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Writing Frame Form

Just like a picture hung on the wall looks the best when it is displayed in a frame that “fits” the picture, so too is writing at its best when it is written to fit inside its “frame.” The “frame” for writing consists of elements of the writing situation—your audience, your purpose, the genre in which you’re writing, and the time period in which you’re writing. These four elements compose a “frame” that allow you to craft the most effective piece of writing possible for the particular writing situation which you are attempting to address.

For each piece you write in this class you will be asked to identify the “frame” in which you’re writing.Answer the following questions:

1. Who is your audience—in other words, who are you trying to write to? Be SPECIFIC! Don’t just say “general audience.”

Fellow employers, colleagues, classmates, teachers, educators, education administra-tors and policy makers, specifically those who are in more privileged and power-domi-nant positions. Or, those who have not been exposed to Black American perspective/his-tory.

2. What is your purpose—in other words, what effect do you want to have on your reader?

To engage the reader in a conversation regarding the significance in efforts to make progress towards Black American cultural inclusion, specifically in the academic setting. My goal is to call attention to the importance of supporting Black America’s process in re-defining a culture which was systematically banned through historical European en-slavement. My purpose is also to invite the reader into exploring a recent pilot program called “Science Genius” which uses hip-hop pedagogy to teach urban youth of color. My purpose is to, through this program, discuss the larger importance of BA culture, as de-fined by BA. Therefore, “Science Genius” is, at least, a pivotal point in BA history be-cause it, through an ethnic multicultural approach, defies a past which has failed to rep-resent BA in traditional, mainstream Eurocentric curriculums.

What genre are you writing in? What are some of the conventions of this genre that might be important to consider as you begin your writing process?

Argumentative academic writing- I will have a specific audience in mind which I am hop-ing to reach. My paper will include an introduction to orientate the reader, I will make a clearly stated claim, determine my main points, and support them with evidence which is made relevant within my writing. Paper will be double spaced, with a title, 12 point font, Works Cited and a solid conclusion.

4. How is your topic relevant to your audience NOW in the time period in which you’re writing?

In an time when 149 years ago slavery was abolished, discrimination is still seen in the academic setting. This plays out in the progress disparities between dominant and sub-

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ordinate youth. With a curriculum defined by Eurocentric perspectives, it fails to address the needs of minority America, and specifically Black American youth.

5. Given your audience and purpose, what kinds of evidence/support will you need/use to develop your purpose convincingly for your audience?

Statistics provide numbers that display some of the academic disparities in the success of Black Urban Youth, specifically in Sciences.

I will use the example of the Tucson Unified School District’s introduction of Ethnic Studies in their attempt to retain Hispanic students. I will highlight the success of

the program which had the goal of increasing minority achievement, reducing drop out rates and increasing standardized test scores by representing the student’s Mexi-can- American heritage.

These pieces of evidence will support my claim that Black American youth need cultural representation in the academic setting.

6. How will you use YOUR own voice in this piece of writing? Why is YOUR voice im-portant in this piece of writing?

By using I statements, my voice will articulate my critical thinking skills and analysis of the works I am using to determine my point and make my claim. Through use of

my own voice and I statements, it transforms a collection of other people’s pieces of work into a conversation which I am a part of. Therefore, I develop additional theories and insights into something already being built. I open a dialogue through saying my piece in MY voice.

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Minette Roberts

Sara Lushia

WR122_H

30 November 2014

Science Genius: Black American Youth Culture in The Classroom

Dr. Christopher Emdin is the Assistant Professor of Science Education at Colum-

bia University and is Director of Secondary School Initiatives in the Urban Science Edu-

cation Center. He is also the Author of Urban Science Education for the Hip-Hop Gen-

eration. Emdin uses his background to specialize in teacher-training methods which en-

gage urban youth of color in the field of Science, Technologies, Engineering and Mathe-

matics (S.T.E.M) (“Academics”). In his work, Emdin is an academic activist who be-

lieves that Black youth are underrepresented in science literacy.

In his research to define what engages urban youth of Color, Dr. Christopher

Emdin has joined forces with an unconventional source. Hip-hop artist GZA (jiz-uh),

born Gary Grice, or better known as “The Genius”, is a member of WUTANG Clan. A

popular Brooklyn based Hip-Hop group, WUTANG Clan is a group of prolific MCs (Mas-

ter of Ceremonies) who's work has achieved top chart albums while earning themselves

a large committed fan base (“Wutang Clan”). Although an unexpected and unconven-

tional outspoken advocate for science education, GZA believes that hip-hop is the

“voice of the youth” and that it holds the potential to educate urban youth on science lit-

eracy (TEDxTeen).

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Out of this mutual interest in science education, Emdin and GZA have advocated

for urban youth by developing a pilot program called Science Genius. Currently operat-

ing in ten New York City urban public schools, Science Genius is using hip-hop rhyme

cypher as the vehicle to teach participating Black-American youth their school’s accred-

ited science curriculum. GZA attends participating schools regularly to instruct teachers

on incorporating hip-hop into their lesson plans. He acts as a mentor by checking in with

student’s progress. Simultaneously, Emdin works at developing teacher’s understand-

ings of hip-hop pedagogy whom have classrooms participating in the Science Genius

program. Science Genius students are graded on their individual understanding of the

presented concepts through the “content, lyrics, storytelling ability, flow and the com-

plexity of metaphors” (Rand III) used in their recitations of the materials covered in

class.

Historically there have been transparent inequalities within in the socio/economic

system which has excluded minority America. Social stratification is, “the structured

ranking of entire groups of people which perpetuates unequal rewards and power in a

society” (Schaefer 14). Within this paper, I will regularly refer to “minority” and “domi-

nant" groups. Specific to my essay’s purpose, I will use these terms when referring to

power relationships in terms of equality issues, and not used to define race or ethnicity.

I believe this ongoing systematic injustice has manifested itself in the academic setting

and specifically has translated into Black urban youth’s exclusion from knowledge and a

fair chance at achievement, and it seems I am not alone. This is supported by statistics

which display some of the academic disparities playing out in the Black American stu-

dent population. According to the 2009 National Assessment of Education Progress, 4

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percent of African American seniors nationally were proficient in sciences (National). 1

out of 4 of these students statically would go on to earn a college degree in the field of

science technologies (Zhao).

Dr. Emdin explains these disparities here in an interview with Neil DeGrasse

Tyson,

The thing about schooling, as we all know, it’s often times that it doesn’t

foster the creative mind. It’s the Einstein story all over again. That

model continues today a million times over; the most brilliant scien-

tists of our time darn near flunking out. This is a guy, brilliant, intelligent-

he [GZA] didn’t get an opportunity to complete school. Why? That’s

not a function of his intelligence, it’s the function of the inability of our school

system to fost- ter it (TEDxTeen).

I view Emdin’s philosophy on education to be be strikingly accurate within the context of

urban Black youth’s access to a chance at academic achievement.

Furthermore, The National Assessment of Educational Progress (NAEP) is the

largest continuing assessment of America’s student achievement which has been rec-

ognized for measuring student performance at an elementary and secondary level since

1969 (National). It is a congressionally authorized evaluation project of the United

State’s Department of Education (National). It currently serves as “The Nation’s Report

Card” (National). In 2009 The NAEP conducted a Trial Urban District Assessment

(TUDA) to measure all 4th and 8th grader’s knowledge and skill levels regarding sci-

ence and math in the major large urban school districts. Here are the 8th grade aver-

ages (National):

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8TH GRADE AVERAGE SCORES FOR SCIENCE BY RACE/ETHNICITY

Chicago: 150 White, 110 BlackBoston: 160 White, 120 BlackAustin: 178 White, 138 BlackCharlotte: 167 White, 126 BlackCleveland: 144 White, 117 BlackFresno: 151 White, 117 BlackHouston: 172 White, 128 BlackNew York: 151 White, 119 BlackJefferson: 157 White, 128 BlackLos Angeles: 152 White, 113 BlackMiami-Dade: 159 White, 123 BlackMilwaukee: 143 White, 115 BlackSan Diego: 158 White, 125 BlackPhiladelphia: 139 White, 112 Black

These numbers provide a clear representation as to which groups have access

to a quality education, which engages and empowers them as active learners. I see

these statistics as numbers which begin to suggest that minority urban youth of color

are often disengaged in the current framework used in today’s classrooms. And as a fu-

ture educator, I believe that an educational system fails to successfully serve students

who aren’t accurately represented within their academic setting. Science Genius is a

pivotal point in Black American history because the program empowers and engages

Black American youth, whom have been left out of the this traditional mainstream Euro-

centric curriculum.

As stated by Emdin, “The School system is failing but if it focuses more on cul-

ture, there are possibilities for us to reframe it” (“Watching…”). This sentiment is shared

by proponents of Ethnic Studies and Multicultural Education whom advocate for a cur-

riculum which, as Multiculturalist and Ethnic Studies expert Enid Lee explains, “…ad-

dresses the histories and experiences of people who have been left out of the curricu-

lum” (AU). Similarly to the Black American urban youth community, these statistics were

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compellingly parallel within another marginalized minority group whose schools have

failed to represent them in their classroom. The Hispanic student population of Tucson

High School were facing the reality that a mere 48 percent of Latino students were mak-

ing it to graduation day (“Precious Knowledge”).

Hoping to combat this epidemic, a highly successful and effective program was

initiated— the Mexican-American/Raza Studies Program. It had the goal of increasing

student achievement, reducing drop-out rates and increasing standardized test scores

for the area’s Mexican-American youth (“Precious Knowledge”). This was about devel-

oping socio/economic equality and narrowing the achievement gap that was apparent

between the minority and dominant groups.

Within the 2011 documentary Precious Knowledge, I witnessed the empower-

ment and engagement effect that the Ethnic Studies experience had on a previously

largely tuned out Mexican-American student population. Much like Black American

youth, these students similarly felt lost in a setting that didn’t express inclusion of an

identifiable culture. But Tucson Unified School District (TUSD) students were now en-

gaged through a process which used their cultural roots to enhance their interest and

understanding of the material taught in their core classes. So, what followed?

The Ethnic Studies Program had a transformative effect in the classroom. Up

from 48 percent, 93 percent of its enrolled students were graduating and 85 percent

were headed to earn college degrees. The students felt represented and engaged in

their classroom setting, where they once had felt ignored in a systematic structure

where they lacked genuine academic inclusion. As a student of the Mexican-American

Studies program expressed, prior to availability of the the program, he was, “pushed for

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vocational skills and trade classes” and ultimately felt bound by society’s expectation of

him, which had been expressed through his classroom curriculum (“Precious Knowl-

edge”). So, what does this mean for Black American youth?

Dropped out of school by the 10th grade, GZA proves to be a personal testament

for this phenomenon which fails to nurture and engage Black culture in America’s tradi-

tional, dominant centered curriculum. GZA explains, “I was not readily exposed to sci-

ence. It wasn’t until my music career matured that I began to pursue, or I was exposed

to science as an intellectual pursuit… Yet still as a child I still wondered about the static

on the carpet, or the tinfoil that was on the TV antennae” (TEDxTeen). Here GZA refer-

ences his natural curiosity in science through organic observations made as a young

boy. Yet, despite these natural curiosities, his interests went un-nurtured and his atten-

tion was lost in the academic setting.

GZA was always “curious about the physical world but bored with school. Hip-

hop became his outlet for showing off intellectually” (Leland). I believe that GZA’s mem-

ory as a young child depicts a perspective of a passionate pupil being lost in a setting

that failed to help him cultivate his curiosities into valuable knowledge. He is a narrative

of Black American youth, left out of a Eurocentric based education.

This theory is re-enforced by Emdin and GZA, who believes that rap as a

medium to translate the learned material to urban youth is more effective than the tradi-

tional science lecture and recitation style. And as stated by Emdin, “…the more teach-

ers can consider the unique culture of their students, the more relevant and accessible

their education will be” (Emdin). This results in the program’s hip-hop pedagogy which

includes Black American youth culture as a tool of engagement. And as stated by GZA,

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“Science is a way to increase our understanding about the physical universe, and the

more we open up to the universe, the more it opens up to us” (TEDxTeen).

Returning to the introduction of the ethnic studies program in Tucson High

Schools, I saw an example of how cultural acknowledgment was the key tool in engag-

ing his students. With its roots in Mexican indigenous ideologies, “Magical Realism” was

a type of writing style introduced by the teacher Mr. Acosta . Magical Realism was ex-

plained to contain grand dream-like elements which are woven into everyday realities

which often are typical and uninspiring (“Precious Knowledge”). This type of cultural per-

ception presented through the reading of Mexican-American literature, or referred to as

“Magical Realism” in a written context, is widely accepted in Latino culture which histori-

cally has its roots in indigenous and Catholic ideologies and therefore, the approach

and material resonated with Mexican-American students.

What can we take from this TUSD ethnic studies program? I state that Science

Genius is a pivotal point in Black American history because it defies the historical trajec-

tory which has alienated Black youth from the same access to quality education that

dominant America experiences. Although the Mexican-American/Raza studies used

forms of Latino culture such as Magical Realism, for Black urban youth Science Genius

looked to urban youth for guidance. Emdin, through observation and engagement in

these classrooms explains, ”[urban youth] were so deeply engaged in hip hop culture,

so completely disengaged in science,” (“Watching…”). So by way of listening to urban

youth, a hip-hop pedagogy manifested itself in these urban curriculums, through the or-

ganic interests of the students. This interest in hip-hop had become a manifestation of

urban youth culture.

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Science Genius is a significant event in Black American history since it redefines

the American value system which contains a part of Black-American culture, as defined

by Black America. Science Genius, I believe, is the first introduction of Black American

Ethnic studies, a pivotal point in Black American history. Despite the relatively recent

development of this program, comparative programs like the Mexican-American/Raza

student’s experienced, I claim, suggest that the success of Science Genius is promis-

ing. And in an academic reality where curriculums and ways of measuring success are

popularly designed by those in power dominant positions, Science Genius defies previ-

ous concepts of teaching Black youth and it is changing history.

Although I have claimed that it is a school’s ability to empower and engage Black

American youth through an inclusive cultural program, hip-hop is a cultural development

which touches the surface of Black American culture and its values. Despite historical

reform to ban a society in support of segregation, I urge people, policy makers, stu-

dents, parents, teachers and administers to consider the importance of extending past

this effort in order to invite Black American youth into the academic setting in a holistic

manner. Statistics display that efforts to defy America’s institutional racism and discrimi-

nation aren’t adequate for Black youth. Accurately defining Black American culture’s

deeper structures is a challenge in a society which has historically stripped African-

American ancestry of its indigenous roots and customs through the stratification of this

systematic structure. Although Science Genius is addressing this fact within academia.

Science Genius utilizes the manifestations of Black American youth culture to begin this

process of identifying and introducing Black culture into the classroom, as defined by

Black America.

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WORKS CITED

"Academics." Christopher Emdin. N.p., n.d. Web. 16 Oct. 2014.

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Au, Wayne. Rethinking Multicultural Education: Teaching for Racial and Cultural Justice. 2nd

ed. Vol. 1. N.p.: Rethinking Schools, 2009. 54. Print.

Emdin, Christopher. “In Teaching STEM use hip-hop as Bridge”. The New York Times.

The New York Times, 13 Dec. 2013. 16 Oct. 2014.

Leland, John. "A Hip-Hop Experiment." The New York Times. The New York Times, 17

Nov. 2012. Web. 16 Oct. 2014.

National Center for Education Statistics. "The Nation's Report Card." NCES. NCES,

2009. Web. 16 Oct. 2014.

Martin, John. "N.J. Gov. Christie Signs Bipartisan Reform of Nation's Oldest Teacher

Tenure Law." Schools of Thought RSS. Cable News Network, 7 Aug. 2012. Web.

07 Nov. 2014.

"Precious Knowledge :: A Dos Vatos Film." Precious Knowledge :: A Dos Vatos Film. Ed. Jacob

Bricca. N.p., n.d. Web. 06 Nov. 2014.

Rand III, Martin. "Professor: Enter the Wu-Tang to Teach High School Science." Schools of

Thought RSS. Cable News Network, 19 Nov. 2012. Web. 04 Nov. 2014.

"STEM Education And Jobs: Declining Numbers Of Blacks Seen In Math, Science."

MadameNoire RSS. Ed. Washington Jesse. Madame Noire, 25 Oct. 2011.

Web. 04 Nov. 2014.

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"TEDxTeen.com - GZA & Science Genius - "The Genius of Science"" TEDxTeen.com -

GZA & Science Genius - "The Genius of Science" N.p., n.d. Web. 16 Oct. 2014.

"Watching Neil DeGrasse Tyson Connect with Rapper GZA - StarTalk Radio Show by

Neil DeGrasse Tyson." StarTalk Radio Show by Neil DeGrasse Tyson. N.p., n.d.

Web. 16 Oct. 2014.

"Wu-Tang Clan." Biography at Wu-Tang Corp. N.p., n.d. Web. 23 Oct. 2014.

Zhao, Emmeline. "STEM Education And Jobs: Declining Numbers Of Blacks Seen In

Math, Science." The Huffington Post. TheHuffingtonPost.com, 24 Oct. 2011.

Web. 05 Nov. 2014.