14 March 2014

History & Hip-Hop: An Educational Force Manifested through a Musical Medium

In the United States, February has been designated Black History Month, a
period of 28 days where homage is paid to African-American leaders of the past and their
contributions to American society. Startlingly, February is the only time some students
encounter lessons about the African-American experience. This is disconcerting for more
than one reason. To begin, it suggests, that of the average 180 days in an academic year,
only 28 (16%) truly shed light on African Americans and their history, even though black
contributions are bound to be relevant to every subject, textbook and unit. Moreover, this
observation suggests that curriculums are whitewashed, resulting in a host of negative
effects on members of both white and black communities. Even so, all hope is not lost as
hip hop artists use clever lyrics and appealing rhythms to bring both historical African
American figures and their experiences alive to educate their respective audience.
When taught in schools, the black narrative centers on figures such as Rosa Parks
and Martin Luther King and consequently, ignores the grassroots struggle of other civil
rights actors who where vulnerable to constant threat and abuse. More importantly, such
portrayals of the movement overlook the connections between racist policies of the past
and the current unfortunate state of black communities today by suggesting all conflict
settled after Kings death and because of his efforts. However, the false nature of this
allusion goes unrealized when history books and curriculums exclude it from the African-
American narrative. Seeing that history is expected is to inform and inspire students to
preserve future justice, equality, and fairness, one can conclude that students are not
learning the entire narrative of black struggle.

This assertion seems to fall in line with Carter Godwin Woodsons thoughts in
The Mis-Education of the Negro, written nearly 80 years ago. Woodson, commonly
regarded as The Father of Black History, sought to unearth the unspoken contributions
of African Americans to their country of birth, to probe the hidden lives of African
Americans, and to unveil the secrets of African-American culture and lift up the glories
of the African past (Bolden). Because he believed historical exclusion brought about
self-loathing amongst blacks, Woodson sought to eradicate such sentiments by
enlightening them about their history. Thus Woodsons describes the basis of his work as
the education system's failure to present authentic Negro History in schools and his
inspiration as the bitter knowledge that there was a scarcity of literature available for
such a purpose, because most history books gave little or no space to the black man's
presence in America (Woodson 7). Great African-American author W.E.B. Dubois
echoes this point stating black activities in the wars and national defense were
completely ignored, and illustrations for all periods were almost non-existent (Woodson
23).
It would be safe to assert that this reality remains the case in many schools today.
In Chicago, the exclusion of black history inspired a law mandating a change in 1990.
Yet thirteen years later, The Chicago Tribune reports the subject has been taught
sporadically in Chicago, often coming up only during Black History Month or to mark
the Martin Luther King Jr. holiday (Ahmed-Ullah). In seek of reforms, Chicago schools
CEO Barbara Byrd-Bennett has described her goal as a yearlong, interdisciplinary
African and African-American studies program that will enrich the understanding and
appreciation of African and African-American history and culture to help build stronger

and more cohesive student communities (Ahmed-Ullah). These changes will bring about
a curriculum, designed to allow teachers to incorporate African and African American
studies into core subjects throughout the year (Ahmed-Ullah). Bennetts clarification
that the change incorporates black history lessons in all subjects, not just one subject"
further proves that the status quo ignores neglects to include African American
contributions in multiple subject areas (Ahmed-Ullah).
New Jersey has seen a similar initiative in recent history. Assemblyman William
Payne observed you grow up with these subliminal messages that everything good is
whiteit is so hurtful that these things were sanctioned by the Board of Education
(USA Today). To change this, Payne wrote and lobbied for a state law the nation's
first mandating that New Jersey schools teach black history (USA Today). USA
Today reports, the law says each school board shall incorporate black history at all
grade levels an initiative only taken by two other states, New York and Illinois (USA
Today). Yet four years after these attempts, 2006, Payne centered on New Jerseys 593
districts lack of compliance with the initiative rather than the great changes it brought
about. He assigned the Amistad Commission to tackle the issue by hosting educational
events and training teachers to spread enlightenment about black history to all grade
levels. Even so, many instructors werent even aware of the law or where to find teaching
materials.
Brought to national attention courtesy of Stephen Spielbergs 1997 film, the
Amistad is a historically significant ship, which makes the instructors lack of
familiarity with it concerning. In 1839, native Africans were kidnapped from their
homeland to be used as slaves in America. In rebellion, some managed to escape upon

seizing the boat while others were seemingly doomed to the Americas. These prospects
of disaster changed completely after the US Supreme Court ruled the capturing of
Africans unlawful and in turn, granted their freedom. Despite the monumental nature of
this case, it is not well known. In her work The Amistad Revolt, author Iyunolu Osagie
notes although the Amistad case is well documented and was widely known in the
nineteenth century, it has until recently been largely ignored. Even though the Amistad
rebellion is credited with being one of the fist notable civil rights events in the United
States, the somewhat arbitrary and inadequate commemoration of the Amistad story
mirrored the extent to which most Americans were unaware of the Amistad case in
American history (xii).
Similar conversations arose with 2014s Oscar award winning film 12 Years a
Slave. For many individuals, the film portrayed the life of a slave in a manner
previously unknown to them. Take for example, the words of Amherst College student
Jake Walters who states, I thought I could understand something of the history, the pain,
the suffering, the anguish. I thought, to whatever extent it was possible for a white kid in
the early 21st century to know, I knew. I was wrong. Sitting in the theater watching 12
Years a Slave, I felt the inescapable grasp of history around my neck and I couldnt do
anything about it. Never before have I felt so clearly and achingly the tragedies upon
which America is built (Strauss).
In fact, this films unprecedented yet piercing portrayal was so profound that the
National School Boards Association and television host Montel Williams, have partnered
with New Regency Enterprises, Penguin Books and the filmmakers, to distribute the film,
book, and study guide to public high schools nationwide. In an article published by the

Washington Post, Valerie Strauss offers her take on this endeavors significance by
stating Students in U.S. public schools learn about slavery and its legacy at different
stages of their education but too many still dont learn about it accurately or fully
(Strauss). For example, in the South, Straus alleges, many still learn that the Civil War
was fought over states rights, freedom, and political/economic power rather than slavery,
the cause over which it was really fought (Strauss).
The necessity of such initiatives can also be seen in PBS Henry Louis Gates Jr.s
article titled What Was the Civil Rights Movement? 100 Amazing Facts About the
Negro: A report shows too few U.S. high schoolers know the answer. The article reveals
only 2% of 12
th
graders received full credit for identifying the following quote on the
National Assessment of Educational Progress U.S. History Exam: Separate education
facilities are inherently unequal (Gates). To be clear, the 12,000 students didnt need to
come up with the name of the case, Brown v. Board of Education. Instead, test takers
needed a slight and simple understanding of segregation in US schools. Even so, 73%
either skipped the question or received an inappropriate score, revealing their lack of
familiarity with one of the most monumental cases in US history.
More concerning, however, is 2011s Teaching the Movement: The State of
Civil Rights Education in the United States report by the Southern Poverty Law Center.
This report confirms that current standards for teaching the civil rights movement are
inadequate and textbooks and core materials too often strip out context and richness to
present a limited account of the movement (Bond 10). After learning about World War
II in schools, the report contends that time dedicated towards the civil rights movement
and its history is shortchanged.

To prove this, the study compares state standards and requirements to a host of
information that civil rights historians and educators consider essential and core to the
civil rights movement. Of the fifty states, only three (Alabama, New York, Florida)
received an A for teaching 100% of the content required to them by African American
history requirements. Conversely, a shocking sixteen states required no instruction about
African-American history. Three states received a B, six states received a C, four
states received D, and nineteen received an F for covering very little about the
movement.
Study organizers explain these results in three ways: 1) There is no instructional
time 2) Teachers are not well prepared 3) States fail to set high expectations. Since the
enactment of the No Child Left Behind Act- a government initiative aimed to improve the
academic performances of disadvantaged- math and science have been the center of
attention in schools thereby neglecting a focus on history. The overall result is that
history education has been left behind, as social studies instructional time in our most
challenged schools has fallen by more than a third the study reports (Bond 9).
Even if changes were to be made in regards to instructional time, teachers would
be ill prepared to teach history. In fact, 60% of 7-12 grade history teachers neither
majored nor minored in the subject according to the report (Bond 9). Though this number
is down from 1998 when three-quarters of American social studies teachers had not
majored or minored in history, it still increases the likelihood that these instructors
arent qualified to teach about African American history (Bond 9). Once this is changed,
the report points the next necessary modification is state history standards, which have
been in need of reform since 2002.

The exclusion of African American history in classrooms bears many unforeseen
negative effects on African-American students. Not only does exclusion keep students
uninformed, it also keeps students misinformed. Youth are bestowed with the impression
that the Anglo-Saxon experience has molded America to its current superpower state and
that blacks have no place in the nations history. Societys glorification of Anglo-Saxon
descendants furthers Woodsons point; he asserts, Negroes are taught to admire the
Hebrew, the Greek, the Latin and the Teuton and to despise the African(Woodson 23).
Additionally, an emphasis on white contributions to economics, history,
philosophy, literature, religion and other subjects elevates white status and disregards
African Americans so that they are made to feel lesser than whites. To this effect, the
Father of Black History states The neglect of Afro-American History and distortion of
the facts concerning Negroes in most history books, deprived the black child and his
whole race of a heritage, and relegated him to nothingness and nobodyness thereby
dooming the Negro to a brain-washed acceptance of the inferior role assigned to him by
the dominant race, and absorbed by him through his schooling (Woodson 24).
Thus later in life, students begin to associate their black face as a curse and
inability to change this as hopeless (Woodson 24). This harmful mental impression is
what he references as the worst sort of lynching (Woodson 24). As a result, blacks
become extremely eager to remove themselves from those with whom they bear
resemblance because subconsciously they believe white to be better.
Dr. Kenneth and Mamie Clark exemplify the extent of such miseducation and its
negative effects in their 1939 experiment. Influenced by her work in a predominantly
black nursery school, Mamie joined forces with her husband to further her research on

self-identification amongst black children. To test childrens awareness of color, the
Clarks presented black children with two dolls, one white, the other black and asked a
series of questions that culminated into the famous doll experiments that exposed
internalized racism and the negative effects of segregation for African-American
children (Butler, 2009). After asking a series of questions about which doll was inferior,
the Clarks reported that most of the black children pointed to the black doll while an
alarming amount of the subjects expressed a strong preference for the white doll.
Dr. Clarks experiment clearly demonstrated that even very young African
American children are acutely aware of the presumption of African inferiority (Nile
144). Additionally, the experiment confirmed that a basic knowledge of racial different
[is] a part of the pattern of ideas of Negro children from the age of three through the age
of seven yearsand this knowledge develops more definitely year round (Filling 32).
This experiment was recreated in 2005 with Kiri Davis A Girl Like Me
documentary. Of the twenty-one children interviewed, sixteen preferred a white doll
(Kaplan 88). In an interview on Good Morning America, Davis states, "It just shows
what they think society valuesPeople don't realize at such a young age these
children really get it (ABC NEWS). In response to a question regarding her motivation
for the piece, Davis states "The doll test I decided on because I thought, you can tell
people these standards all you want, but until you figure out a way to really show people
and how it's affecting black self-image and your self-esteem, that's when I think people
really begin to get it and how it affects youth in general," Davis said (ABC NEWS).
Three years later, the election of President Obama generated a host of
conversation about race in the United States and inspired Good Morning America to host

its own doll experiment. Their test group included 19 black children ages 5 to 9. A
whopping 47% labeled the white doll as prettier (Gomstyn). Such results led Harvard
Professor Julius Wilson to conclude "Black children develop perceptions about their race
very early. They are not oblivious to this. There's still that residue. There's still the
problem, the overcoming years, decades of racial and economic subordination
(Gomstyn). As can be seen, the results reveal that a host of insecurity accompanies
observations about ones skin color. Such sentiments amplify as black children
matriculate into schools where Anglo-Saxon achievement is glorified and African-
American accomplishments are nowhere to be found.
Woodsons assertion that historical exclusion depresses and crushes at the same
time the spark of genius in the Negro by making him feel that his race does not amount to
much and never will measure up to the standards of other peoples holds true today
(Woodson 21). Put simply, the doll experiment proves it by revealing how young black
children equate black with subordinate. Why? It is because, as Woodson points out, This
has been his education, and nothing else can be expected of him (Woodson 21).
What schools lack in regards to education about African American history and
culture, hip-hop makes up in its lyrics. Hip-hop is best described as a form of profound
musical, cultural, and social creativity that expresses the desire of young black people
to reclaim their history, reactivate forms of black radicalism, and contest powers of
despair and economic depression that presently besiege the black community (Dyson
15). Originating in the 1980s, this genre has become a source for social enlightenment
and historical reminders. Author Marc Hill elaborates on hip-hops educational elements,
which include knowledge, consciousness, search and discovery, and participation (Hill

48). Overtime, it has developed into a combination of social demonstration, rhythmic
beats, and cultural expression. Given these characteristics, Hill asserts that hip-hop is an
effective educational medium. Sam Siedel takes this point further in his work Hip-Hop
Genius: Remixing High School Education. Hip-Hops ability to provide a way for
students to connect to educational materials leads him to confidently refer to it as a valid
literary form, a culture worthy of academic attention, and an effective instructional tool
(Siedel 118).
Professor Stovall, author of We Can Relate: Hip-Hop Culture, Critical
Pedagogy, and the Secondary Classroom also provides testimony of hip-hops ability to
educate. In his class, Stovall called students to reflect on schools and their promotion of
deception in regards to history. To prove his point, Stovall assigned his class to analyze
rapper Talib Kwelis Four Women, which describes the different experiences four
African-American women faced during slavery because of their skin tone. These women
include Aunt Sarah, the darkest woman, who is a field hand; Zaphronia, who is the
offspring of a plantation owner and a bondswoman, and both Sweet Thing and Peaches,
who outspokenly voice their resistance and shame as slaves. By the assignments
conclusion, Stovall observed, the class engaged in a story often omitted in high school
history or social studies class and thus proves hip-hops ability to challenge the status
quo view of history in which the contributions of those outside the White Anglo-Saxon
paradigm are excluded (Stovall 597).
Public Enemys Party for Your Right to Fight exemplifies hip-hops ability to
enlighten its listeners by bringing historical figures alive. In the opening lines, the rap
group hints that listeners have been deceived about the deaths of past figures by rapping

Ask J. Edgar Hoover, and he coulda proved to you/He had King and X set up / Also the
party with Newton, Cleaver and Seale/He ended, so get up(Public Enemy). Similarly,
Boogie Down Productions song You Must Learn aims to educate. On this record,
Rapper KRS-One highlights the African-American achievements that go unnoticed.
Haile Selassie Granville Woods made the walkie-talkie/Lewis Latimer improved on
Edison/Charles Drew did a lot for medicine/Garrett Morgan made the traffic
lights/Harriet Tubman freed the slaves at night/Madame CJ Walker made a straightenin
comb/But you won't know this is you weren't shown (Boogie Down Productions). The
sole mention of these names displays these individuals significance. Seeing that rappers
are in a position of influence, their listeners are bound to research these names and
educate themselves to further understand the lyrics.
As can be seen from the last line of KRS-Ones verse, these rappers are well
aware that figures are missing from history books. Boogie Down Productions proceeds to
comment on this absence by stating I dont accept everything that youre telling
usAfrican history should be pumped up steadily, but it's not, And this has got to stop,
See Spot run, run get Spot, insulting to a Black mentality, a Black way of life ((Boogie
Down Productions). Here, KRS-One criticizes the reality that white narratives, white
characters, and white families often dominate black students literature in school. As a
result, they are bred to see white as the standard or normality, to ignore black existence,
which in turn damages their psyche.
Though written in 1989, this reference of past societal status quo and historical
figures that are lost in history remains relevant in modern hip-hop. In Murder to
Excellence, Jay-Z reminds listeners of the significance of Fred Hampton by simply

stating I arrived on the day Fred Hampton died (Murder to Excellence). Jay-Z s simple
mention of Hamptons death in relation to his birth is enough for listeners to assume the
magnitude of Hamptons death and pursue more information.
Upon research, listeners will find their assumption correct as Hampton was
unjustly assassinated by the FBIs COINTEL Program. Though initially described as a
shootout by Cook County State's Attorney Edward Hanrahan, the physical evidence
exposed the claims of a shootoutto be blatant lies, and that the murderous reality
was that the police fired nearly 100 shots while the Panthers fired but one author Flint
Taylor states (Taylor). He adds that later evidence, acquired over eight years, exposed a
bigger cover-up designed to suppress the central role of the Federal Bureau of
Investigation and its COINTELPRO program in the assassination (Taylor). This
narrative tells an important lesson about abuse of power but goes untold to students in the
US. Even so, Hamptons story and legacy is able to come alive forty-two years later
thanks to Jay-Zs reference on the (7x) Grammy nominated album Watch The Throne
(Markman).
In Lupe Fiascos All Black Everything, he takes a look at the negative effects of
slavery by painting a world where there Were no slave ships, were no misery (Lupe
Fiasco-All Black Everything). He continues Uh, and we aint get exploited / White man
aint feared it so he did not destroy it / We aint work for free, see they had to employ it /
Built it up together so we equally appointed / First 400 years, see we actually enjoyed it
(Lupe Fiasco-All Black Everything). Lupe alludes to economic and institutional
oppression by suggesting that without slavery, there would be no projects because
complexion's not a contest/Cause racism has no context (Lupe Fiasco-All Black

Everything). Lupe here is not ignorant to reality but rather confidently believes things can
change for the better amongst African Americans listeners and they can enact it. He
concludes I know it's just a fantasy/I cordially invite you to ask why can't it be/Now we
can do nothing bout the past/But we can do something about the future that we have
(Lupe Fiasco-All Black Everything).
This ode of positivity, hope, and uplifting spirits is echoed in Nas iconic song I
Can. This song best captures the trivial points of this analysis on black history and its
significant inclusion in hip-hop. In the opening lines, Nas joins a host of youth and chants
repeatedly I know I can (I know I can!), Be what I wanna be (be what I wanna be!),If I
work hard at it (If I work hard it!), I'll be where I wanna be (I'll be where I wanna be!)
(Nas- I Can). He calls for the attention of B-boys and girls and assures them You can
be anything in the world while reminding them nothing comes easy, it takes much
practice (Nas I Can).
After boosting his listeners self-confidence, Nas offers a history lesson about
African history in his final verse. Be, be, 'fore we came to this country he raps We
were kings and queens, never porch monkeysthere was empires in Africa called Kush/
Timbuktu, where every race came to get books/To learn from black teachers who taught
Greeks and Romans (Nas I Can). Here, Nas reveals that despite what is taught, black
history dates past the days of slavery and reminds youth of their noble past. Professor
Eric Dyson holds the theme of I Can is that young black boys and girls need to reclaim
their regal African history in order to excel in their dismal present and look forward to a
hopeful future (Dyson, Daulatzai 95). His message therefore centers on educating

oneself more about African history and its noble past to create and ensure an honorable
future.
As can be seen, each mentioned song is packed with historical lessons. But
despite common thought, author Patricia Gurin suggests that hip-hop does not only
benefit African-American students. Hip-hop offers white and other students who have
never heard about the past experience of African Americans the opportunity to learn
about it. Students of color spend a great deal of time learning about the language,
history, and culture of white America, but white students are rarely introduced to the
language, history, or culture of the minority populations that also reside in the United
States. This reduces their ability to connect globally with others on a personal and
academic level. (Gurin et al.3). Hip-hop offers a medium to bridge such cultural gaps
and enlighten diverse communities.
It is this opportunity to access information that Georgetown Professor Michael
Eric Tyson considers hip-hops greatness. He describes the genre as rich with literary
traditions and historical information (Siedel 118). In his essay, The Culture of Hip-
Hop, Dyson adds rap has retrieved historic black ideas, movement, and figures
thereby permitting young blacks to discern links between the past and their own present
circumstances, using the past as a fertile source of social reflection, cultural creation, and
political resistance (Spencer 23). Dyson points to Run DMC as the exemplification of
these points because they found epochal success, found an arena in which to concentrate
its subversive cultural didacticism aimed at addressing racism, classism, social neglect
and urban pain (Dyson 62).

In what he calls historical revival, Dyson declares that hip-hop raises
consciousness about important figures, movements, and ideas, prompting to express their
visions of life in American culture (Dyson 14). Thus although schools may exclude
African-American history from their curriculums, hip-hop provides renewed
historicism and permits young blacks to discern links between the past and their own
present circumstances, using the past as a fertile source of social reflection, cultural
creation, and political resistance (Dyson 67). These qualities are significant not only
because they provide a more accurate depiction of history and black oppression but also
because listeners are reminded of the great contributions African-Americans have made
in the past, thus inspiring present African-Americans to do the same in the future. As a
result, these qualities encourage students to repeat the words of Nas in confidence, I
Know I Can. Newark, New Jersey teacher Lauren Cooper captures this conclusion best
by stating "When children begin to understand who they are, when they begin to see that
they are part of historyYou can see them walking around school walking a little taller"
(USA TODAY).




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