Teach a Language the Hip Hop Way
Werner Nowitzki,
International Languages Aoteroa
Foreword
It is probably safe to assume that you are neither a hip-hop scholar of rap or a keen fan of Hip Hop. In addition to that your actual knowledge about Hip Hop presumably is not very detailed. Alternatively, you may be fond of Hip Hop and rap.
Are you aware of the many beauties of incorporating rap and Hip Hop into your language teaching? Have you ever tried to write your own rap rhymes and encouraged your students to do the like? If not, you will have no idea of what you and your students are missing out on. If yes, you will be very convinced of how powerful rap can be utilised as a language teaching tool.
I was not aware of how to use rap to
teach a language until I hosted a crew of German MCs, B-boys and DJs in a
workshop with year 11 - 13 German classes in
I totally agree with Trudy Mercadal-Sabbagh, (Department of Communication at Florida Atlantic University) when she states: “Hip-Hop as a pedagogical tool in learning traditional curricula-based language arts, and as a medium for expression for students who may not find much comfort expressing themselves in standardized language-based formats”. Trudy further argues “that Hip Hop provides a space for the instructor to engage in a collaborative learning experience with the students, in a constantly dynamic shared process. In Freire’s view (as interpreted by Giroux), “the educator must assume a standpoint from which to read the word and the world” (p. 121). I understand that the educator’s standpoint should be (and/or include), inasmuch as it is possible, the standpoint of the students.”
I am
genuinely convinced that, as language teachers, we
actually can’t afford to
not include rap and Hip Hop into our language programmes. My aim with this essay is to share my
personal enthusiasm about it and to encourage language teachers to give it a
try, to take on the challenge of becoming a passionate (part-time) poet and
rapper.
In this essay, Part I: Elements of Hip Hop Culture, is to provide general information on what Hip Hop culture is and what it is not. Part II: Styles of Rapping, focuses on Hip Hop’s verbal from of expression; rap, by providing some basic information about it. Rap of course is the very element of Hip Hop which is of interest for language teachers. Most of the information in Parts I and II I’ve adapted from specific websites. Part III: Rap in the Language Classroom is dedicated to teacher’s work and offers ideas as to how to incorporate rap and Hip Hop into language teaching and learning. In Part IV: References, Links provides a list of useful literature, links and contacts.
PART I: Elements of Hip Hop Culture
Often, the terms Hip Hop and Rap are wrongly used as synonyms. In fact, Hip Hop reflects the Hip Hop way of life or culture, whereas rap would be one out of five different elements of Hip Hop, its verbal form of expression. The five elements of Hip Hop are:
1. MC-ing
2. DJ-ing
3. Breaking (Breakdancing)
4. Graffiti
5. Beatboxing
1. MC-ing (adapted from http://www.answers.com/topic/rapping)
MC-ing or rapping is the distinguishing feature of Hip Hop music; it is a form of rhyming lyrics spoken rhythmically over musical instruments, with a musical backdrop of sampling, scratching and mixing by DJs. Originally, rapping was called MC-ing and accompanied DJing.
According to the Oxford Dictionary, rap means talk or chat in an easy and familiar
manner, with words being recited rapidly
and rhythmically over a pre-recorded, typically electronic instrumental backing.
Evidently, the Hip Hop culture developed
and frequently uses slang. “Slang is the non-standard use of words in a language and sometimes
the creation of new words or importation of words from another language. Slang
terms are often particular to a certain subculture - such as Hip Hop. Several
scholarly works have begun to explore the relationship between Hip Hop slang
and African American English (otherwise known as Ebonics).” (http://www.uic.edu/orgs/kbc/hiphop/slang.htm#alternative_pronunciation).
It
goes without saying that we don’t want
to encourage our students to use slang during our lessons. But it is helpful to
have some knowledge about the specific Hip Hop slang.
The above link provides helpful information.
2. DJ-ing
The common equipment used by a DJ are turntables, CD players, mixers, headphones, slipmats, samplers, drum machines, effects processors, and laptop computers. DJs' most basic equipment are two turntables and a microphone, although recently, new advances in digital media have enabled DJs to use computers, and CD players, with specialized software in much the same manner as with turntables.
Turntables (aka. phonographs) and a microphone are connected to a mixer. DJs use a mixer's crossfader to fade between two songs playing in the turntables. Fading often includes beatmatching. Live Hip Hop music often has MC rapping to the microphone. However, in nightclubs the microphone is usually used only for announcements.
One of the phenomenons in the music community (but
primarily within the sphere of popular music) is DJs who are not simply
"playing records" but are in fact creating new music out of the
playback and mixing of pre-recorded media. Begun and developed in Jamaica in
the 1960s by such influential DJs as Count Matchukie, King Stitts and U-Roy working
with some of the most innovative sound recording engineers of the century
including Coxsone, King Tubby, and the legendary Lee "Scratch" Perry,
the DJs employ various techniques such as phrasing, sampling, scratching, and
the application of effects (e.g., delay, flanging, etc.). Most importantly,
they speak, toast or rap over the music. In effect they are developing an aural
montage that may be spontaneous/improvised or carefully crafted. This movement is dubbed turntablism, which has parallels with surrealism
and the visual arts.
3. Breaking
The term "breakdancing"
refers to the breaks in music, and the movements that can be associated with
these breaks. It emerged relatively recently, from the
The predecessors of this dance are
unusual. It is possible that this dance comes partially from the lindy hop, and
also from the
A whole genre of dressing is also associated with the breakdancing scene. Breakdancers typically wear low pants, T-shirts and a hat tipped sideways. The dance must be done in sneakers, for the dancer's safety.
Breakdancing is known as an especially dangerous sport for several reasons; it is not unusual for a dancer to get something caught, stubbed or stopped while moving in the air. This dance is never done on a soft surface, emphasizing the rough, raw urban feel of fighting. As a consequence, several dancers have broken their necks, and one died notably in 1982, due to a breakdancing move gone wrong.
Breakdancing includes moving the
feet sideways and onto the toes, spinning on the knees, head, hands and elbows,
mock fighting moves, and pantomime, an element introduced in
Movies in the 80's made these moves
famous, like
Breakdancing has evolved into the
dancing that is seen today in music videos and rap. The "boy band"
phenomenon and leading pop stars like Britney Spears use elements of
breakdancing in their work. Breakdancing has introduced new ideas into the
world of social dance. For example it indicates that full body-contact with the
ground is ok, spinning and other moves are possible through careful
manipulation of the body, and fighting moves can be part of dancing. Dancing is
freer, more pumped-up and less controlled because of this. It is safe to assume
that social and nightclub dancing throughout
4. Graffiti
Grafitti is a type of deliberately
inscribed marking made by people on surfaces, both private and public. It can
take the form of art, drawings, or words. When done without a property owner's
consent it constitutes illegal vandalism. Graffiti has existed at least since
the days of ancient civilizations such as classical
The word "graffiti" expresses the plural of "graffito", although the singular form has become obscure and has largely fallen into disuse. Both of these English words come from the Italian language, most likely descending from "graffiato", the past participle of "graffiare" (to scratch); ancient graffitists scratched their work into walls before the advent of spray-paint. These words derive in their turn from the Greek γραφειν (graphein), meaning "to write". Historians continue to speculate over the vexed question as to where the term "graffiti" first referred to this form of marking. (http://en.wikipedia.org/wiki/Graffiti)
5.Beatboxing (adapted from http://en.wikipedia.org/wiki/Beat_box)
Beatboxing is the vocal percussion of Hip Hop culture and music. Considered by many to be a fifth element of hip-hop, it is primariliy concerned with the art of creating beats, rhythms, and melodies using the human mouth. It can also involve singing, vocal scratching (the imitation of turntable skills), the simulation of horns, strings, and other musical instruments, and the replication of a vast array of sound effects.
What
comes to mind for most people when beatboxing is mentioned in the following
imitation of a backbeat drum pattern (in common drum set notation):
This imitates the bass (boom) and snare (chick) drums.
Part II: The Four Styles of Rapping (adapted from http://www.answers.com/topic/rapping)
Rap has developed a number of different styles throughout the years. Generally speaking there are two main genres of rap texts: Battle Rap and Concept Rap.
Concept raps are raps which tend to tell a story, mainly in the form of a first-person narrative. The concepts used can be both good or bad. However, concept rap was usually a way to express the severe need for change for the greater good. In the early days of rap, gangsta rap was a form of concept rap, but is was much more on the negative aspects and has an angrier feel. Today one can see how the game has changed, its giving the same message, but using a different tone within its concepts.
Undoubtedly, the most important element of rap lyrics is rhyme. In other forms of poetry, rhymes that span many syllables are often considered whimsical but in hip hop, the ability to construct raps with large sets of rhyming syllables is considered a sign of intelligence and achievement. For the same reason, rap music is sometimes referred to as "street poetry" or "street rhyme". To accomplish rhymes of this sophistication, rappers can use single rhyming words (intellectual/ineffectual) or they can use multiple words whose constituent syllables rhyme (octoroon/Doctor Dooom). Rap lyrics often contain long series of lines each of which rhyme with each other.
Rap features four different styles: freestyle, storytelling, representing, and battling. All sorts of combinations are possible. A freestyle rap can be a concept rap as well as a battle rap e.g. represent-storytelling-battle raps or represent-concept-rap.
Freestyle (adapted from http://en.wikipedia.org/wiki/Freestyle_rap)
Freestyle rap is, strictly speaking, rapping that is done in the moment at pure free flow, with no previously composed lyrics, reflecting a direct mapping of the mental state and performing situation of the artist. Freestyle is similar to improvisational music or acting.
Due to the improvised nature of freestyling, rules for meter and rhythm are usually relaxed relative to conventional rap. Genuine ability to freestyle completely improvised is very rare. Most artists keep to the spirit of freestyle by basing their set on the situation and mental state and have a ready supply of prepared lyrics and rhyme patterns they can use as "filler"or even around which they can build their set. This is similar to the way in which instrumental improvisatory musicians have a mental database of licks, techniques and melodies that they use to aid their improvisations. Often, freestyling is done in a group setting (called a "cypher") or as part of a battle. In these cases, freestyle verses are often prepared in the rapper's head, as the other rappers in the cypher or the opponent in the battle take their turn. Freestyling is also often used by many rappers when beginning to write a song, in order to get a feel for the beat and to brainstorm lyrical ideas.
Freestyling has been mostly an underground phenomenon since the early nineties, partly due to rap lyrics becoming considerably more complex in terms of rhyme scheme and meter. Many rappers often deliver stand alone written verses on radio shows that are referred to or labelled on records, or on filesharing programs as freestyles, which has somewhat distorted the meaning of the term. There is often confusion as to whether or not "freestyle verses" are in fact freestyled. As many rappers' written lyrics are simple and seem freestyled, yet many of the best freestylers' improvised lyrics are also complex and confident enough to seem written. In the early 21st century, freestyling (particularly freestyle battling) experienced a resurgence in popularity, as successful freestyle battle competition TV shows were shown by both BET and MTV. An example is Eminem's movie '8 Mile' which introduced the excitement of the freestyle battle to mainstream movie audiences.
2.
Storytelling (Adapted from http://en.wikipedia.org/wiki/Storytelling)
Storytelling is the art of portraying in words, images, and sounds what has happened in real or imagined events. The oldest forms of storytelling are oral. Later, stories could be conveyed by sculptures or writings on stone, wood, or parchment.
Modern technology adds to all of the previous techniques for storytelling the motion picture, together with oral dialogue, images, sound effects, and musical accompaniment. But whether in olden times or in modern times, the challenge of storytelling was the same: How do you get across the complexity in the events of the story?
Modern actors, singers, rappers and comedians can at times be storytellers. There is also a distinct kind of contemporary performer called "storyteller" who combines elements of these more mainstream professions together with several others, to create performances that are neither modern nor archaic. These performers may use traditional, original, or historical materials.
In most cases Rap-storytelling comes as first-person narrative storytelling like the two sample (English and German) show:
(1)
…was sitting on my fire escape and
I saw...
sturdy bridges, decorated with dirty pigeons
a vagabond begging for three pennies and a
princess
a junkie tourniquet surgeon urging the needle
in
a batty senior citizen flashing that awful
teethless grin
I saw a corner store merchant rest on a milk
crate with a stog'
a pierced nose, a model with a stalker, cheap
hooker, jay walkers
a table on a sidewalk with four old men
slappin' dominos down
a city, a village, a neighborhood, a ghost town…
(Aesop Rock’s “Panorama”)
(2)
...Mir war von Anfang an
klar: Möchtest Du hier überleben
musst Du besser als der Rest sein; es kann nur
einen geben.
Meine Chancen standen bei eins zu einer Million,
doch ich hab' an
Jetzt hab ich lang genug gewartet, meine Zeit ist gekommen;
dieser Platz wird zum Gefängnis, ich befrei'
ich spür' den Luftstrom beim ersten Atemzug in meiner Lunge,
hör' wie jemand sagt: "Glückwunsch, ein kerngesunder
Junge!"
Die Wärme meiner Mutter wirkt beruhigend auf meine Nerven,
ich öffne meine Augen um 'nen Blick nach draußen zu werfen;
alles ist neu für
und ich greif' nach allem, was ich in die Fäuste krieg.
Hier gibt's so viel zu entdecken, zu tasten, riechen und schmecken.
Ist das weich? Was passiert, wenn man es runterwirft? Kann man das
Mama schau, ich lauf', ich hab's schon bis zum Schrank geschafft!
Und Papa ist so stolz auf meinen ersten ganzen Satz.
Ich kann schon über die Tischkante gucken, Mensch, jetzt bin ich
groß!
Nur dass Papa immer arbeiten gehen muss find' ich doof,
aber am Samstag füllt er das Planschbecken mit Wasser auf
und dann kommt Marie, das Mädchen aus dem Nachbarhaus,
wir spielen "Vater, Mutter, Kind", später werd' ich sie mal
heiraten.
Zum Geburtstag will ich den großen Polizeiwagen.
Meine Mama sagt, ich soll die Zeit
noch genießen,
bald musst Du zur Schule, dann ist es vorbei mit dem Spielen…
(Blumentopf’s Manfred Mustermann)
3. Represent!
With a represent text, be it battle type
or concept type, you can describe what you actually stand for; - something you
are convinced of and/or feel related to, and want to express that feeling. For
example you could represent your crew, your family, your peers, your
neighbourhood, your values, and/or your country. E.g., in his song
“My Lady” the
Christchurch-based rapper Scribe represents his relationship to his girlfriend:
|
Aye
yo |
Cuz
you were there for me |
To
the hall on the wall You were there for me |
4. Battling (Adapted from http://www.song-lyrics.com/Rap_Battle_Lyrics.htm)
Battle Rap lyrics were created by rappers to challenge each other's skill set. In most battles, rappers are only given about thirty seconds to prepare a rap and perform it in front of the challenger and an audience. For example, developing Rap Battle lyrics was a popular pass time for the characters in the movie '8 Mile'.
In most cases in the rap world,
battling means that two rappers are challenging each other to see who possesses
the greater skill. A battle will usually last for several rounds and the
audience will decide who the favourite rapper is. Whilst battling may seem
intense, it is actually a very safe way for rappers to challenge each other
with rap battle lyrics and requires skill rather than brute strength. In some
instances, rappers battle each other within the lyrics of their songs. For
example, some of the biggest rappers of the day insult other rappers in songs.
This is not uncommon. If you listen to some songs closely, you will be able to
hear the exact insults as in the following extract of Gangstarr’s
I'm just a little bit older, plus a whole lot
wiser
I might advise ya, or I might pulverize ya
I can visit any city, get respect in the street
While you alone in your room, shook to death of the streets
I'll take a second to speak, I keep my weapon in reach
I ain't talkin romance but you'll get swept off your feet
Part III: RAP IN THE LANGUAGE CLASSROOM
There are many
different ways of incorporating rap and Hip Hop into your language teaching.
However, in investigating the scene you’ll find that in most cases Hip Hop and rap is incorporated in first
language teaching. Hip-Hop Unlocks the Meaning of
Literary Classics , states
Very rarely
though, you will come across a reference for a teacher deliberately using rap
to enhance students’ productive and creative skills of speaking, writing,
and performing of their own rap lyrics in target language. To some degree this
is hard to understand because the creative use of language is the most
prominent characteristic of rap, and you would think that what works in first
language teaching should work in teaching of a second language as well. Of
course, learners’ proficiency levels and confidence in their second
language evidently are usually weaker than in first language. This can be
outweighed by the passion and enthusiasm second language learners develop very
quickly when their teacher gets them to create rap songs in the target
language.
The following
part “Write and perform Rap-Songs in Target Language” provides
ideas and resources to do exactly that. But before talking about the teaching I
would like to introduce a few mouth watering texts of students examples of rapping so that you get an
impression of possible results:
Laura, Year 12
Auf
Englisch schreibe ich alles.
Wenn
ich traurig bin, dann schreibe ich.
Wenn
ich glücklich bin, dann schreibe ich.
Wenn
ich nichts zu tun habe,
wenn
ich Angst habe, wenn ich allein bin.
Auf
Deutsch ist es so schwer, die Wörter zu finden.
Ich
will alles beschreiben.
Meine
Freundinnen: Aber wie kann ich ein Lachen beschreiben?
Mein
Land: Aber wie kann ich sagen, wie heiß die Sonne ist?
Die
Kinder, die ich jeden Tag sehe: Aber wie kann ich ein Lächelns sagen?
Wenn
ich jede Sprache sprechen könnte,
würde
ich alles erklären.
Ich
bin nur ein Mädchen
Und
es ist zu schwer...