WORD: Hip-Hop, Language, and Indigeneity in the Americas

Navarro, Jenell

doi:10.1177/0896920515569916

Cited by 7 publications

(3 citation statements)

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“…A great deal of the work on indigenous language revitalization is embedded in settler colonial theory, which therefore informed our exploration, but much of this work did not include the concept of ‘teaching’ in the narrow sense of post-contact schooling in formal schools and is therefore not included here. For instance, Navarro (2016) described indigenous hip-hop artists’ language resistance throughout the Americas by teaching, for instance, Ojibwe, Nahuatl, and Kichwa through their songs, revitalizing oral traditions and radical orality, and in the process of building alliances. A separate review of this literature would be a valuable contribution to Language Teaching .…”

Section: Defining Termsmentioning

confidence: 99%

Race and language teaching

2020

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In this review article on race and language teaching, we highlight an urgent need for the international educational community to continue to develop a complex understanding of how language teaching and learners’ lives are shaped by our global history of racist practices of colonial expansion, including settler colonialism and transatlantic slavery. We outline the genesis of research on race and language teaching and review literature that reflects a recent increase in scope and range of studies that problematize the workings of race and racism in language teaching and point to hopeful solutions for addressing effects of racial inequities. We conceptualize two key terms, ‘race’ and ‘language,’ then overview theories that appeared most significant in the research literature. We explore five interconnected themes that featured prominently throughout the existing literature on race and language teaching: standard language ideology and racial hegemony, the idealized and racialized native speaker, racial hierarchies of languages and language speakers, racialization and teacher identity, and race-centered approaches to pedagogies and educational practices. We offer a critical analysis of the current status of scholarship on race and language teaching, including gaps and necessary reframing, and conclude with implications for future directions and questions arising from the work.

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Section: Defining Termsmentioning

confidence: 99%

Race and language teaching

2020

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“…‘The Teacha’ KRS-1’s Stop the Violence Movement, the Los Angeles Radiotron youth centre), and inspiring pride, positivity, and style based on knowledge of self (i.e. Queen Latifah and the Native Tongues Collective) (Brown and Kwakye 2012 ; Navarro 2016 ). These themes and pedagogies connected with minoritised youth around the USA, particularly in the 1990s during hip-hop’s ‘Golden Era’ or ‘Conscious Era’, where many popular artists addressed issues of racial justice.…”

Section: Afro-asian Solidarity Towards Social Justicementioning

confidence: 99%

From ‘Illmatic’ to ‘Kung Flu’: Black and Asian Solidarity, Activism, and Pedagogies in the Covid-19 Era

Chang

2020

Postdigit Sci Educ

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Trending social media has indicated that there are currently two pandemics: Covid-19 and racism. While this typology and terminology can be critiqued, it is rather clear that the virus and White supremacy are key concerns of social movements in various parts of the world, particularly in nation states that experienced European colonisation and imperialism. The wake of Covid-19 has perhaps brought greater attention and support to #BlackLivesMatter-oriented protest movements, including by those labelled people of colour (POC) or 'minorities' in the North American context, such as Latinx and Asian communities. But with the amplified protest movement have come deeper calls for systemic change, from policy to ideology to everyday practice. Some of these critiques have been directed at the privilege, positionality, and participation of Asian communities not only with #BLM-oriented activism, but also in education and general society. This paper seeks to contribute to this critical discourse through a brief discussion of historical solidarity between Black and Asian activists and social movements, and how these practices might help inform activism within North America as well as other protest movements. Going beyond one-dimensional 'but we experience racism too' discourse of Asian communities that has recently increased due to anti-Asian hate crimes and scapegoating regarding 'The Chinese Flu', this paper explores some of the ways that historical Black-Asian solidarity can inform more intersectional and transnational analyses and pedagogies of Asian students, educators, and activists.

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“…Jenell Navarro opisuje na przykład, w jaki sposób autochtoniczny rap stał się medium wykorzystywanym w procesie dekolonizacji przez ludy tubylcze obu Ameryk. Za jego pomocą rozpowszechniana jest ideologia panautochtonicznej wspólnoty, nauczane są, zagrożone wymarciem języki oraz rehabilitowana jest tubylcza tradycja ustnego przekazu (Navarro, 2015). Z kolei Ben Herson pokazał, w jaki sposób muzyka rapowa pozwoliła senegalskiej młodzieży stworzyć własną przestrzeń kulturową, która jest autonomiczna zarówno wobec globalnego przemysłu kulturowego, jak i oficjalnej oraz tradycyjnej kultury senegalskiej (Herson, 2011).…”

Section: Rap I Postkolonialna Teoria Krytycznaunclassified

Rap jako muzyka tożsamościowa: od czarnego getta do polskiego pop-nacjonalizmu

Majewski

2016

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Rap as identity music: from the black ghetto to Polish pop-nationalismIn today’s world, cultural products, technologies, information and ideologies more and more permeate from one society to another, crossing all kinds of borders in the least expected way. Rap career is an illustration of this process. It was created in the late seventies and eighties of the twentieth century in New York ghettos and today it represents one of the most popular genres on the global scale. Rap is not only a symbol of revolution and the domination of Western capitalist business practices but also a cultural tool by which different groups, often marginalized or considering themselves as such, express their own identity. I am analyzing the indicated above phenomenon using two, extreme at first glance, examples. First, I present the story of the emergence and development of hip-hop culture in the United States. I try to show how rap music, which is an important element of this culture, allowed a marginalized part of American society for manifesting and communicating their views, beliefs and values, becoming a “transmission channel” for various ideologies, including the ideology of black nationalism. In the second part of the text, I am additionally analyzing the artwork and public appearances by Tadeusz “Tadek“ Polkowski, a Polish rapper, whom I consider a representative of an expanding hip-hop society relating to or sympathizing with the national movement. The music he creates is designed not only to restore the Poles’ “memory”, and therefore also the pride in their heroic and admirable past, but also to open their eyes to what is happening in their country that he believes is being colonized by the occupants. Rap jako muzyka tożsamościowa: od czarnego getta do polskiego pop-nacjonalizmuWe współczesnym świecie wytwory kultury, technologie, informacje i ideologie coraz częściej przenikają z jednego społeczeństwa do drugiego, przekraczając różnego rodzaju granice w najmniej oczekiwany sposób. Przykładem tego procesu jest kariera rapu, który powstał na przełomie lat 70. i 80. XX wieku w nowojorskich gettach, a współcześnie jest jednym z najbardziej popularnych gatunków muzycznych w skali globu. Rap jest bowiem nie tylko symbolem rewolucji informatycznej i dominacji zachodnich, kapitalistycznych praktyk biznesowych, lecz także kulturowym narzędziem, za pomocą którego różne grupy, często marginalizowane bądź za takie się uważające, wyrażają własną tożsamość. Zasygnalizowany powyżej fenomen analizuję, posługując się dwoma, skrajnymi na pierwszy rzut oka, przykładami. W pierwszej części artykułu przedstawiam historię powstania i rozwoju kultury hip-hopowej w Stanach Zjednoczonych. Staram się przy tym pokazać, w jaki sposób muzyka rapowa, będąca ważnym elementem tej kultury, pozwoliła marginalizowanej część społeczeństwa na manifestowanie i komunikowanie swoich poglądów, przekonań oraz wartości, stając się „kanałem transmisyjnym” dla różnych ideologii, w tym także ideologii czarnego nacjonalizmu. W drugiej części tego tekstu analizuję twórczość i wypowiedzi medialne Tadeusza „Tadka” Polkowskiego, polskiego rapera, którego postrzegam jako przedstawiciela coraz liczniejszej grupy hiphopowców związanych bądź sympatyzujących z ruchem narodowym. Tworzona przez niego muzyka ma za zadanie nie tylko przywrócić Polakom „pamięć”, a zatem także dumę z ich heroicznej i godnej podziwu przeszłości, lecz także otworzyć oczy na to, co dzieje się w ich „skolonizowanym przez okupantów państwie”.

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WORD: Hip-Hop, Language, and Indigeneity in the Americas

Cited by 7 publications

References 8 publications

Race and language teaching

Race and language teaching

From ‘Illmatic’ to ‘Kung Flu’: Black and Asian Solidarity, Activism, and Pedagogies in the Covid-19 Era

Rap jako muzyka tożsamościowa: od czarnego getta do polskiego pop-nacjonalizmu

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