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To activate a discussion about hard choices, I customized an exercise I found online years ago. Related: A summer program uses the arts to combat the achievement gap It cultivates the development of students’ critical literacy skills by tapping into their hip-hop cultural capital. Studying the lives of Tupac and Shakespeare moves beyond a study of just rap lyrics. In the book Shakespeare and Youth Culture, one teacher is quoted as telling her students, “Tupac Shakur was no paragon of virtue, but neither was William Shakespeare … Like Shakur, Shakespeare wrote about murder, rape and suicide.” In addition to Tupac’s poetry, teachers have referenced his life for its teachable moments. He wrote some of the rawest stories, man. In a 1995 interview, Tupac said, “I love Shakespeare. When Tupac attended the Baltimore School for the Arts, he studied plenty of Shakespeare. That makes sense, considering Shakespeare was his biggest literary influence.
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”Like Shakur, Shakespeare wrote about murder, rape and suicide.”
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Both the University of California at Berkeley and Harvard have offered courses that studied the poetry of Tupac. Although he was not around to witness it, his dream did come true. Tupac’s life legacy exemplifies the role that street knowledge can play in helping students understand Shakespearean themes.īefore his untimely demise, Tupac Shakur stated that he wanted people to study his poetry the way they study Shakespeare. Of these additional six, street knowledge is the most relevant element when examining the plays of Shakespeare. But there are six more elements that can be creatively incorporated into an educator’s hip-hop pedagogy: street knowledge, beatboxin’, street language, street fashion, street entrepreneurialism, health and wellness. But rap is only one of many hip-hop elements available to educators who teach Shakespeare.Įducators who venture beyond rap typically stay within the four cornerstone elements of hip-hop - emceeing, breakin’, graffiti art and deejaying. Using rap music to interpret Shakespeare is the most popular approach among educators when drawing connections between hip-hop and Shakespeare. With the help of his Hip Hop Shakespeare Company, Akala explores the linguistic, social and cultural parallels between hip-hop and Shakespeare. hip-hop artist Akala has made explicit the connections between Shakespeare and hip-hop through a variety of Shakespeare plays.
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Macbeth has often, though not always, been the focus: Gerald Barclay and Greg Salman reimagined Macbeth in movies like “Bloody Streetz” and “Mad Dawg,” respectively, while Ayodele Nzinga and Victoria Evans’ “Erville” reinterpreted Macbeth on stage in plays like “Mac,” “A Gangsta’s Tale” and “MacB: The Macbeth Project.” Many artists have spent time exploring the fertile overlaps between hip-hop and Shakespeare. This connection gives students a new confidence in their own language and culture, and it moves away from what I consider a “deficit-model” approach to teaching, which posits students’ familiar cultures and language as problems to be overcome in the classroom. Students tap into their own cultural capital when teachers make plain the connections between that which is culturally familiar, like hip-hop, and that which can be too easily dismissed as musty and irrelevant, like Shakespeare’s plays and poetry. Related: TEACHER VOICE: How hip-hop erased these young students’ unfair, bad rap
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