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Many of the academic and popular treatments of hip-hop overlook the complexity of the phenomenon. Hip-hop is often portrayed solely as a source of corruption and regressive tendencies or, alternatively, as a sort of savior for otherwise marginalized individuals and source of revolutionary power. This thesis situates hip-hop between these poles and draws out its progressive and regressive aspects for analysis. Considering its vast global influence and a growing body of academic literature, hip-hop has been notably understudied in the field of psychology. Alternatively, educational theorists and practitioners have realized the power of hip-hop in revisualizing an emancipatory education that fosters critical consciousness. This project goes beyond other hip-hop education projects in that it attends more directly to the psychological phenomenon of identity. As youth develop a strong connection to social and political identity and increase their level of critical consciousness (an additional goal of this and most other hip-hop based curriculums) they are more likely to participate and have the tools to be successful at actions aimed at progressive social change. This thesis grew out of a larger project titled Moving to the Beat, a communitybased multi-media endeavor that includes both the Moving to the Beat documentary film and curriculum guide. The Moving to the Beat curriculum guide strives toward the goals of emancipatory education. The film and the curriculum guide stay near the experience of hip-hop identified youth while attempting to avoid generalizations and stereotypes. Further, the developments of the film, curriculum guide, and this thesis have been guided ii by academic literature from a wide range of disciplines, including psychology, sociology, cultural studies, and education. The thesis focuses on two primary questions: (1) How do youth engage the Moving to the Beat curriculum guide and documentary film? (2) Do the Moving to the Beat materials facilitate the development of critical consciousness and/or social identity in youth? Two primary waves of data collection were conducted to answer these questions. At each location, Moving to the Beat was shown and an outside facilitator guided youth through the curriculum discussions and activities that centered on identity. During these workshops, multiple sources of qualitative data were collected, including participant observations, interviews, student produced lyrics, and feedback forms. These sources of data pointed to six primary themes across locations and sources of data: traditional gender roles, “everyone is all equal”, “you doing you”, the new hip-hop generation, development and maturity, and youth resistance. This thesis represents the first assessment of the Moving to the Beat documentary and curriculum, the results of which will be used to alter the curriculum guide and prepare it for publication. iii Acknowledgments First, my sincerest gratitude to Professor Jan Haaken, my advisor, for her constant guidance in this project. She has pushed me to develop as an academic and an activist. I want to thank her for your patience in teaching me the craft of writing and for making space to be a radical. I also wish to thank Professor Eric Mankowski for his guidance in pursuing qualitative methods and his valuable insight. And thanks to Professor Robert Roeser as well for his academic guidance, constant encouragement, and kind words. Thanks to my loving partner Matt Ruschman, without whom this thesis would not exist. His encouragement and feedback have helped make what once seemed impossible a reality, from listening to my ideas, proofing my work, and the invaluable emotional support. Many of my student colleagues have contributed to my work as well. Kealani Balfour provided constant support, always taking time to listen and encourage me. Thanks also to Jimena Alvarado, Diana Rempe, and Kara Underwood for their many forms of support in this process. Fawn Nioso assisted as co-observer and helping orchestrate the workshop. Countless individuals in this graduate program have been instrumental in keeping me centered through this process and taking care of me in various waysa particular thanks goes to the cohort who adopted this ol’third year. As I searched for places to screen Moving to the Beat and test the curriculum I was constantly struck by the level of support of the project by the hip-hop and education communities. Countless people leant time and effort to making sure M2B was shared with youth and I was able to complete my degree. Also, this thesis would have been iv impossible without the valuable insight of the youth participants and facilitators, all of whom taught me throughout this process. I also must thank the life-long friends and mentors whom I have been separated from in this processyou have made me the person I am and put me on this path. And of course thanks to my family for your patience and support of my adventure across the country. Their support has allowed be to develop the determination to pursue this graduate degree. v Table of

The Moving to the Beat Documentary and Hip-Hop Based Curriculum Guide: Youth Reactions and Resistance