Popular Media, Critical Pedagogy, and Inner City Youth Author(s): Diane Wishart Leard and Brett Lashua

Source: Canadian Journal of Education / Revue canadienne de l'ducation, Vol. 29, No. 1, The Popular Media, Education, and Resistance/ Les mass-mdia populaires, l'ducation et la rsistance (2006), pp. 244-264 Published by: Canadian Society for the Study of Education Stable URL: http://www.jstor.org/stable/20054155 . Accessed: 09/04/2014 09:16
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp

.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

Canadian Society for the Study of Education is collaborating with JSTOR to digitize, preserve and extend access to Canadian Journal of Education / Revue canadienne de l'ducation.

http://www.jstor.org

This content downloaded from 152.15.236.17 on Wed, 9 Apr 2014 09:16:56 AM All use subject to JSTOR Terms and Conditions

Popular Media,

Critical Pedagogy, Youth

and Inner City

Diane Wishart

heard & Brett Lashua

In this culture daily pedagogy methods,

article, to voice lives.

we

explored

ways and

youth, challenge how

We with and

experiences also considered inner

traditionally dominant educators

silenced, narratives use popular

with engaged popular of public and schools culture and as case critical

city youth. Through ethnographic study bricolage we from cultural and studies critical have drawing pedagogy, a school used two case studies. One how theatre presented study highlighted popular on to connect and critical with students' The second focused experiences. literacy in students7 for building rap music, rap songs. respectful popular These and theatre, case studies highlight relationships bricolage, the with case risks, and challenges, students. schools,

narratives potential words:

reciprocal ethnography,

Key

study,

poverty

Dans silence,

cet

article,

les

auteurs

analysent populaire

utilisent des

la culture ?coles

dominants recours

publiques. populaire Utilisant un

au des d'ordinaire r?duits jeunes, leur v?cu et contester les discours exprimer comment Ils ?tudient ont des ?ducateurs ?galement pour outil montage de p?dagogie ethnographique deux critique et aupr?s de jeunes de sur des L'une

comment

? la culture d?favoris?s.

comme

quartiers ?tudes culturelles met en relief

populaire sur les est ax?e faire le lien avec les exp?riences des ?l?ves. L'autre pour critique ? cas narrations ?l?ves dans des des chansons leur cru. Ces de ?tudes rap? de et les montrent les risques, les d?fis et bien d'?tablir des liens r?ciproques possibilit?s respectueux Mots cl?s avec : rap, les ?l?ves. th??tre populaire, ethnographie, ?tude de cas, ?coles, pauvret?

la p?dagogie une comment ?cole

et

ils pr?sentent critique, s'est servie du th??tre

s'appuyant ?tudes de cas. et de

la litt?ratie

Canadian

Journal

of Education

29,1

(2006): 244-264

This content downloaded from 152.15.236.17 on Wed, 9 Apr 2014 09:16:56 AM All use subject to JSTOR Terms and Conditions

Popular

Media,

Critical

Pedagogy,

and

Inner

City

Youth

245

were

In this article, we in participants in Edmonton.

schools

of youth and educators who present narratives in inner two research city alternative projects in these schools, we As teachers and researchers people's of popular engagement in dominant narratives

our involvement with young explored and culture to voice their experiences their public schooling and other researchers

challenge how both the and daily lives. We also examine culture as critical pedagogy teachers used popular case contexts with in these educational inner city youth. Diane's work?a how (ICHS)1 in Edmonton?highlights study at Inner City High School as in students' the school meeting experiences important recognized needs. Brett's Street Education

at research of the music program ethnographic on narratives focused Centre (BSEC) performed Boyle In both critical students' instances, rap songs. pedagogy through arose from the recognition to voices of the need value the of approaches or unheard, to the and attend been silenced who have traditionally youth in young lives. Our cultural practices of popular people's importance educational to create and open up ways of incorporating projects sought popular as in urban classrooms. We take a culture critical practice contemporary cue from Weiner reminds us of the importance of moving (2003), who texts to and focus the of upon practices, critiques popular beyond these practices take place. relations and social contexts in which The common left urban schools that are Both the focus of our studies characteristics. Both schools schools serve a population of students shared many who

the mainstream

completion.

neighbourhoods students involved have had a wide education transient schools.

to high school school system prior public are located in older and poorer inner city fringe core. Most Edmonton's downtown business bordering in the studies were

between the ages of 14 and 21, and in of schools, range experiences including gaps in their a to several years. Because of the from few months ranging nature have of their lives, most attended different many was or were a primary concern in group-home in single parent Students in our for all students, with most living Of those who with lived settings. homes. identified Many in public reported students had schools. reported frequent Over 50 heritage.

Poverty

independently parents, most periods per of

homelessness. with racism the students

having

experiences cent of

and discrimination studies

Aboriginal

This content downloaded from 152.15.236.17 on Wed, 9 Apr 2014 09:16:56 AM All use subject to JSTOR Terms and Conditions

246

Diane

Wishart

Leard

& Brett

Lashua

students also indicated Many Additional factors contributing

arrested been times. many having to their difficulties in schools included

gang involvement drug use and addictions (e.g., alcohol, crystal meth), and violence and struggles cars, (e.g., stealing fighting, dealing drugs), with and Because suicide. these of depression challenging dynamics, both schools to sought provide relevant and students opportunities. meaningful respectful and of engaging with ways successful educational

LOCATING THE RESEARCH

As doctoral within at the working separate departments of Alberta, we first met at an Aboriginal education conference about concerns the and similarities in shared began talking found that we both had known and worked with several students

University where we our work. of

We

and we shared questions to better about ways students, create and with critical engage young dialogue people through education and popular culture. We additionally shared similar concerns about

the same

our own positions as white, with students older, negotiating and relatively in positions affluent people of authority. We educated, both sought to break down hierarchical structures of authority through our teaching practices as staff members at these schools. Additionally, we wanted to incorporate to our doctoral projects these same approaches in these contexts. Brett's music-creation suited to option class was well use this approach. Diane's considered the of theatre, practice popular and video as tools for literacy development. photography, Framework

Conceptual We

how the two schools used popular culture as initially considered critical pedagogy and how our own practices reflected the philosophies schools. Critical of these and media literature pedagogy popular a context for our about the schools' critical provided thinking engagements. social order a way an unjust Critical of seeing pedagogy provides and revealing how this injustice has caused problems in the lives of young people who live in impoverished It offers an conditions. to education, and reflection, whereby the approach through dialogue can be effects of power and the needs of students met interrogated

This content downloaded from 152.15.236.17 on Wed, 9 Apr 2014 09:16:56 AM All use subject to JSTOR Terms and Conditions

Popular

Media,

Critical

Pedagogy,

and

Inner

City

Youth

247

to situate illustrates the need (1987) additionally within students' cultures. the of process learning Through ... to know it critically" (Freir?, "unveiling reality and thereby coming (Apple, formal 1990). Shor 1996, p. 51) those who have been disenfranchised own social and cultural realities, draw their own toward appropriate responses. Critical understandings to explore their and work conclusions, offer cultural of their These and come

representations lives, identities, approaches encourage understandings "extraordinary young people common and engagement

and cultural studies pedagogy approaches use of how young people popular to construct and express the meaningfulness and cultures 2001; (Giroux, mainstream cultural their realities. own Willis own Hall, 1997).

interrogate to construct youth of their

representations

representations through to the (1990) referred

of the multitude in which of ways creativity symbolic invest decorate and within their use, humanise, meanings immediate life spaces and social practices" Creative (p. 6). with allows "a sense that they are youth that they are in control of their own shaping

and moulding language, & Dimitriadis, 2003, p. 21). (Carlson If schools are to become more relevant it is spaces for young people, to listen to the stories youth are telling educators useful their through on that "insisting (1998) has added own as a their stories" "central voices, people representing in the classroom tool" is imperative and pedagogical (p. 124). Lincoln Denzin "We can study its (2003) noted: experience only through of popular culture. Graveline their own representations, Representation in which the ways stories are told" (p. 240). through are useful and narrative for developing better concepts draw from a variety people and reposition themselves lives. of popular within the use

controlling cultural and are creatively identity, and self into new" style, something

culture popular their own representation,

of how young understandings to continually media re-define social contexts of their everyday Reflections Our on Critical Practice is thus concerned

research

with their schools.

creative media everyday Teachers lives and

use,

and

the ways popular in these

that young narrativise people in inner city alternative media

through students

This content downloaded from 152.15.236.17 on Wed, 9 Apr 2014 09:16:56 AM All use subject to JSTOR Terms and Conditions

248

Diane

Wishart

Leard

& Brett

Lashua

contexts creation conditions noted

co-create

that move beyond the simple re meaningful practices In creating of dominant culture narratives. the popular we for dialogue, learned about ourselves. has (1990) Apple on society is joined with in a critical self-reflection in a critical process with feel that engagement in the youth us to better understand our own within helped positions to the practices they constructed of the two schools in our studies, we for student

this reflection We

analysis. our studies

these

environments.

In relation asked how

educational

experience lives of youth. silenced diverse her

to inform

critical discussions

in these schools, Youth in prior schooling and social locations, their own expressed and share their understandings consciousness with others in the

opportunities of the daily and understandings who have been marginalized and

classroom.

a young Aboriginal woman For example, reflected on how in a popular theatre activity while she was a student at ICHS2 caused her to think about an issue from a different perspective involvement she played the part of aWhite girl.

when

We were

actually in the play and working on the scene and I thought about my on it and I had to because of the play and there was a girl that was vocal opinion
in the play 'You took and our that's she was land, purely took on the our defence one this who and was that/ the things about saying and I had no idea how (ICHS Youth Worker) White to react people. to that

because

mechanisms.

Young created

people's spaces

reflections for dialogue

on

their

involvement relevant

on issues

in popular to their lives.

theatre

Doing Media

as Critical Engagement no that they believed expressed at Boyle Street Education Centre an interaction about he had while subway the city

in our studies often The young people one was listening to them. One student related recording
system.

the

following city sounds

narrative for a sonic

about

composition

At times it's like, it's like, 'cause they see a Native guy they think I'm gonna ask them formoney. Like, I had this stereotype just a couple days ago. Iwas walking
down the street, and went up to ask this lady a question. Iwas like, 'urn, Iwas

if you could help me out?' and she was like 'no no, I got nothing!' wondering and I'm like 'hold on man, you never even listened to the question yet! I just

This content downloaded from 152.15.236.17 on Wed, 9 Apr 2014 09:16:56 AM All use subject to JSTOR Terms and Conditions

Popular

Media,

Critical

Pedagogy,

and

Inner

City Youth_249

wanted to interview you about what you thought about Churchill Ed Mile) Stories such as Ed Mile's

Station!'

(MC

and create spaces people, down in other conversations.

to listen to young the need highlight for the discussion of issues that are closed Stories that young

up possibilities Roberts (2000) are people "'homesteading'?finding their public locations, geographic sculpt real and and personal our aim was researchers pedagogies youth dialogic, to address

people have to tell open to engage in shared dialogue. and Fine, Weis, Centrie, as "free spaces" where refer to these openings young unsuspecting and institutions, peace, (p. their places within their spiritual lives to

corners for imaginary collective identity work" to develop these concerns, our to transform spaces.

communion, solace, and teachers 132). As our classrooms, our schools, and our culture using popular into more classrooms and valuing supportive,

experiences and democratic

METHODS
Diane's outlined and research project a case as at ICHS followed study approach on She based her individual interviews (1995). findings as her discussions with students and staff, as well circles and staff daily sharing weekly meetings. in this She school informed period range the and of over a two-month sought a wide

by Stake focus group in on her

participation Reflections analysis. involved

as a teacher practice Formal data collection took place 12 students and 8 staff members.

in addition student experience of gender as well as Aboriginal was reviewed and approved

to an approximately and non-Aboriginal

equal representation students. This study and Approval the

of Education by the Faculty Extension Research Ethics Board at the University of Alberta. was also granted from Inner City High School. Brett's based, and research at BSEC

performance of ethnographic that emerge where and (2003) presentation techniques in the research rapped, shouted, danced, when involved young people and stories. their The research?called The Beat of Boyle sang performed, Street music program?brought Brett to the school four days a week for three years to teach students to use audio production software to create

a bricolage of narrative, arts represented methods reflective of Lincoln and Denzin's

This content downloaded from 152.15.236.17 on Wed, 9 Apr 2014 09:16:56 AM All use subject to JSTOR Terms and Conditions

250

Diane

Wishart

Leard

& Brett

Lashua

their

own

music,

raps,

beats,

dance

tracks,

soundscapes,

and

spoken

word

poems. study of Alberta University Faculty Research Education Ethics Centre. Board and

This

was

the approved by of Physical Education and Recreation the Board of Directors of Boyle Street both

reviewed

and

RESEARCH CONTEXTS
Boyle Street Education Centre

in 1996, was Centre the first (BSEC), established Boyle Street Education in Alberta. the The school was housed charter school within initially Boyle social Street Community to people services an agency essential Co-Op, providing in in Edmonton's inner poverty city. living of the Co-Op until August located in the basement 2004, when four blocks away to provide more space. The school relocated Services curriculum social studies, and science, math, including a variety of option such as Cree language courses,

BSEC was the school offers

a core

arts, plus language fashion studies, and and culture, cosmetology, video, music production, to BSEC In addition the music work program, programs. experience recently re-engage interruptions federally added a hip-hop/breakdancing class. The school's mission or have who been unsuccessful have students in their funded school experience. the National Brett's Crime work at BSEC Prevention had was

is to

(through and Mobilization Program) Community in education through their interests people and rap hip-hop.

Strategy, to re-engage young sought in popular music, particularly

InnerCityHigh School
Inner City program, foundation private school High as well of an academic provides built on a courses, options literacy/bridging in 1993 as a established critical pedagogy. ICHS was School as (ICHS) in Edmonton and about are

700 youth have gone the program. The through at left public high aimed engaging youth who objectives of their lives because of the social situations schools prior to completion a and Giroux that Freir? reflect and prior schooling process experiences school; (1989) identify as making "some students voiceless" (p. ix).

This content downloaded from 152.15.236.17 on Wed, 9 Apr 2014 09:16:56 AM All use subject to JSTOR Terms and Conditions

Popular

Media,

Critical

Pedagogy,

and

Inner

City

Youth

251

The

school's

founder

and

principal,

a unique had with program understanding in public Cloutier identified his own life story, difficulties schools. as being an important to many similar of the students' stories, in this understanding from 2002). Relating, (Cloutier, component to and the faced pressures experience reality psychological personal by inner city youth, he acquired formal education that he felt enabled many him to help these youth succeed. Although informal many incorporating within education school Cloutier programming (e.g. Elders), approaches wanted to ensure a structure was to complete high school. He knew youth were not lacking intelligence, in place to give from personal youth an opportunity that these experience

J. Cloutier, of students

developed have who

the

just opportunities.

USING POPULARMEDIA AS CRITICAL PEDAGOGY

at ICHS initially grew out of the belief that drama was a The program a popular tool for addressing social issues. Teachers powerful adopted it allowed theatre approach and articulate because less inexperienced to do sophisticated social analysis (Cloutier, 2002). Popular participants as groups or theatre strives for social change by involving individuals in of communities members issues of concern, of identifying points how change could happen (Prentki & Selman, analyzing were at this to explore ICHS able their medium, 2000). Through youth own own social their and work toward conclusions, reality, draw A worker and former ICHS student responses. appropriate youth change, outlined
After

and

this process.
games like and those group games building into themes, go we get into more on like

the warm-up things,

issue-based

sculptures...we

sometimes

respect, and they [the students] come up with solutions of how they can go from mean, that's a pretty big thing. (ICHS Youth Worker) disrespect to respect. I This selectively provide process of empowerment to question "involves and learning those of the dominant culture that would appropriate aspects and their communities" with the basis for the wider 1998, p. 124). (Graveline, by the youth at ICHS and explored through drama and prostitution. drama The violence, program social order

individuals

transforming Issues identified included racism,

This content downloaded from 152.15.236.17 on Wed, 9 Apr 2014 09:16:56 AM All use subject to JSTOR Terms and Conditions

252

Diane

Wishart

Leard

& Brett

Lashua

provided

real

life

contexts

for

"learning

as

the outcome of information"

of diverse (Giroux,

rather struggles 2000, p. 127).

Since popular

than as the passive

reception

theatre

exercises

are most

often

about

social

issues,

then

the kind

it often takes place just of analysis that takes place is fairly significant as well... scenes without any kind of moralizing by the facilitators and through presenting it's the youth [who] are able to draw [out] what they're ready for from that process. One Through how you downtown (ICHS Teacher) student see area talked about how drama helped him focus on school. in "a lot of drama skits on everyday living and ... aware in the of a lot more things you're that surround the people (ICHS Student). you"

involvement things and

theatre helped a number of the youth work through many of the Popular a negative effect on their lives (Cloutier, issues that were having 1997). as a to see education in this healing Once engaged process, they began to change the process their lives. Cloutier of (1997) recognised way conscientization, in to transform youth. at the
program.

as actions participants engage by Friere (1996) as with these that undertaken their social situations, of ICHS. Teachers led to the development This process ultimately defined school then incorporated popular theatre into the educational

a type of knowledge At BSEC, rap music represents is not new. in the classroom. This approach is valued

and artistry that For instance, Kun

a unit on poetry with inner city (1994) described through working can we extent what He asked: "to that began with writing students raps. as a music into the of for the incorporation work through rap paradigm For lesson students, 1994, 7, many (Kun, para. 1). sample plan?" daily is not only part of their everyday that lives, but also something rap music to express valuable kinds of knowledge they can make by themselves lines Dimitriadis these social relationships. and broader (2001b) Along noted that teachers should begin to understand resources for thinking explored disenfranchised for increasingly through what rap as part of "under counts as 'the pedagogical'

young people" (p. 34). in that students learned how to The Beat of Boyle Street is innovative audio and music their own make rap computers using production

This content downloaded from 152.15.236.17 on Wed, 9 Apr 2014 09:16:56 AM All use subject to JSTOR Terms and Conditions

Popular

Media,

Critical

Pedagogy,

and

Inner

City

Youth_253

the at BSEC reported that music students class, with Many or out and talk about to make remixes, rap, simply hang opportunity reason they got up in the morning and came to music, was the primary a sense of accomplishment a rap song provided and school. Making software. success, which and an area to build with in turn translated In an commented: I came to this school back in like '99-2000, and that year Iwas having a lot of struggles at home, and problems with issues with police and stuff and court problems. The next time I came here was this year. This year I started coming here in September when I got out [of Edmonton's youth detention centre] on September 28th, and then I heard about this music class and I thought smokes!' and it's just what I needed 'cause that's what I like doing, writing since Iwas 12 years old. (MC Ras ta P) In one of his was MC Rasta P rapped about compositions, helping him to turn his life around. The although how he 'Holy lyrics interview across and confidence, upon existing strengths a whole of school range competencies. student radio about his CBC raps, one

felt of to

that rap music the song, titled struggle,

first verse

"Rhyme Spree," explains how, he was using rap to change his life.

he continued

can't even get out of their own fucking position, To kill the pain, go out and get drunk, is their only mission. Some Natives I love the people looking for love in the all wrong places, 'emmaking babies, trying to hustle cash, got 'em catching cases. man I don't wanna fail, Already a lot ofnechies in jail, But with all this freedom I remind myself I ain't even living well. Got Sometimes
there,

breakfast,

sometimes

supper,

sometimes

a snack here and

lot of kids going wild since their parents don't even care. I try to stay focused, make something happen like hocus-pocus

Stick to this rap thing 'cause like mary jane it's the dopest. No hood rat, no mall rat, I'm past all that, Believe me, entrepreneur coming up in this game, Y'all know my name, Rasta P, it shouldn't change, it's still

the same.

(MCRasta P)

This content downloaded from 152.15.236.17 on Wed, 9 Apr 2014 09:16:56 AM All use subject to JSTOR Terms and Conditions

254

Diane

Wishart

Leard

& Brett

Lashua

MC

Rasta

employed people

adult/middle-class/white thugs, sex, and violence

some of the aspects and this rap represented his hopes and dreams for a better realities, a a future. Rapping of and solace, space opened space to begin to respite create a new story, and a point of re-entry into his education. Although in The Beat not want to Street did sit down many young people of Boyle and talk about or select Raps, and their anger or frustrations, a set of songs for a "mixed CD" Rasta that P's, opened questioned how of social they did want that articulated to rap about it, their feelings. between students

of gangstas, ghettos, or counter (Mahiri & Conner, 2003)?to escape of that lifestyle. He had been too close to those hard

rap music?so for its connotations

insidious

to many

such as MC teachers

critical dialogues

contemporary conflicts.

understandings

media popular challenged issues such as racial and class

RETHINKING RELATIONSHIPS: RESPECTFUL ENGAGEMENT AND CRITICALDIALOGUE

Our work in these projects required us to occupy and think and shifting roles we played within the classroom?as through the teachers, to rethink the contexts.

multiple and as students?and researchers, musicians, advocates, we that constructed and understood ourselves ways For students' Brett

in these

rap songs example, challenged and power dynamics inherent political relationships with students. The following short rap created by a young Aboriginal woman describes her experiences in city spaces filled (MC "Glorious") with racism and hatred. I'm rolling on the bus, all I see is bad streets, No peace, when I'm bumping tomy beats, Makes me wanna give up on life, cut myself with a knife It hurts to see my brothers, begging for money, stuck in the game, When Feeling the shame, Please God, we fought for our land, we brought our clan, Been real to our band When I see us now, the girl makes me wanna hurl, we gotta be hated and jaded and waited on ? Why

to recognize the in his interactions

This content downloaded from 152.15.236.17 on Wed, 9 Apr 2014 09:16:56 AM All use subject to JSTOR Terms and Conditions

Popular

Media,

Critical

Pedagogy,

and

Inner

City

Youth_255

Stop the racist-ism, start the creatist-ism People look at me like I'm nothing, But deep down inside Ifeel I'm something. When good. This I'm strolling through the 'hood all I see is people up to no (MC "Glorious")

to feel rap expresses aspects of one young woman's struggles was as she moved that she the city on public "something" through in to her music the listened and transport headphones, always under of For music the around her. offered what her, making gaze rap people new as in the form lived identified of (1996) spaces Soja representation, of "creatist-ism" which she uses to counter the "racist-ism" that she and saw affecting Aboriginal experienced, to make After helping this student reflected in his journal. as the reader [listener] is forced to ask
she mean her "brothers" who are

the city. throughout people a recording of this rap, Brett

The last line offers a bit of a conundrum

which people are "up to no good"? Does

panhandling
violence? power of Or, the

and "stuck in the game"

does gaze, she mean the

of cycles of alcoholism,
to no she's good nothing are

poverty,
those because with

and
the she is

are up the people who racists who look at her like

Aboriginal? established

At

panhandling woman like she's nothing?

for me to reconsider of my perpetuation "racist-isms."

first listen, I had the first interpretation?I was thinking along I understood lines through which being "up to no good" as and drinking. So am I just like the people who look at this young It required additional
and recognize my best how Despite

times of listening
Iwas

to this song
in the up to

position,

intentions,

being complicit I too was getting

no good. This during others Fine,

for

(Brett, journal entry) passage the course illustrates of his how a shift a moment occurred in Brett's

as a coming 1998; Fine & Weis,

researchers,

research, clean at the self-other

that has been hyphen spaces

1998), and creating

or students alike.

thinking identified by 2001a; (Dimitriadis, for new subjectivities

teachers,

that the task of a politically (1994) argued Grossberg engaged a to is "never convince pedagogy subject to adopt a new predefined an Rather the task is to win position. already positioned, already or group a different to a different set of places, invested individual

This content downloaded from 152.15.236.17 on Wed, 9 Apr 2014 09:16:56 AM All use subject to JSTOR Terms and Conditions

256

Diane

Wishart

Leard

& Brett

Lashua

of the space of possibilities" and popular organization (p. 19). Rap music one for shared culture offer spaces for creating meaningfully possibility in the classroom also indicates how critical practice. Making rap music his relationships with students, questioning rethinking was was bound his that whose and told, story story recognizing being with students' narrative raps. up to be flexible and caring in At ICHS, the school staff endeavoured Brett began their interactions how
were

explained
[The staff]

to foster critical dialogue. youth were to her success. these relations important with
really supportive of me...they always tried to

student

help

me

even

though
encourage

I was

not

even
always

really
take

serious
you back,

about

school

and

they still
gone

tried
through

to
a

me...they

no matter

what...I've

lot of shit and it's helpful to have someone that cares about you, tries to help you even though you haven't been as good, the best person or made the best choices.. .they still accept you and are willing to help you. (ICHS Student) a number the program started and stopped of times students Many a to school regularly. routine of coming School before they established to attention careful staff members through relationship building paid to continue students that encouraged attending dialogue respectful school. their In Diane's relations before discussions with with ICHS staff, one teacher noted have to that in stop the "you youth, can in critical (ICHS Teacher). engage you questioning" the conditions for the bleeding and building of stopping disenfranchised

bleeding The process

first arrived at the school. Early relations students pedagogy began when on trust interactions that lead to establishing focused accepting positive, as a crucial component of academic engagement. talked about youth worker initial contacts with new students. A how he tried to build this trust in

so much adversity in their They've [the youth] gone through so much and faced lives that they don't know who they can trust. And they've tried to trust so many me as people throughout the years that when they first come in they just look at
just another guy... after a series of one on ones then they start to see that I'm

genuine

and then they start to crack the shell a little bit. (ICHS Youth Worker)

This content downloaded from 152.15.236.17 on Wed, 9 Apr 2014 09:16:56 AM All use subject to JSTOR Terms and Conditions

Popular

Media,

Critical

Pedagogy,

and

Inner

City

Youth

257

in interactions with Openness their experiences personal relationships Diane reflected school. leading listening She wanted to openness to students where

students

and abilities

to relate

to some

of

this staff member establish helped him. felt comfortable with youth talking on her own in this with students relationships to better understand how she established trust in dialogue. She recognized of the importance an was non and creating that atmosphere

in the necessity to but also came to believe of contributing judgmental own of her the relationship stories. These stories through sharing of from different social locations yet offered many points emerged connection to them, to. She felt that by opening up that youth readily responded were created could offer their spaces whereby youth was validated this Young through knowledge people's Diane felt the students what also validated her in this process, as

knowledge. process.

of receiving worthy New students

they had to offer. a series of into ICHS progressed coming through courses designed to bring their reading, writing, and analytical skills up to grade level prior to starting an academic program. These courses were to allow set up as short-term modules to students the opportunity academic and success a desire quickly, to continue leading to an increase These in self early to school.

coming began with literacy where, through drama, students the social reading, and writing, explored When ICHS students began this process, many of as school and surrounding focal community points courses descriptive then moved critically members.

experience confidence

video, photography, issues in their lives. them looked at the for photography and these objects more

writing. They and dialogue with other students and staff through questioning and Brannon Knoblauch (1993) provide support for the type of at media offered that creative writing ICHS, literacy programs asserting must self be motivated into reflecting greater understanding by tapping and curiosity. feelings, such as desire, pain, ambition, At ICHS, topics for literacy projects were identified and developed on they felt had significant by the students based problems impact on their lives. Often for ICHS students the realities of street life became for writing topics early such Emotional responses, and other forms of creative as anger at police, expression. or frustrations of

on to examine

racism,

This content downloaded from 152.15.236.17 on Wed, 9 Apr 2014 09:16:56 AM All use subject to JSTOR Terms and Conditions

258

Diane

Wishart

Leard

& Brett

Lashua

homelessness, with keeping

became Weiner's

motivators

for their work. assertion that

These

courses students

are

in see

(2003) they "help as lived experience in literature, music, and social ideology painting courses next at The level interaction" ICHS moved of (p. 61). literacy into media students analysis. I think we

really try to look at the way of the world as well as [the ways] the come it in order to survive. And I think we look at that here manipulate youth how they have been maybe manipulated by the world and the structures that
they're program up to against. us help And discuss we those deliberately issues. Like have we'll elements watch within a movie our because literacy it's an

in to talking about how the world ICHS students worked through identified critical

is not a fair place. news

(ICHS Teacher)

questions

stories or advertising and campaigns that lead them to discern how media these the ways students inner city understood youth are

shapes understandings. themselves differently portrayed by mainstream

Significantly, to in relation media.

DISCUSSION: ALTERNATIVE VISIONS AND VOICES

For Weaver critical and Brannon and Daspit (1999) and Knoblauch (1993), can critique connect and and culture popular pedagogy in questions and about the power of representation, education, engage was at in This teachers realities schools. approach by change adopted ... to in arts the critical "the and ICHS incorporate questioning literacy

to look at the world around us" (ICHS [that were used] an in this school reflected Teacher). put forth by Teaching approach as "students bearers of diverse social memories Giroux (1994) to view programfs] with in the quest for learning themselves right to speak and represent coincides with Weaver and self determination" (p. 279). This approach that critical should and Daspit's (1999) claim promote pedagogy are to who and administrators able students, teachers, negotiate within remake their own identities. the terrain of popular culture to constantly and youth workers-soften At ICHS teachers critical incorporated of the forms with discussions that connected popular media approaches power of representation. a

This content downloaded from 152.15.236.17 on Wed, 9 Apr 2014 09:16:56 AM All use subject to JSTOR Terms and Conditions

Popular

Media,

Critical

Pedagogy,

and

Inner

City

Youth

259

Digital

media

and

also

basic

photography...gives

somebody

a purpose

to go

out

into the community

that stake go role out you also have that really valid not there and

and look at it. Imean

something everyone look at the between else you has...once with

literally looking at it through a lens

and the community that and prop you have a they're given a different they not a part of them they would have within separate they haven't a the so

community

that's

within at look the at

the

community...and can really they

community...suddenly same time they're the other side..

purpose...they a have place it. a They're power

it from

.it gives

had before. Students

(ICHS Teacher) used this medium

in the world to critique the messages the of around them and consider alternative representations images they to view saw. Photography not only provided the world opportunities name to the and talk about students also allowed but critically they were part. to Freir? (1996), an emancipatory praxis must be informed According At ICHS, the of the and voices disempowered. by the experiences to meet of the current students. As the needs program was adapted community of which previously noted, were to student success. Student this flexibility was essential theatre and literacy programs the basis for popular to express while working used their voices themselves, skills needed for academic success and in the

experiences students where on social and

academic

larger community.
The use of the arts is critical deficiencies and self worth towards in our work in a way and the also because that allows the use of the arts allows us some the about same the to

address sense

academic of dignity able

students their

to maintain at good

promotes

confidence and feel

time. We're

to move

academic

courses

whole process rather than putting their deficiencies. (ICHS Teacher) Through media and

them into a reading program

that highlights

staff at ICHS have courses, art, in literacy a lot of skill to produce need "don't something recognized ... and that have that is sort of 'wowing' something they can feel they ... it's ... and ... if about really important they they're beaming proud that students can tackle the confidence is an essential formal the rest will component learning. follow" Confidence desire of academic (ICHS Youth Worker). success and creating a

to continue

This content downloaded from 152.15.236.17 on Wed, 9 Apr 2014 09:16:56 AM All use subject to JSTOR Terms and Conditions

260

Diane

Wishart

Leard

& Brett

Lashua

The project to make people

confidence teaching young through music and rap computer using technology is it software. Dimitriadis that audio (2001a) argued production a wide in the classroom, to validate range of competencies important their own or rapping, and utilize knowledge such as emceeing from efforts gained to survive on the streets. Along these lines, one BSEC student?who raps

at BSEC

also built

under

the

name

"MC

P.A."?noted:

I started here at Boyle Street Education

was coming here it was going good, you

about when
know,

Iwas

sixteen, and when

there for me, but

the people

were

try hard, you know I ended up dropping out, I ended up doing a lot of It took me until now [age 19] to, like, and getting in trouble, whatnot. things I didn't
finally get into it. I feel I've come a long way from when Iwas younger to now.

And,
now... here

it's like, I don't know,

music so far, gives it gives me, me now a new

I'm a dedicated
that I'm in this

student now,
classroom, you and

it's a full time thing

what It I've just like learned opens

perspective

on music,

know.

up doors you know so I can see where I'm going with listen to anymore, it's something I do. (MC P.A.) This narrative highlights

it, it's not just something

practices. Grossberg sites and the stakes not only practices P.A. has written representation, pervasive

the importance of doing (1994) argued that these practices of struggle, but also the weapons

cultural popular are "not only the as well. Cultural

represent power, that are raps the spoke value

and which

it as well" (p. 7). MC they deploy illustrative of struggles for self in of Aboriginal the face of pride of getting an education, and the

to the voices of Aboriginal importance youth. The Beat of Boyle Street supported young people speaking their creative musical voices and compositions. hip-hop importantly, researchers, and the processes students power of doing music to enter into new together allowed

negativity, of listening

through More

relationships, new spaces of identity and existing challenge dynamics, explore Fiske (1989) claimed "the study of popular culture requires formation. out of which it is made, the study not only of the cultural commodities use them. The latter are far more but also of the ways that people creative and varied than the former" (p. 15). At BSEC, hip-hop provided to "learn how to position" and teachers different ways for students

teachers, and support

This content downloaded from 152.15.236.17 on Wed, 9 Apr 2014 09:16:56 AM All use subject to JSTOR Terms and Conditions

Popular

Media,

Critical

Pedagogy,

and

Inner

City

Youth

261

within they have been positioned, Rose 2003, p. 12). (1994) (Carlson & Dimitriadis, power struggles that young people need to be in control of their own reminds educators at Boyle Street the students raps provided making representations; themselves, as well how over Education sustained own Centre some sense of agency creativity, and and power shaping in an arena identity on that their self-determination,

as contest

terms and turf.

RISKS, CHALLENGES, AND POTENTIAL

Our projects sought inner city classrooms engaged The approaches we and other culture pedagogy. pedagogy in classrooms Giroux and enacted explained studies cultural research in which teachers in ways in critical dialogue and analysis. students used to incorporate popular staff members to illuminate Giroux's this of performative (2001) notion as a mixture of critical concept "'the act of that emphasize as the grounded basis theory

approaches

of understanding the importance doing,' ... in order to enable to into contexts and power for 'intervening people context for the in their that act more may ways change strategically in Giroux, 2001, p. 7). better'" (Grossberg, 1996, p. 143, quoted As teachers and researchers, both of us struggled with the challenges for students of creating opportunities by examining with critical lenses and co-creating meaning through an as and class involved making rap music option young skills people articulated music. through for creating and social community futures. studies middle We were found willing class, teachers, in meaningful to engage that: The critical pedagogue
is, rather than from where

their experiences them. Brett's study the ways explored

Diane's

their hopes, work

possibilities

better issues

and unique successes, struggles, and the struggles also revealed of futures through critical examinations that when for engagement the young we we were in alternative people in our

through to accept

allowing our work us

for who

and researchers) dialogue

(white, educated, indicated a willingness adhere to the idea

together.

In this, we

is always
the

someone who
is at. This

teaches from where

does not mean that

the student
the teacher

teacher

denies his or her pedagogical

intentions or specific expertise, but merely

that s/he

This content downloaded from 152.15.236.17 on Wed, 9 Apr 2014 09:16:56 AM All use subject to JSTOR Terms and Conditions

262

Diane

Wishart

Leard

& Brett

Lashua

respects

the myriad

expertise

of

the

students

that

s/he

does

not

share.

(Mostern,

1994, quoted Our students, moments

in Grossberg,

1994, p. 20)

research

and practice, the lives and experiences of respecting to create for and in sought opportunities speaking listening of shared dialogue. in our classrooms Doing popular media of critical

in these alternative school engagement an is of Inner School clearly integral part City High and Boyle Street Education Centre programming. In our work, popular media form the core of our critical pedagogical practices approaches, as additives rather than operating courses to existing and curricula. we as useful also see our work for teachers wishing to However, in to media the classroom of incorporate popular explore ways creating meaningful potential respectful, dialogue points relevant, of with offer people. Popular media practices within schools for re-engagement developing young relationships with students.

a nexus provided environments and

and reciprocal

ACKNOWLEDGEMENTS Brett thanks the students creative participation

the invaluable contribution

and support

and staff at Boyle Street Education Centre for their in The Beat of Boyle Street. Diane acknowledges
to this study of the students and staff at Inner City

High
projects.

School.

Special thanks also to Dr. Karen Fox and Dr. Alison Taylor for their
and thoughtful provocation of these doctoral research

guidance,

inspiration,

NOTES
Permission 2The former has been granted quoted to use here was actual names of as the schools. Worker at student a Youth

employed

ICHS during the time period covered by this study. All quoted in this study are graduates of ICHS. REFERENCES Apple, M. W. Carlson,

the Youth Workers

(1990). Ideology and curriculum (2nd ed.). New York: Routledge. G. (2003). Introduction.
to keep: Cultural studies,

D., & Dimitriadis,

Carlson (Eds.),

In G. Dimitriadis
democratic education,

& D.
and

Promises

public life (pp. 1-35). London, UK: RoutledgeFalmer. Cloutier, J. (1997). Popular
doctoral dissertation,

theatre, education, &

University of Alberta,

inner city youth. Unpublished

Edmonton, Alberta.

This content downloaded from 152.15.236.17 on Wed, 9 Apr 2014 09:16:56 AM All use subject to JSTOR Terms and Conditions

Popular

Media,

Critical

Pedagogy,

and

Inner

City

Youth

263

Cloutier,

J. (2002). Joe Clou tier, founder of Inner City Drama & Inner City High
School. The Source, 7(3), 12-13.

Dimitriadis, G. (2001a). Coming clean at the hyphen: Ethics and dialogue local community center. Qualitative Inquiry, 7(5), 578-597. in Black popular Dimitriadis, G. (2001b). Pedagogy and performance Critical Methodologies, 1(1), 24-35. Cultural Studies **Fine, M. (1998). Working
research. In N.

at a

culture.

the hyphens:
K. Denzin

Reinventing

self and other in qualitative

(Eds.), The landscape of

& Y. S. Lincoln

qualitative research (pp. 130-155). London, UK: Sage. Fine, M., & Weis,
adults.

L. (1998). The unknown city: Lives of poor and working-class young

Beacon.

Boston:

Fine, M., Weis, L., Centrie, C, & Roberts, R. (2000). Educating beyond the borders of schooling. Anthropology and Education Quarterly, 31(2), 131
151.

Fiske, J. (1989). Understanding popular culture. London, UK: Routledge. Freir?, P. (1996). Pedagogy of the oppressed. New York: Continuum.
Freir?, P., & Giroux, H. (1989). Popular culture, schooling, & everyday life. Granby,

MA: Bergin & Garvey Publishers, Giroux, H. A.

Routledge. Giroux, H. A. (2000). New (2001). Stealing York: Cultural innocence: St. Martin's studies as

Inc. York:

(1994). Disturbing

pleasures: Learning popular culture. New

Youth, Press.

corporate

power

and

the politics

of

culture. Giroux, H. A.

performative

politics.

Cultural

Studies

Critical Methodologies,
Graveline, F. J. (1998). Circle

1(1), 15-23
Transforming Eurocentric consciousness. Halifax,

works:

NS: Fernwood Grossberg,

Publishing.

L. (1994). Bringing it all back home?Pedagogy and cultural studies. InH. A. Giroux & P. McLaren (Eds.), Between borders: Pedagogy and the politics of cultural studies (pp. 1-25). London, UK: Routledge.

Hall,

In S. Hall (Ed.), Representation: S. (1997). The work of representation. Cultural representations and signifying practices (pp. 13-74). London, UK:
Sage.

This content downloaded from 152.15.236.17 on Wed, 9 Apr 2014 09:16:56 AM All use subject to JSTOR Terms and Conditions

264

Diane Wishart

Leard & Brett Lashua

Knoblauch,

Portsmouth,
Kun, J. (1994).

C. H., & Brannon, L. (1993). Critical teaching and the idea of literacy. NH: Boynton/Cook Publishers.
Reading, writing, and rap: Literacy as a rap sound system. Bad

Subjects: Political education for everyday life, (12). Retrieved 2005 from http://eserver.org/bs/12/Kun.html

December

5,

Lincoln, Y. S., & Denzin, N. K. (2003). Turning points in qualitative research: Tying knots in a handkerchief. London, UK: Sage. Mahiri, J., & Conner, E. (2003). Black youth Social Issues, 59(1), 121-140. K. (1994). Decolonization
Fanon's revolutionary

violence

has a bad rap. Journal of

Mostern,

as learning: Practice and pedagogy

narrative. In H. Giroux & P. McLaren

in Frantz
(Eds.),

Between borders: Pedagogy and the politics of cultural studies (pp. 253-271). New York: Routledge. Prentki, T., & Selman,
Canada Rose, T. (1994). Hanover, in focus.

J. (2000). Popular
Portland, noise: Rap WA: music Press

theatre in political culture: Britain and

Intellect. and black culture England. in contemporary America.

Black NH:

University

of New

Shor, I. (1987). Educating

teacher Portsmouth, Soja, E. W. (1996). education. NH:

the educators: A Freirean

In I. Shor (Ed.), Freir? for Publishers, to Los Angeles

approach
the Inc. and other

to the crisis
(pp.7-32).

in

classroom,

Boynton/Cook Journeys Blackwell. case

Thirdspace: UK: The Inc. art

real-and-imagined

places. Stake, R. E.

Oxford, (1995).

of

study

research.

Thousand

Oaks,

CA:

Sage

Publications,

Weaver,

J. A., & Daspit, T. (1999). Critical pedagogy, popular culture and the In T. Daspit & J.A. Weaver creation of meaning. (Eds.), Popular culture and critical pedagogy: Reading, constructing, connecting (pp. 183-200). New York: Garland Publishing, Inc. E. J. (2003). Beyond "doing" cultural studies: Toward a cultural studies of critical pedagogy. The Review of Education, Pedagogy, and Cultural Studies, 25(1), 55-73. P. (1990). Common culture. Milton Keynes, UK: Open University Press.

Weiner,

Willis,

This content downloaded from 152.15.236.17 on Wed, 9 Apr 2014 09:16:56 AM All use subject to JSTOR Terms and Conditions