Hip hop education = informed artist citizens

Patrick K. Cooper
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Abstract

What follows is a spoken word piece delivered at the Suncoast Music Education Research Symposium in February of 2019 to a group of higher education faculty and doctoral students. It is the intersection of hip hop lyrics and my white privilege, effectively composed as an artistic response to demonstrate the deep knowledge contained within hip hop lyrics and the value gleaned from their critical analyses. The impetus for this piece was my desire to show the conference attendees an alternative to perpetuated and damaging stereotypes about hip hop, a problem which I perceive as the prevalent understanding of hip hop culture and the dominant critique used to oppress this beautiful art form in educational spaces. A caveat about how I chose to sample some of the lyrics is worth mentioning. In some cases, the first-person perspective of the artists, embodied by their use of ‘I’ or ‘we’ in a song, was not appropriate and lyrics were altered to ‘they’ or ‘them’. This choice was to show internal reflection rather than to imply a lived or even co-opted experience by the author. It is important to stress ‘they’ have informed ‘me’. Jvaust as listening to a piece of music would likely be more powerful than studying the score, this piece may best be received by watching the performance.
嘻哈教育=见多识广的艺术家公民
以下是2019年2月在阳光海岸音乐教育研究研讨会上向一群高等教育教师和博士生发表的一篇口语文章。这是嘻哈歌词和我的白人特权的交集,作为一种艺术回应,它有效地展示了嘻哈歌词中包含的深刻知识,以及从他们的批判性分析中收集到的价值。这篇文章的动机是我希望向会议与会者展示一种关于嘻哈的持久和破坏性刻板印象的替代方案,我认为这个问题是对嘻哈文化的普遍理解,以及在教育空间中用于压迫这种美丽艺术形式的主导批评。值得一提的是,我选择了一些歌词的样本。在某些情况下,艺术家的第一人称视角,体现在他们在歌曲中使用“我”或“我们”,是不合适的,歌词被改为“他们”或“他们”。这种选择是为了表现内心的反思,而不是暗示作者的生活经历或甚至是借鉴的经历。重要的是要强调“他们”已经通知了“我”。就像听一段音乐可能比研究乐谱更有力量一样,这首曲子最好是通过观看表演来接受。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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