hip-hop summer camp scrapbook 2005
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int er pr et iing Hip-HopSummer Camp
summer 2005 Scr apbook-Hop Matters . . . a Hip-Hop Non-prot | promoting the responsible use of Hip-Hop in education | www.hiphopmatters.org | info@hiphopmatt
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Friendship Edison is D.C.s largest public charter school, serving over 3,000 students at four campuses.
Its mission is to prepare a diverse cross-section of children for success as students, workers, and citizens
by providing them with a world-class education.
Students at Friendship Edison benefit from a high-quality school design, caring teachers, 21st century
technology, and strong connections to the community.
Since its founding in 1998, Friendship Edison has opened four campuses in formerly vacant D.C. public
school buildings: Chamberlain, Woodridge, Blow-Pierce, and Carter G. Woodson. Friendship Edison has
invested over $30 million to turn these buildings into attractive centers of learning where children and
teens feel valued and supported. students have made dramatic gains on the Stanford Achievement Tests
since the opening of the school.
4095 Minnesota Avenue NE DC | 202 396 5500 | http://www.friendshipedison.org/
ABOUT CAMP DIRECTOR
Andrew J. Ryan raised in Bronx, New York is the Executive Director of Hip-Hop Matters, a non-prot organiza -
tion whose mission is to energize, motivate, empower and support Americas youth through responsible use of
Hip-Hop culture. He is also the Editor-in-Chief of The Journal of Hip-Hop, an educational publication that em-
bodies the elements of the Hip-Hop culture.
Ryan currently teaches at the University of the District of Columbia and George Mason University. In the Spring
of 2005, Mr. Ryan began teaching at the high school level and will spend the 2005-06 school year teaching math
the Thurgood Marshall Academy in SE Washington DC.
Mr. Ryan holds a Bachelors degree in Computer Science, a Masters degree in Systems Engineering and expects
complete his PhD in Public Policy in 2008.
ABUOT THE LEAD FACILITATOR
Akil E. Kennedy is the Educational Coordinator for Hip-Hop Matters and Executive Editor of the Journal of Hip
Hop. Half Dominican and half-Black, Kennedy was born and raised in the Bronx, New York.
He graduated from the prestigious Bronx High School of Science and attended Hampton University on a full-aca
demic scholarship. At Hampton, he served as the Sports Editor of the Hampton Script and won numerous award
for his writing including the Hampton Roads Black Media Professionals Award for Best College Print Commen
tary.
Kennedy currently teaches history at the Thurgood Marshall Academy in SE Washington DC. For the past thre
years Kennedy taught at Adlai E. Stevenson H.S. and the Gateway School of Environmental Research and Tech -
nology, both in the Bronx, NY. Kennedy received his Masters Degree in Secondary Education from the City Co
lege of New York in June 2005.
CAMP INSTRUCTOR
Jeff Tate . . .
(L to R) Jeff Tate, Akil Kennedy, Dru Ry
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JEFFCANYOUUPDATE? JUSTSENDMETHELISTINWORD.NEEDTOUPDATE
Hip-HopandPoetry...Page3
YouthLiteracyProject...Page5LyricalAnalysis...Page7MediaLiteracy...Page
9GuestSpeakers/Artists...Page12
StudentsTags...Page14ActivismandAdvocacy...15AnacostiaRive
rProject...Page17Hip-HopMattersInfo...Page22
InterpretingHip-Hop Summer
EnrichmentProgramTableofContents
InterpretingHip-Hop Summer
EnrichmentProgramTableofContents
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Interpreting Hip-Hop Summer Camp 2005 Scrapbook
Hip-Hop Matters -- A Hip-Hop Non-Profit . . . promoting the responsible use of Hip-Hop in education
Hip-Hop and Poetry WorkshopsWax Poetics
The literary aspects of rap (rhythm and poetry) offer rich academic value. Onomatopeia, free verse,
alliteration, metaphor, hyperbole and iambic pentameter are just a few of the literary devices omni-present in rap music. Shakespeare, Hemingway, Nas, and Common can all be considered poets.
In their HIp-Hop and Poetry workshops students used poetry from poets such as Gwendolyn Brooks,
Sonia Sanchez, discussed the following literary devices using Hip-Hop:
Ms. Moore explains the difference between a
tanka and haiku as Ebony and India listen on.
Glenn, Nevi, Davon and Jeremy read silently dur-
ing poetry workshop.
figurativelanguage:A writer might
use words out of their literal or ordinary
meaning to add beauty or force to the work.
Figurative language often has many gures
of speech, characterized by the use of meta-phors and similies.
rhymeScheme:the arrangement of
rhymes in a stanza or a poem.
alliteration:the repetition of usually
initial consonant sounds in two or more
neighboring words or syllables.
SymboliSm:the art or practice of using
symbols especially by investing things with
a symbolic meaning or by expressing the
invisible or intangible by means of visible
or sensuous representations.
haiku:an unrhymed verse form of Japa-
nese origin having three lines containing
usually 5, 7, and 5 syllables respectively
metaphor:a gure of speech in which a
word or phrase literally denoting one kind
of object or idea is used in place of another
to suggest a likeness or analogy between
them
denitons courtesy of Merriam-Webster Dictionary
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Interpreting Hip-Hop Summer Camp 2005 Scrapbook
Hip-Hop Matters -- i am hip-hop, i am changetm Unless we sooting no one notices the youth. -- Tupac Shakur
Mr. Tate reviews personifcation and symbolism with studen
During the course of the program,
students wrote their own tanka and
haiku poems, as well as I Am poems.
Students also used the poems
published in the Journal of Hip-Hop
as guides for the poetry exercise.
Students during silent reading and writing.
Justin works on his Haiku.
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Hip-Hop Matters -- A Hip-Hop Non-Profit . . . promoting the responsible use of Hip-Hop in education
Youth Literacy Project
NEED TO REWRITE
Unlike the 1930s, todays youth have not been exposed to literature which speaks to their current condition;
educationally, socio-economically, or regionally. In many ways, the proliferation of rap music and the larger
domain of Hip-Hop culture has supplanted reading as a learning device. YLP will leverage both Hip-Hop and
literature to engage the students through a familiar medium and in parallel introduce accompanying texts.
Students were broken into two groups:
Mr. Kennedy led the group that discussed Makes Me Wanna Holler: Mr. Tate led the group that read No
Disrespect. Ms. Hartsfield, an English teacher at Largo High School, was the lead teacher and composed
key questions for both books. After each assigned chapter reading students were given a group of questions
to look over and each group got together and discussed the books and the parallels that they have to their
Students and mentors read 2 books during the summer pro-
gram. Makes Me Wanna Holla by Nathan McCall and No Disre-spect by Sistah Souljah have similar themes of growth through
exploration.
Each character finds themself as they extend beyond their natu-
ral environment (the inner city) and learn more about the world
beyond. In the process, they gain a greater confidence as they
employ new mental models to recalibrate their view of the world.
The Literacy Project focused on the decisions and
subsequent outcomes of the main character in each
book. Through class discussion, journal writing
and activity sheets, each book served as a means to
learn through others.
Similar to the urban narrative of rap music, litera-
ture offers the reader an opportuity to experience
decisions, observing outcomes and ultimately
learning from others successes or mistakes.
There are three ways one can learn:
study, observation, and experience.
-- Huey NewtonJustin breaks down Nathan McCall.
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Interpreting Hip-Hop Summer Camp 2005 Scrapbook
Hip-Hop Matters -- i am hip-hop, i am changetm Unless we sooting no one notices the youth. -- Tupac Shakur
Mr. Kennedy helps Julius and Jeremy with writing
their responses to the group questions.
Makes Me Wanna Holler (by Marvin Gaye)
Lyrical analysis
. . . rockets, moonshots, spend it on the
have nots means that there was money for
them to shoot astronauts in to the sky, and
not for the poor.
-Brandon Hall
Nathan McCall titled his book makes Me
Wanna Holler because in the song and
book it displayed the same problems. For
instance, when it says bad breaks, set
backs that is what happened to Nathan
when he got locked up.
He was already on a 1-year probation for
shooting someone and now hes back in jail
after robbing a McDonalds.
- Davon Yates
Rockets, moon shots
Spend it on the have nots
Money, we make it
Fore we see it you take it
Oh, make you wanna holler
The way they do my life
. . .
Hang ups, let downs
Bad breaks, set backs
Natural fact is
I cant pay my taxes
Oh, make me wanna hollerAnd throw up both my hands
- Marvin Gaye Makes Me Wanna Holler
India, Ebony, Sionette and Jamal listen during No
Disrespect reading group.
Davon, Darron, Jeremy, Julius, Justin, and Glenn
ponder Makes Me Wanna Holla.
Make sure the beat knock til the trunk pop
And everybody pause when you cruise down the block
Roll down your window and they ask what you playin
But dont nobody care what youre sayin...
Thats what they told me yall
Little Brother The Listening
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Hip-Hop Matters -- A Hip-Hop Non-Profit . . . promoting the responsible use of Hip-Hop in education
Juvies -- a film about youth incarcerationJuvies follows the lives of a group of young people who will serve most, if not all, of their live
behind bars. The kids talk about the mistakes they made and what they would do if they ha
the chance to do things differently.
We watched this film and it triggered discussions on drug and gang laws in the US, mini-
mum sentencing laws, incarceration rates and the role of media in public perception of
youth.
When I started volunteer teaching at Juvenile Hall in Los Angeles, I was nave to juvenile justice, thinking
children were handled fairly and with care, not only for their safety, but also for the safety of the public at
large. What I found is that scores of children are getting thrown away in adult prisons instead of staying i
the rehabilitative environment of the juvenile system, a structure originally designed to protect them from
ending up in the adult system. The making of Juvies has made my life make an irrevocable turn towards
correcting the juvenile justice system, making it one that is run with intelligence, responsibility and mercy
LESLIE NEALE, Director
An example of a survey
given to all of the students.
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Interpreting Hip-Hop Summer Camp 2005 Scrapbook
Hip-Hop Matters -- i am hip-hop, i am changetm Unless we sooting no one notices the youth. -- Tupac Shakur
lyricalanalySiStouchedon
thefollowingtopicS:
-urbanneighborhoodS
-theenvironment
-violence
-realityvSfantaSy
-education
1. The white unemployment rate, is nearly more than triple for black
2. so frontliners got they gun in your back
3. Bubblin crack, jewel theft and robbery to combat poverty
4. and end up in the global jail economy
5. Stiffer stipulations attached to each sentence6. Budget cutbacks but increased police presence
7. And even if you get out of prison still livin
8. join the other ve million under state supervision
9. This is business, no faces just lines and statistics
10. from your phone, your zip code, to S-S-I digits
--Mos Def, Mathematics,Black On Both Sides
LYRICAL ANALYSIS
Mathematics
Mos Def posits that because the unem-
ployment gap between blacks and whites
is so high causes kids who dont have jobs
to turn to crime to make money and even-
tually end up in prison. [Lines 1-4]
There are harsher prison sentences and
more police on the streets even though
the government is cutting money to social
programs. [Lines 6-7]
Once ex-cons are released from prison
they are still on parole and are under the
supervision of the state. Mos Def uses
statistics to make his point here. [Lines
7-8]
Poor people are just numbers to the gov-
ernment, not faces. [Lines 9-10]
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Hip-Hop Matters -- A Hip-Hop Non-Profit . . . promoting the responsible use of Hip-Hop in education
MEDIA LITERACY
Media Literacy is the ability to interpret, ana-
lyze, produce and evaluate forms of mass com-munication (video, print, music, etc.), students
viewed and analyzed documentarirs, video clips
and lyrics from a variety of sources.
During the summer enrichment program, the
students learned how the images that we see
on television and in magazines and the songst-
hat we hear on the radio influence our thinking.
Images of Youth in Hip-Hop Culture
Images of women in Hip-Hop
How the media portrays Hip-Hop
d.c.hip-hop
theater
feStival
&
changemethodS
@proviSonSlibrary
Don Russell, Executive Director of Provisions Library explains the
role Change Methods exhibit at Provisions before students view
Voices of Cabrini.
Darron listens to political Hip-Hop CD at during trip toProvisions Library.
Hip-hop is increasingly recognized as a
global vehicle for social resistance and
for the migration of ideas across cultu
al barriers.Featuring multi-media visua
art exhibitions, international film seri
DJ and live music performances, and apanel discussion, Change Methods ex-
pands awareness and stimulates dialog
on hip-hop in action.
Presented in collaboration with the Hi
Hop Theater Festival.
-www.provisionslibrary.org
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Hip-Hop Matters -- i am hip-hop, i am changetm Unless we sooting no one notices the youth. -- Tupac Shakur
After viewing films from the Hip-Hop
theater Festival students analyzed
and computed data gathered from the
Change Methods exhibit. The exhibit
displayed various documented instanc-
es of Hip-Hop culture as a social move-
ment of change, domestic and abroad.
d.c.hip-h
op
Summit@
covenant
houSe
Sionette (in pink) , Jamal (right) and India (middle) work on
their library research.
Ebony (right) looks for information on the internet as Jamal
(left) and Sionette (middle) discuss research questions.
Paul gets on the 1s and 2s as DJ Tru looks on at the D.C. Hip-Hop Summit at Covenant House.
Students enjoy the show at the Summit. The Summit was
at the Arch in SE Washington DC.
Thesummer
youthenrich
mentprogram
outofCon-
venantHouse
hostedaYo
uthHip-Hop
summit..
Workshopsinc
ludeddeejayin
g,freestyling
,graftti
artistsandda
ncing.Atthe
endoftheda
y,students
observedap
aneldiscussi
ononthehis
toryofHip-H
andsocial
change.Spe
cialthanksto
RyanShana
h
forputtingthesummitt
ogether.
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Hip-Hop Matters -- A Hip-Hop Non-Profit . . . promoting the responsible use of Hip-Hop in education
GUEST SPEAKERS AND ARTISTS
Local illustrator and community
muralislt Aniekan Udofia stopped
in to exhibit his works and speak
about Hip-Hop and how it influ-
enced his expression.
DJ Tru of the DC-based non-profit,
Midnight Forum, came in to teach u
about the history of Hip-Hop djing.
Along with the history showed the
kids some techniques and allowed
them to experience scratching, blend
ing and transforming,
Aniekan answers student questions during his presentation about his
artwork.
DJ Tru outlines the origins of DJing and turntablism for the class.
GUEST SPEAKERS AND ARTISTS
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Hip-Hop Matters -- i am hip-hop, i am changetm Unless we sooting no one notices the youth. -- Tupac Shakur
Student Paul Tharpes tag
DJ Tru shows Sionette and Devon how to scratch. Students watch as Tru explains how to play break beats.
Political satire (artwork by Aniekan). Students look through Aniekans portfolios of drawings.
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Hip-Hop Matters -- A Hip-Hop Non-Profit . . . promoting the responsible use of Hip-Hop in education
student tags
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Hip-Hop Matters -- i am hip-hop, i am changetm Unless we sooting no one notices the youth. -- Tupac Shakur
Activism and Advocacy
Rachel Raimist answers student question during prese
Rachel Raimist Documentarian, B-Girls B
Spoke to students about what goes into making a
documentary and working in the movie. She also dis-cussed the portrayal of women in the Hip-Hop media
and the lack of female presence in Hip-Hop media.
Rev. Yearwood explains to students his role
Head of the Hip-Hop Caucus.
In addition to guest speakers who discussed the specific elements of Hip-Hop culture, the
students also heard speakers that were active members of thier communities. Our speakers
careers ranged from politics to media to film. Each topic touched by the speakers related to th
Anacostia River Project that the students completed during the course of the summer program
onette (l) listens as Dr. Joe Leonard discusses thevil Rights Movement and the responsibility of thep-Hop generation to advocacy.
Jared Ball speaks on media awar
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Hip-Hop Matters -- A Hip-Hop Non-Profit . . . promoting the responsible use of Hip-Hop in education
Anacostia River advocacy Project
The objective of the Anacostia River Project during the Hip Hop Matters High School Enrichment
Program was to introduce students to the issue of Anacostia River pollution and its effects on
their community.
Students created a multimedia presentation (using hip-hop) educating/informing the public on th
pollution of the Anacostia River and possible solutions to the problem. Students were introduced
to the issue through newspaper articles, internet resources, presentations by community organi-
zations and a canoe tour of the river.
They were broken into groups according to their interest (research, video, performance). Studen
projects had to use Hip-Hop as a tool for activism. Students produced a documentary explaining
the issues surrounding the Anacostia River as well as a brochure about the
Anacostia.
GOALS
Define environmental justice/activism
Describe the affects of pollution on the enviroment
Describe the causes and effects of Ancostia River polution
Diagram and map Anacostia River
Describe effects of pollution on surrounding communities
Define watershed, ecosystem, tributary
Describe what the government plans to do with the land
in Anacostia
Discuss how public policy affects the environment
2 billion gallons of sewage and trash infested wamakes it to the Anacostia River every year.
-Anacostia Watershed Society
No Fishing sign warns would be sherman to stay away.
Pepsi bottles, a foam football and other debris oat in rive
Bladensburg Waterfront Park.
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Hip-Hop Matters -- i am hip-hop, i am changetm Unless we sooting no one notices the youth. -- Tupac Shakur
The cause of pollution in the Ana-
costia River comes from sewage, pol-luted storm water runoff, highway
runoff and rainwater.
One of the main problems is the
Districts antiquated sewage system,
which dumps raw waste into the
Anacostia during heavy rainstorms,
totaling about 80 times a year.
- Anacostia Watershed Society
Between 75 percent and 90 percent
of the Anacostias pollution is
caused by stormwater runoff from
exhaust, asphalt particles, spilled
engine oil and other fossil fuel
products.
- Anacostia Watershed Society
The best-known projects are a plan
to build neighborhoods and public
amenities on the old D.C. General
Hospital campus and a $400 million-
plus proposal for a baseball park just
off South Capitol Street.
-Washington Post
Sewage, oats on the surface of Anacostia River.
A basketball, plastic cups and a juice container are among the ite
that continue to pollute Anacostia River.
A medicine bottle and other waste oat in the Anacostia
River at the Bladensburg Waterfront.
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Hip-Hop Matters -- A Hip-Hop Non-Profit . . . promoting the responsible use of Hip-Hop in education
Arrival at Bladensburg Waterfront Park.
Students wait for canoe demonstration at Anacostia River.
Mr. Kennedy listens on as Ric Zeller of the AnacostiaWaershed Society gives a brief history of the river and
outlines the canoe trip.
thebuStripto
theanacoStia
river
thecheSapeake
bay
waterShed
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Hip-Hop Matters -- i am hip-hop, i am changetm Unless we sooting no one notices the youth. -- Tupac Shakur
(L to R) Mr. Ryan, Nevawanna, Mr. Kennedy and Mr. Tate take a quick
photo before boat launch.
Ric (left) explains to Alfonzo how to launch canoe into
river.
C.J. and Glenn show off their oarsmen skills.
canoe
demonStration
andlaunch
ontheanacoStia
river...
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Hip-Hop Matters -- A Hip-Hop Non-Profit . . . promoting the responsible use of Hip-Hop in education
Students stay together in groups as they row down the river towards
D.C.
downStreamto
dc...
learningon
theriver...
thereality
ofeverydaylife...
Ric stops at an osprey nest in the middle of the river to explain
wildlife preservation.
The Orange line Metro to New Carrolton runs over the river and by the
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Hip-Hop Matters -- i am hip-hop, i am changetm Unless we sooting no one notices the youth. -- Tupac Shakur
bout the Documentary
Do SomethingDo SomethingDuring the course of the summer, students began filming a
documumentary aimed at educating school and community peers on the
Anacostia River.
Environmental justice advocacyat the grassroots (community) level are
seen as the only social advocacy to yield true results since the CivilRights Movement.
We created a brief minute movie with some of the footage.
Teachers, students, and environmental experts were interviewed by stu-
dents. Four groups, Research (headed by Nevewanna, film crew
(Sionette), performance (Daron), and artwork (Paul).
Environmental justice,is thefair treatment and meaningfulinvolvement of all people regard-less of race, color, national origin,or income with respect to the
development, implementation,
and enforcement of environmen-tal laws, regulations, and policies.
US Environmental
Protection Agency
www.epa.gov
Because many people in government look at hip-hop music and its culture as a radical music that gets
traight to the point and music that will wake up the youth and young adults throughout the world. They c
lso use hip-hop to backre and destroy itself.
You can believe what Im saying. But time will tell and I see what you see not.
xcerpted from: :The True Meaning Of Hip-Hop Culture by Afrika Bambaataa, The Bomb Hip-Hop Magazine #38 (March 1995)
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Hip-Hop Matters -- A Hip-Hop Non-Profit . . . promoting the responsible use of Hip-Hop in education
Gentrification
In1995,demolition
beganatCabriniG
reen,
oneofChicagosm
ostnotorioushou
sing
developments.Infa
mousforpoverty,g
angs,
drugs,andviolence
-CabriniGreenis
also
hometoastro
ngcommunityofA
frican-
Americanresidents-manyofwhom
are
ghtingtostay.Fil
medfrom1995-1999,
VoicesofCabrinii
sthestoryofhowre
devel
opmentischanging
thisneighborhood
.
www.voiceofcabrin
i.com
During our visit to Provision Library, students watched a short documentary entitled Voices of Cabrini. Much
like the current development trend in Washington DC, the movie captures the 5 year period where one
of Chicagos largest public housing projects was torn down and replaced by townhouses. Dru Ryan led a
post-discussion along with Chicago native Jeff Tate. Afterwards, students spend time viewing the exxhibit on
Change Methods at Provisions Library as well as filling out an activity sheet.
Special Thanks to filmaker Ronit Bezalel for allowing us to view this film in class.
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Hip-Hop Matters -- i am hip-hop, i am changetm Unless we sooting no one notices the youth. -- Tupac Shakur
Obesity
Part of the handout used for our workshop on Hip-Hop and activism.
One students commeafter we discussed obe
in class. We also watc
Super Size Me,a documentary byMorgan Spurlock whe
he eats McDonalds fo
straight days.
Afterwards, we discuss
obesity and nutrition. athe health issues involvwith obesity
OBesity in america
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Rap Music as Equipment For Livingby Andrew J. Ryan
Hip-Hop, through its various elements, is constantly adapting to new situations. Words are transformed to
depict familiar scenarios and circumstances native to the culture. Burke remarks: [Slang] was not develo
out of some exceptional gift. It was developed out of the fact that new typical situations had arisen and peo
needed names for them. For instance, Eskimos have over 15 words for snow, each with varying measurto accurately describe it. So it is no wonder rap music consistently evolves, seeking creative and clever w
to describe present and shape the future. Rap music is filled with evolutionary linguistics as the past 30
years has seen the culture spread from the South Bronx to a global movement.
You would rather have a Lexus? or justice? a dream? or some substance?
A Beamer? a necklace? or freedom? - Stic.man (of dead prez), Hip-Hop , Lets Get Free
The great allurement in our present popular, inspirational literature, is the strategy for an easy consolatio
- Kenneth Burke
Though I doubt he ever listened to rap music, and likely never imaging his work would extend into Hip-Hop, prophecy is ironic. 90210 rap, where a rich lifestyle is assumed without any detail of the means, is hurtin
Hip-Hop. As Jay-Z quips in Show You How:
Sick of yall niggaz with ya now or later raps//Rap about it now, hope you get it later
While being poor is not intrinsic to Hip-Hop culture, pretending your rich has no role either. Without the ab
to discern between the business acumen of Camron, E-40, or Scarface from the industry controlled hand
puppet, the unsuspecting Hip-Hop consumer can easily be misled.
As the dominant youth culture in the United States, the yearn to learn more about Hip-Hop starts early. Layear, I received an e-mail from second grade New York City Public School teacher Elly Cole asking if I could
assist with a class project. Asaad Plummer, now 8, chose the topic: What is Hip-Hop for his school repo
We exchanged a few e-mails and a few weeks later, Ms. Cole eventually mailed me a copy of his A+ report!
Comprehension of literature, whether Nathan McCall or Nas, Lisa Jones or Sistah Souljah must be includ
on Hip-Hops agenda. In `1991, Chuck D proclaimed: Rap is an introduction. If people really want to lear
something, the got to pick up some books.
Programs like the National Urban Leagues Hip-Hop Reader [www.hiphopreader.com], which award studen
for reading various Hip-Hop books is a start. Grassroots change must start closer to home.
To many youth, Hip-Hop offers the only reputable counsel for dealing with the world they live. While 30-som
things critique todays popular rap, and long for the 2005 incarnation of Pete Rock and CL Smooth or the
DOC, the focus must be shifted toward education on HOW to value Hip-Hop and not WHAT you should liste
to.
As Hip-Hop grows older, it is imperative to keep its core principles alive. The old will die and the young will f
get unless the culture takes it upon itself to keep the culture alive.
Asaad has a head start on most of us . . . lets make sure hes not alone.
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Hip-Hop Matters -- i am hip-hop, i am changetm Unless we sooting no one notices the youth. -- Tupac Shakur
Hip-Hop Matters is a Washington DC based non-profit
serving the youth of America.
Our mission is to energize, motivate, empower, andsupport the youth of urban America through outreach,
youth advocacy, urban policy analysis, educational
publications and educational consulting which responsibly
utilize the five elements of Hip-Hop culture and encourage
proactive civic engagement.
www.hiphopmatters.org [email protected]
866 HH MATTERS
Organizational
Information
wordz of wisdom . .While we must challenge Hip-Hop to be better, we must respect
the influence and power that it has in the lives of our youth.
To that end, it is in our best interest as
educators, to struggle to understand not
only the Hip-Hop movement, but to
develop teaching approaches that draw
from the rich resources Hip-Hop culture
represents.
[Hip-Hop Matters] Interpreting Hip-Hop Summer
camp at the Friendship Collegiate Academy in NE
Washington DC, addresses these very concerns in
powerful and innovative ways.
I hope Andrew Ryans program and his ideas about
how to use Hip-Hop in the classroom will be put to
good use by the Friendship Collegiate Academy and
replicated in schools across the country.
Marvin Lynn, Ph.D.
Assistant Professor and Coordinator of
Minority and Urban Education,
University of Maryland College Park
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Hip-Hop Matters -- A Hip-Hop Non-Profit . . . promoting the responsible use of Hip-Hop in education
. . On Hip-Hop and Educationby Akil E. Kennedy
As an educator in the New York City public school system, I find it extremely difficult to get my students to focus
he standardized curriculum. It has become vogue to blame students for being uninterested in school. Ive particpated in 20 too many discussions ending with: . . . . but when they are motivated, the students are amazing. W
could it be? I maintain, we as teachers must attempt to meet our students half way. Come from Where Theyre
From.
What is half way? Well, I often notice my students writing or reading rap lyrics in an academic setting. When? T
cally before, after, and sometimes during class! With no parental prompting, students memorize and recite lyrics
o all the latest rap songs. The civics and government lessons taught by Hip-Hop in 2004, enriched the academic
setting by default.
The traditional classroom lecture and textbook are no longer part of the student experience. For these students,
he contents of textbooks exist outside of their realms of consciousness. Hip-Hop does not. Rap does not. Rap m
was birthed out of their very living environments. Whether reinforced through daily contact, or ingested through
or radio, the shared experiences furnished by Hip-Hop present a reality parallel to their everyday lives. The essen
of their being is best reflected through Hip-Hop culture.
Brazilian Paulo Freire was able to educate an under-educated class by using lessons based on their experiences
Today, this practice has morphed into a progressive field of study: culturally relevant education.
ts a wonder Hip-Hop culture could become the most profitable marketing entity in the world, yet people still argu
has no educational value. Many educators resist Hip-Hop as a teaching tool due to ignorance, convinced Hip-Hop
what they see on TV and hear on the radio. Hip-Hop, as a culture has many dimensions. It should not be critiqueda single plane.
Rap music can also be used to teach and/or motivate students to learn about various topics whether it be histo
or math. dead prez Animal In Man, is a Hip-Hop version of George Orwells novel Animal Farm. Commons Ass
ells the story of Black Panther Assata Shakur. Further, the literary aspects of rap (rhythm and poetry) offer rich
academic value. Onomatopoeia, free verse, alliteration, metaphor, and iambic pentameter are just a few of the lit
ary devices omnipresent in rap music. Shakespeare, Hemingway, Nas and Talib Kweli can all be considered poets
The concept of using music to teach is not a novel one. Mnemonic devices have been used for years to teach stu
dents different content and skills. Shows like Sesame Street, Schoolhouse Rock, and Dora the Explorer all utilize
mnemonic devices to teach children how to count, spell, rhyme etc. Hip-Hop can be used much the same way in tclassroom. As a member of the Hip-Hop Generation and a lover of Hip-Hop, I believe educators must acknowled
he potential benefit of the responsible use of Hip-Hop culture in academic settings.
Studies have shown music can provide a motivating learning environment and helps students focus. Today, with
highly structured curricula and mandates shackling creativity, students are being forced to learn through repetit
rather than innovation. With the changing times and lack of sufficient funding, public schools now occupy the low
rungs. It is time for educators to embrace Hip-Hop as a valuable asset in the classroom.
Our youth deserve better.
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Hip-Hop Matters -- i am hip-hop, i am changetm Unless we sooting no one notices the youth. -- Tupac Shakur
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Hip-Hop Matters -- A Hip-Hop Non-Profit . . . promoting the responsible use of Hip-Hop in education
SPEAKER BIOSJared Ball is an educator and journalist working in and around Washington, DC. He currently teaches both African
American and Media Studies at Frostburg State University and the University of Maryland at College Park. Mr.
Ball is founder/host of FreeMix Radio: The Original Mixtape Radio Show (voxunion.com) and is a co-host of The
Blackademics part of Washingtons Decipher Hip-Hop Politics Block on WPFW 89.3 FM Pacica.
Ball folds a BS in History from Frostburg State University, a Masters degree in Africana Studies from the Africana
Studies and Research Center at Cornell University and is soon to complete his Ph.D. in Journalism and Media
Studies from the University of Maryland at College Park.
Fritz Doseau, Haitian born and Brooklyn bred, is an acionado of ne art, comic art, and grafti. A self-taught art-
ist, he includes illustrator Norman Rockwell and comic artist John Buscema among his inuences.
Helena L. Hartseld is an educator, scholar, writer and activist. She holds bachelors degrees in English and Com -
munications. Hartseld received her MEd and is currently doing doctorate work at Howard University. She has
taught abroad, and served as a guest lecturer at various international institutions, presenting the paper, Hip Hop
Music: The Tie that Binds, which explores the global impact of Hip-Hop music.
Joe Leonard, Jr., Ph.D. is the executive director of the Black Leadership Forum (BLF) the consortium of 22 black
civil rights groups in the country. Prior to serving at BLF he served for four years as the Washington, DC bureau
chief for the Rainbow/PUSH Coalition. A native of Texas his all time favorite rapper is Scarface and his favorite
group is Public Enemy.
Eternal Bridget Moore is a published poet, spoken word artist, classical pianist, editor, and Hip-Hop/ poetry
workshop coordinator. She is currently a Drama instructor at Largo High School in Upper Marlboro, MD. A New
Jersey native, she received a B.A. in English with a concentration in Creative Writing from Rutgers, The State
University of New Jersey in 2001. She is currently working on her rst novel, a poetry-infused, coming of age tale
of Hip-Hop, adventure, and sibling rivalry. The novel will target adolescents ages 11 thru 15.
Dominic Tru Painter is the Executive Director of the Midnight Forum, a DC based non-prot whose goal is to
empower youth through Hip-Hop. Tru is also the co-host of a show on the Decipher, 89.9 WPHW and a respected
deejay in the Washington DC region.
Rachel Ramist is a Feminist Studies Phd student in the Department of Womens Studies at at the University of
Minnesota with a minor in American Studies. Away from school, Rachel is a mother, a lmmaker, a hip-hop femi-
nist, an activist, community organizer, and seeking to better the world. She am most known for my documentary
Nobody Knows My Name, distributed by Women Make Movies, about women in hip-hop.
Aniekan Udoa, of Nigerian heritage, currently resides in Washington DC.artwork focuses on Hip-Hop and can be
found in XXL and Frank 151. Aniekans artwork has been legally muralized on several walls throughout Washing-
ton DC.
Reverend Lennox Yearwood Jr., a minister, community activist, freedom ghter, and hip-hop connoisseur, is the
Chief Executive Ofcer (CEO) of the Hip-Hop Caucus (H2C). H2C is the only Hip-Hop membership organiza-
tion in existence to establish a comprehensive agenda for the Hip-Hop Community. The members of H2C form a
national coalition of pop-culture, social, political, community based, and youth leadership organizations as well as
individuals.
Reverend Yearwood is also a senior consultant for the Russell Simmons Hip Hop Summit Action Network
(HSAN), P. Diddys Citizen Change (Vote OrDie), and Jay Z/S. Carter (Voice Your Choice), providing a national
template for engaging the Hip-Hop generation in community-building
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Hip-Hop Matters -- i am hip-hop, i am changetm Unless we sooting no one notices the youth. -- Tupac Shakur
On the hunger situation in Niger
We, as a community, can donate goods and food to the people in
Niger. But if I had transportation I would bring those people over
to the U.S. so that it could be known that they are starving and
make our government want to pay attention to this issue.
-Julius Hawkins
Partial list of resources
TEXTMcCall, Nathan Makes Me Wanna Holler: A Young Black Man in America Vintage Press 1995
Sister Souljah, No Disrespect. New York: Times Books/Random House, 1994.Journal of Hip-Hop, Issue 1, Spring 2005
Kitwana, Bakari, Hip-Hop Generation: Young Blacks and The Crisis in African-American Culture,
Basic Civtas Booke 2002
LYRICSCommon The Corner- Be (Geffen Records, 2005)
Mos Def Mathematics Black on Both Sides (Priority Records, 1999)
Jay-Z Young Gifted and Black (mixtape, 2003)
Marvin Gaye Inner City Blues (Make Me Wanna Holler) Whats Going On (Motown Records, 1971)
FILMAmandla! A Revolution In Four Part Harmony. Dir Lee Hirsch. Prod. Lee Hirsch, Sherry Simpson,
Desiree Markgraaff. DVD. Dist. Artisan Entertainment. 2002
Freestyle The Art of Rhyme Dir Kevin Fitzgerald DVD. Dist. Palm Pictures. 2005
Juvies. Dir. Leslie Neale. Prod. Mark Wahlberg, John Densmore, Traci Odom.DVD. 2004
Money for Nothing Dir. Ramon Menendez. Prod. Tom Musca, David Permut . Mathew Tolmach.
DVD. Dist. Buena Vista. 1993
Super Size Me. Dir. Morgan Spurlock. Prod. Heather M. Winters DVD. Dist Roadside Attractions /
Samuel Goldwyn Films 2004
Scratch. Dir. Doug Pray, Prod. Allen Hughes, Albert Hughes, Brad Blondheim DVD. Dist. PalmPictures 2001
Style Wars Dir. Tony Silver Prod. Henry Chalfant. DVD Dist. Ryko/Palm Pictures 1983
The Corporation. Dir. Mark Achbar, Jennifer Abbott, Prod. Mark Achbar, Bart Simpson. Dist. Big
Picture Media Corporation 2003
Voices of Cabrini. Dir. Ronit Bezalel Antonio Ferrera. Prod. Judy Hoffman. 1999
BBC News Clips on Famine in Niger. Washington, DC. Tuesday July 19th, 2005
What I Hear I forget. what I see. I remember. what I do I Understand.
Confuscious
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Hip-Hop Matters -- A Hip-Hop Non-Profit . . . promoting the responsible use of Hip-Hop in education
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viewguide
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viewguide
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oflightsandfortune
andfame
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ion,orjustmightbe
livininvain
einthegameitscoolstrollsand
platinumthugs
ackthecash,drugs
andwomen;bubbleincrime,troublein
time
tayhumblewithmine
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rdswhotriedtotake
theshine
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Hip-Hop Matters -- i am hip-hop, i am changetm Unless we sooting no one notices the youth. -- Tupac Shakur
What do you mean when you say Im rebelliousCause I dont accept everything that youre telling usWhat are you selling us the creator dwellin us
I sit in your unknown class while youre failing us
I failed your class cause I aint with your reasoning
Youre tryin make me you by seasoning
KRS-ONE You Must Learn
Ghetto Music - The Blueprint of Hip-Hop
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Overall, I thought the Hip-Hop Summer camp was
fun because it helped you learn and better understand Hip-Hop
interesting and informational because I learned a lot
very fun interesting because we had workshops and different guest
speakers that visited us.
great because I learned about something I never knew before
different because its not a regular class
My favorite part of the class was
when we went canoeing because I never went before
when Joe Leonard came in. I really was interested in what he had to say.