Tag Archives: education

The Ideas of the Panthers Live on in Hip-Hop (Part Three)


Note: this is part three of a four part series. You can read part one here and part two here

By: Kelvin Criss

“They schools can’t teach us shit” (Dead Prez, “They Schools”)

In addition to the Black Panther Party for Self-Defense protecting their community, they also had a strong focus on educating their community. Many hip-hop artists educate their communities as well. They teach us about what the Black Panther Party for Self-Defense was able to accomplish when the people worked as one.

“I tried to pay attention but they classes wasn’t interestin’ / They seemed to only glorify the Europeans / Claimin’ Africans were only three fifth’s a human being / Until we have some shit where we control the fuckin’ school system / Where we reflect how we gon solve our own problems / Them niggas ain’t gon’ relate to school, shit that just how it is / Know what I’m sayin’? And I love education, know what I’m sayin’? / But if education ain’t elevatin’ me, then you know what I’m sayin’ it ain’t” (“They Schools”)

Dead Prez’s song entitled “They Schools” is about the racism found in many school districts. It describes the dire lack of relevant information taught in many schools. One lyric discussing the necessity of education that relates to the community is, “Until we have some shit where we control the fuckin’ school system, where we reflect how we gon solve our own problems? Them niggas ain’t gon’ relate to school.” This quote explains the frustration of much of the youth in urban areas. The lack of relevant information in their schools makes it hard for many students to want to learn. Immortal Technique has similar ideas, which he expresses in “Revolutionary.”

“They’re preparing your children for the prison environment / When you don’t amount to shit prison becomes retirement / But I refuse to be took in to central booking in chains / Cause sleeping on the floor in cages starts to fuck with your brain / The system ain’t reformatory, it’s only purgatory” (“Revolutionary”)

These lyrics express the distaste for the education system as well as the “reformatory” system. The Black Panther Party for Self-Defense understood this, and thus created their own classes to help educate the community on relevant matters such as their history, their rights, their social status and how they can change those things.

Some hip-hop artists promote illegal downloading and bootlegging of their albums to counterattack not only the record companies, but also to spread the message. In Immortal Technique’s “Harlem Renaissance” he says, “Bootleg my own album, to reach customers.” This shows that he does this because he does not care about the money or the fame. He simply wants his message to be circulated; he wants the people to be educated. The Political hip-hop artists stress education of the community just as the Black Panther Party for Self-Defense stressed it. However, the problem is that most of the news that is broadcasted is extremely biased. This makes it hard for the community, especially those who believe what they hear, to learn what is really going on. For this reason Immortal Technique’s “Leaving The Past” addresses this issue. He says, “I never seen so much racism in all of my life, every program and newscast, all of them white. It’s like Apartheid with ten percent ruling the rest.” This is a warning not to trust all of what you hear. And that the listener needs to dissect the news he or she hears on the television, radio and the Internet.

Many artists such as Public Enemy have used their lyrics to work almost as news. Sometimes specific, but often broad topics are expressed in their lyrics. For instance, Public Enemy’s “Raw Shit” depicts the exploitation by big business.

“In between the government and the public that’s trained / Where white companies profit off black death / And house nigga rap thugs sell murder to kids / Where the media maintains all thought control / And fake news propaganda serve to rot the soul / We all unified to fight, keep the message and awake black / Open up your eyes, see the enemy and shake that / Bullshit lyin, free your mind, we combine” (“Raw Shit”)

This song not only explains what companies do to the people, it also addresses the problem of “fake news propaganda” and what it does to the people. Dead Prez’s “Propaganda” addresses the same ideas when they say, “filling our head with lies got us hypnotized.” The chorus of this goes, “The views that you see in the news is propaganda.” The goal of these types of songs is to educate the community, for no weapon is stronger than knowledge.

Educating the community was always one of the top priorities of the Black Panther Party for Self-Defense, as well as some of those who are involved in hip-hop. This is because without an educated community, little can be done. An uneducated community can be violent, however they will not know what to do with the power they posses. They will be a mob rather than a political power.

Works Cited

Dead Prez. Let’s Get Free. Rec. 1998-2000. Loud Records, 2000. CD.

Dead Prez. RBG: Revolutionary but Gangsta. Rec. Feb.-Mar. 2004. Sean Cane, Stic, 2004. CD.

Immortal Technique. Revolutionary Vol 1. Rec. 2000-2001. Viper Records, 2001. CD.

Public Enemy. Rebirth of a Nation. Rec. 7 Mar. 2006. Pari, 2006. CD.

Tupac Shakur. 2Pacalypse Now. Rec. June-September 1991. Atron Gregory, 1991. CD.

Tupac Shakur. Strictly 4 My N.I.G.G.A.Z. Rec. January-March 1993. Atron Gregory,1993. CD.

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Hip-Hop and Its Influence: An Interview With David Kirkland (Part Two)

By: Gus Navarro

This is the second half of a two-part interview with Dr. David E. Kirkland about hip-hop and its educational impact. Dr. Kirkland is a professor at Michigan State University and one of the coordinators of ULITT and directors of CAITLAH. In this part of the interview, Dr. Kirkland comments on the transformative power of hip-hop education. For additional context, check out the first half part of this interview which can be found here.

Excerpts taken from an interview with Dr. David E. Kirkland on February 26 th, 2013…

GN: In what ways does hip-hop manifest itself in education and educational circles?

DK: Right, so let me just say there are two things in education. You can talk about hip-hop in education. Some of us have talked about hip-hop in education, ways to use hip-hop to teach other things. And so you can do that. We call it scaffolding or bridging. You can use Tupac in order to teach the classics if you will. You can use Tupac in order to teach literary devices and elements like chiasmus, consonants, and other types of rhetorical literary ideas or entities. You can use rap in order to create a mnemonic device to memorize mathematics, its been done. I call that hip-hop in education. But hip-hop education is the type of education or pedagogy that hip-hop is established in. Hip-hop teaches. It works in the tradition of the African Griot. It works in that oral tradition, it works in the oral tradition of the street press where individuals would come together and they would collect stories and they would collect histories. It works in Howard Zinn’s A People’s History in the sense that it has its own pedagogy, its own moment. So the cypher becomes this space where everyone is equal but at the same time in order to be elevated within that cypher, the cypher is trying you. Its like a cauldron, it invites you in, but it doesn’t let you remain the same, you have to put your energy out there; you have to be vulnerable. So, hip-hop education suggests a vulnerability, it has its own language, its language is rap. And rap isn’t just the science of rhyme; it’s the science of truth. So when we hear hip-hop artists talking about rap, the thing that makes rap significant isn’t just a rhyme, it’s that it gets close to truth. It’s saying things that people realize. This is hip-hop education. Hip-hop education is the element of pedagogy, the element of education that exists within the hip-hop idea. And it’s not necessarily the traditional education that we understand or know.

GN: So going off of that, can hip-hop education or hip-hop pedagogy exist in mainstream schools?

DK: I think hip-hop in education can exist in mainstream schools, but hip-hop education is a school in and of itself. I think schooling should and can be informed by hip-hop. We should do school more like we do hip-hop. We should have cyphers break out that invite people, we should break down the walls of schooling and construct education and the education imagination based on how people understand and live life today. And hip-hop gives us a glimpse into that. So if we think about education and how it’s constructed today we have to go back to history. We have to go back to post-industrial history where you had labor laws that prohibited youth from working. So we needed some repositories to place these kids so we constructed these entities and the architect of these entities were usually the architects of prisons and factories. We also had this really interesting agrarian culture; what to do in the winter? So we set up this thing where you go to school in the winter and in the summer you don’t. So the imagination around how we look at schooling today isn’t necessarily the most effective way to do school for now because it was based on a society and culture that is long past. So there is an argument to re-think education anyhow. But hip-hop gives us this third space, this site of really interesting creation, both pedagogical creation as well as performative creation coming together to inform the ways that people learn; the way that the mind is impressed upon. And I think that’s important.

GN: I think it is too and off of that, what do you do at Michigan State to carry these things out? Is it just in class or are there other programs that you’re involved in within MSU? And what is the approach to these programs?

DK: Well Michigan State University is a hegemonic space. It’s a fairly traditional space with really good people in it pushing against traditions. But there is one thing about dominant hegemony is that they have gravity to them. We can pull up, but we can only pull so long before the thing gets heavy and it falls back in its place. But I have done some things at Michigan State University within my classes because I think it’s important. This goes back to the question of why teach hip-hop? I don’t want to teach hip-hop because it engages youth, that’s important. I can give the youth candy, that will engage them too and it will hurt their teeth. I teach hip-hop because it’s smart to do so. We teach Shakespeare, we teach Dante, we teach all these other people I called “hip-hopgraphers.” We teach them because it’s smart to do so. If in the days of written technology we used print in order to transmit meaning and in the day of digital technology we use music, sound, and visual multi-modo moving imagery to do it. Why don’t we teach that? Why don’t we understand that as a new way of capturing our humanity? I teach it because it’s smart to teach hip-hop. I’m not going to wait until Tupac is dead a hundred years to say, “wow, lets reflect on this.” We need to reflect on it now. Because by reflecting on it, it gives us a way to understand ourselves in powerful and important ways and to re-shape the world that we live in, so that it can be more inviting and more beneficial to more people. So I say that to say, I teach it in my class because I have to, because its what makes us smart by studying and examining hip-hop today. I also created a set of interventions. One intervention is our Urban Literacies Institute for Transformative Teaching (ULITT). It is a hip-hop pedagogy retreat that I brought to Michigan State University. This year is our second year into that, and we’ve seen transformative results. I got an email today from a teacher that told me that one of her participants told her that the event changed her life. That she found healing as well as strategy through it and for me, that’s important. So I’m trying to open up spaces at Michigan State University. I don’t know how long those spaces will be open before the powers that be close them, but for as long as we can keep them open, we’re going keep them open.

GN: Thank you very much, I appreciate you sitting down with me and talking.

DK: Thank you.

It is important to reflect on the purpose of schooling and education. The public school system as we know it comes from the Technological Revolution of the early 19th century. Schools were modeled after factories that were essential to the United State’s economy. Kids get union breaks too, its just called recess. As students move through school they are indoctrinated into the “American Way” and are prepared to enter the work force by the end of their education. Having the skills to find a job is in no way a bad thing, but it may be time to approach this in a different way. With the continual push towards globalization our world cannot function without things such as computers, the Internet and smart phones. Nowadays there are so many ways in which we can express ourselves and connect with people. Using hip-hop as a worldview, as a way of reading the world and interacting with others allows teachers and students to collaborate and learn together. Hip-hop education gets away from the one-size fits all educational model of testing and standardization. Hip-hop education creates a space where students are encouraged to create and learn using multiple disciplines such as writing, music, film, photography, art and dance all while pushing students to develop the agency to navigate the complex society we live in. When we focus on testing, we are not supporting students to be curious and ask conceptual questions about their communities. If we want to use hip-hop education, we have to be willing to change how we do school and how we teach students. To build off Dr. Kirkland’s statement, he is not talking about using lyrics to teach the 50 states. That is hip-hop in education and super status quo. Instead, he is talking about using the worldview of hip-hop to teach students to be curious, critical, vulnerable and to use their experiential knowledge. As Dr. Kirkland explains, “In the days of written technology we used print in order to transmit meaning and in the day of digital technology we use music, sound, and visual multi-modo moving imagery to do it. Why don’t we teach that? Why don’t we understand that as a new way of capturing our humanity?” This is not a traditional model of education, but it is time that we at least consider what this could do for our students as they grow and learn about the world around them.

*You can check out Dr. Kirkland’s blog at davidekirkland.wordpress.com or follow him on Twitter: @davidekirkland.

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