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This book has received the AESA (American Educational Studies Association) Critics Choice Award 2013.
Through ethnographically informed interviews and observations conducted with six Black middle and high school girls, Hip Hop’s Li’l Sistas Speak explores how young women navigate the space of Hip Hop music and culture to form ideas concerning race, body, class, inequality, and privilege. The thriving atmosphere of Atlanta, Georgia serves as the background against which these youth consume Hip Hop, and the book examines how the city’s socially conservative politics, urban gentrification, race relations, Southern-flavored Hip Hop music and culture, and booming adult entertainment industry rest in their periphery. Intertwined within the girls’ exploration of Hip Hop and coming of age in Atlanta, the author shares her love for the culture, struggles of being a queer educator and a Black lesbian living and researching in the South, and reimagining Hip Hop pedagogy for urban learners.
- Sales Rank: #587317 in Books
- Brand: Brand: Peter Lang International Academic Publishers
- Published on: 2012-10-10
- Original language: English
- Number of items: 1
- Dimensions: .30" h x 5.80" w x 8.70" l, .50 pounds
- Binding: Paperback
- 137 pages
Features
- Used Book in Good Condition
Review
«With the unflinching bravery of a Hip Hop feminist, Bettina L. Love confronts the damaging effects of Hip Hop on young Black girls, while loving Hip Hop and articulating how it reflects the racism, capitalism, sexism, and patriarchy of America.» (Elaine Richardson, The Ohio State University; Author of ‘Hiphop Literacies’)
«Bettina L. Love’s unique stance is bold and a critical conversation starter. We travel with the author from Rochester, New York to Atlanta, Georgia, making stops along the way to deconstruct the media’s role in contemporary Hip Hop, address the consumption of Hip Hop by Black girls, explore the role of the South on Hip Hop, and meet seven amazing young women who take us on this starkly honest journey. This book is a beautiful piece of scholarship.» (Christopher Emdin, Columbia University; Author of ‘Urban Science Education for the Hip-Hop Generation’)
About the Author
Bettina L. Love is an Assistant Professor in the Department of Elementary and Social Studies at the University of Georgia. Her research focuses on the ways in which urban youth negotiate Hip Hop music and culture to form social, cultural and political identities. A continuing thread of her scholarship involves exploring new ways of thinking about urban education and culturally relevant pedagogical approaches for urban learners. More specifically, she is interested in transforming urban classrooms through the use of non-traditional educational curricula (e.g., Hip Hop pedagogy, media literacy, Hip Hop feminism and popular culture). Building on that theme, Dr. Love also has a passion for studying the school experiences of queer youth, along with race and equality in education. Her work has appeared in numerous books and journals, including Gender Forum, Educational Studies, and Race, Gender and Class.
Most helpful customer reviews
4 of 4 people found the following review helpful.
An Urban Education Must Read
By Chantae Recasner
Admittedly, I began reading this text with excitement because my friend, a black female in the academy, is its author. Thus, my support for the text was rooted in an activist agenda that says I must honor, celebrate, promote and bear witness to the success, the achievements of black female scholars. I cannot profess to be a serious fan of hip-hop, so I imagined the point of disconnect would emerge when the text would begin lauding lyrical content with which I was first of all unfamiliar and with which I had a strained relationship at best. But, Hip Hop's Li'l Sistas Speak does a lot more than that.
This work is a pedagogical masterpiece because it promotes an educational practice by showing how it is done; it is "good teaching" while it attempts to advocate "good teaching." This is particularly important because as Ladson-Billings laments about culturally responsive teaching, often teacher educators are forced to respond to the question, "Yes, but how do we do it?" This text is intellectual graffiti--it paints a rich historical, theoretical, and socio political portrait of lil sistas, big sistas, hip hop and place on a taboo tapestry. (I emphasize place because, while Dr. Love's examination is located in Atlanta, the southern milieu like any geographic space is textualized.) It is a politicized art form that is interrupting our perceptions of normal, clean, and sanitized. In this work, Dr. Love argues that traditionally white spaces (i.e. classrooms) must now be marked, tagged, disrupted with, by, and for the outsider voices that simultaneously create and consume, revel and decry, love and hate hip hop. Like graffiti that doesn't necessarily lend itself to clean, definitive lines or singular points of focus, this text blurs the boundaries purported by notions of researcher objectivity. Dr. Love is both researcher and subject in this text, yet the authenticity of the research remains intact.
Perhaps my praise for the text's ability to teach is rooted in my lack of familiarity with hip hop. Here's what I learned: first, hip hop is no more monolithic than black culture and the attempt to accommodate bourgeois desires by promoting a class structure (i.e. hip hop as the aristocratic art and rap as a low class imitation) ignores the historical folkness of the art and the complexity of hip hop artists' realities; second, having "body" is a marker of community membership, thus not having "body" is existing as outsider; third, academic identities/academy membership demands a closeted existence (one that not only hides sexuality, but also hides appreciation of "low culture") and the choice to exist out of the closet is to exist like Sisyphus--eternally struggling; fourth and finally, the classroom is the perfect place to deconstruct and reconstruct hip-hop, hip hop identities, and notions of self.
My one discontent is with the section of the book entitled "Regrets." This is probably most attributable to my disbelief in regrets. (Yes, I said disbelief!) If Dr. Love had been prompted to ask different questions, if she had not had the fears she had about "exposure" and about not completing the degree in time maybe, just maybe, this text would not be exactly what it is. Dr. Love should have learned from her journey. She should be able to see things from her past differently. But, there should be no regrets. Thus, I wonder why the section titled "Regrets" was even necessary. In essence (and ironically) I want her to regret her "Regrets."
A good book to me is one that allows me to feel present in the world it reveals or examines, one that makes me want to talk about/discuss the issue/topic more, one that makes me want to read and learn more (about that topic or otherwise), and one that energizes me to do better (to BE better) in some way. This book was such a text!
1 of 1 people found the following review helpful.
Excellent!
By Peggy Stubbs
Very good book, well written. Should be required reading for high school and college students.
I highly recommend this book.
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