How Teachers Can See Students' Identities As Learning Strengths
How Hip Hop Can Foster the Scientific Mind
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Though the programs had changed and morphed over the years, the students remained enthusiastic and receptive to their style, which was first teaching kids about Shakespeare’s life and the times in which he lived and wrote, followed by getting kids up on their feet and speaking Shakespeare.\u003c/p>\n\u003cp>“The axiom I go by is, you learn Shakespeare by doing Shakespeare,” he said. “And the idea [of the workshops] was to get kids up on their feet and speak Shakespeare aloud.”\u003c/p>\n\u003cp class=\"p1\">Then two years ago, at the suggestion of a fellow actor, Kelly decided to take a different tack: Incorporate music, specifically hip-hop, into a typical workshop. He pulled apart one of his traditional presentations featuring Shakespearean speeches from different plays, and revamped it with hip-hop beats and music. They focused on the rhythm and poetry of both art forms, and even designed a rap version of the \"To be or not to be\" soliloquy from \u003ci>Hamlet\u003c/i>, comparing it with the themes of some present-day hip-hop songs. “We will say [to the students], ‘Oh, isn’t that interesting? 400 years ago this guy was talking about this [suicide, indecision], so really, nothing has changed, has it?”\u003c/p>\n\u003cp class=\"p1\">When they brought it to high schools, “Shakespeare Meets Hip-Hop” was an instant success. “The presentation itself, they loved,” Kelly said. “They’d go bananas when we would do it, and they loved all the musical stuff we put in there.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tvVg2O0q0rQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"p1\">No one has championed the connection between the centuries-old literature of Shakespeare and hip-hop music more than MOBO Award-winning UK rapper Akala, born Kingslee Daley, who was so moved by the similarities between the two that he founded \u003ca href=\"http://www.hiphopshakespeare.com/\">The Hip-Hop Shakespeare Company\u003c/a> (THSC) in London. Focusing on productions that meld the two styles in experimental ways, THSC also provides workshops aimed at students to expand their understanding of what Shakespeare is, and what it could be.\u003c/p>\n\u003cp class=\"p1\">Akala said he’d first seen Shakespeare’s genius and “subversive potential” when he was a teenager, for which he credits good English and drama teachers at his inner-city London high school. “I grew up listening to Chuck D and Jimi Hendrix and Bob Marley, and all kinds of really deep, political social commentary forms of music,” he said. “So when I encountered Shakespeare in school, I immediately recognized the kind of genius in his work -- elaborate characterization and the rhythm, particularly.”\u003c/p>\n\u003cp class=\"p1\">Part of the unofficial mission of THSC is to knock Shakespeare off its “high art” pedestal, which it certainly wasn’t considered in its time. Akala said that Shakespeare was viewed by Elizabethans the way hip-hop is viewed today by middle-class Americans or British: “It was considered a little bit risky, a little bit naughty and dangerous.”\u003c/p>\n\u003cp class=\"p1\">Both art forms also feature some raw human behaviors and emotions — sex, jealousy, plotting and killing, to name just a few. But when first approaching it in high school, that’s a side that students don’t often see.\u003c/p>\n\u003cp class=\"p1\">“Shakespeare, like all great poetry, deals with what it means to be human: love, tragedy, war, violence,” Akala said. “Think of \u003ci>Titus Andronicus -- \u003c/i>one guy doesn’t like some other guys, so he cuts them up and puts them in a pie and feeds them to the other guys’ parents. If Biggie Smalls told that same story, people would say, ‘Why is Biggie promoting violence?’ ”\u003c/p>\n\u003cp class=\"p1\">Both Shakespeare and hip-hop stretch and shape the usage of the English language, using imagery and especially rhythm to tell the story in a powerful way. In a recent \u003ca href=\"https://www.youtube.com/watch?v=DSbtkLA3GrY\">TEDx Talk\u003c/a>, Akala gave multiple examples of hip-hop songs that mimic the iambic rhythm (de-DUM de-DUM) that Shakespeare used for the vast majority of his verse -- the language and rhythm fused together in a style so similar that the audience had difficulty deciphering which verse was Shakespeare and which was hip-hop. Watch Akala perform \u003cem>Sonnet 18\u003c/em> at 5:20 here:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DSbtkLA3GrY\u003c/p>\n\u003cp class=\"p1\">Peggy O’Brien, director of education at the \u003ca href=\"http://www.folger.edu/\">Folger Shakespeare Library\u003c/a> in Washington, D.C., said often the study of Shakespeare can focus too much on what the words mean and not enough on what they sound and feel like.\u003c/p>\n\u003cp class=\"p1\">“[Shakespeare] is the only book that we give to students that has footnotes everywhere, footnotes and glossaries, where we tell kids practically what every word means,” she said. “And so what happens is, we focus only on the meaning, and we forget that a ton of what Shakespeare is about is what it sounds like with the language, the meter and the rhyme. But hip-hop and freestyle and beatbox, which is all about meter and rhyme, is a fabulous way to enter that world. And you can get to meaning after that.”\u003c/p>\n\u003cp class=\"p1\">O’Brien said that Shakespeare has been adapted to different times in history since nearly the moment he wrote the plays, and calls the trend to bring hip-hop and Shakespeare together a great one. When asked if teachers can use hip-hop to connect students to Shakespeare, she said, “Students can use hip-hop to connect \u003cem>themselves\u003c/em> to Shakespeare. If Shakespeare were around today, he’d be doing what Lin-Manuel Miranda has done.” Miranda used hip-hop to tell the story of the \"$10 founding father,\" Alexander Hamilton in this year’s smash Broadway musical, \u003ci>Hamilton\u003c/i>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WNFf7nMIGnE\u003c/p>\n\u003cp class=\"p1\">But beyond finding the rhyming parallels between Jay-Z and the Bard, Akala seems to be on a broader mission, and that’s to bring a message to students that Shakespeare, or what many consider any “great” art, doesn’t belong to any one group. Growing up in London as the grandson of Jamaican immigrants, Akala felt commonalities with the roots of American hip-hop, which was born in the tumultuous neighborhoods of the Bronx in the 1970s.\u003c/p>\n\u003cp class=\"p1\">“Coming from a socioeconomically privileged background doesn’t make you more intelligent than anyone else. You just have more access,” he said. “In the sense of, if you’re not white and you don’t speak in a particular way and you don’t have money, then you’re not a 'legitimate' custodian of the knowledge. For people from my background -- children of working-class, immigrant populations -- we were inspired by Wu-Tang Clan, from the projects of Staten Island. Listen to the words that Wu Tang had the audacity to use: words like \u003ci>cometh\u003c/i> and \u003ci>benevolent\u003c/i>. They talked about Socrates. And for me, growing up thousands of miles away from New York in London, it gave me a sense at 13 years old that intelligence was sexy, that it was interesting and attractive.”\u003c/p>\n\u003cp class=\"p1\">In Kelly’s experience performing \"Shakespeare Meets Hip-Hop\" in schools, students get the connection. “Both rappers and Shakespeare, they’re talking about the struggle of humanity. That’s what’s interesting about the two art forms,” he said.\u003c/p>\n\u003cp class=\"p1\">O’Brien is eager to incorporate hip-hop into the programs at the Folger, and said she’s actively looking for musicians and hip-hop artists to work with.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp class=\"p1\">“It’s a captive audience because kids have to take Shakespeare in school,” she said. “So if we can get that first intro to Shakespeare [through hip-hop], not even the language adapted, but just the way he wrote it through the meter and the rhyme -- that’s a great way to open that door.”\u003c/p>\n\n","blocks":[],"excerpt":"Performing Shakespeare through the lens of hip hop and youth culture is helping the bard's words and messages find relevance among students.","status":"publish","parent":0,"modified":1472735415,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":4,"wordCount":1365},"headData":{"title":"How Hip-Hop Can Bring Shakespeare to Life | KQED","description":"Performing Shakespeare through the lens of hip hop and youth culture is helping the bard's words and messages find relevance among students.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How Hip-Hop Can Bring Shakespeare to Life","datePublished":"2016-09-01T13:03:55.000Z","dateModified":"2016-09-01T13:10:15.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"46215 http://ww2.kqed.org/mindshift/?p=46215","disqusUrl":"https://ww2.kqed.org/mindshift/2016/09/01/how-hip-hop-can-bring-shakespeare-to-life/","disqusTitle":"How Hip-Hop Can Bring Shakespeare to Life","path":"/mindshift/46215/how-hip-hop-can-bring-shakespeare-to-life","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Artistic director Michael Kelly had been bringing Shakespeare to schools in the greater Toronto area since 1987 with his company \u003ca href=\"http://www.shakespeareinaction.org/\">Shakespeare in Action\u003c/a>, creating presentations and workshops for ages kindergarten through high school. Though the programs had changed and morphed over the years, the students remained enthusiastic and receptive to their style, which was first teaching kids about Shakespeare’s life and the times in which he lived and wrote, followed by getting kids up on their feet and speaking Shakespeare.\u003c/p>\n\u003cp>“The axiom I go by is, you learn Shakespeare by doing Shakespeare,” he said. “And the idea [of the workshops] was to get kids up on their feet and speak Shakespeare aloud.”\u003c/p>\n\u003cp class=\"p1\">Then two years ago, at the suggestion of a fellow actor, Kelly decided to take a different tack: Incorporate music, specifically hip-hop, into a typical workshop. He pulled apart one of his traditional presentations featuring Shakespearean speeches from different plays, and revamped it with hip-hop beats and music. They focused on the rhythm and poetry of both art forms, and even designed a rap version of the \"To be or not to be\" soliloquy from \u003ci>Hamlet\u003c/i>, comparing it with the themes of some present-day hip-hop songs. “We will say [to the students], ‘Oh, isn’t that interesting? 400 years ago this guy was talking about this [suicide, indecision], so really, nothing has changed, has it?”\u003c/p>\n\u003cp class=\"p1\">When they brought it to high schools, “Shakespeare Meets Hip-Hop” was an instant success. “The presentation itself, they loved,” Kelly said. “They’d go bananas when we would do it, and they loved all the musical stuff we put in there.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tvVg2O0q0rQ'\n title='//www.youtube.com/embed/tvVg2O0q0rQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"p1\">No one has championed the connection between the centuries-old literature of Shakespeare and hip-hop music more than MOBO Award-winning UK rapper Akala, born Kingslee Daley, who was so moved by the similarities between the two that he founded \u003ca href=\"http://www.hiphopshakespeare.com/\">The Hip-Hop Shakespeare Company\u003c/a> (THSC) in London. Focusing on productions that meld the two styles in experimental ways, THSC also provides workshops aimed at students to expand their understanding of what Shakespeare is, and what it could be.\u003c/p>\n\u003cp class=\"p1\">Akala said he’d first seen Shakespeare’s genius and “subversive potential” when he was a teenager, for which he credits good English and drama teachers at his inner-city London high school. “I grew up listening to Chuck D and Jimi Hendrix and Bob Marley, and all kinds of really deep, political social commentary forms of music,” he said. “So when I encountered Shakespeare in school, I immediately recognized the kind of genius in his work -- elaborate characterization and the rhythm, particularly.”\u003c/p>\n\u003cp class=\"p1\">Part of the unofficial mission of THSC is to knock Shakespeare off its “high art” pedestal, which it certainly wasn’t considered in its time. Akala said that Shakespeare was viewed by Elizabethans the way hip-hop is viewed today by middle-class Americans or British: “It was considered a little bit risky, a little bit naughty and dangerous.”\u003c/p>\n\u003cp class=\"p1\">Both art forms also feature some raw human behaviors and emotions — sex, jealousy, plotting and killing, to name just a few. But when first approaching it in high school, that’s a side that students don’t often see.\u003c/p>\n\u003cp class=\"p1\">“Shakespeare, like all great poetry, deals with what it means to be human: love, tragedy, war, violence,” Akala said. “Think of \u003ci>Titus Andronicus -- \u003c/i>one guy doesn’t like some other guys, so he cuts them up and puts them in a pie and feeds them to the other guys’ parents. If Biggie Smalls told that same story, people would say, ‘Why is Biggie promoting violence?’ ”\u003c/p>\n\u003cp class=\"p1\">Both Shakespeare and hip-hop stretch and shape the usage of the English language, using imagery and especially rhythm to tell the story in a powerful way. In a recent \u003ca href=\"https://www.youtube.com/watch?v=DSbtkLA3GrY\">TEDx Talk\u003c/a>, Akala gave multiple examples of hip-hop songs that mimic the iambic rhythm (de-DUM de-DUM) that Shakespeare used for the vast majority of his verse -- the language and rhythm fused together in a style so similar that the audience had difficulty deciphering which verse was Shakespeare and which was hip-hop. Watch Akala perform \u003cem>Sonnet 18\u003c/em> at 5:20 here:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DSbtkLA3GrY'\n title='//www.youtube.com/embed/DSbtkLA3GrY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">Peggy O’Brien, director of education at the \u003ca href=\"http://www.folger.edu/\">Folger Shakespeare Library\u003c/a> in Washington, D.C., said often the study of Shakespeare can focus too much on what the words mean and not enough on what they sound and feel like.\u003c/p>\n\u003cp class=\"p1\">“[Shakespeare] is the only book that we give to students that has footnotes everywhere, footnotes and glossaries, where we tell kids practically what every word means,” she said. “And so what happens is, we focus only on the meaning, and we forget that a ton of what Shakespeare is about is what it sounds like with the language, the meter and the rhyme. But hip-hop and freestyle and beatbox, which is all about meter and rhyme, is a fabulous way to enter that world. And you can get to meaning after that.”\u003c/p>\n\u003cp class=\"p1\">O’Brien said that Shakespeare has been adapted to different times in history since nearly the moment he wrote the plays, and calls the trend to bring hip-hop and Shakespeare together a great one. When asked if teachers can use hip-hop to connect students to Shakespeare, she said, “Students can use hip-hop to connect \u003cem>themselves\u003c/em> to Shakespeare. If Shakespeare were around today, he’d be doing what Lin-Manuel Miranda has done.” Miranda used hip-hop to tell the story of the \"$10 founding father,\" Alexander Hamilton in this year’s smash Broadway musical, \u003ci>Hamilton\u003c/i>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WNFf7nMIGnE'\n title='//www.youtube.com/embed/WNFf7nMIGnE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">But beyond finding the rhyming parallels between Jay-Z and the Bard, Akala seems to be on a broader mission, and that’s to bring a message to students that Shakespeare, or what many consider any “great” art, doesn’t belong to any one group. Growing up in London as the grandson of Jamaican immigrants, Akala felt commonalities with the roots of American hip-hop, which was born in the tumultuous neighborhoods of the Bronx in the 1970s.\u003c/p>\n\u003cp class=\"p1\">“Coming from a socioeconomically privileged background doesn’t make you more intelligent than anyone else. You just have more access,” he said. “In the sense of, if you’re not white and you don’t speak in a particular way and you don’t have money, then you’re not a 'legitimate' custodian of the knowledge. For people from my background -- children of working-class, immigrant populations -- we were inspired by Wu-Tang Clan, from the projects of Staten Island. Listen to the words that Wu Tang had the audacity to use: words like \u003ci>cometh\u003c/i> and \u003ci>benevolent\u003c/i>. They talked about Socrates. And for me, growing up thousands of miles away from New York in London, it gave me a sense at 13 years old that intelligence was sexy, that it was interesting and attractive.”\u003c/p>\n\u003cp class=\"p1\">In Kelly’s experience performing \"Shakespeare Meets Hip-Hop\" in schools, students get the connection. “Both rappers and Shakespeare, they’re talking about the struggle of humanity. That’s what’s interesting about the two art forms,” he said.\u003c/p>\n\u003cp class=\"p1\">O’Brien is eager to incorporate hip-hop into the programs at the Folger, and said she’s actively looking for musicians and hip-hop artists to work with.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"p1\">“It’s a captive audience because kids have to take Shakespeare in school,” she said. “So if we can get that first intro to Shakespeare [through hip-hop], not even the language adapted, but just the way he wrote it through the meter and the rhyme -- that’s a great way to open that door.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/mindshift/46215/how-hip-hop-can-bring-shakespeare-to-life","authors":["4445"],"categories":["mindshift_192"],"tags":["mindshift_20646","mindshift_20784","mindshift_1040","mindshift_20976","mindshift_20682","mindshift_364","mindshift_21016","mindshift_978"],"featImg":"mindshift_46256","label":"mindshift"},"mindshift_45524":{"type":"posts","id":"mindshift_45524","meta":{"index":"posts_1591205157","site":"mindshift","id":"45524","score":null,"sort":[1468912071000]},"guestAuthors":[],"slug":"how-teachers-can-see-students-identities-as-learning-strengths","title":"How Teachers Can See Students' Identities As Learning Strengths","publishDate":1468912071,"format":"standard","headTitle":"MindShift | KQED News","labelTerm":{"site":"mindshift"},"content":"\u003cp>Time and again both research and anecdotal stories from impactful teachers show that trust and respect are crucial ingredients to high functioning classrooms. But reaching that level of deep understanding with a diverse group of learners requires more than acting professionally or expertise in academic content. Often the disconnect between a teacher’s culture and his or her students’ culture unintentionally creates a divide.\u003c/p>\n\u003cp>In his new book \u003ca href=\"http://www.beacon.org/For-White-Folks-Who-Teach-in-the-Hoodand-the-Rest-of-Yall-Too-P1187.aspx\">\u003cem>For White Folks Who Teach in the Hood: and the Rest of Y’all Too\u003c/em>\u003c/a>, Dr. Christopher Emdin writes that when teachers adopt \u003ca href=\"http://ww2.kqed.org/mindshift/2016/04/18/what-teachers-can-gain-when-students-design-the-lessons/\" target=\"_blank\" rel=\"noopener noreferrer\">what he calls “reality pedagogy” \u003c/a>they can bridge the gap between themselves and their students and reach deeper levels of content learning. Teaching with reality pedagogy means, in part, opening up space for, and actively valuing, students’ expertise on their own lives, communities and ways of learning.\u003c/p>\n\u003cp>Emdin acknowledges these practices can be difficult for teachers schooled in a more traditional approach to education, but his work as a professor at \u003ca href=\"http://www.tc.columbia.edu/faculty/ce2165/\" target=\"_blank\" rel=\"noopener noreferrer\">Teachers College, Columbia University\u003c/a> has convinced him that teachers from all backgrounds are capable of using this approach effectively. He not only uses the practices with his own graduate students, but he has watched them go out into classrooms around the country and do the same.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/bIgAEqG_UwY\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>GIVING STUDENTS A MEANINGFUL VOICE\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>George Sirrakos’ first teaching experience was in the Bronx, and although he grew up in New York City, he had rarely been to the neighborhoods his students called home. As a white, male teacher, his experience growing up as a New Yorker did not mirror those of his students, and he wanted to try out some of the reality pedagogy techniques he learned in Dr. Emdin’s class.\u003c/p>\n\u003cp>Sirrakos said he first tried a core practice Emdin calls “co-generative dialogue,” where teachers select students who represent a variety of classroom experiences to give feedback on the class. The teacher actively listens and solicits solutions students believe would help them. Sirrakos said when he first tried this, students just complained.\u003c/p>\n\u003cp>“As a new teacher, I was spending a lot of time on my lesson plans, so when you think you’re spinning this brilliance to students and then they spend an hour telling you why this class sucks so much, it’s kind of eye opening,” Sirrakos said. Naturally, he immediately felt defensive, but he worked hard to hold those feelings at bay and focused on listening to what the students were saying.\u003c/p>\n\u003cp>For example, Sirrakos had spent a lot of time and his own money to decorate his science classroom with posters and quotes he hoped would inspire his science students. In a dialogue, one student told him that his class environment was boring. Sirrakos was confused and pointed out all the decorations on the walls meant to liven up the room. His students explained those images represented him, not them. Sirrakos was still confused, but he asked his students to help him fix the problem.\u003c/p>\n\u003cp>Students started bringing in their own posters, including things they made. The one rule was it had to be related to science in some way. Immediately students were more cheerful. “They have to be part of the solution,” Sirrakos said. “That’s where we talk about having these co-generative plans of action.” In this example, the solution didn’t require a big shift, it only required that Sirrakos recognize he wasn’t achieving the result he thought he was, and be open to students’ owning their classroom space.\u003c/p>\n\u003cp>In his first two years of teaching, Sirrakos felt like he was being pulled in two directions. His first year went fairly well, although he realized he was using a hyper-standardized way of teaching with lots of rote memorization. Students took to it well because they were used to that approach. But as he gradually began using more reality pedagogy, he noticed students were more involved in their learning.\u003c/p>\n\u003cp>It was a big shift when he really started to believe that, “whatever the students are telling me does have some value,” Sirrakos said. “I still position myself as the expert when it comes to pedagogy and learning, but I don’t position myself as the sole holder of that knowledge.”\u003c/p>\n\u003cp>Practically, this means Sirrakos continues to do co-generative dialogues to get student input and then acts on the feedback he receives. He lets them choose how they will display their knowledge, not always insisting on a standardized assignment. He encourages student questions, even if they take the conversation beyond the curriculum. And, he admits to students when he’s not an expert.\u003c/p>\n\u003cp>Trained as a biologist, Sirrakos has less depth of knowledge about physics. So, when students asked questions that were beyond his knowledge he told them he didn’t know and encouraged them to try to find the answers on their own and report back. He’d give them extra credit when they did their own research to answer student-posed questions.\u003c/p>\n\u003cp>The core part of this approach has little to do with how teachers invite students to participate in creating the class -- co-generative dialogues are just one way -- but giving students authentic voice matters. When teachers insist that class be structured one way, with a single measure of success, and materials created from one point of view, it doesn’t feel designed for the students themselves. Listening to their input, acting on it, and valuing who they are and what they bring to the classroom without preconceived notions about their identities is a core part of implementing this approach.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/YQrj4NPefd8\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nLETTING STUDENTS TAKE THE LEAD\u003c/strong>\u003c/p>\n\u003cp>Another core strategy Emdin discusses in his book is co-teaching, in which teachers ask students to master material and teach it to their peers. In his book Emdin writes, “the fundamental principle of co-teaching in reality pedagogy is that the neoindigenous student is the expert on the best way to deliver information to others who are part of their culture.” This is true any time the teacher’s culture is not the same as their students, regardless of race and class.\u003c/p>\n\u003cp>Emdin writes about the disconnect he felt from his mostly white Ivy-league graduate students. They didn’t connect to his style of teaching, but when he let them teach each other parts of the curriculum they responded much better. It’s important to note that when Emdin watched students teach, he felt the pace was too slow and that it wasn’t how he would teach, but that didn’t make it wrong. The other students in the class responded very positively to these experiences because the teaching was of their culture. And Emdin learned some things he could use to reach his students better.\u003c/p>\n\u003cp>Sirrakos has had success using co-teaching methods with both his Bronx students and students an an elite international school in Germany, although he says it requires more time and effort. Students aren’t teachers, even though they often communicate with one another more clearly than their teacher can. When asking students to design and give a lesson, the teacher has to be prepared to give them plenty of time to master the content, and provide support with materials and lesson formats. Sirrakos found it was important to share with students that he wanted to learn from their styles of teaching.\u003c/p>\n\u003cp>“What I learned was having students undergo that iterative process, they were able to function as ambassadors for future students,” Sirrakos said. This was a side benefit because it empowered students to play an even more invested role in the culture and function of the classroom.\u003c/p>\n\u003cp>Sirrakos remembers one student teaching a lesson about the process of photosynthesis, which involves chloroplast and chlorophyll within the plant cell. The student put up a picture of a Twinkie. He asked his classmates what was on the outside of a Twinkie; they answered, a plastic wrapper. Good, he said, so you’re going to remember that chloro-\"plast,” like plastic, is on the outside. Then he asked what was on the inside of a Twinkie; creme filling they answered. So chloro-\"phyll,” like filling, is on the inside. Students immediately got it and when they took exams Sirrakos would sometimes notice students writing those analogies in the margin so they could remember.\u003c/p>\n\u003cp>Sirrakos used the analogy with many future classes, although he discovered it didn’t work with his students in Germany who weren’t familiar with Twinkies because they came from a different culture. Sirrakos also learned from his students that his PowerPoints were boring compared to theirs and that his body language and positioning in the classroom was holding him at a distance. He noticed that when students taught, they moved around, joining their peers in the middle of the room, whereas when he was teaching he would often stay at the front.\u003c/p>\n\u003cp>He began incorporating all these ideas into his own teaching and his students gradually became more engaged with the material and seemed to learn it better too. Interestingly, many of the more progressive teaching practices were already in place at the German international school and Sirrakos unconsciously began teaching more traditionally, perhaps because his students were more affluent and he thought they’d get it on their own.\u003c/p>\n\u003cp>But his students started acting out in class and showing other signs of disengagement. Emdin reminded Sirrakos that he was a foreigner in their culture and needed to use the same reality pedagogy strategies to reach these students as he had with the inner city New York City students who had a different culture. This was an important lesson -- the reality of students each year is going to be different.\u003c/p>\n\u003cp>“The content may not change, but your ability to make the connections between their realities and the content is going to be different,” Sirrakos said.\u003cbr>\n\u003cstrong>\u003cbr>\nHIP HOP AS A TEACHING VEHICLE\u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/1-5aQQ5SriE\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Wauwatosa is a suburban area outside Milwaukee. And in this environment, high school English teacher Jon Balcerak is having a lot of success teaching hip hop.\u003c/p>\n\u003cp>Most teenagers are aware of and often listen to hip hop music. “When I play a song, it’s not like part of the student population gets it and everyone else is wondering what’s this strange music,” Balcerak said. Not only do kids everywhere listen to hip hop, but many are aware of hip hop culture too, including things like ciphers, where lyricists trade off rhyming in a collaborative circle. Balcerak has found there are important lessons about the give and take of ideas, sharing the floor, and listening embedded in a tradition that isn’t part of the culture he grew up in.\u003c/p>\n\u003cp>Balcerak doesn’t infuse hip hop in everything, but he does often hold up a verse or a rhyme as a valuable text to study. For example, when he teaches American literature he inevitably touches on transcendentalism and the writing of white men like Emerson and Thoreau. Alongside those older texts, Balcerak will ask students to examine a hip hop verse to show the ideas are present in pop culture as well.\u003c/p>\n\u003cp>“It’s very much the object of that lesson, it’s not a bridge to some canonical text,” Balcerak said. He’s found that teaching through hip hop is a good way to open up conversations with students about some of the social justice issues relevant to their lives today.\u003c/p>\n\u003cp>“This is culture and music and art that kids are already attuned to,” Balcerak said. “You get to meet them where they are.”\u003c/p>\n\u003cp>More than merely teaching with hip hop, thinking through these ideas has helped Balcerak to open himself up to his students, listen to their suggestions, trust them, and to see respect as a multidimensional gift that goes far beyond mere obedience.\u003c/p>\n\u003cp>“The first thing is about creating a culture of respect,” Balcerak said. “You can do that without any hip hop aspects at all.”\u003c/p>\n\u003cp>In fact, assuming kids like hip hop can actually be the opposite of respectful. George Sirrakos now teaches education at Kutztown University in Pennsylvania and he coaches many teachers. He remembers one well-meaning teacher who assigned students to write a rap about evolution. He was impressed by her alternative assignment and asked her how she had come up with it. She replied that her students were of color so they all liked hip hop music.\u003c/p>\n\u003cp>When Sirrakos asked the class whether they liked hip hop, about three quarters said they listened to it and the rest named a variety of other types of music. But the students assumed the teacher had assigned them raps because of who they were.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“They’re not dumb; they can see through the instructors’ attempts,” Sirrakos said. In this case, the teacher made assumptions about her students using her own cultural lens, rather than getting to know her students well enough to be sure of her conclusion.\u003c/p>\n\n","blocks":[],"excerpt":"Teachers develop lessons that are more relevant by asking students for critiques and giving them some teaching responsibilities. ","status":"publish","parent":0,"modified":1595852600,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":39,"wordCount":2221},"headData":{"title":"How Teachers Can See Students' Identities As Learning Strengths - MindShift","description":"Teachers develop lessons that are more relevant by asking students for critiques and giving them some teaching responsibilities. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How Teachers Can See Students' Identities As Learning Strengths","datePublished":"2016-07-19T07:07:51.000Z","dateModified":"2020-07-27T12:23:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"45524 http://ww2.kqed.org/mindshift/?p=45524","disqusUrl":"https://ww2.kqed.org/mindshift/2016/07/19/how-teachers-can-see-students-identities-as-learning-strengths/","disqusTitle":"How Teachers Can See Students' Identities As Learning Strengths","templateType":"standard","featuredImageType":"standard","path":"/mindshift/45524/how-teachers-can-see-students-identities-as-learning-strengths","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Time and again both research and anecdotal stories from impactful teachers show that trust and respect are crucial ingredients to high functioning classrooms. But reaching that level of deep understanding with a diverse group of learners requires more than acting professionally or expertise in academic content. Often the disconnect between a teacher’s culture and his or her students’ culture unintentionally creates a divide.\u003c/p>\n\u003cp>In his new book \u003ca href=\"http://www.beacon.org/For-White-Folks-Who-Teach-in-the-Hoodand-the-Rest-of-Yall-Too-P1187.aspx\">\u003cem>For White Folks Who Teach in the Hood: and the Rest of Y’all Too\u003c/em>\u003c/a>, Dr. Christopher Emdin writes that when teachers adopt \u003ca href=\"http://ww2.kqed.org/mindshift/2016/04/18/what-teachers-can-gain-when-students-design-the-lessons/\" target=\"_blank\" rel=\"noopener noreferrer\">what he calls “reality pedagogy” \u003c/a>they can bridge the gap between themselves and their students and reach deeper levels of content learning. Teaching with reality pedagogy means, in part, opening up space for, and actively valuing, students’ expertise on their own lives, communities and ways of learning.\u003c/p>\n\u003cp>Emdin acknowledges these practices can be difficult for teachers schooled in a more traditional approach to education, but his work as a professor at \u003ca href=\"http://www.tc.columbia.edu/faculty/ce2165/\" target=\"_blank\" rel=\"noopener noreferrer\">Teachers College, Columbia University\u003c/a> has convinced him that teachers from all backgrounds are capable of using this approach effectively. He not only uses the practices with his own graduate students, but he has watched them go out into classrooms around the country and do the same.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/bIgAEqG_UwY\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>GIVING STUDENTS A MEANINGFUL VOICE\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>George Sirrakos’ first teaching experience was in the Bronx, and although he grew up in New York City, he had rarely been to the neighborhoods his students called home. As a white, male teacher, his experience growing up as a New Yorker did not mirror those of his students, and he wanted to try out some of the reality pedagogy techniques he learned in Dr. Emdin’s class.\u003c/p>\n\u003cp>Sirrakos said he first tried a core practice Emdin calls “co-generative dialogue,” where teachers select students who represent a variety of classroom experiences to give feedback on the class. The teacher actively listens and solicits solutions students believe would help them. Sirrakos said when he first tried this, students just complained.\u003c/p>\n\u003cp>“As a new teacher, I was spending a lot of time on my lesson plans, so when you think you’re spinning this brilliance to students and then they spend an hour telling you why this class sucks so much, it’s kind of eye opening,” Sirrakos said. Naturally, he immediately felt defensive, but he worked hard to hold those feelings at bay and focused on listening to what the students were saying.\u003c/p>\n\u003cp>For example, Sirrakos had spent a lot of time and his own money to decorate his science classroom with posters and quotes he hoped would inspire his science students. In a dialogue, one student told him that his class environment was boring. Sirrakos was confused and pointed out all the decorations on the walls meant to liven up the room. His students explained those images represented him, not them. Sirrakos was still confused, but he asked his students to help him fix the problem.\u003c/p>\n\u003cp>Students started bringing in their own posters, including things they made. The one rule was it had to be related to science in some way. Immediately students were more cheerful. “They have to be part of the solution,” Sirrakos said. “That’s where we talk about having these co-generative plans of action.” In this example, the solution didn’t require a big shift, it only required that Sirrakos recognize he wasn’t achieving the result he thought he was, and be open to students’ owning their classroom space.\u003c/p>\n\u003cp>In his first two years of teaching, Sirrakos felt like he was being pulled in two directions. His first year went fairly well, although he realized he was using a hyper-standardized way of teaching with lots of rote memorization. Students took to it well because they were used to that approach. But as he gradually began using more reality pedagogy, he noticed students were more involved in their learning.\u003c/p>\n\u003cp>It was a big shift when he really started to believe that, “whatever the students are telling me does have some value,” Sirrakos said. “I still position myself as the expert when it comes to pedagogy and learning, but I don’t position myself as the sole holder of that knowledge.”\u003c/p>\n\u003cp>Practically, this means Sirrakos continues to do co-generative dialogues to get student input and then acts on the feedback he receives. He lets them choose how they will display their knowledge, not always insisting on a standardized assignment. He encourages student questions, even if they take the conversation beyond the curriculum. And, he admits to students when he’s not an expert.\u003c/p>\n\u003cp>Trained as a biologist, Sirrakos has less depth of knowledge about physics. So, when students asked questions that were beyond his knowledge he told them he didn’t know and encouraged them to try to find the answers on their own and report back. He’d give them extra credit when they did their own research to answer student-posed questions.\u003c/p>\n\u003cp>The core part of this approach has little to do with how teachers invite students to participate in creating the class -- co-generative dialogues are just one way -- but giving students authentic voice matters. When teachers insist that class be structured one way, with a single measure of success, and materials created from one point of view, it doesn’t feel designed for the students themselves. Listening to their input, acting on it, and valuing who they are and what they bring to the classroom without preconceived notions about their identities is a core part of implementing this approach.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/YQrj4NPefd8\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nLETTING STUDENTS TAKE THE LEAD\u003c/strong>\u003c/p>\n\u003cp>Another core strategy Emdin discusses in his book is co-teaching, in which teachers ask students to master material and teach it to their peers. In his book Emdin writes, “the fundamental principle of co-teaching in reality pedagogy is that the neoindigenous student is the expert on the best way to deliver information to others who are part of their culture.” This is true any time the teacher’s culture is not the same as their students, regardless of race and class.\u003c/p>\n\u003cp>Emdin writes about the disconnect he felt from his mostly white Ivy-league graduate students. They didn’t connect to his style of teaching, but when he let them teach each other parts of the curriculum they responded much better. It’s important to note that when Emdin watched students teach, he felt the pace was too slow and that it wasn’t how he would teach, but that didn’t make it wrong. The other students in the class responded very positively to these experiences because the teaching was of their culture. And Emdin learned some things he could use to reach his students better.\u003c/p>\n\u003cp>Sirrakos has had success using co-teaching methods with both his Bronx students and students an an elite international school in Germany, although he says it requires more time and effort. Students aren’t teachers, even though they often communicate with one another more clearly than their teacher can. When asking students to design and give a lesson, the teacher has to be prepared to give them plenty of time to master the content, and provide support with materials and lesson formats. Sirrakos found it was important to share with students that he wanted to learn from their styles of teaching.\u003c/p>\n\u003cp>“What I learned was having students undergo that iterative process, they were able to function as ambassadors for future students,” Sirrakos said. This was a side benefit because it empowered students to play an even more invested role in the culture and function of the classroom.\u003c/p>\n\u003cp>Sirrakos remembers one student teaching a lesson about the process of photosynthesis, which involves chloroplast and chlorophyll within the plant cell. The student put up a picture of a Twinkie. He asked his classmates what was on the outside of a Twinkie; they answered, a plastic wrapper. Good, he said, so you’re going to remember that chloro-\"plast,” like plastic, is on the outside. Then he asked what was on the inside of a Twinkie; creme filling they answered. So chloro-\"phyll,” like filling, is on the inside. Students immediately got it and when they took exams Sirrakos would sometimes notice students writing those analogies in the margin so they could remember.\u003c/p>\n\u003cp>Sirrakos used the analogy with many future classes, although he discovered it didn’t work with his students in Germany who weren’t familiar with Twinkies because they came from a different culture. Sirrakos also learned from his students that his PowerPoints were boring compared to theirs and that his body language and positioning in the classroom was holding him at a distance. He noticed that when students taught, they moved around, joining their peers in the middle of the room, whereas when he was teaching he would often stay at the front.\u003c/p>\n\u003cp>He began incorporating all these ideas into his own teaching and his students gradually became more engaged with the material and seemed to learn it better too. Interestingly, many of the more progressive teaching practices were already in place at the German international school and Sirrakos unconsciously began teaching more traditionally, perhaps because his students were more affluent and he thought they’d get it on their own.\u003c/p>\n\u003cp>But his students started acting out in class and showing other signs of disengagement. Emdin reminded Sirrakos that he was a foreigner in their culture and needed to use the same reality pedagogy strategies to reach these students as he had with the inner city New York City students who had a different culture. This was an important lesson -- the reality of students each year is going to be different.\u003c/p>\n\u003cp>“The content may not change, but your ability to make the connections between their realities and the content is going to be different,” Sirrakos said.\u003cbr>\n\u003cstrong>\u003cbr>\nHIP HOP AS A TEACHING VEHICLE\u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/1-5aQQ5SriE\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Wauwatosa is a suburban area outside Milwaukee. And in this environment, high school English teacher Jon Balcerak is having a lot of success teaching hip hop.\u003c/p>\n\u003cp>Most teenagers are aware of and often listen to hip hop music. “When I play a song, it’s not like part of the student population gets it and everyone else is wondering what’s this strange music,” Balcerak said. Not only do kids everywhere listen to hip hop, but many are aware of hip hop culture too, including things like ciphers, where lyricists trade off rhyming in a collaborative circle. Balcerak has found there are important lessons about the give and take of ideas, sharing the floor, and listening embedded in a tradition that isn’t part of the culture he grew up in.\u003c/p>\n\u003cp>Balcerak doesn’t infuse hip hop in everything, but he does often hold up a verse or a rhyme as a valuable text to study. For example, when he teaches American literature he inevitably touches on transcendentalism and the writing of white men like Emerson and Thoreau. Alongside those older texts, Balcerak will ask students to examine a hip hop verse to show the ideas are present in pop culture as well.\u003c/p>\n\u003cp>“It’s very much the object of that lesson, it’s not a bridge to some canonical text,” Balcerak said. He’s found that teaching through hip hop is a good way to open up conversations with students about some of the social justice issues relevant to their lives today.\u003c/p>\n\u003cp>“This is culture and music and art that kids are already attuned to,” Balcerak said. “You get to meet them where they are.”\u003c/p>\n\u003cp>More than merely teaching with hip hop, thinking through these ideas has helped Balcerak to open himself up to his students, listen to their suggestions, trust them, and to see respect as a multidimensional gift that goes far beyond mere obedience.\u003c/p>\n\u003cp>“The first thing is about creating a culture of respect,” Balcerak said. “You can do that without any hip hop aspects at all.”\u003c/p>\n\u003cp>In fact, assuming kids like hip hop can actually be the opposite of respectful. George Sirrakos now teaches education at Kutztown University in Pennsylvania and he coaches many teachers. He remembers one well-meaning teacher who assigned students to write a rap about evolution. He was impressed by her alternative assignment and asked her how she had come up with it. She replied that her students were of color so they all liked hip hop music.\u003c/p>\n\u003cp>When Sirrakos asked the class whether they liked hip hop, about three quarters said they listened to it and the rest named a variety of other types of music. But the students assumed the teacher had assigned them raps because of who they were.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“They’re not dumb; they can see through the instructors’ attempts,” Sirrakos said. In this case, the teacher made assumptions about her students using her own cultural lens, rather than getting to know her students well enough to be sure of her conclusion.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/mindshift/45524/how-teachers-can-see-students-identities-as-learning-strengths","authors":["234"],"categories":["mindshift_192","mindshift_194"],"tags":["mindshift_20984","mindshift_20784","mindshift_1040","mindshift_20682","mindshift_21015","mindshift_20852"],"featImg":"mindshift_43471","label":"mindshift"},"mindshift_35687":{"type":"posts","id":"mindshift_35687","meta":{"index":"posts_1591205157","site":"mindshift","id":"35687","score":null,"sort":[1400172655000]},"guestAuthors":[],"slug":"how-hip-hop-can-foster-the-scientific-mind","title":"How Hip Hop Can Foster the Scientific Mind","publishDate":1400172655,"format":"aside","headTitle":"MindShift | KQED News","labelTerm":{"site":"mindshift"},"content":"\u003cp>[youtube http://www.youtube.com/watch?v=bIgAEqG_UwY&w=640&h=360]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Hip hop has unequivocally captured the imagination of young people in a way that no other phenomenon ever has. With that strong belief, Columbia professor \u003ca href=\"http://chrisemdin.com/\" target=\"_blank\">Chris Emdin\u003c/a> launched \u003ca href=\"http://chrisemdin.com/science-genius/\" target=\"_blank\">Science Genius\u003c/a>, mashing hip hop and science education. His reasoning is deductive: \"If hip hop can grab them like that, and if science is a piece of who they are, and if there's so much science in hip hop, then why not make those connections?\" We spoke to recently Emdin at the \u003ca href=\"http://www.bigideasfest.org/about-big-ideas-fest-2013\" target=\"_blank\">Big Ideas Fest\u003c/a>.\u003c/p>\n\u003cp>It's easy to get swept up in Emdin's passion for hip hop, for learning, for science, for the success of each and every one of his students. It's his infectious passion that he brings to his work, the work he says can \"change the world.\"\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"It's easy to get swept up in Chris Emdin's passion for hip hop, for learning, for science, for the success of each and every one of his students. It's this passion he brings to his work, the work he says can \"change the world.\"\r\n\r\n ","status":"publish","parent":0,"modified":1400172826,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":150},"headData":{"title":"How Hip Hop Can Foster the Scientific Mind | KQED","description":"It's easy to get swept up in Chris Emdin's passion for hip hop, for learning, for science, for the success of each and every one of his students. It's this passion he brings to his work, the work he says can "change the world."\r\n\r\n ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How Hip Hop Can Foster the Scientific Mind","datePublished":"2014-05-15T16:50:55.000Z","dateModified":"2014-05-15T16:53:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"35687 http://blogs.kqed.org/mindshift/?p=35687","disqusUrl":"https://ww2.kqed.org/mindshift/2014/05/15/how-hip-hop-can-foster-the-scientific-mind/","disqusTitle":"How Hip Hop Can Foster the Scientific Mind","path":"/mindshift/35687/how-hip-hop-can-foster-the-scientific-mind","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bIgAEqG_UwY'\n title='//www.youtube.com/embed/bIgAEqG_UwY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Hip hop has unequivocally captured the imagination of young people in a way that no other phenomenon ever has. With that strong belief, Columbia professor \u003ca href=\"http://chrisemdin.com/\" target=\"_blank\">Chris Emdin\u003c/a> launched \u003ca href=\"http://chrisemdin.com/science-genius/\" target=\"_blank\">Science Genius\u003c/a>, mashing hip hop and science education. His reasoning is deductive: \"If hip hop can grab them like that, and if science is a piece of who they are, and if there's so much science in hip hop, then why not make those connections?\" We spoke to recently Emdin at the \u003ca href=\"http://www.bigideasfest.org/about-big-ideas-fest-2013\" target=\"_blank\">Big Ideas Fest\u003c/a>.\u003c/p>\n\u003cp>It's easy to get swept up in Emdin's passion for hip hop, for learning, for science, for the success of each and every one of his students. It's his infectious passion that he brings to his work, the work he says can \"change the world.\"\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/mindshift/35687/how-hip-hop-can-foster-the-scientific-mind","authors":["180"],"categories":["mindshift_192"],"tags":["mindshift_170","mindshift_20684","mindshift_1040","mindshift_20682","mindshift_551","mindshift_20683"],"featImg":"mindshift_35694","label":"mindshift"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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