# data[].attributes.headline
HOW HIP-HOP CAN TRANSFORM OUR CLASSROOMS!

# data[].attributes.subject
HOW HIP-HOP CAN TRANSFORM OUR CLASSROOMS!

# data[].attributes.body
CHECK OUT THIS SITE ON HOW HIP-HOP CAN TRANSFORM OUR CLASSROOMS, THROUGH DIFFERENT TEACHER NARRATIVES IN DIALOGUE!

# data[].attributes.attachment_link.title
How Hip-Hop Can Transform Our Classrooms

# data[].attributes.attachment_link.description
Transform your classroom with hip-hop. We're breaking down February's #FlocabChat to give you more resources for incorporating hip-hop into your curriculum.

# data[].attributes.headline
Nine Teaching Ideas for Using Music to Inspire Student Writing

# data[].attributes.subject
Nine Teaching Ideas for Using Music to Inspire Student Writing

# data[].attributes.body
CHECK OUT THIS NEW YORK TIMES ARTICLE THAT PROVIDES NINE AMAZING IDEAS TO INCORPORATE MUSIC IN THE CLASSROOM!

# data[].attributes.attachment_link.readable_text
Kelela performing at the 2016 Sónar festival in Barcelona. What artists do your students believe are the future of music? This is just one of our many music-related writing prompts. Related Article Credit... Xavi Torrent/Redferns

Some of the greatest written works of our time have been inspired by music. Walt Whitman conceived of and wrote "Leaves of Grass" while listening to opera. Alice Walker, Langston Hughes, Ntozake Shange and Ralph Ellison were all moved by spirituals, jazz and blues. And Lin-Manuel Miranda's rap musical "Hamilton" was born of his love of hip-hop. These writers understood what many educational researchers know - that music opens up pathways to creative thinking, sharpens our ability to listen and helps us weave together disparate ideas.

In this teaching resource, we suggest nine exercises to use music to inspire student writing - from creating annotated playlists and critical reviews to music-inspired poetry and personal narratives. Each idea pulls from Times reporting, Opinion pieces and multimedia on music to give students a place to start. The activities are categorized according to three genres: creative and narrative writing; informative and explanatory writing; and persuasive and argumentative writing.

How do you use music in your classroom? Let us know in the comments.
_________ Exercise #1: Write a story or poem inspired by music.

One way you might let your students be inspired by music is to have them describe in words what they hear, a method Jean-Michel Basquiat employed in his poetry and paintings.

In " Bowie, Bach and Bebop: How Music Powered Basquiat," Ekow Eshun writes:

In 1979, at 19, the artist Jean-Michel Basquiat moved into an abandoned apartment on East 12th Street in Manhattan with his girlfriend at the time, Alexis Adler. The home, a sixth-floor walk-up, was run-down and sparsely furnished. Basquiat, broke and unable to afford canvases, painted with abandon on the walls and floor, even on Ms. Adler's clothes.

The one item that remained undisturbed was Ms. Adler's stereo, which had pride of place on a shelf scavenged from the street.

"The main thing for us was having big speakers and a blasting stereo. That was the only furniture I purchased myself," said Ms. Adler, who still lives in the apartment. When Basquiat was around, she recalled, "music was playing all the time."

On Thursday, the exhibition "Basquiat: Boom for Real" opened at the Barbican Center in London. The show focuses on the artist's relationship to music, text, film and television. But it is jazz - the musical style that made up the bulk of Basquiat's huge record collection - that looms largest as a source of personal inspiration to him and as a subject matter.

Next, have students listen to a song or playlist (perhaps one they created, one you created or one of these Times-curated ones) and, like Basquiat, let them write what they hear:

* describe the images that come to mind;
* name the feelings and thoughts triggered by the imagery and sounds in the music;
* mimic the pacing and rhythm through word choice, sentence structure and line breaks;
* borrow the words, phrases or lines that resonate most;
* or build on a theme or message.

Here's an example of what one composer wrote as he listened to his own classical piece, "Become Desert":

From the stillness around you a high glassy sound descends, like first light. Each new sound seems to breathe - emerging from and receding back into the stillness - and the glint of bells, like desert plants, here and there.

Almost imperceptibly the music swells and continues falling in pitch.

From somewhere above - like a gleam of metal, like sunlight emerging from behind a ridgeline - comes the sound of flutes.

You are in a strange landscape. You don't know how to read the weather or the light. You are unsure how long you will be here, or how challenging the journey may be.

To take this exercise a step further, students might use what they wrote while listening to music to develop a short story or poem. They might share their writing and song choices with the class so their classmates can analyze how music inspired their writing.

Exercise #2: Pen your own song or rap.
Invite students to write their own music about topics, events or themes you are studying in class. How can they summarize in song the role of the mitochondria, the main themes of "Romeo and Juliet" or the events that led to the Civil War?

Here's an example from Julien Turner, 20, who produced this music video called " XY Cell Life " for a college biology class:

For inspiration, students might check out the Times " Diary of a Song" video series to see how songwriters and musicians like Zedd, Ed Sheeran and Justin Bieber make hits. What stands out to them about these songs? What are the artists' processes for making music? How do they write lyrics and sounds that resonate with an audience? How do they communicate content and emotion?

Or, invite them to make their own music videos or recorded songs. In this case, you might refer to use our lesson plan " Project Audio: Teaching Students How to Produce Their Own Podcasts," which has a helpful section on audio editing and advice for gathering non copyrighted sound effects and music.
Exercise #3: Share what music means to you.

We have published over 1,000 writing prompts for students, including many, like the questions above, dedicated to personal and narrative writing about music. You might have your students choose a question that speaks to them and read the related Times article. Then invite them to share their thoughts, stories, opinions and experiences in writing.

You can search "music" to find our newest music-related writing prompts here, which are open for comment indefinitely.
_________ Exercise #4: Connect songs to current events.

Music has always been a reflection of and window into society, culture and history - and the current era is no different. Hip-hop, folk, classical and even opera music draw on current events and politics for source material.

What connections can your students make between the music they listen to and current events? How does learning more about the context in which a song was written help them better understand it?

You might start by having students read and analyze how journalists make connections between music and current events every day. Take Childish Gamino's latest video, " This Is America," for instance. In a roundup of the best writing about this music video, Judy Berman writes:

But Glover's graceful moves aren't exactly the point. There's plenty of messaging about race, violence and the entertainment industry in the song and video - which helps explain why fans and critics have devoted so much time to dissecting its references and debating its meaning.

And Doreen St. Félix from The New Yorker relates the video to the present day:

The video has already been rapturously described as a powerful rally cry against gun violence, a powerful portrait of black-American existentialism, a powerful indictment of a culture that circulates videos of black children dying as easily as it does videos of black children dancing in parking lots.

You might have students read the roundup or one of the articles it excerpts, or let them choose another topic or genre that interests them, such as:
Beethoven's 200-Year-Old 'Fidelio' Enters Today's Prisons
Mouse on Mars at M.I.T.: A Symposium Becomes a Dance Party
Eminem Lashes Out at Trump in Freestyle Rap Video
New 'Hamilton Mixtape' Video Takes Aim at Immigration
Celebrating Women's Rights, 'That Most American of Operas'
Watch 5 Moments When Classical Music Met Politics
Can North Korea Handle a K-Pop Invasion?
Review: Beyoncé Is Bigger Than Coachella
For whichever article they choose, students should consider: What current events does the music they read about reference? How do these allusions contribute to the artist's message? What other themes in the music can they relate to what is happening in the world?

Then, challenge students to pair a song of their choosing with one or more Times articles and write an essay that explains the relationship between the song and the current or historical events.

Students might start by annotatingsong lyrics themselves or referring to Genius to find explicit connections and discover underlying themes that in some way relate to society, culture, history and politics. Students may also choose to research the artist to find out more about his or her background, beliefs and politics.
Exercise #5: Create an annotated playlist of songs related to a topic.

Every Friday, The Times publishes " The Playlist," a weekly tour of notable new music and videos. Times pop music critics choose about a dozen of the week's most popular or intriguing songs and music videos and write a short commentary for each. They even create a Spotify playlist of the songs each week.

Students can read through several of the past columns and listen to the playlists to determine what makes for compelling commentary. For example, on Billie Eilish's and Khalid's "Lovely," Jon Pareles writes:

"Lovely" is the song of someone inextricably attached or trapped: "I hope someday I'll make it out of here," Billie Eilish sings with Khalid - not in dialogue or counterpoint, but in unison, as if they're each others' partner and burden. "Wanna feel alive outside/I can fight my fear." The backdrop is piano and strings lingering on two chords; the melancholy never lifts, and at the end Khalid and Ms. Eilish share a chilling greeting: "Hello-welcome home." J.P.

And on First Aid Kit's "Fireworks," Mr. Pareles writes:

First Aid Kit, a duo of sisters from Sweden who usually favor a folky, countryish approach - they've got a song named "Emmylou," after Ms. Harris - turn to a gauzy retro sound in "Fireworks," a song always about ending up lonely: "Why do I do this to myself every time/I know the way it ends even before it's begun." With a 1950s slow-dance beat and echoey guitars, it's already nostalgic for the next failed romance. J.P.

Ask students: What do they notice about h ow the commentary is written? What does the writer include and why? How is it organized? What makes it interesting (or not)?

After students have curated their own playlists, they are ready to write song annotations. Some ingredients they should include in their writing are: a claim explaining how the song relates to the topic or theme; evidence from the song (e.g., lyrics, instruments, rhythm or melodies) illustrating their claim; and analysis that explains the significance of these aspects of the song.

Students can share their final playlists on Spotify so that everyone in the class can listen to and comment on them.
Exercise #6: Profile an artist in an imagined interview.

The Times Music section regularly profiles artists from different genres, time periods and corners of the globe. Students can use these articles and interviews as mentor texts before doing research and writing their own mini-biographies of a music figure they admire.

In an "imagined interview," students, working individually or in pairs, play the part of both interviewer and interviewee. They do background research on an artist they select, come up with a list of questions and answers for the interview, and then write a profile on their subject.

To start, have students read one of these interviews with musicians:
Khalid, the Teenager With 5 Grammy Nominations: 'They Got It Right This Year'
Jay-Z and Dean Baquet, in Conversation
John Mayer Has More to Say: The Outtakes
Bruce Springsteen on Broadway: The Boss on His 'First Real Job'
Adele on '25': Song by Song
In Hip-Hop, Inspiration Arrived by Way of Kirk Franklin
Gwen Stefani on Spirituality, Insecurity, Pharrell and 'Truth'

Ask students: What types of questions did the interviewer ask? What subjects did the two discuss? What questions were missing from the interview that you wish were asked?

If you plan on having students write narratives based on their imagined interviews, they should also read at least one example of how Times writers write narratives based on interviews. Here are a few:
The 5 'Handsome Girls' Trying to Be China's Biggest Boy Band
'I Could Barely Sing a High C': Pretty Yende Finally Conquers Lucia
For Milford Graves, Jazz Innovation Is Only Part of the Alchemy
Dua Lipa Was Raised on Pop Bangers. Now She Writes Them.
Valee, Kanye West's New Signee, Is a Rapper Who Just Might Build You a Koi Pond
Rafiq Bhatia Is Writing His Own Musical Language
Ashley McBryde Takes Nashville, No Gimmicks Required
While reading, they should consider the following: What information did the reporter include and why do you think they made these choices? How did they effectively weave in biographical details to tell a story about the artist and the music?

Next, assign students to choose their own musical artist to interview and profile. The following steps can guide students through the process:

1. Do Your Research: To learn more about the artist you selected to interview, do an in-depth study of several song lyrics or an album, read published interviews with the artist, watch a video or listen to radio interviews to see how the artist speaks.

2. Prepare Your Questions: Consider this artist's particular music and biography. What more do you want to know about the artist and his or her music? What in the songs or videos you studied struck you that you would like to ask about? For more inspiration, our lesson plan " Beyond Question: Learning the Art of the Interview " provides additional advice on how to conduct good interviews.

3. Conduct Your Imagined Interview: Based on your research of artists - their background, their music and the way they speak - imagine how they might respond to your questions. Be creative, but try to stay true to who the artist is. Alternatively, you could role-play the interview in partners, where one person is the interviewer and the other is the artist. It might be helpful to record the interview and take notes.

4. Write Your Article: You may choose to write your interview in a question and answer format, or create a narrative.

5. Share the Final Product: Share your imagined interviews with your classmates and reflect on the activity. Was your writing convincing to readers? What did you learn about writing artist profiles?
_________ Exercise #7: Review an artist, album or song.

Which artists, albums and songs can your students not stop talking about - either because they love them or hate them? Channel that energy into an argumentative essay using our culture review-writing lesson plan. In this lesson, students read Times reviews and heed advice from Times critics to write their own. They practice developing a clear claim, citing evidence and writing with a strong voice.

You might allow students to choose one of their favorite (or least favorite) artists or songs to practice writing passionately and knowledgeably about a subject. Or, challenge them to explore a genre of music they might not normally listen to and see what they can learn.

Consider having your students submit their finished pieces to our annual student review contest. They can read winning reviews from past years here.
Exercise #8: Weigh in on the latest criticisms, trends and news in music.

You can invite students to weigh in on the music-related topics they care about most in a group writing activity that mimics the conversational style of this podcast. Here, they learn how to make a claim, develop it with evidence, write counterclaims and respond directly to one another in an informal and fun way.

First, you might start by having students listen to one full episode or excerpts from " Popcast " to analyze how the discussion unfolds. What background information is provided? How do the critics talk to and respond to one another? How do they open and close each episode?

Beyoncé and Kendrick Lamar Break Boundaries

A Coachella set stunning in scope and execution. The first Pulitzer Prize winner who isn't from classical or jazz. Hear a conversation about the two artists' triumphs.

Or, you might have students examine what a conversation like this looks like in writing. " Kendrick Lamar Shakes Up the Pulitzer Game: Let's Discuss " by Times music editors provides a good example. The conversation begins:

JON PARELES To me, this prize is as overdue as it was unexpected. When I look at the Pulitzers across the board, what I overwhelmingly see rewarded are journalistic virtues: fact-gathering, vivid detail, storytelling, topicality, verbal dexterity and, often, real-world impact after publication. It's an award for hard-won persuasiveness. Well hello, hip-hop.

ZACHARY WOOLFE ... But there is also wariness, which I join, about an opening of the prize - not to hip-hop, per se, but to music that has achieved blockbuster commercial success. This is now officially one fewer guaranteed platform - which, yes, should be open to many genres - for noncommercial work, which scrapes by on grants, fellowships, commissions and, yes, awards.

PARELES That response is similar to many publishing-world reactions when Bob Dylan got the Nobel Prize in Literature - that a promotional opportunity was being lost for something worthy but more obscure, preferably between hard covers. A literary figure who had changed the way an entire generation looked at words and ideas was supposed to forgo the award because, well, he'd reached too many people? Do we really want to put a sales ceiling on what should get an award? The New York Times and The New Yorker already have a lot of subscribers ... uh-oh.

Then, in small groups, have students come up with their own music topics worthy of debate. For inspiration, they might browse some of the past "Popcast" episodes.

You might then have them brainstorm some initial ideas and conduct research in the Times Music section to deepen and broaden their knowledge about the subject.

Next, invite them into a written conversation about their chosen topic. One student initiates the conversation and then each person in the group takes a turn responding to what each other writes - acknowledging their classmates' remarks, voicing their own opinions, making connections and citing evidence to support or disagree with others.
Exercise #9: Write an editorial on a music-related topic.

# data[].attributes.attachment_link.title
Nine Teaching Ideas for Using Music to Inspire Student Writing

# data[].attributes.attachment_link.description
Some of the greatest written works of our time have been inspired by music. Walt Whitman conceived of and wrote "Leaves of Grass" while listening to opera. Alice Walker, Langston Hughes, Ntozake Shange and Ralph Ellison were all moved by spirituals, jazz and blues.

# data[].attributes.headline
Using Hip-Hop Pedagogy as a Literacy Building Tool for Grade 8

# data[].attributes.subject
Using Hip-Hop Pedagogy as a Literacy Building Tool for Grade 8

# data[].attributes.body
CHECK OUT THIS LESSON PLAN THAT FULLY INCORPORATES HIP-HOP FOR THE 8TH GRADE IN THIS PROJECT!

# data[].attributes.headline
What Is Hip-Hop? A Music, History, Art, and Culture Lesson

# data[].attributes.subject
What Is Hip-Hop? A Music, History, Art, and Culture Lesson

# data[].attributes.body
CHECK OUT THIS LESSON PLAN THAT FULLY INCORPORATES HIP-HOP!

# data[].attributes.attachment_link.readable_text
This lesson, re-posted on Education World with permission from Seattle radio station KEXP, was created by Tiffany Producer-KEXP Documentaries. The entire series of lesson plans appears here. Also see on EducationWorld: Hip-Hop Lesson: DJs and Turntablism Education World note: In the course of doing Internet research on hip-hop related topics, or in the course of accessing the resources (videos, Web sites, articles, etc.) listed in this lesson, students may encounter material that contains objectionable language or content. eachers may want to limit Internet access and/or screen specific resources ahead of time to select the options that will be most appropriate for their class.
Grades:

6-8, 9-12

Time:

Two to four 50-minute sessions

Subject Areas:

Language Arts, Cultural Studies, Social Studies, Music

Learning Objectives:

In this lesson, students will:

Define hip-hop and describe its four main elements.

Become familiar with the roots of hip-hop music and culture, in socio-economic and geographic context.

Make connections between personal/community identity and hip-hop culture.

Think, write, and speak intelligently about the differences between mainstream popular rap and hip-hop as a culture.

Skills:

Expressing and supporting opinions in writing and discussion; analytical listening; critical thinking; public speaking; independent research

Materials:

-Computer(s) with Internet access and speakers
-Chalkboard and chalk or whiteboard/butcher paper and markers
-Audio recording and playback device

DJ Kool Herc

I. Introduction

Write these quotes on the board:

"The thing about hip-hop is that it's from the underground, ideas from the underbelly, from people who have mostly been locked out, who have not been recognized."
- Russell Simmons, co-founder of Def Jam Recordings

"Rap is a gimmick, but I'm for the hip-hop, the culture."
- Method Man, hip-hop artist, member of the Wu-Tang Clan

"Hip-hop is a vehicle."
- Talib Kweli, hip-hop artist, founding member of Black Star 2

Students choose a quote, copy it down, and then free write. Have the students write for five minutes straight in reaction to the quote. Afterward, everyone shares what they wrote. This can be done by verbally sharing or by passing each person's paper to another person to read.

If it's a shy class, use anonymous writing. Ask students to leave names off their papers, then collect them and randomly pass the papers back out so each student reads one out loud. Use this activity to get students talking about what they know about hip-hop.

Questions to guide this conversation could be:

Do you like hip-hop? Why or why not?

What is hip-hop? What is rap? Are they different?

Why do you think hip-hop started?

What are the stereotypes about hip-hop?

What role does the media play in teaching us about hip-hop?

II. Listen to Documentaries

Have students listen to Documentary #1 (Kool Herc Invents Hip-Hop) and Documentary #2 (Afrika Bambaataa Creates Culture), both in KEXP's Masters of Turntablism series.

III. Discussion Questions

1. Where did hip-hop come from?

2. Who invented hip-hop, and under what conditions?

3. What is "the break"?

4. Does hip-hop bring people together, or does it divide them? How?

5. What was Kool Herc's message to successful rap stars? Do you agree or disagree with him?

6. In what way did Afrika Bambaataa create a culture?

7. How do popular definitions of hip-hop differ from the way artists in the documentaries define hip-hop?

IV. Give an Overview of Hip-Hop History

The culture, music, and lifestyle known as hip-hop began in the Bronx in New York City. At house parties and community centers DJs mixed songs from different records together. They started extending short drum breaks into longer dance mixes by switching between record decks. Bronx DJs experimented with touching and moving vinyl records with their hands. They also used electronic sounds coming from other places, like Europe. A famous example is Afrika Bambaataa's use of Kraftwerk's 1977 Trans-Europe Express.

In 1973 DJ Kool Herc DJed his first party in the South Bronx. The South Bronx was a poor neighborhood isolated from the rest of New York. One factor in this isolation was construction of the Cross Bronx Expressway, which created a scenery of rubble in neighborhoods it ran through. Young people of color found their own way to make these bleak surroundings positive and beautiful. They spray-painted and danced on cardboard they laid on the ground. Hip-hop parties were positive alternatives to gang violence.

Kool Herc, who became known as the father of hip-hop, formed the basis of hip-hop music by experimenting with instrumental breaks of funk, soul, and R&B songs. In the following years hip-hop pioneers such as Afrika Bambaataa, Grandmaster Flash, and Grandmaster Caz start DJing at parties across the Bronx.

The story of Afrika Bambaataa-for example, his life-changing trip to Africa that resulted in his name change and his efforts to transform the South Bronx community-shows how the emergence of hip-hop is connected to identity, race, and place. Reformed gang member Bambaataa defined the four elements of the hip-hop scene. The four elements of hip-hop culture are:

DJing - The art of spinning records at a dance party, picking out songs in a crowd-pleasing sequence. Also the art of touching and moving records with your hands. Cutting (using volume control to drop in a section of music from one turntable into music from another turntable) and scratching (the sound a DJ makes by putting his hand on the record and rubbing the vinyl under the needle in time with the music) are two popular DJing techniques.

Breakdancing - A style of dancing that includes gymnastic moves, head spins, and backspins. Young people who were into dancing to the breaks at Bronx parties started calling themselves B-boys and B-girls, and their style of dancing came to be known as breakdancing. B-boys, B-girls, and members of the Zulu Nation made breakdancing popular.

Graffiti - Visual art, an expression of youth culture and rebellion in public spaces. The first forms of subway graffiti were tags, or signatures of someone's nickname or crew (group of artists that work together). It has evolved into elaborate scripts, color effects, and shading.

MCing - MC are initials for "master of ceremonies." MCs originally hosted parties and introduced tracks to the dancing audience. Eventually the term was used to describe rappers. Rapping is the art of saying rhymes to the beat of music. It comes out of the African-American oral tradition of using rhyming language to ridicule your friends or enemies in a clever way. In the early 1970s, this developed into street jive, a type of half-spoken, half-sung urban street talk. Rapping also has roots in Jamaican toasting, a type of lyrical chanting.

Bambaataa also formed the Universal Zulu Nation, a hip-hop awareness group that organized cultural events for youth. The group was an alternative to gang activity for many young people. Over time, the Zulu Nation has spread internationally as a hip-hop awareness movement guided by certain spiritual principles.

The Sugar Hill Gang recorded the first popular commercial rap recording, "Rapper's Delight," in 1979. This song was many Americans' first brush with hip-hop.

In the 1980s the hip-hop scene expanded and entered the mainstream in the U.S. Kurtis Blow, Grandmaster Flash, Public Enemy, and NWA released albums. The first West Coast rap albums came out. The films "Wild Style" and "Style Wars" were released. Def Jam Recordings was established. Two big steps in making hip-hop mainstream were Run-DMC's release of its version of Aerosmith's "Walk This Way" and the group's nomination for a Grammy. MTV and the radio started to have rap-specific programming with "Yo! MTV Raps!" and "Mr. Magic's Rap Attack" on the New York FM radio station WHBI.

Two noteworthy women in the hip-hop world in the 1980s were Wendy Clark and Queen Latifah.

At the end of 1980s hip-hop started getting some negative press. Politicians and media personalities painted a picture of commercial hip-hop as music that taught immoral values.

In the 1990s gangsta rap, a type of rap that describes life in inner-city neighborhoods, became commercially popular in the U.S. Even though many people criticized it, this music spoke to youth who could identify with its themes of anger, rebellion against authority, and apathy. Companies who could profit from young consumers caught onto this trend and linked up their products with popular rap music. Some hip-hop fans see the commercialization of hip-hop music as selling out and compromising hip-hop's original message.

Breakdancing, rapping, scratching, and graffiti art all became part of youth culture's vocabulary. Looking at the roots of hip-hop, we see a powerful example of human creativity. A group of deprived kids managed to create an entire culture and art-form with the limited resources they had.

V. Activities - Choose One or Two
*Note: ―Cop Killer and Gore's article contain offensive language and sensitive topics that might not be suitable for the classroom. The teacher should use discretion in presenting the material.
Visual Images of Hip-Hop Culture:
Watch one of these videos and reflect on them as a class.
-Afrika Bambaataa Planet Rock (4:00): http://www.youtube.com/watch?v=9lDCYjb8RHk
-Temple of Hip-Hop (various artists): http://www.templeofhiphop.org [ Note: This Web site no longer accessible and the video is no longer available on YouTube.]

Artistic Brainstorm - Hip-Hop in Society:
Draw a large triangle on the board. At each point of the triangle, write one of these categories: CONTEXT, IDEAS, PEOPLE. In the middle of the triangle, write HIP-HOP. Explain that the goal of this brainstorm is to gather as many vivid adjectives as possible about hip-hop and to re-cap the most important things we've learned. CONTEXT includes the structures or systems that hip-hop came out of. Responses under this category might include historical facts, geographical places, or urban policies. The IDEAS category could include artists' understandings of hip-hop, media stereotypes, or the students' own beliefs about hip-hop. PEOPLE includes important people in hip-hop such as artists, people who shape our ideas about hip-hop, and consumers of hip-hop.

In the center of the triangle the class will list hip-hop's essential elements in order to create a working definition of hip-hop. Ask for a couple volunteers to write on the board and another volunteer to get the brainstorm started. Each person to speak will pass off the conversation by calling out another person's name or passing off an object. The writers should use different colors and ways of representing what classmates say to create a visual collection of ideas on the board.

Hip-Hop Controversy:
Find an example of a politician or TV personality's criticism of rap music and have the class come up with a rebuttal in light of what they have learned about hip-hop. One famous early example is the criticism surrounding Ice-T's song "Cop Killer" and Tipper Gore's editorial "Hate, Rape and Rap" ( Washington Post, January 8, 1990), where she says that rap glorifies violence and teaches children to hate.

Here are a few excerpts from her article:
...As someone who strongly supports the First Amendment, I respect the freedom of every individual to label another as he likes. But speaking out against racism isn't endorsing censorship. No one should silently tolerate racism or sexism or antisemitism, or condone those who turn discrimination into a multimillion-dollar business justified because it's 'real.'... ...Alvin Poussaint, a Harvard psychiatrist who is black, believes that the widespread acceptance of such degrading and denigrating images may reflect low self-esteem among black men in today's society. There are few positive black male role models for young children, and such messages from existing role models are damaging. Ice-T defends his reality: "I grew up in the streets--I'm no Bryant Gumbel." He accuses his critics of fearing that reality, and says the fear comes from an ignorance of the triumph of the street ethic. A valid point, perhaps. But it is not the messenger that is so frightening, it is the perpetuation-almost glorification-of the cruel and violent reality of his 'streets.' Children must be taught to hate. They are not born with ideas of bigotry-they learn from what they see in the world around them. If their reality consists of a street ethic that promotes and glorifies violence against women or discrimination against minorities-not only in everyday life, but in their entertainment-then ideas of bigotry and violence will flourish.

Other variants of this activity could be:

Stage a debate between two (or a few) positions; for example, "Rap is harmful to society" vs. "Hip-hop is a positive force."

Read a short newspaper article, such as the television review "Breaking down Hip-Hop," by Sarah Rodman (Boston Globe, February 17, 2007). Use arguments made in the article to provoke discussion.

VI. Assignments - Choose One

1. Read the Hip Hop Declaration of Peace (https://thetika.com/hip-hop-declaration-of-peace/). The Declaration recognizes hip-hop as an international culture of peace and a positive force in the world. People that helped create it include Afrika Bambaataa, KRS-One, Pop Master Fabel, Harry Allen, and Ralph McDaniels. It was signed by 300 hip-hop activists, pioneers, and UN delegates, along with organizations such as Temple of Hip Hop and UNESCO. The Declaration was presented to the United Nations organization in 2001.

Choose your favorite principle, or the one that sticks out to you the most, and read it out loud to yourself a few times. Come up with one question about that principle that you want to ask your classmates. Practice saying the principle, followed by the question, so that you will be ready to speak for about two minutes in front of the class. Make sure to think about things like tone, tempo, breathing, emphasis, and avoiding filler words. In class, we will record an audio-collage of everyone reading their principle and question. We will play the recording back and pause in between each student's presentation to discuss each one.

2. On the Internet, research a hip-hop artist or group that offers a unique point of view. Choose one of the artist's songs, listen to it, and read the lyrics. (EducationWorld note: In order to avoid student exposure to objectionable language or content, teachers may want to pre-screen a few artists or songs and let students choose from these options.) Write a one to two-page journal entry in reaction to the song. Prepare a five-minute presentation for the class where you will play a short clip of the song and summarize what you wrote in your journal entry. Make sure to include at least one visual, as well as your sources. Be ready to answer a few questions from your classmates about your presentation.

3. Find a recent article about hip-hop online. In light of the discussion in class, talk about how hip-hop is presented in the article. Write no more than one page and be ready to give a five-minute presentation to the class about it. Your presentation should include some kind of media: music, pictures, or videos.

4. Get together with two or three of your classmates and attend a hip-hop-related event together in your community. It can be a concert, a spoken-word event, a museum exhibit, a film screening, or another activity related to hip-hop. Be creative and resourceful in figuring out what you can do. If there aren't any events going on near you, then come up with an alternative way to experience hip-hop. You might get together and listen to a hip-hop album all the way through, or go on an online hip-hop adventure together. You can choose any activity that allows you to explore some aspect of hip-hop culture-be creative!

Submit a short (no more than one page), formal proposal to your teacher that explains how what you are going to do can be considered hip-hop. Make sure your teacher approves the activity. After the event discuss together what you thought of it, and write a review of the event, no more than 500 words. Make sure to include a title and a rating. You might want to check out some reviews online as a guide.

Additional Resources:

Caro, Robert A. "The City-Shaper," originally published 5 January 1998 in The New Yorker. https://www.newyorker.com/magazine/1998/01/05/the-city-shaper

Chang, Jeff. Can't Stop Won't Stop. http://cantstopwontstop.com/

DaveyD's Hip Hop Corner. http://www.daveyd.com/

PBS Independent Lens, Hip Hop: Beyond Beats and Rhymes. http://www.pbs.org/independentlens/hiphop/

About Hip-Hop Timeline. http://www.pbs.org/independentlens/hiphop/timeline.htm

Issue Brief: Hip-Hop. http://cdn.itvs.org/hip_hop-issue-brief-hip-hop.pdf

Zulu Nation. http://www.zulunation.com/

Books, Articles and Films

Arnold, Rick., Bev Burke, Carl James, D'arcy Martin, and Barb Thomas. 1991. Educating for a Change. Toronto, ON: Between the Lines and the Doris Marshall Institute for Education and Action.

Bell, Lee Anne, Barbara J. Love, and Rosemarie A. Roberts. 2007. "Racism and White Privilege Curriculum Design," in Teaching for Diversity and Social Justice. Routledge.

Bynoe, Yvonne. 2006. Encyclopedia of Rap and Hip-Hop Culture. Westport, Conn: Greenwood Press.

Caines, Jade. 2007. "It's All about the Benjamins: The Marriage between Hip Hop, Adolescence, and Consumerism," in The Hip-Hop Education Guidebook Volume 1. New York: Hip-Hop Association.

Chang, Jeff. 2005. Can't Stop Won't Stop: A History of the Hip-hop Generation. St. Martin's Press.

George, Nelson. 1998. Hip Hop America. Viking Press.

Gore, Tipper. "Hate, Rape and Rap," The Washington Post. 8 January 1990.

Kitwana, Bakari. 2003. The Hip-hop Generation: Young Blacks and the Crisis in African American Culture. Basic Civitas Books.

Rodman, Sarah. "Breaking Down Hip-Hop," The Boston Globe. 17 February 2007.

Spady, James G., H. Samy Alim and Samir Meghelli. 2006. Tha Global Cipha: Hip-hop Culture and Consciousness. Black History Museum Press.

"Style Wars." 1984. Directed by Tony Silver and Henry Chalfant.

"Wild Style." 1983. Directed by Charlie Ahearn.

Education World®
Copyright © 2011, 2017 Education World

Last updated 07/20/2017

# data[].attributes.attachment_link.title
Lesson: What Is Hip-Hop? | Education World

# data[].attributes.attachment_link.description
This lesson, re-posted on Education World with permission from Seattle radio station KEXP, was created by Tiffany Producer-KEXP Documentaries. The entire series of lesson plans appears here. Also see on EducationWorld: Hip-Hop Lesson: DJs and Turntablism Education World note: In the course of doing Internet research on hip-hop related topics, or in the course of accessing the resources (videos, Web sites, articles, etc.)

# data[].attributes.body
CHECK OUT THIS ARTICLE FROM A TEACHER'S PERSONAL NARRATIVE OF HOW SHE INCORPORATED HIP-HOP IN HER CLASSROOM!

# data[].attributes.attachment_link.readable_text
I love hip-hop.

Growing up in the '80s and '90s provided me the opportunity to be the first generation to grow up entirely on hip-hop. I remember how I was schooled by emcees who would spread their gospel using a body of beats to educate me on the topics of "U.N.I.T.Y" (Queen Latifah), how to "Fight the Power" (Public Enemy), and even taught me how to be "Everything I Am" (Kanye West).

These teachers enlightened me with a perspective that was not discussed in my classroom. Hip-hop was my window into the mind, thoughts and beliefs of others and my first introduction into an analytical body of knowledge that was tangible to me. Before books, teachers and homework, hip-hop was there. It was my beginning into critical literacy and, for many of my students, it's their beginning as well.

As urban students of color enter into elementary classrooms, they often find themselves thrown into the midst of an achievement gap. In fact, due to the No Child Left Behind Act, researchers found that urban students of color scored significantly behind their white counterparts. While there have been some gains, urban students of color are still suffering from educational disparities that stem from lack of educational access and opportunities, student tracking, negative stereotyping and test bias.

This is the reason that as teachers, we must continue to think outside of the box and use methods that get students excited about learning and offer them ways to connect the known to the new. This is the basis for hip-hop based education. For many students, hip-hop is their universal language and has been a transformative medium for many disenfranchised urban youth, as well as a tool of empowerment that speaks to the injustices of their community. This is why hip-hop based education is needed. It is needed to unlock the doors that stand between the urban learner's perspective and the disconnect they feel with contemporary schooling.
But how was I going to this?
I've read articles from scholars like Christopher Emdin, Marc Lamont Hill, Emery Petchauer and Jeff Chang, who have articulately explained how some middle and high school teachers have used aspects of hip-hop based education as an educational framework. However, the articles are lacking when it comes to fully implementing hip-hop based education in the elementary classroom.

I understood the research behind hip-hop based education and that using hip-hop in the classroom would be entertaining and culturally responsive, but how could I make it age-appropriate and rigorous? How would I be able to effectively teach students how to read and master state standards using hip-hop? And, most importantly, how would I use hip-hop to engage those students in my classroom who were struggling and reluctant to write?

My journey into these questions started eight years ago at Fairdale Elementary School (Jefferson County). I developed a hip-hop alphabet song that taught students the sounds of each vowel and consonant. I also made an alphabet chart that matched the song. I used the song and chart during guided reading that used real images of an afro for the letter A, a picture of a young boy ballin' on the basketball court for the letter B, etc. But I wanted to do more.

After leaving Fairdale Elementary School, I transferred to teach at Phillis Wheatley Elementary School which serves a majority of students of color and a high-needs student population in the west end of Louisville. I was sure using hip-hop was going to help my students and trigger them into wanting to read and write more, but it wasn't the case. While they were excited about getting the lyrics and trying to read them (and a few even tried to write their own rhymes), my implementation of hip-hop was just smoke and mirrors. It was a ploy to engage my students rather than empower. I wasn't using hip-hop as the critical learning tool needed to teach and reach my students.

I began to think about the standards that most of my students had a hard time grasping, and I remembered standard RL.3.6. This standard states that 3rd-grade readers must be able to distinguish their own point of view from that of the narrator or those of the characters. I knew this standard was hard for my students to grasp because students often think of characters as simplistic and one-dimensional. My students just couldn't see how characters could have multifaceted personalities and deal with complex issues. I didn't want to just focus on the character's feelings; I wanted to focus on the multiple perspectives of the characters and how they are influenced by the world in which they live.

Bianca Nightengale-Lee, a former assistant professor at Berea and a colleague, used multiple-perspectives to develop letters from the point of view of characters in a book. I was able to take her idea and implement the use of hip-hop based education so students could create hip-hop songs from the perspective of the characters. This, I knew, would be engaging, but I also knew it was going to be a challenge. I had students in my classroom who did not like to write and who could not read on grade level. I did not want to stereotype my students by not pushing them, but I knew I had to create a safe environment where they were able to take risks, push boundaries and become transformed.

First, we had to identify multiple perspectives and understand that perspective is the point of view of the character. As a group, we identified what the main character said, his actions and his thoughts from the book, "More than Anything Else" by Marie Bradby. We used the close reading strategy - a careful, sustained interpretation of a brief passage of text - and identified what the character said, the character's actions and the character's thoughts. Using this close reading strategy allowed students to develop new ideas and think more powerfully about the text. It also enabled them to reflect on what the evidence revealed about the character in the beginning, middle and ending of the story.

After two weeks we were able to develop a hip-hop song from the perspective of the main character. Students were able to create bars (sentences in a rap song) using a graphic organizer that helped them develop lyrics and rhyming words to match.

As time progressed, I began to use all of the elements of hip-hop, including:

Knowledge (street/self-awareness)

Graffiti (street art)

B-Boyin (dancing/break dancing)

DeJayin' (technology)

Fashion (self-expression)

Language (African American vernacular English)

Emceein' (rap)

Beat Boxin' (beats)

Entrepreneurship (ownership)

It is my hope that by merging the ideas of hip-hop based education, critical literacy and the state academic standards that I have made it useful for the elementary classroom and for my students. I hope that my students will be transformed at school and in their communities. Not only do I want them to gain a deeper understanding of the English language arts and writing standards, but I also want them to successfully connect the known to the new. This is true transformation and the true goal of hip-hop based education.
NyRee Clayton-Taylor teaches creative writing through hip-hop at Wheatley Elementary School (Jefferson County). She uses a curriculum that she developed that infuses hip-hop based education and project-based learning to help her students to write to heal. She has taught for 18 year and is product of the Jefferson County school system and Kentucky State University. She is the 2018 Kentucky Elementary School Teacher of the Year.

# data[].attributes.attachment_link.description
I love hip-hop. Growing up in the '80s and '90s provided me the opportunity to be the first generation to grow up entirely on hip-hop. I remember how I was schooled by emcees who would spread their gospel using a body of beats to educate me on the topics of "U.N.I.T.Y" (Queen Latifah), how to "Fight the Power" (Public Enemy), and even taught me how to be "Everything I Am" (Kanye West).

# data[].attributes.headline
11 CLASSIC HIP-HOP SONGS YOU CAN TEACH WITH!

# data[].attributes.subject
11 CLASSIC HIP-HOP SONGS YOU CAN TEACH WITH!

# data[].attributes.body
CHECK OUT THIS ARTICLE ABOUT CLASSIC HIP-HOP SONGS YOU CAN USE IN YOUR CLASSROOM!

# data[].attributes.attachment_link.readable_text
by Terry Heick

Let's start this post out clarifying what it is not.

This isn't about why to teach with hip-hop. It's also not about how to teach with hip-hop. Nor is it a political statement, an endorsement of controversial language and themes, or something you can just play for your students on a whim with no preparation. If you "hate rap music"-and your classroom is all about you-then don't read any further. This post won't change your mind.

If you're still reading, here's the idea, in short: the evolution of hip-hop, as both an art form, a critical cultural voice, and medium to reach the youth is an authentic, complex, and hugely "human" concept. While hip-hop is increasingly present in pop music "top 100" lists, its roots lie in 1970s New York City, and has since diversified from street corner cyphers to a nuanced and regional musical form of its own, including southern and west coast forms to add to the east coast origins.

Engaging students isn't easy. Ideally, you'll create "authentic" learning experiences that dissolve the classroom walls and make it all "real." But there is also a place for inherently interesting media that emphasizes critical academic content, and ignoring inherently interesting content like YouTube, social media, video games (see "how to teach with video games"), or other polarizing content may be worth reconsidering.

Hip-hop, like social media, video games, smartphones, and other (metaphorical) "banned books" of education, has extraordinary potential to reach all students. The same is true of music in general, but hip-hop makes a point to be staggering and prone to themes of antagonism, influence, and social justice. It's also full of hyperbole and other literary devices, historical movements, along with the energy, charisma, and word play that interest students.
Hip-Hop In The Classroom
Maybe the best way to think about these songs is to view them as a kind of chronological overview of where hip-hop has been so that students may begin to see its evolution as well-all through the lens of teachable music. That is, every song here has something to say-something worth teaching.

Note, I tried to include the clean version of each song, but not all are clean. Some have "language." As with any media, preview everything twice before playing for students in a classroom.

Also, if you're still reading this you probably know that the hip-hop that is violent, foul-mouthed for the sake of being foul-mouthed, and otherwise intellectually bankrupt doesn't represent "all rap" any more than Bill Clinton represents the morality of U.S. Presidents, Target's cybersecurity policy represents sound cybersecurity policy, or McDonald's represents good food. If you're willing to open your mind a little, you might be surprised at what you find.

Note, I've included brief overviews of the songs (or included an excerpt from wikipedia), but teaching with these depends on your grade level, content area, relevant standards, and more. Though I've included some Common Core standards that make suggest themselves in spots, using these in an authentic way will require that you get to know the music and how it might fit in with your curriculum on your own.
10 Classic Hip-Hop Songs You Can Teach With Title
"Microphone Fiend," Erik B. & Rakim
Summary
A pioneering duo in east coast hip-hop that represents early "knowledge" style of rap, Erik B. and Rakim are likely the most influential rap duo of all-time, and Rakim is certainly among hip-hop's elder statesmen.
Possible Focus Standard
CC.11-12.R.L.1 Key Ideas and Details: Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text, including determining where the text leaves matters uncertain.
Title
"Coolie High," Camp Lo
Overview
This song conveys a narrative through mesmerizing lyrics, imagery that jumps around constantly, and a mellow sound that hearkens back to another era.
Possible Focus Standard
CC.9-10.SL.3 Comprehension and Collaboration: Evaluate a speaker's point of view, reasoning, and use of evidence and rhetoric, identifying any fallacious reasoning or exaggerated or distorted evidence.
Title
"When They Reminisce Over You," Pete Rock & C.L. Smooth

"Pete Rock and CL Smooth were known for their uniquely soulful sound that they brought to the genre of hip-hop....Verse one discusses the hardships of growing up with a single mother. CL Smooth talks about how his father did not play a role in helping his mother raise him or his sister, and how his mother was forced to take on both roles in the household. He says that although his mother raised him right, he still needed a male figure in his life. He ultimately concludes the first verse saying that the lack of male leadership destines young men to repeat the cycle of not being involved in their own children's lives. The second and third verses take a more positive light. In the second verse CL Smooth talks about how his uncle played the crucial role of a male father figure in his life and helped him become a man and how more males need to make a positive impact on the community. Finally in the third verse CL Smooth speaks to his friend Troy. He thanks him in being one of the only people believed in him and kept him on the right path. He then continues to update Troy on the well being of his family and saying that they reminisce about him."
Possible Focus Standard
CC.9-10.SL.1.d Comprehension and Collaboration: Respond thoughtfully to diverse perspectives, summarize points of agreement and disagreement, and, when warranted, qualify or justify their own views and understanding and make new connections in light of the evidence and reasoning presented.
Title
"Fight The Power," Public Enemy
Wikipedia Summary
"Fight the Power" incorporates various samples and allusions to African-American culture, including civil rights exhortations, black church services, and the music of James Brown.

As a single, "Fight the Power" reached number one on Hot Rap Singles and number 20 on the Hot R&B Singles. It was named the best single of 1989 by The Village Voice in their Pazz & Jop critics' poll. It has become Public Enemy's best-known song and has been accoladed as one of the greatest songs of all time by critics and publications. In 2001, the song was ranked number 288 in the "Songs of the Century" list compiled by the Recording Industry Association of America and the National Endowment for the Arts."
Possible Focus Standard
CC.9-10.R.H.4 Craft and Structure: Determine the meaning of words and phrases as they are used in a text, including vocabulary describing political, social, or economic aspects of history/social science.
Title
"Killing Me Softly," by Lauryn Hill
Summary
This remake of the 1972 Roberta Flack version was important as much for what it represented as it does the themes in the song itself. Lauryn Hill was a rap artist from the group The Fugees, and "The Miseducation of Lauryn Hill" was a bold step towards a solo career, and a chance for her full range of talents to shine.

In an industry dominated by males-and male bravado-female artists were often marginalized, and successful women rappers, including MC Lyte and Queen Latifah, were few and far between. In "Killing Me Softly," Hill simultaneously paid homage to a part of rap's legacy (early R&B), as well as demonstrated her range as a rapper, singer, and new kind of hip-hop talent that seamlessly blended genres.
Possible Focus Standard
CC.9-10.R.ST.7 Integration of Knowledge and Ideas: Translate quantitative or technical information expressed in words in a text into visual form (e.g., a table or chart) and translate information expressed visually or mathematically (e.g., in an equation) into words.
Title
"Holy Intellect," Poor Righteous Teachers
Summary
Poor Righteous Teachers were a 1990s hip-hop group that pushed knowledge of self over violence or materialism. While this wasn't entirely unique (KRS One often did the same, for example), their fast beats, playful tone, and contrast with other music during that time made them modestly successful. The album this appeared on was voted one of the top 100 rap albums of all-time by The Source magazine in 1998.
Possible Focus Standard
CC.11-12.R.L.2 Key Ideas and Details: Determine two or more themes or central ideas of a text and analyze their development over the course of the text, including how they interact and build on one another to produce a complex account; provide an objective summary of the text.
Title:
"Everything's Gonna Be Alright," Naught by Nature
Overview
"You want me to be positive? Well positive ain't where I live." A brutally honest message that somehow manages to be bursting with hope.
Possible Focus Standard
CC.9-10.R.ST.9 Integration of Knowledge and Ideas: Compare and contrast findings presented in a text to those from other sources (including their own experiments), noting when the findings support or contradict previous explanations or accounts.
Title
"The Choice Is Yours," Black Sheep
Summary
"The Choice Is Yours" presents listeners with a simple choice (false dichotomy?): get with this (their progressive sound and approach) or you can get with that (drugs, violence, etc.) Another positive song that also had street credibility-a difficult balance to achieve.
Possible Focus Standard
CC.9-10.L.4.b Vocabulary Acquisition and Use: Identify and correctly use patterns of word changes that indicate different meanings or parts of speech (e.g., analyze, analysis, analytical; advocate, advocacy).
Title
"Ring The Alarm," by Fu-Schnickens
Overview
Along with Das EFX, Fu-Schnickens popularized a new style of rap that was characterized by its speed, delivery, and word play. "Ring the Alarm," doesn't offer anything new in terms of meaning (it's essentially a self-proclamation of their power as artists), the style was novel, and a notable development in the history of hip-hop.
Possible Focus Standard
CC.11-12.R.L.5 Craft and Structure: Analyze how an author's choices concerning how to structure specific parts of a text (e.g., the choice of where to begin or end a story, the choice to provide a comedic or tragic resolution) contribute to its overall structure and meaning as well as its aesthetic impact.
Title
"Me, Myself, and I," by De La Soul
Overview
A song from the very late 1980s-1989, to be exact-that brought hip-hop that was both reflective and accessible to the "mainstream" at the same time.
Possible Focus Standard
CC.9-10.L.3 Knowledge of Language: Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.
Title
"Tennessee," by Arrested Development
Summary
An excerpt from verse 3:

Boom.

# data[].attributes.attachment_link.title
11 Classic Hip-Hop Songs You Can Teach With -

# data[].attributes.attachment_link.description
by Terry Heick Let's start this post out clarifying what it is not. This isn't about why to teach with hip-hop. It's also not about how to teach with hip-hop. Nor is it a political statement, an endorsement of controversial language and themes, or something you can just play for your students on a whim with no preparation.

# data[].attributes.headline
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -BOOK ON THE HISTORY OF HIP-HOP NARRATED FROM THE FIRST HIP-HOP DJ: "WHEN THE BEAT WAS BORN: DJ KOOL HERC". 

# data[].attributes.subject
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -BOOK ON THE HISTORY OF HIP-HOP NARRATED FROM THE FIRST HIP-HOP DJ: "WHEN THE BEAT WAS BORN: DJ KOOL HERC". 

# data[].attributes.body
CHECK OUT THIS AMAZING BOOK ON THE HISTORY OF HIP HOP "WHEN THE BEAT WAS BORN: DJ KOOK HERC" THE STORY OF HIP HOP THAT STARTED HERE IN NEW YORK CITY!

# data[].attributes.headline
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers - FURTHER RESOURCES-

# data[].attributes.subject
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers - FURTHER RESOURCES-

# data[].attributes.body
BELOW ARE THE RESOURCES USED IN MY VIRTUAL WORKSHOP AND FURTHER RESOURCES YOU CAN USE!

# data[].attributes.headline
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary School. Ecuadorean-Kichwa MCs Inmortal Kultura with their song "Mas Runas Que Nunca" (More human than ever) bring forward a very critical perspective with their videos.

# data[].attributes.subject
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary School. Ecuadorean-Kichwa MCs Inmortal Kultura with their song "Mas Runas Que Nunca" (More human than ever) bring forward a very critical perspective with their videos.

# data[].attributes.body
Take a moment to watch the video of Ecuadorean-Kichwa MCs Inmortal Kultura with their song "Mas Runas Que Nunca" (More human than ever) bring forward a very critical perspective with their video. Produced in 2019. What comes to your mind as you watch this video? What kinds of activities came to mind as you watched and thought about your students' different cultures and nationalities? What different kinds of activities and emotional responses do you consider this video can best mediate? From the activities I suggested as you watched the virtual workshop which of them interested you the most? Remember you can create a YouTube Playlist in which you can save these different videos for further reference as you design culturally relevant lessons for your class. Your students could also generate different and multimodal responses to videos like this as it might speak to their different individual experiences of school and education.

# data[].attributes.attachment_link.title
@INMORTAL KULTURA  - Mas Runas Que Nunca | Rap Kichwa / Quechua

# data[].attributes.headline
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary School. Male Band Ecuadorean Kichwa Band Los Nin with their video "Identidad" (Identity).

# data[].attributes.subject
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary School. Male Band Ecuadorean Kichwa Band Los Nin with their video "Identidad" (Identity).

# data[].attributes.body
Take a moment to watch the video of Male Band Ecuadorean Kichwa Band Los Nin with their video "Identidad" (Identity). Produced in 2009. What comes to your mind as you watch this video? What kinds of activities came to mind as you watched and thought about your students' different cultures and nationalities? What different kinds of activities and emotional responses do you consider this video can best mediate? From the activities I suggested as you watched the virtual workshop which of them interested you the most? Remember you can create a YouTube Playlist in which you can save these different videos for further reference as you design culturally relevant lessons for your class. Your students could also generate different and multimodal responses to videos like this as it might speak to their different individual experiences of school and education.

# data[].attributes.attachment_link.title
Los Nin-Katary - Identidad - Video clip- Ecuador - Otavalo 2009

# data[].attributes.headline
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary School. Social Justice, Equity & MestiX and LatinX Identity in Ecuador. 

# data[].attributes.subject
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary School. Social Justice, Equity & MestiX and LatinX Identity in Ecuador. 

# data[].attributes.body
Towards the end of part five of this virtual workshop I present a possibility for a social justice project regarding the history of freedom, hip-hop evolution, and civil rights in the U.S and Internationally. As I am from Ecuador and this curation of multicultural and virtual multimodal materials is intended for the use of teachers IN ECUADOR and IN THE UNITED STATES. Multicultural teachers from around the world can use these materials. And for teachers of Ecudaorean students or who might have several students from Ecuador these slides and music videos are highly recommended. What was your reaction to it? How would you use these materials in your lessons and for future planning? What possible connections might you and your students be able to make across all of these videos? How might they react to them and what pedagogical ideas come to your mind as they are or not about your students' own cultures and lived experiences. How can they be useful to you? In these videos both Male Band Ecuadorean Kichwa Band Los Nin with their video "Identidad" (Identity) and Ecuadorean-Kichwa MCs Inmortal Kultura with their song "Mas Runas Que Nunca" (More human than ever) bring forward a very critical perspective with their videos. What connections and ideas for projects involving social justice come to your mind after having watched these videos in the context of this virtual workshop and your current context at school? What are some activities you could do with your students virtually? How could they respond to these videos in a multimodal way? How may your Ecuadorean students react to these videos where the MCs or rappers are translanguaging across Spanish and Kichwa?

# data[].attributes.headline
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary School. French-Chilean MC. Ana Tijoux with her bilingual song "Antipatriarca" (Anti-Patriarch)

# data[].attributes.subject
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary School. French-Chilean MC. Ana Tijoux with her bilingual song "Antipatriarca" (Anti-Patriarch)

# data[].attributes.body
Take a moment to watch the video of French-Chilean MC. Ana Tijoux with her bilingual song "Antipatriarca" (Anti-Patriarch). Produced in 2015. What comes to your mind as you watch this video? What kinds of activities came to mind as you watched and thought about your students' different cultures and nationalities? What different kinds of activities and emotional responses do you consider this video can best mediate? From the activities I suggested as you watched the virtual workshop which of them interested you the most? Remember you can create a YouTube Playlist in which you can save these different videos for further reference as you design culturally relevant lessons for your class. Your students could also generate different and multimodal responses to videos like this as it might speak to their different individual experiences of school and education.

# data[].attributes.attachment_link.title
Ana Tijoux - Antipatriarca (Official Music Video)

# data[].attributes.headline
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary School. Guatemalean-American MC. Rebeca Lane with her bilingual song "Alma Mestiza" (Mestiza Soul)

# data[].attributes.subject
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary School. Guatemalean-American MC. Rebeca Lane with her bilingual song "Alma Mestiza" (Mestiza Soul)

# data[].attributes.body
Take a moment to watch the video of Guatemalean-American MC. Rebeca Lane with her bilingual song "Alma Mestiza" (Mestiza Soul). Produced in 2018. What comes to your mind as you watch this video? What kinds of activities came to mind as you watched and thought about your students' different cultures and nationalities? What different kinds of activities and emotional responses do you consider this video can best mediate? From the activities I suggested as you watched the virtual workshop which of them interested you the most? Remember you can create a YouTube Playlist in which you can save these different videos for further reference as you design culturally relevant lessons for your class. Your students could also generate different and multimodal responses to videos like this as it might speak to their different individual experiences of school and education.

# data[].attributes.attachment_link.title
Rebeca Lane - Alma Mestiza (Video oficial)

# data[].attributes.headline
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary School. Social Justice, Equity & MestiX and LatinX Identity in Latin America. 

# data[].attributes.subject
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary School. Social Justice, Equity & MestiX and LatinX Identity in Latin America. 

# data[].attributes.body
Towards the end of part five of this virtual workshop I present a possibility for a social justice project regarding the history of feminism and civil rights in the U.S and Internationally. What was your reaction to it? How would you use these materials in your lessons and for future planning? What possible connections might you and your students be able to make across all of these videos? How might they react to them and what pedagogical ideas come to your mind as they are or not about your students' own cultures and lived experiences. How can they be useful to you? In these videos both Female MC Rappers Guatemalean-American Rebecca Lane and French-Chilean MC Ana Tijoux bring forward a very critical perspective with their videos "Alma Mestiza" (Mestiza Soul) and Ana Tijoux's "Antipatriarca" (Anti-Patriarch). What connections and ideas for projects involving social justice come to your mind after having watched these videos in the context of this virtual workshop and your current context at school? What are some activities you could do with your students virtually? How could they respond to these videos in a multimodal way?

# data[].attributes.headline
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary School. Ecuadorean Band LaMafiAndina with their Bilingual Song in both Spanish and Quechua (one of several Ecuadorean Ingigenous Languages) "Warmi Hatari" or (Women without Violence). 

# data[].attributes.subject
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary School. Ecuadorean Band LaMafiAndina with their Bilingual Song in both Spanish and Quechua (one of several Ecuadorean Ingigenous Languages) "Warmi Hatari" or (Women without Violence). 

# data[].attributes.body
Take a moment to watch the video of Ecuadorean Band LaMafiAndina with their Bilingual Song in both Spanish and Quechua (one of several Ecuadorean Ingigenous Languages) "Warmi Hatari" or (Women without Violence). Produced in Ecuador in 2019. What comes to your mind as you watch this video? What kinds of activities came to mind as you watched and thought about your students' different cultures and nationalities? What different kinds of activities and emotional responses do you consider this video can best mediate? From the activities I suggested as you watched the virtual workshop which of them interested you the most? Remember you can create a YouTube Playlist in which you can save these different videos for further reference as you design culturally relevant lessons for your class. Your students could also generate different and multimodal responses to videos like this as it might speak to their different individual experiences of school and education.

# data[].attributes.attachment_link.title
LaMafiAndinA - ‘Warmi Hatari’ | Mujeres sin violencia: ¡Así gana Ecuador!

# data[].attributes.headline
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary School. Destiny's Child "Independent Women". 

# data[].attributes.subject
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary School. Destiny's Child "Independent Women". 

# data[].attributes.body
Take a moment to watch the video of Destiny's Child Hip-Hop R&B "Independent Women" Produced by MTV in 2000. What comes to your mind as you watch this video? What kinds of activities came to mind as you watched and thought about your students' different cultures and nationalities? What different kinds of activities and emotional responses do you consider this video can best mediate? From the activities I suggested as you watched the virtual workshop which of them interested you the most? Remember you can create a YouTube Playlist in which you can save these different videos for further reference as you design culturally relevant lessons for your class. Your students could also generate different and multimodal responses to videos like this as it might speak to their different individual experiences of school and education.

# data[].attributes.attachment_link.title
Destiny's Child - Independent Women Part I (Official HD Video)

# data[].attributes.headline
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary School. Queen Latifah's RAP "Ladies First". 

# data[].attributes.subject
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary School. Queen Latifah's RAP "Ladies First". 

# data[].attributes.body
Take a moment to watch the video of Queen Latifah's RAP "Ladies First" Produced by MTV in 1989. What comes to your mind as you watch this video? What kinds of activities came to mind as you watched and thought about your students' different cultures and nationalities? What different kinds of activities and emotional responses do you consider this video can best mediate? From the activities I suggested as you watched the virtual workshop which of them interested you the most? Remember you can create a YouTube Playlist in which you can save these different videos for further reference as you design culturally relevant lessons for your class. Your students could also generate different and multimodal responses to videos like this as it might speak to their different individual experiences of school and education.

# data[].attributes.attachment_link.title
Queen Latifah - Ladies First (feat. Monie Love) [Music Video]

# data[].attributes.headline
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary School. Sojourner Truth's "Ain't I a woman" performance delivered in 1851 at a Women's convention. 

# data[].attributes.subject
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary School. Sojourner Truth's "Ain't I a woman" performance delivered in 1851 at a Women's convention. 

# data[].attributes.body
Take a moment to watch the video of Sojourner Truth's Speech "Ain't I a woman" delivered in 1851. What comes to your mind as you watch this video? What kinds of activities came to mind as you watched and thought about your students' different cultures and nationalities? What different kinds of activities and emotional responses do you consider this video can best mediate? From the activities I suggested as you watched the virtual workshop which of them interested you the most? Remember you can create a YouTube Playlist in which you can save these different videos for further reference as you design culturally relevant lessons for your class. Your students could also generate different and multimodal responses to videos like this as it might speak to their different individual experiences of school and education.

# data[].attributes.headline
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary School. Social Justice, Equity & Feminism across time & media. 

# data[].attributes.subject
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary School. Social Justice, Equity & Feminism across time & media. 

# data[].attributes.body
Towards the end of part five of this virtual workshop I present a possibility for a social justice project regarding the history of feminism and civil rights in the U.S and Internationally. What was your reaction to it? How would you use these materials in your lessons and for future planning? What possible connections might you and your students be able to make across all of these videos? How might they react to them and what pedagogical ideas come to your mind as they are or not about your students' own cultures and lived experiences. How can they be useful to you?

# data[].attributes.headline
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary School. Michelle Obama and Jay Pharoh's "Go to College" 

# data[].attributes.subject
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary School. Michelle Obama and Jay Pharoh's "Go to College" 

# data[].attributes.body
Take a moment to watch the video by Michelle Obama and Jay Pharoh's "Go to College" made in 2015. What comes to your mind as you watch this video? What kinds of activities came to mind as you watched and thought about your students' different cultures and nationalities? What different kinds of activities and emotional responses do you consider this video can best mediate? From the activities I suggested as you watched the virtual workshop which of them interested you the most? Remember you can create a YouTube Playlist in which you can save these different videos for further reference as you design culturally relevant lessons for your class. Your students could also generate different and multimodal responses to videos like this as it might speak to their different individual experiences of school and education.

# data[].attributes.attachment_link.title
Go To College Music Video (with FIRST LADY MICHELLE OBAMA!)

# data[].attributes.headline
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary School. Hamilton Mix-tape: "Immigrants we get the job done".

# data[].attributes.subject
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary School. Hamilton Mix-tape: "Immigrants we get the job done".

# data[].attributes.body
Take a moment to watch the video by Hamilton Mix-tape "We get the job done" made in 2017. What comes to your mind as you watch this video? What kinds of activities came to mind as you watched and thought about your students' different cultures and nationalities? What different kinds of activities and emotional responses do you consider this video can best mediate? From the activities I suggested as you watched the virtual workshop which of them interested you the most? Remember you can create a YouTube Playlist in which you can save these different videos for further reference as you design culturally relevant lessons for your class. Your students could also generate different and multimoldal responses to videos like this as it might speak to their different individual experiences of immigration.

# data[].attributes.attachment_link.title
The Hamilton Mixtape: Immigrants (We Get The Job Done)

# data[].attributes.headline
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary Grades: Middle-School and High-School. 

# data[].attributes.subject
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Secondary Grades: Middle-School and High-School. 

# data[].attributes.body
EMPOWERING SCHOOL CULTURE: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V for Secondary School, Middle School & High School. In this part of the virtual workshop we explore Hip-Hop Pedagogy and the elements of Hip-Hop as a Culture and Pedagogy directed specifically to teaching and learning at the Secondary school level and I provide different ideas that can be used in our Secondary school classrooms. What elements of Hip-Hop call your attention the most? Which do you feel inspired to incorporate in your classroom and lessons? Take a moment to jot down your notes.
In this section of the virtual workshop I provide a further and deeper analysis of the different elements and genres of Hip-Hop as well as a brief intro the evolution of the different Hip-Hop Traditions. As you watch this last and final part 5 of the Virtual workshop, take a moment to jot down your notes as you are watching as well as pause the video to come back to Padlet and watch the music videos as I make reference to them in our virtual workshop. Remember that you can save the videos in different playlists in your own YouTube account for further reference as you think about creating and designing new lessons for social justice.
Can you find any culturally-relevant connections between these videos and your students? How do you visualize your students responding to these videos and to different projects that I suggest as we go along our part five of the virtual workshop? What videos inspired you the most? Take a moment to jot down your ideas and share them with your colleagues and team if you have a chance to do so.

# data[].attributes.headline
Equity Pedagogy, Content Integration & Empowering School Culture: Taking a closer look at what the different elements of Hip-Hop can contribute as they build bridges between content and youth culture: Hip-Hop for Physical Development PART IV

# data[].attributes.subject
Equity Pedagogy, Content Integration & Empowering School Culture: Taking a closer look at what the different elements of Hip-Hop can contribute as they build bridges between content and youth culture: Hip-Hop for Physical Development PART IV

# data[].attributes.body
In the virtual workshop I present several ideas and tools that we can use to design different activities that support Physical development through the use of Hip-Hop. Take a moment to gather these ideas and jot down some notes and reactions that you have as you approach this culture and pedagogy. Which activities are you inspired to do? Which call your attention the most? Which call your attention the least and why? If you are able to share your notes among your team, also take a moment to share your ideas for Physical Development support through Hip-Hop with your team.
Source: https://www.naeyc.org/resources/pubs/tyc/dec2016/teaching-and-learning-hip-hop-culture

# data[].attributes.headline
Equity Pedagogy, Content Integration & Empowering School Culture: Taking a closer look at what the different elements of Hip-Hop can contribute as they build bridges between content and youth culture: Hip-Hop for Cognitive Development PART IV

# data[].attributes.subject
Equity Pedagogy, Content Integration & Empowering School Culture: Taking a closer look at what the different elements of Hip-Hop can contribute as they build bridges between content and youth culture: Hip-Hop for Cognitive Development PART IV

# data[].attributes.body
In the virtual workshop I present several ideas and tools that we can use to design different activities that support Cognitive development through the use of Hip-Hop. Take a moment to gather these ideas and jot down some notes and reactions that you have as you approach this culture and pedagogy. Which activities are you inspired to do? Which call your attention the most? Which call your attention the least and why? If you are able to share your notes among your team, also take a moment to share your ideas for Cognitive Development support through Hip-Hop with your team.
Source: https://www.naeyc.org/resources/pubs/tyc/dec2016/teaching-and-learning-hip-hop-culture

# data[].attributes.headline
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Primary/Elementary School Pre-K through 6th grade.PART IV

# data[].attributes.subject
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Primary/Elementary School Pre-K through 6th grade.PART IV

# data[].attributes.body
Take a moment to watch this video from the Ellen show in Ellentube via Youtube as Ellen welcomes as guest an Elementary School Teacher who shows us how he uses Hip-Hop in his classroom. Take a moment to watch how this teacher incorporates Hip-Hop pedagogy in his classroom and take several moments to pause and jot down different strategies and tools that you see him using to incorporate the different elements of Hip-Hop. What different elements of Hip-Hop did you see him using? If you are able to, share your notes with your colleagues and team.

# data[].attributes.attachment_link.title
Ellen Surprises Incredible Teacher Mr. Bonner

# data[].attributes.headline
Equity Pedagogy, Content Integration & Empowering School Culture: Taking a closer look at what the different elements of Hip-Hop can contribute as they build bridges between content and youth culture: Hip-Hop for Language and Literacy Development PART IV

# data[].attributes.subject
Equity Pedagogy, Content Integration & Empowering School Culture: Taking a closer look at what the different elements of Hip-Hop can contribute as they build bridges between content and youth culture: Hip-Hop for Language and Literacy Development PART IV

# data[].attributes.body
In the virtual workshop I present several ideas and tools that we can use to design different activities that support Language and Literacy development through the use of Hip-Hop. Take a moment to gather these ideas and jot down some notes and reactions that you have as you approach this culture and pedagogy. Which activities are you inspired to do? Which call your attention the most? Which call your attention the least and why? If you are able to share your notes among your team, also take a moment to share your ideas for Language and Literacy support through Hip-Hop with your team.
Source: https://www.naeyc.org/resources/pubs/tyc/dec2016/teaching-and-learning-hip-hop-culture

# data[].attributes.headline
Equity Pedagogy, Content Integration & Empowering School Culture: Taking a closer look at what the different elements of Hip-Hop can contribute as they build bridges between content and youth culture: Hip-Hop for Social and Emotional Support PART IV

# data[].attributes.subject
Equity Pedagogy, Content Integration & Empowering School Culture: Taking a closer look at what the different elements of Hip-Hop can contribute as they build bridges between content and youth culture: Hip-Hop for Social and Emotional Support PART IV

# data[].attributes.body
In the virtual workshop I present several ideas and tools that we can use to design different activities that relate to social and Emotional Support through the use of Hip-Hop. Take a moment to gather these ideas and jot down some notes and reactions that you have as you approach this culture and pedagogy. Which activities are you inspired to do? Which call your attention the most? Which call your attention the least and why? If you are able to share your notes among your team, also take a moment to share your ideas for social and emotional support through Hip-Hop with your team.
Source: https://www.naeyc.org/resources/pubs/tyc/dec2016/teaching-and-learning-hip-hop-culture

# data[].attributes.headline
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Primary/Elementary School Pre-K through 6th grade. PART IV

# data[].attributes.subject
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V- Culturally Relevant Pedagogy,Hip-Hop Pedagogy &  ELEMENTS OF HIP-HOP as a Culture and Pedagogy for Primary/Elementary School Pre-K through 6th grade. PART IV

# data[].attributes.body
EMPOWERING SCHOOL CULTURE: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART V for Primary and Elementary School- Culturally Relevant Pedagogy & Hip-Hop Pedagogy for Primary and Elementary School. In this part of the virtual workshop we explore Hip-Hop Pedagogy and the elements of Hip-Hop as a Culture and Pedagogy directed specifically to teaching and learning at the elementary school level and I provide different ideas that can be used in our elementary school classrooms. What elements of Hip-Hop call your attention the most? Which do you feel inspired to incorporate in your classroom and lessons? Take a moment to jot down your notes as you watch and are a part of this part 5 of the virtual workshop designed for elementary and primary school teachers and students.

# data[].attributes.headline
Equity Pedagogy & Empowering School Culture: Elements of Hip-Hop as a Culture and Pedagogy PART IV

# data[].attributes.subject
Equity Pedagogy & Empowering School Culture: Elements of Hip-Hop as a Culture and Pedagogy PART IV

# data[].attributes.body
This picture offers us an introduction to the different elements of hip-hop that can be incorporated in our classroom and different lessons. As you watch my virtual workshop you are invited to jot down some ideas as to how you might interweave these different elements in different lessons that you teach or in different subjects taught at your school. How did you react as you learned about Hip-Hop as a Culture and Pedagogy? What are your initial ideas?

# data[].attributes.headline
Equity Pedagogy & Empowering School Culture: The Next Generation Tendencies referenced by Dr. Gloria Ladson-Billings in her Brodie Lecture at Bowdoin College in 2018. Would you add or remove any of these mindsets to your list? PART IV

# data[].attributes.subject
Equity Pedagogy & Empowering School Culture: The Next Generation Tendencies referenced by Dr. Gloria Ladson-Billings in her Brodie Lecture at Bowdoin College in 2018. Would you add or remove any of these mindsets to your list? PART IV

# data[].attributes.body
Take a moment to review these tendencies as you think back to the lecture or to your own labeling of students in your class together with the mindsets you learned about and think about whether or not they apply to your class and to your students, do you agree with them, would you add or remove any? As you engage in this practice think about the connection this might have to how you view your students and how that affects the classroom dynamics in considering a democratic classroom.

# data[].attributes.headline
Equity Pedagogy & Empowering School Culture: Social Seating guide or Click Map referenced by Dr. Gloria Ladson-Billings in her Brodie Lecture at Bowdoin College in 2018. Would you add or remove any of these mindsets to your list? PART IV

# data[].attributes.subject
Equity Pedagogy & Empowering School Culture: Social Seating guide or Click Map referenced by Dr. Gloria Ladson-Billings in her Brodie Lecture at Bowdoin College in 2018. Would you add or remove any of these mindsets to your list? PART IV

# data[].attributes.body
This resource is a good starting point for critical analysis and dialogue with your students and yourself. As you engage in the virtual workshop, go back to your own version of the click-map or social seating guide of your classroom and compare and contrast it with the one I am providing you with here, this resource has been directly taken out of a google search and it is in reference to the first social seating chart seen in pop culture in the iconic movie "Mean Girls". This is a good starting point for several kinds of lessons as well, you can have your students react and create their own social eating guides and create a lesson with a focus for social justice. Bilingual teachers can invite their students to engage in illustrating their own versions of social seating guides as they, together with you, imagine and re-construct the different social spaces they transition at school in their daily lives.

# data[].attributes.headline
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART IV- Culturally Relevant Pedagogy, Next Generation Mindsets and Tendencies, Hip-Hop Pedagogy & an INTRO to the ELEMENTS OF HIP-HOP as a Culture and Pedagogy.

# data[].attributes.subject
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART IV- Culturally Relevant Pedagogy, Next Generation Mindsets and Tendencies, Hip-Hop Pedagogy & an INTRO to the ELEMENTS OF HIP-HOP as a Culture and Pedagogy.

# data[].attributes.body
EMPOWERING SCHOOL CULTURE: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART IV- Culturally Relevant Pedagogy, Next Generation Mindsets and Tendencies & Hip-Hop Pedagogy. In this part of the virtual workshop we explore Hip-Hop Pedagogy and the elements of Hip-Hop as a Culture and Pedagogy.
The different elements of Hip-Hop are introduced as powerful tools that can be integrated in our Culturally-Relevant lessons and classrooms in which students learn about, discover, reimagine and respond to content transitioning through different virtual and creative modalities such as dancing, composing lyrics, responding visually and rhythmically as they analyze and learn about their own cultures, environments and history. This section introduces us to the connections that can be made and the bridges that can be built between Hip-Hop culture, youth culture, and curricular content at school, and at the same time, empowering students and positioning them as constructors and designers of their own learning.

# data[].attributes.headline
Equity Pedagogy & Empowering School Culture: The Next Generation or College Generation Mindsets referenced by Dr. Gloria Ladson-Billings in her Brodie Lecture at Bowdoin College in 2018. Would you add or remove any of these mindsets to your list? PART III

# data[].attributes.subject
Equity Pedagogy & Empowering School Culture: The Next Generation or College Generation Mindsets referenced by Dr. Gloria Ladson-Billings in her Brodie Lecture at Bowdoin College in 2018. Would you add or remove any of these mindsets to your list? PART III

# data[].attributes.body
Which of these mindsets have you recognized among your own students, which of them would you remove? What would you add to better fit your classroom? Make your own list of mindsets that fits your class and think about how that changed as you watched Dr. Ladon-Billing's lecture.

# data[].attributes.headline
Empowering School Culture, Equity Pedagogy & Content Integration PART III

# data[].attributes.subject
Empowering School Culture, Equity Pedagogy & Content Integration PART III

# data[].attributes.body
In this lecture, the Broadie Lecture, 2018 in Bowdoin College, professor Dr. Gloria Ladson-Billings provides us with her insight and invites us to reimagine a culturally relevant pedagogy for our students now, in this day and time, as she talks to us about the importance of empowering and motivating  our students by including aspects of youth culture in our teaching and learning practices, she provides us with two innovative and new concepts: The next generation or College Generation Mindsets and the concept of Click Map as a social and interpersonal map of our classrooms. Take a moment to watch this lecture delivered by Dr. Gloria Ladson-Billings and watch as much of it as you want, as it is a long lecture and I will provide you with professor Ladson-Billing's pedagogical materials and tools below this post. As you watch the lecture, watch with a critical eye and think about how these college generation mindsets and tendencies might apply to your students and your classroom. Which of them do apply and which of them would you leave out of your own list? Are there any mindsets that you consider worth adding? If so, which ones? Take a moment to create your own list of this mindsets and feel free to add and remove from it as you listen to professor Ladson-Billing's lecture.

# data[].attributes.attachment_link.title
Hip Hop/Hip Hope: The (R)Evolution of Culturally Relevant Pedagogy with Gloria Ladson-Billings

# data[].attributes.headline
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART III- Culturally Relevant Pedagogy, Youth Culture & Next Generation Mindsets

# data[].attributes.subject
EMPOWERING SCHOOL CULTURE, CONTENT INTEGRATION & EQUITY PEDAGOGY: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART III- Culturally Relevant Pedagogy, Youth Culture & Next Generation Mindsets

# data[].attributes.body
EMPOWERING SCHOOL CULTURE: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART III- Culturally Relevant Pedagogy, Youth Culture & Next Generation Mindsets. In this part of the virtual workshop we explore Professor Ladson-Billings' critical theory of culturally relevant pedagogy from the new unexplored lens of Youth Culture and Hip-Hop Pedagogy. We are invited to consider this new generation's standards as we design new and interactive learning experiences for our students.

# data[].attributes.headline
Equity Pedagogy & Empowering School Culture: The 4-Field Model Where do you stand on this four-field model? Who is the protagonist of the learning experience in your classroom? PART II

# data[].attributes.subject
Equity Pedagogy & Empowering School Culture: The 4-Field Model Where do you stand on this four-field model? Who is the protagonist of the learning experience in your classroom? PART II

# data[].attributes.body
Where did you stand in this four-field model as you were learning and training to become a teacher? Do you see yourself having walked through a trajectory in a specific direction? You can download and print this page or just draw on a piece of paper a plus + sign in the center and name each quadrant in the field, then you can pick a symbol, letter, or abstract shape which best identifies you and you can track your own trajectory over time. Where did you stand when you first started? Where did you stand as you learned important lessons over time? Where were you before and after this virtual workshop? Where do you want to go? Take a moment to complete this activity of deep dialogue with yourself and contemplate your progress and your newly set goals, what do you need to reach these goals? what actionable steps will you take to include your students' culture and identity towards making your classroom a more democratic classroom?

# data[].attributes.headline
Content Integration & Empowering School Culture PART II

# data[].attributes.subject
Content Integration & Empowering School Culture PART II

# data[].attributes.body
In this Video made by the City College of New York by the New York State Initiative for Emergent Bilinguals, Ofelia García offers a deeper look into the concepts of fluid language practices that emergent bilinguals engage in. As we learn about emergent bilinguals and their languaging practices, we learn that they are making a full use of their linguistic repertoires which are unique to each individual student as they engage in communicative and social practices in which they are making use of all of their linguistic resources. Do you plan explicitly for these fluid language practices to take place in your classroom? Have you included your students' bilingual practices and translanguaging in your lessons? Take a moment to hear Dr. Ofelia García's introduction on translanguaging and students' use of their linguistic repertoires as they incorporate aspects of all of their language and how teachers can make use of these resources that come from our students to better facilitate learning and make it more authentic and accessible for students.

# data[].attributes.headline
EMPOWERING SCHOOL CULTURE: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART II- Identity, Language & Positionality

# data[].attributes.subject
EMPOWERING SCHOOL CULTURE: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART II- Identity, Language & Positionality

# data[].attributes.body
In this second part of this virtual workshop we listen to professor Dr. Ofelia García deeper discuss the linguistic repertoires of our students and the knowledge that they already come to school possessing. We look for definitions and terms to better learn about the practices that our students engage in as they are taking active roles in our lessons. In this part of the virtual workshop, I invite participants to think about their students' languaging practices and how they might use language to communicate. I seek that we delve deep into the concept of the four-field model and think about positionality and identity. What does it mean to consider and to welcome our student's identities, fluid language practices, and culture in our classrooms and lessons?

# data[].attributes.headline
Empowering School Culture & Equity Pedagogy: Jamila Lyiscott: 3 Ways to Speak English TedEdx Speech referenced in workshop Part I. 

# data[].attributes.subject
Empowering School Culture & Equity Pedagogy: Jamila Lyiscott: 3 Ways to Speak English TedEdx Speech referenced in workshop Part I. 

# data[].attributes.body
In this TED TALK, Jamila Lyiscott takes us on a journey throughout the different dimensions of culture that she swiftly transitions to and from in her daily life. She will tell you all about her identity as she understands it and how it comes to life as she expresses herself through her different languages, the languages that ultimately make up her linguistic repertoire. After watching this video, do you think there is one correct way to speak a certain language? Has your opinion changed?
As you watch this video, it becomes clear that each individual has their own linguistic repertoire which is unique to their own lived experiences and the languages they are able to speak and understand, together with the cultures that they are from and their own conceptions of identity.

# data[].attributes.attachment_link.title
Jamila Lyiscott: 3 ways to speak English | TED

# data[].attributes.headline
Teaching and Learning with Hip-Hop Culture PART I

# data[].attributes.subject
Teaching and Learning with Hip-Hop Culture PART I

# data[].attributes.body
What is Hip-Hop culture? Why is it important to consider as Youth Culture? This article is all about the importance of Hip-Hop beyond a musical genre and taking it to our classrooms as a source for teaching and learning.

# data[].attributes.attachment_link.readable_text
In my preschool classroom, I heard children singing and humming popular hip-hop songs during pretend play. To honor their interests, support their learning, and connect with their culture, I decided to incorporate aspects of hip-hop culture into the curriculum. When teachers learn about and connect with children's cultures they show they value the whole child. Culture opens a door to many possibilities.

What is hip-hop culture?

Hip-hop culture is an artistic, musical, physical, and visual mode of communication that people use to express their experiences, beliefs, and emotions. Rap music (spoken or chanted rhyming lyrics performed in time to a beat) is one of the four key stylistic elements of hip-hop culture, in addition to deejaying/scratching, break dancing, and graffiti writing (word art).

Instead of the commercialized rap commonly heard on the radio, instructional/educational rap-or inspirational rap-is more appropriate for young children and offers multiple opportunities for teaching and learning. Through music and language, movement, and the visual arts, rap and other elements of hip-hop culture can support preschoolers' learning and development in all domains.

Forms of expression

Children share their experiences, ideas, and feelings in diverse ways. Hip-hop culture offers children many opportunities for self-expression while having fun and honing their communication skills.

Rapping/emceeing-Creating and speaking raps, chants, or class poetry to a musical beat to share ideas and emotions. After reading aloud a book about being loving, such as One Love, by Cedella Marley, invite the children's reactions, then compose and perform a brief rap together.

Deejaying-Playing music for an audience by using audio equipment (CD player, MP3 player, turntable). Instead of the usual circle and song time, try throwing a mini dance party, with a deejay hosting. Taking the role of class deejay, a child can select an educational hip-hop CD and operate the CD player for the class.

Breaking-Dancing using creative, expressive, and complex movements. Children can take turns performing their favorite break dance moves for their classmates, including crisscrossing their legs or moving their arms across their midlines to the beat of a hip-hop tune. (Crossing the midline, a child spontaneously moves a hand or foot to the other side of the body-movement that connects the brain with the body-bilateral integration.)

Word art-Creating visual representations of ideas, beliefs, and emotions using words, symbols, and colors. Children can use blank index cards, dry-erase boards, or pieces of paper to draw their names. Using paint on bulletin board paper, children can create a graffiti mural about their neighborhood, their family, or a topic the class has been studying. After talking with children individually about their contribution, the teacher can help them label their art, then display the mural on a wall.

Beatboxing-Creating beats and rhythm using the mouth as an instrument.

Incorporating social justice themes-Raising social awareness by composing and reciting rhythmic verse about an important social topic, like keeping the planet clean. Children and teacher can create brief lyrics based on children's thoughts and experiences, and the class can perform them together.

Benefits of hip-hop in the classroom

Elements of hip-hop culture can support children's learning and development in all domains: social and emotional, language and literacy, cognitive, and physical.

Social and emotional: Express yourself!

Hip-hop encourages children to share their thoughts and feelings in creative ways. It supports children's experimentation while building their self-esteem.

To make hip-hop part of the curriculum:

Introduce children to different hip-hop experiences or elements, such as rap, break dancing, and word art. Ask them how the music, beat, art, or dance makes them feel.

Talk together about a particular classroom activity, such as the emergence of a butterfly from its chrysalis or a chick from its egg. Support children in sharing their ideas and feelings by offering social and emotional vocabulary (excited, exhausted, surprising) for them to use in a rap, a break dance, or word art to describe their response to the activity.

Provide children with opportunities to discuss emotions. After listening to a rap, ask them how they think the author/rapper felt, or invite them to listen again and then create word art based on the rap.

Language and literacy development: Just say it!

Many preschoolers enjoy experimenting with and exploring early literacy components-letters, words, sounds in words. Music is an effective way to engage children, and supports both phonemic awareness and language development. Use hip-hop elements to foster language and literacy development:

Record children rapping. Combine the "tracks" to create a classroom rap album. Create accompanying lyric booklets for children and families, so they can follow along or perform them at home.

Create raps for each letter of the alphabet: "C is for cat / She sleeps on the hat." Encourage children to explore the rhymes and rhythms in raps: "Sat, bat, hat, cat, I like to dance on my mat."

Find or create a simple poem-or use a poem the children are already familiar with-and read it aloud. Pronounce words slowly and clearly to allow the children to feel the words and sounds. Invite children to recite the poem to the rhythm of different beats.

Cognitive development: Think about it!

Preschoolers are naturally curious about the world around them. The following approaches can help you learn more about the children in your program, using hip-hop to support you in differentiating instruction.

Have children create and recite simple rhymes or raps about topics they are studying. Ask open-ended questions about the poems or raps.

Encourage children to ask each other questions about their raps, word art, or break dance moves. They will gain new perspectives about their classmates and friends.

Provide opportunities for children to compare and contrast their hip-hop projects. Children learn how their ideas are similar and different while also appreciating their own work and the work of others.

Physical development: Move with it!

Children and teachers build a sense of community by learning from and supporting each other's creative movements. Children move for fun-but they also express themselves through their bodies.

Provide instrumental hip-hop music or classroom-created rap music so children can act as class deejay by choosing music for the class to dance to.

Have children create dance moves alone, with partners, and as a whole class.

Create a class music video of the children performing their rap and dance moves. The video can serve as documentation of children's physical development.

Try hip-hop in your classroom

Hip-hop has been inspirational for the children in my classroom. With hip-hop activities, they are more engaged and creative because hip-hop is familiar, meaningful, and relevant to them. My hope is that other teachers will use these concepts and approaches to foster fuller participation and engaged learning through an exploration of hip-hop.

Mr. B's Class Creates a Recycling Rap

After outdoor play one day, Mr. B's preschoolers were upset about all the trash on the playground. Talking with the class about the problem, Mr. B asked, "What happens if we pollute the Earth?" The children responded with thoughts like, "The water will be nasty" and "We will breathe dirty air." Mr. B helped the children craft a rap about recycling.

RECYCLE RAP

Helping our planet begins with you!

Polluting our Earth is the wrong thing to do!

Helping hands is what you should give!

Many things will happen to the place that we live!

Animals don't eat plastic for food!

So we have to stay in the recycling mood!

We can't breathe dirty air!

Recycle! Recycle to show that you care!

Classroom Playlist

Artist: Anthony Broughton

Songs: "Clean up as a Team," "Good-Day," "Months of
the Year," "Patterns," "The B-Glide," "Counting to 100"

www.misterbinspires.com

CD: In the B-Hive With MISTER B

Artist: Kobie Wilkerson

Song: "Getting Ready" (single)

www.lkobiedawiz.com/category/music

Artist: Eddie Peeples

Song: "EP Shuffle"

CD: Sing a Song

Artist: Aaron Nigel Smith

Song: "One Love"

families.naeyc.org/song/one-love

For more information on using hip-hop and rap with preschoolers, see " Rap and Young Children: Encouraging Emergent Literacy" in Young Children, July 2014.

Photos © iStock Images and courtesy of the author

# data[].attributes.attachment_link.title
Teaching and Learning With Hip-Hop Culture

# data[].attributes.attachment_link.description
In my preschool classroom, I heard children singing and humming popular hip-hop songs during pretend play. To honor their interests, support their learning, and connect with their culture, I decided to incorporate aspects of hip-hop culture into the curriculum. When teachers learn about and connect with children's cultures they show they value the whole child.

# data[].attributes.headline
EMPOWERING SCHOOL CULTURE: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART I- Introduction: The Culture-Identity connection.

# data[].attributes.subject
EMPOWERING SCHOOL CULTURE: INQUIRERS AND REFLECTIVE PRACTITIONERS; LEARNER-CENTERED EDUCATORS; ADVOCATES FOR SOCIAL JUSTICE. Virtual Teacher workshop for Elementary and Secondary School Teachers -PART I- Introduction: The Culture-Identity connection.

# data[].attributes.body
In the midst of this unknown and hard times that the Pandemic has brought with it, I have chosen to create a useful tool that multicultural teachers can use and access as they are challenged with new obstacles that the virtual classrooms are bringing with them. I have carefully selected materials and designed a workshop for teachers to use as a source of knowledge, inspiration, and tools that they can actually make use of as they encounter new challenges to design virtual lessons which are inclusive, accessible, and culturally relevant for their students. I have selected the larger englobing theme of Culturally-Relevant Pedagogy and within it I will provide a workshop that briefly describes the topics of Identity, translanguaging, the four-field model, the importance of the conditions for learning and a quick overview of Hip-Hop Pedagogy. My aim with this curation of materials is for teachers to be inspired, empowered, and questioning of the different aspects of culture, youth culture, and the different cultures which we are in contact with every day.