Towards a Hip Hop Pedagogy of Discomfort

IF 0.2 0 MUSIC
Darren Chetty, P. Turner
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引用次数: 3

Abstract

In this article, we offer philosophical reflections on our participation in a hip hop network and seminar series, UK HipHopEd, where British hip hop artists, activists and educators meet to deliberate over the politics of their work. We analyse this dialogic cultural space with reference to Megan Boler’s notion of a “pedagogy of discomfort”. We argue that the productive tension of the seminars owes much to the diversity of the participants. We discuss how these participants, despite a common interest in hip hop, may have to bridge epistemological and ontological divides in order to understand and accept each other. We examine how dialogue can founder on intransigence and dogmatism when discomfort becomes too difficult to tolerate. We conclude that these reflexive encounters can, however, cultivate a willingness to “stay with” discomfort. This, we insist, opens up new educational and activist horizons within and beyond UK HipHopEd, which are alive to transformative encounters.
走向不适的嘻哈教育学
在这篇文章中,我们提供了我们参与嘻哈网络和研讨会系列的哲学反思,英国嘻哈艺术家,活动家和教育家聚集在一起讨论他们工作的政治。我们参照Megan Boler的“不适教育学”概念来分析这种对话文化空间。我们认为,讨论会的生产性紧张在很大程度上应归功于参与者的多样性。我们讨论了这些参与者,尽管对嘻哈有共同的兴趣,但为了理解和接受彼此,他们可能不得不弥合认识论和本体论的分歧。我们研究了当不适变得难以忍受时,对话如何建立在不妥协和教条主义之上。我们的结论是,这些条件反射性的遭遇可以培养一种“忍受”不适的意愿。我们坚持认为,这为英国hiphop内外开辟了新的教育和活动家视野,这些视野对变革的遭遇充满活力。
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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来源期刊
CiteScore
0.40
自引率
0.00%
发文量
12
期刊介绍: Journal of World Popular Music is a peer-reviewed academic journal that publishes research and scholarship on recent issues and debates surrounding international popular musics, also known as World Music, Global Pop, World Beat or, more recently, World Music 2.0. The journal provides a forum to explore the manifestations and impacts of post-globalizing trends, processes, and dynamics surrounding these musics today. It adopts an open-minded perspective, including in its scope any local popularized musics of the world, commercially available music of non-Western origin, musics of ethnic minorities, and contemporary fusions or collaborations with local ‘traditional’ or ‘roots’ musics with Western pop and rock musics. Placing specific emphasis on contemporary, interdisciplinary, and international perspectives, the journal’s special features include empirical research and scholarship into the global creative and music industries, the participants of World Music, the musics themselves and their representations in all media forms today, among other relevant themes and issues; alongside explorations of recent ideas and perspectives from popular music, ethnomusicology, anthropology, musicology, communication, media and cultural studies, sociology, geography, art and museum studies, and other fields with a scholarly focus on World Music. The journal also features special, guest-edited issues that bring together contributions under a unifying theme or geographical area.
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