Mbembe (2014) and Frantz Fanon (1968, 2008) and specifically of hip-hop. Ana Lúcia Souza (2011), Marc Lamont Hill (2014). These readings were done in order to guide the field research carried out at the Casa do Zezinho NGO, located in Capão Redondo and some municipal schools in São Paulo, as part of two public policy researches carried out by the research group Hip Hop and the Afro-Brazilian Cultures, in which this current research is inserted. Under the coordination of the research tutor, the objective of the research group was to provide training for teachers in public education systems, as a contribution to the implementation of public policies covered by Law 10.639 / 03, and thus contribute to the decolonization of the curriculum.

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.