Hip Hop’s Organic Pedagogues

What can Hip Hop culture and its art forms (dance, rap, DJing, graffiti/style writing) contribute to the development of individuals, communities, and even society? To answer this question, this book delves into Hip Hop activism in social work, education, and political movements in New York and Dakar...

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Մատենագիտական մանրամասներ
Հիմնական հեղինակ: Hamdi, Saman
Ձևաչափ: Online
Լեզու:անգլերեն
Հրապարակվել է: Universitätsverlag Göttingen 2024
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Առցանց հասանելիություն:https://library.oapen.org/handle/20.500.12657/93278
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author Hamdi, Saman
author_browse Hamdi, Saman
author_facet Hamdi, Saman
author_sort Hamdi, Saman
collection Directory of Open Access Books
description What can Hip Hop culture and its art forms (dance, rap, DJing, graffiti/style writing) contribute to the development of individuals, communities, and even society? To answer this question, this book delves into Hip Hop activism in social work, education, and political movements in New York and Dakar. It follows the work of Hip Hop practitioners who teach their art forms in high schools, in neighborhood centers, in prisons, and at scene events. These activists use Hip Hop culture’s Afro-diasporic practices for community building and social justice struggles in the hope for a better future. Drawing on 40 interviews and extensive ethnographic research, the author looks at various projects of resistance. Building on Gramscian terminology, he differentiates between Hip Hop’s organic intellectuals (movement organizers), and the culture’s organic pedagogues (educators). The latter are DJs, rappers, dancers, and graffiti artists (style writers), who bring their cultural practices into classrooms. The book follows these pedagogues and their students in their own words and critically explores their teaching methods, social-justice-driven curricula, and mentoring approaches. This helps to understand how Hip Hop education is carried out in formal and institutional settings, but also in more informal spaces of different scenes, within the culture’s communities of practice. The book also explores how Hip Hop’s organizers build non-profit organizations, such as cultural centers or federations, and how they establish careers around their crafts. The author analyzes four types of Hip Hop non-profits and how their founders struggle with financial limitations and state repression. The dynamics of the larger field of Hip Hop activism are taken into account, such as funding cycles, competition between activists, political oppression, or censorship, as well as the challenges of Hip Hop’s "NGO-ization." Finally, the “Y'en a Marre” movement in Senegal, which was founded by some of the country’s most popular rappers, serves as a case study to evaluate whether Hip Hop can effectively drive social change through social movement organizing and mobilization. Parallel to such political organizing in Senegal, activists in New York draw from movement traditions such as the Black Panthers or the Young Lords Party and engage in climate justice and antiracist movements. Thus, on the one hand, the book hopes to inspire Hip Hop activists to critically reflect on their practice and learn from others. On the other hand, it contributes to the academic understanding of the culture’s potential (and its limitations) for social justice education and for building organizations, communities, and movements.
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spelling doab-20.500.12854ir-1447932025-04-03T12:53:30Z Hip Hop’s Organic Pedagogues Hamdi, Saman teaching learning organizing NPO social movements bic Book Industry Communication::J Society & social sciences bic Book Industry Communication::J Society & social sciences What can Hip Hop culture and its art forms (dance, rap, DJing, graffiti/style writing) contribute to the development of individuals, communities, and even society? To answer this question, this book delves into Hip Hop activism in social work, education, and political movements in New York and Dakar. It follows the work of Hip Hop practitioners who teach their art forms in high schools, in neighborhood centers, in prisons, and at scene events. These activists use Hip Hop culture’s Afro-diasporic practices for community building and social justice struggles in the hope for a better future. Drawing on 40 interviews and extensive ethnographic research, the author looks at various projects of resistance. Building on Gramscian terminology, he differentiates between Hip Hop’s organic intellectuals (movement organizers), and the culture’s organic pedagogues (educators). The latter are DJs, rappers, dancers, and graffiti artists (style writers), who bring their cultural practices into classrooms. The book follows these pedagogues and their students in their own words and critically explores their teaching methods, social-justice-driven curricula, and mentoring approaches. This helps to understand how Hip Hop education is carried out in formal and institutional settings, but also in more informal spaces of different scenes, within the culture’s communities of practice. The book also explores how Hip Hop’s organizers build non-profit organizations, such as cultural centers or federations, and how they establish careers around their crafts. The author analyzes four types of Hip Hop non-profits and how their founders struggle with financial limitations and state repression. The dynamics of the larger field of Hip Hop activism are taken into account, such as funding cycles, competition between activists, political oppression, or censorship, as well as the challenges of Hip Hop’s "NGO-ization." Finally, the “Y'en a Marre” movement in Senegal, which was founded by some of the country’s most popular rappers, serves as a case study to evaluate whether Hip Hop can effectively drive social change through social movement organizing and mobilization. Parallel to such political organizing in Senegal, activists in New York draw from movement traditions such as the Black Panthers or the Young Lords Party and engage in climate justice and antiracist movements. Thus, on the one hand, the book hopes to inspire Hip Hop activists to critically reflect on their practice and learn from others. On the other hand, it contributes to the academic understanding of the culture’s potential (and its limitations) for social justice education and for building organizations, communities, and movements. 2024-09-16T04:07:34Z 2024-09-16T04:07:34Z 2024-09-15T04:31:55Z 2024 book https://library.oapen.org/handle/20.500.12657/93278 https://directory.doabooks.org/handle/20.500.12854/144793 eng open access image/png image/jpeg image/jpeg n/a Attribution-ShareAlike 4.0 International Attribution-ShareAlike 4.0 International https://library.oapen.org/bitstream/20.500.12657/93278/1/KAEE19_hamdi.pdf https://library.oapen.org/bitstream/20.500.12657/93278/1/KAEE19_hamdi.pdf https://library.oapen.org/bitstream/20.500.12657/93278/1/KAEE19_hamdi.pdf Universitätsverlag Göttingen 10.17875/gup2024-2654 10.17875/gup2024-2654 af9011e0-03b9-4a5c-9ae6-b9da4898d1b2 AG Universitätsverlage open access
spellingShingle teaching
learning
organizing
NPO
social movements
bic Book Industry Communication::J Society & social sciences
bic Book Industry Communication::J Society & social sciences
Hamdi, Saman
Hip Hop’s Organic Pedagogues
title Hip Hop’s Organic Pedagogues
title_full Hip Hop’s Organic Pedagogues
title_fullStr Hip Hop’s Organic Pedagogues
title_full_unstemmed Hip Hop’s Organic Pedagogues
title_short Hip Hop’s Organic Pedagogues
title_sort hip hop s organic pedagogues
topic teaching
learning
organizing
NPO
social movements
bic Book Industry Communication::J Society & social sciences
bic Book Industry Communication::J Society & social sciences
topic_facet teaching
learning
organizing
NPO
social movements
bic Book Industry Communication::J Society & social sciences
bic Book Industry Communication::J Society & social sciences
url https://library.oapen.org/handle/20.500.12657/93278
work_keys_str_mv AT hamdisaman hiphopsorganicpedagogues