Office Hours: Hip Hop Meets Academia


Uploaded by uwmadison on 21.12.2010

Transcript:
cc >> THE FOLLOWING PROGRAM IS A SPECIAL PRESENTATION OF THE BIG TEN NETWORK, PRODUCED
IN ASSOCIATION WITH THE UNIVERSITY OF WISCONSIN.
>> HIP HOP IN THE CLASSROOM? IN THE MIDWEST? IN THE BIG TEN? THE UNIVERSITY OF WISCONSIN'S
FIRST WAVE PROGRAM IS WHERE IT'S HAPPENING. FIRST WAVE COMBINES SOCIAL ACTIVISM,
COMMUNITY OUTREACH AND HIP HOP TO PROVIDE AN INNOVATIVE AND UNIQUE EDUCATIONAL EXPERIENCE. WE'LL DISCUSS THE ROLE HIP HOP
HAS PLAYED AT UW-MADISON, NEXT DURING "OFFICE HOURS."
HI, I'M KEN GOLDSTEIN PROFESSOR OF POLITICAL SCIENCE AT THE UNIVERSITY OF WISCONSIN-MADISON.
IT'S POETRY FOR THE 21st CENTURY. HIP HOP HAS COME TO ACADEMIA. JOINING ME TO DISCUSS UW'S
INNOVATIVE FIRST WAVE PROGRAM IS CHRIS WALKER, PROFESSOR OF DANCE AT UW-MADISON, AND ARTISTIC DIRECTOR
FOR THE FIRST WAVE PROGRAM. HE'S ALSO DANCER AND CHOREOGRAPHER WITH THE NATIONAL DANCE THEATER COMPANY
OF JAMAICA. HIS CHOREOGRAPHIES HAVE BEEN PERFORMED IN JAMAICA, NEW YORK AND ENGLAND.
CHRIS, WELCOME TO "OFFICE HOURS." VERY MUCH A PLEASURE TO HAVE YOU HERE TODAY.
>> THANK YOU FOR HAVING ME. >> SO, LET ME PLAY OFF WHAT WE TALKED ABOUT IN OUR INTRO THERE. IT IS A LITTLE BIT JARRING.
YOU DON'T THINK ABOUT HIP HOP HAPPENING IN THE MIDWEST AT A BIG TEN UNIVERSITY. YOU MAY NOT THINK ABOUT HIP-HP
BEING IN A UNIVERSITY SETTING AT ALL. TELL ME HOW IT CAME ABOUT. >> I CAN UNDERSTAND, FIRSTLY,
HOW IT CAN BE JARRING, BECAUSE THERE'S A MISCONCEPTION AS TO WHAT HIP HOP REALLY IS. OFTENTIMES, THE DEFINITION
IS THE COMMERCIAL HIP HOP, WHICH IS ONLY ONE ELEMENT OF WHAT IS A CULTURE. IT'S ONLY ONE ARTISTIC
MANIFESTATION OF AN ENTIRE CULTURE. SO, TO THINK THAT A CULTURE LIKE HIP HOP DOES NOT HAVE
EDUCATIONAL, PEDAGOGICAL SYSTEMS IN PLACE, YOU KNOW, IS A LITTLE BIT-- (LAUGHS)
>> SO SAY MORE ABOUT THAT. WHAT MOST PEOPLE THINK ABOUT HIP HOP IS WHAT THEY'RE SEEING ON MTV, OR WHAT THEY'RE READING
IN A MAGAZINE. >> WHICH IS ONE ARTISTIC MANIFESTATION OF THE HIP HOP CULTURE.
OTHER MANIFESTATIONS ARE IN THE OTHER FORMS OF HIP HOP ARTS. THROUGH DANCING, THROUGH VISUAL ARTS, GRAFFITI
AND GRAFFITI-INSPIRED WORKS. AND THERE IS AN EDUCATIONAL POSSIBILITY THAT COMES OUT OF ANY WORK OF ART, BECAUSE
A WORK OF ART IS ALREADY A DISTILLED PROCESS. AND IT'S USUALLY IN RESPONSE TO SOCIAL CONCERNS,
ESPECIALLY THE HIP HOP ART. SO, WHEN WE TALK OF HIP HOP EDUCATION, WHAT WE'RE TALKING ABOUT IS HOW WE CAN BREAK DOWN
THE EDUCATIONAL NARRATIVE THAT EXISTS IN THE ART THAT IS CREATED IN THAT CULTURE. >> TELL ME MORE ABOUT THAT.
SO, ART AT ITS BEST IS CHALLENGING... >> ABSOLUTELY. >> SOMETHING.
AND THERE'S CERTAINLY A LONG TRADITION AT MANY UNIVERSITIES, INCLUDING THE UNIVERSITY OF WISCONSIN, OF PERFORMANCE ART
BEING PART OF WHAT WE DO. I WANT TO GET BACK TO UW'S ROLE IN A SECOND. SO HIP HOP IS A NEWER FORM OF
ART, BUT PLAYS INTO ALL SORTS. WE HAVE PERFORMANCE ART. WE HAVE DANCE. WE HAVE SYMPHONY HERE.
>> THINK OF THE INFLUENCE OF THE HIP HOP CULTURE, AND WHAT IS AMERICAN CULTURE. IS IT POSSIBLE TO SPEAK OF
CONTEMPORARY AMERICAN CULTURE WITHOUT INVOLVING HIP HOP? LET'S NOT EVEN THINK OF THE MUSIC.
LET'S JUST THINK OF THE WAY WE DRESS. LET'S THINK OF THE WAY WE WALK. LET'S THINK OF THE WAY WE SPEAK.
EARLIER, I HEARD ONE OF YOUR STUDENTS THAT, I WAS IN SUCH AND SUCH A CLASS, AND YOU SAID, "HOW WAS IT?"
AND HE SAID, "IT WAS CRACKING." >> OF COURSE, MY RESPONSE WAS, DID YOU LIKE THE CLASS OR NOT? >> MY POINT EXACTLY.
SO, IT'S HARD TO BOTTLE THINGS AND NOT ALLOW THE POSSIBILITIES TO PRESENT THEMSELVES. >> CAN WE DEFINE HIP HOP?
WHAT DOES HIP HOP MEAN? I THINK TO A LOT OF PEOPLE IT MEANS IT'S A HOODIE, RIGHT? >> HIP HOP IS A CULTURE.
HIP HOP IS A CULTURAL MOVEMENT, WHICH MEANS TO DEFINE HIP HOP, YOU HAVE TO BREAK DOWN THE INDICES OF CULTURE.
WHAT ARE THE ELEMENTS THAT MAKE UP CULTURE? WHAT DO ALL CULTURES HAVE IN COMMON, AND CAN YOU
DO THAT WITH HIP HOP? YES. I MEAN, FOR THE PURPOSE OF THIS DISCUSSION, I THINK LET'S DEFINE
HIP HOP AS, YOU KNOW, CONTEMPORARY AMERICAN CULTURE, ORIGINATING IN URBAN CENTERS IN THE UNITED STATES.
YOU KNOW, WE CAN GO ON AND ON, AND FIND OTHER DEFINITIONS. CERTAINLY, THERE ARE MANY PUBLISHED.
BUT FOR THE PURPOSE OF THIS DISCUSSION, THE HIP HOP ARTS THAT WE FOCUS ON IS THE WORK THAT IS CREATED
BY THE STUDENTS WHO ARE COMING OUT OF THESE URBAN COMMUNITIES, WHO EXPRESS THEMSELVES THROUGH WRITING AND THROUGH
OTHER FORMS OF PERFORMANCE. >> WHEN WE COME BACK, I WANT TO HEAR ABOUT YOUR PERSONAL STORY AND HOW YOU GOT TO TEACHING
ABOUT HIP HOP, AND HOW YOU GOT TO THE UNIVERSITY OF WISCONSIN-MADISON. >> ABSOLUTELY.
>> PLEASE STAY WITH US ON "OFFICE HOURS." WE'RE TALKING ABOUT HIP HOP AND HIP HOP AT THE UNIVERSITY
OF WISCONSIN-MADISON.
>> THIS PROGRAM IS A PRODUCTION OF THE UNIVERSITY OF WISCONSIN-MADISON. IF YOU HAVE COMMENTS
ABOUT THIS BROADCAST, PLEASE EMAIL THEM TO: programming@uc.wisc.edu
>> WHERE OTHERS SAW LUMBER, WE RECOGNIZED A TREASURE. WHERE OTHERS SAW THE NIGHT, WE CHOSE THE STARS.
WHERE OTHERS SAW PIECES, WE UNLOCKED THE PUZZLE THAT COULD BRING THE END TO PARALYSIS AND CANCER.
SINCE 1848, THINKERS AND ACHIEVERS AT WISCONSIN HAVE FEARLESSLY SOUGHT IDEAS THAT TRANSFORMED THE WORLD.
KEEP ON, WISCONSIN, KEEP ON.
>> WELCOME BACK TO "OFFICE HOURS." WE'RE HERE WITH CHRIS WALKER, TALKING ABOUT HIP HOP AT THE
UNIVERSITY OF WISCONSIN-MADISON. SO CHRIS, I WANT TO HEAR YOUR PERSONAL STORY. THE FIRST TIME YOU HEARD ABOUT
UNIVERSITY OF WISCONSIN-MADISON WAS ACTUALLY THE FIRST TIME YOU HEARD ABOUT FORMAL DANCE TRAINING.
TELL ME ABOUT THAT. >> THE FIRST TIME I CONSIDERED IT BEYOND WATCHING THE BALLET ON A SUNDAY MORNING
ON TELEVISION. I WAS IN A HOTEL IN JAMAICA. I PERFORMED IN THE HOTEL INDUSTRY.
AND I PICKED UP THIS BOOK WRITTEN BY MARGARET H'DOUBLER. AT THE TIME, I DIDN'T KNOW HOW TO PRONOUNCE THE NAME.
BUT IT INTRODUCED ME TO DANCE AS CURRICULAR STUDIES AND CO-CURRICULAR STUDIES, AND IT WAS CREATIVE DANCE
FOR CHILDREN, AND YOU COULD USE DANCE TO TEACH CHILDREN HOW TO EXPRESS THEMSELVES IN LANGUAGE,
OR TO EXPRESS THEMSELVES IN OTHER FORMS. HOW TO LEARN MATHEMATICS. HOW TO LEARN GEOGRAPHY.
IT BECAME EXCITING, BECAUSE I HAD ALWAYS DANCED, BUT I NEVER THOUGHT OF IT AS AN EDUCATIONAL TOOL.
>> YOU'RE A 17-YEAR-OLD WHO'S JUST WORKING TO MAKE MONEY AT ONE OF THE RESORTS IN JAMAICA, AND YOU'RE WALKING BY THE POOL
ONE DAY AND THERE SITTING ON A CHAIR IS THIS BOOK? >> AND I PICKED UP THE BOOK. I DECIDED I'D GO TO STUDY
FORMALLY IN KINGSTON, JAMAICA. I DID MY UNDERGRADUATE THERE, AND THEN DID GRADUATE WORK. FULL CIRCLE.
THIS IS THE BEAUTY OF THIS REVOLVING THEORY THAT I'VE BEEN IN THAT IS MY LIFE, IS THAT I'M AT SUNY BROCKPORT
DOING GRADUATE WORK, AND CLAUDIA MELROSE, WHO IS A RETIRED PROFESSOR HERE, VISITED AN OLD DANCE PARTNER
THERE, WHO WAS MY MENTOR IN GRAD SCHOOL. AND SHE TOOK MY INFORMATION, BECAUSE SHE TOOK MY CLASS
AND SHE LIKED WHAT SHE SAW. WHEN THE POSITION BECAME AVAILABLE HERE, SHE CALLED ME SEVERAL YEARS LATER.
>> AND THEY RECRUITED YOU. >> AND IT WAS UW-MADISON. >> AMAZING. >> FULL CIRCLE.
NOW, YOU TALKED ABOUT HIP HOP AS AN URBAN AMERICAN CREATION. >> ABSOLUTELY. >> WAS HIP HOP SOMETHING THAT
YOU WERE AWARE OF GROWING UP IN JAMAICA WHEN YOU WERE RECRUITED FOR THIS POSITION? YOU WERE RECRUITED AS A DANCER
TO TEACH DANCE, BUT WAS THERE A HIP HOP COMPONENT TO THAT? >> NOT INITIALLY. WHEN I CAME, I CAME SPECIFICALLY
TO TEACH DANCE. IN MY FIRST YEAR HERE, I STARTED TO CONNECT WITH DIFFERENT COMMUNITIES ON CAMPUS
THAT I FELT WAS REPRESENTATIVE OF ME, AND THE ART FORMS THAT TOLD MY STORY. SO THE OFFICE OF MULTI-CULTURAL
ARTS INITIATIVES EVENTS FIT THAT BILL, THAT PROGRESS. SO I BECAME CLOSE TO THE WORK THAT THEY WERE DOING.
THAT WAS THE FIRST YEAR OF DESIGNING THE FIRST WAVE PROGRAM, SO I WAS PART OF THAT FIRST
DISCUSSION. AND THEN, THE PROGRAM STARTED IN MY SECOND YEAR HERE. >> BUT GROWING UP IN JAMAICA,
HIP HOP WAS SOMETHING THAT YOU WERE FAMILIAR WITH? >> ABSOLUTELY. >> IF I WERE TO GO TO JAMAICA
NOW, I WOULD SEE THAT INFLUENCE IN JAMAICA, AS WELL? >> ABSOLUTELY. WE HAVE OUR OWN FORM,
WHICH IS CALLED DANCEHALL, AND THAT IS CONTEMPORARY URBAN MUSIC AND DANCE, CULTURAL FORM, WHICH IS SIMILAR TO HIP HOP.
THEY BOTH GREW UP AT THE SAME TIME, IN DIFFERENT COUNTRIES, BUT HAD THE SAME MEANING BEHIND THE MESSAGE.
>> WE'RE GOING TO BE RIGHT BACK. BUT BEFORE WE LEAVE, WE'RE ACTUALLY GOING TO GO TO BREAK AND HEAR FROM A SENIOR MEMBER
OF THE FIRST WAVE GROUP, SOFIA SNOW. SHE'S GOING TO GIVE US HER PERFORMANCE OF "BROKEN ENGLISH."
SOFIA SNOW.
>> SONIA'S MOTHER GOT LOCKED UP THIS SUMMER. IT'S SEPTEMBER. SHE'S STILL TRYING TO ADJUST.
SHE DOESN'T KNOW HOW TO FALL ASLEEP WITHOUT THE NOISES OF NOSES AND NEEDLES
OUTSIDE HER BEDLESS BEDROOM DOORLESS DOORFRAME. SONIA DOESN'T SPEAK ENGLISH YET, BUT SHE'S FLUENT IN ANGER
WITH A DOMINICAN ACCENT OR RATHER, SHE'S FLUENT IN I'M ABANDONED WITH A MY MOTHER IS ABSENT.
HER ACTIONS SPEAK LOUDER THAN HER BROKEN ENGLISH. UNFORTUNATELY, SHE WONT BE GRADED ON HOW QUICKLY
SHE CAN MAKE YOU CRY OR PROMOTED BASED ON HOW HARD SHE PUNCHES. STANDARDIZED TESTING
DOESN'T CONSIDER STUDENTS WHO GREW UP WITHOUT MULTIPLE CHOICES, WHO CAN'T FILL IN THE BLANKS
OF INNOCENCE LOST, SO SONIA MIGHT NOT PASS 2ND GRADE THIS YEAR. I THINK JOHAN
HAS A LITTLE CRUSH ON HER. IT'S APRIL AND HE'S JUST ARRIVED FROM SAN JUAN.
JOHAN HEARS ENGLISH LIKE HE HEARS FLYING BRICKS: HE DODGES. JOHAN HAS ONLY SEEN
THE SWEET SIDE OF SONIA. THE PART OF HER THAT BLOOMED MONTHS AFTER HER AUNT STOPPED TAKING HER TO BANG
BONY KNUCKLES AGAINST BULLETPROOF GLASS AS SHE TRIED TO EXPLAIN SHE NEEDS TO
PUT THE PHONE TO HER EAR TO HEAR HER. HE'S ONLY SEEN THE SWEET SIDE OF SONIA.
AND HE FLIES TO HER LIKE A BEE TO A FLOWER. HE ISN'T FAMILIAR WITH SMILES SO SWEET.
IT'S JANUARY. JOHAN IS IN SAN JUAN, LOCKED IN HIS ABUELA'S BASEMENT. HE CRIES WITH HANDS TIED
AROUND A CEMENT POLE. ABUELITA SMACKS HIS BARE BACK WITH WET BOILED TOWELS. HE CRIES HOURS LATER,
LOCKED SHIRTLESS IN A COLD BASEMENT, WET BACK. IT'S APRIL. JOHAN FLIES TO BOSTON
LIKE A BEE TO A FLOWER ONLY TO FIND THAT MOZART STREET ISN'T AS SWEET AS HIS TIA TOLD HIM.
ON HIS WAY HOME FROM SCHOOL, HE DODGES FLYING BRICKS AND BULLETS LIKE HE DODGES ENGLISH.
TOO BAD HE WONT BE GRADED ON HOW FAST HE RUNS. HIS ACTIONS SPEAK LOUDER THAN HIS BROKEN ENGLISH.
HE CANT TELL YOU WHAT IT'S LIKE TO LEAVE EVERYTHING BEHIND WITHOUT A PUERTO RICAN ACCENT. HE CAN'T STAND IN LINE
WITHOUT FLINCHING FROM FLASHBACKS OF LASHED BACKS HE CANT BEAR TO SEE THE BARE PIPES
IN THE BOYS' BATHROOM THE SOUND OF WATER SENDS HIM BACK, AND BACK, AND BACK TO A PUERTO RICAN BASEMENT
AND YOU CAN'T SILENCE HIS FEARS IN ENGLISH. HE ONLY SPEAKS I AM FROM A PLACE YOU REFUSE
TO ACKNOWLEDGE EXISTS. HE SEES THAT SAME PLACE IN SONIA'S EYES YET THE STRANGEST SMILE
BLOOMS ACROSS HER FACE WHENEVER SHE FINISHES READING A NEW CHAPTER IN THIS TONGUE
HE'S NEVER KNOWN. HE WONDERS IF HE'LL EVER HAVE HER SMILE WHILE HAVING HER EYES
WHILE HAVING HER STORY WHILE HAVING HIS OWN. ITS JUNE. NEITHER SONIA NOR JOHAN
PASSED 2ND GRADE THIS YEAR. THEY BOTH STARTED TOO LATE. STANDARDIZED TESTING DOESN'T CONSIDER STUDENTS
WHO CAN'T LEARN A LANGUAGE BEFORE THEY LEARN LOVE, WHO CAN'T LEARN LOVE, BEFORE THEY LEARN PEACE,
WHO CAN'T LEARN PEACE IN A CLASSROOM THAT REFUSES TO ACKNOWLEDGE THEIR REALITIES EXIST
AND FOLLOW THEM ACROSS CULTURES, ACROSS BORDERS. BEYOND CLASSROOMS, BEYOND THEORY,
THERE IS SONIA AND JOHAN CONFUSED, UPSET AND ALONE. THE LAST THING THEY NEED
IS ANOTHER TEST IN A LANGUAGE THEY HAVE YET TO LEARN.
>> GREAT PEOPLE IS OUR CAMPAIGN FOR NEED-BASED SCHOLARSHIP AID. IT'S THE KEY TO THE LONG-TERM WELL-BEING OF THE UNIVERSITY
AS A WHOLE. >> IN 1970, TUITION COST ABOUT $500. >> TODAY, IT'S ABOUT $9,000.
>> WE DON'T WANT UW-MADISON TO BE A UNIVERSITY THAT IS DEEMED TO BE OUT OF REACH. >> THE GREAT PEOPLE SCHOLARSHIP
GIVES STUDENTS A CHANCE TO SUCCEED IN LIFE. >> SUPPORT THE GREAT PEOPLE SCHOLARSHIP.
VISIT: UWGREATPEOPLE.ORG
>> WELCOME BACK TO "OFFICE HOURS." WE'RE TALKING WITH CHRIS WALKER FROM THE DANCE DEPARTMENT
ABOUT HIP HOP AND THE FIRST WAVE PROGRAM AT THE UNIVERSITY OF WISCONSIN-MADISON.
SO CHRIS, I WANT TO SHOW SOME TAPE HERE OF YOU TEACHING A CLASS. WE JUST HEARD FROM
ONE OF YOUR STUDENTS, SOFIA, THE SPOKEN WORD. BUT THERE'S ALSO DANCE COMPONENTS TO WHAT YOU'RE
DOING, AS WELL. >> ABSOLUTELY. LET'S TAKE A LOOK AT THIS CLASS. WHY DON'T YOU TELL US
WHAT WE ARE SEEING HERE. >> THIS IS OUR STUDENTS WARMING UP. I LIKE TO WARM UP WITH MOVEMENT,
BECAUSE MY PHILOSOPHY IS, IT'S DIFFICULT FOR THE BODY TO LIE. WE STORE SO MUCH IN THE BODY.
AND SINCE WHAT WE DO IS STORYTELLING, THE CORE OF THE PEDAGOGY IS WHAT WE CAN LEARN
FROM THE PERSONAL NARRATIVE. WHAT WE TRY TO DISCOVER IS WHAT WE STORE IN OUR BODIES FROM THOSE EXPERIENCES.
>> HOW MIGHT THIS DIFFER FROM A NORMAL SORT OF DANCE CLASS THAT YOU MIGHT TEACH? >> YES, I TEACH TECHNIQUE
AT THE UNIVERSITY, WHICH IS BASED ON VERY SET, TECHNICAL STRUCTURES THAT YOU TAKE THE BODY THROUGH
TO FORTIFY THE BODY TO BE ABLE TO DO CERTAIN MOVEMENTS THE SAME WAY, EVERY SINGLE TIME. YOU KNOW, TO BE ABLE
TO ARTICULATE MOVEMENTS IN A SAFE AND EFFICIENT MANNER. THIS, THAT WE DO WITH FIRST WAVE IS MORE CREATIVE MOVEMENT.
IT'S ABOUT DISCOVERING THE MOVEMENT POTENTIAL OF THE BODY, AND DISCOVERING THE BODY AS A TOOL FOR COMMUNICATION.
>> SO, WHEN YOU'RE SITTING ON THE FLOOR, AND THE STUDENT IS LOOKING AT YOU, AND YOU'RE INSTRUCTING THEM,
WHAT ARE YOU TELLING THEM? >> I'M GIVING THEM PROMPTS. I'M ASKING THEM TO PROBABLY DIG DEEPER, AND I'M ASKING THEM
TO TRY IT IN DIFFERENT WAYS. TRY IT IN DIFFERENT DIRECTIONS TRY IT ON DIFFERENT LEVELS. CHANGE THE DYNAMIC QUALITY.
CHANGE THE MOOD OF IT. CHANGE THE ENVIRONMENT. THEY MAY BE MOVING IN THIN AIR AND THEN SUDDENLY WE CHANGE
THE ENVIRONMENT TO MOVING IN MOLASSES. HOW DOES THAT AFFECT WHAT YOU'RE COMMUNICATING WITH YOUR BODY?
>> SO YOU'RE ALMOST PART DIRECTOR. >> ABSOLUTELY. >> PART TECHNICAL DANCE TEACHER,
AS WELL. >> YEAH. >> HOW DO YOU PREPARE FOR THAT MIX?
YOU HAD A VERY TRADITIONAL, TECHNICAL DANCE TRAINING, RIGHT? >> I HAD A TRADITIONAL, TECHNICAL DANCE TRAINING,
BUT I HAD A LIFETIME OF IMPROVISATION, DANCES THAT ARE BASED ON YOUR PERSONAL INTERPRETATION OF THE COMMON
DANCE VOCABULARY. THAT IS HOW I GREW UP. I GREW UP IN RURAL JAMAICA, WHERE DANCE WAS USED, NOT JUST
AS A SOCIAL EXPRESSION, BUT AS AN INSTRUMENT OF SURVIVAL. IT WAS A TOOL OF SURVIVAL, OF MAINTAINING A CONNECTION
TO YOUR ANCESTRY. SO, THE WAY THOSE DANCES WERE PERFORMED AND WHAT THEY COMMUNICATED, AND
WHAT THEY PROVIDED FOR THE BODY WAS LIMITLESS. AND SO, I SAW THAT AS A FORM OF STORYTELLING, AND
A FORM OF AFFIRMING THE SELF, AND FIGURED IF WE CAN USE THIS AS SPECIFIC CLEAR THEORIES IN EDUCATION, HOW CAN OUR
STUDENTS TAKE THAT INFORMATION, WHEN WE SEE IT PHYSICALLY AND TRANSFER IT TO OTHER AREAS OF LEARNING?
>> WE'RE GOING TO TAKE ANOTHER BREAK, AND WE'RE GOING TO HEAR FROM ANOTHER STUDENT OF YOURS, WHO'S ACTUALLY A FORMER STUDENT
OF MINE, AS WELL, FROM POLI SCI 104. FIRST WAVE GROUP MEMBER DANEZ SMITH.
>> IMAGINE A BOY, IMAGINE HIM BLACK. HIS MOM IS BABY. IMAGINE HIS FIRST STEPS,
HIS FIRST FIGHT. HIS EXCITEMENT AT THE BIKE THAT HE GOT FOR HIS SIXTH BIRTHDAY.
IMAGINE THE PICTURE THAT HE TOOK FOR HIS SIXTH-GRADE FOOTBALL TEAM. IMAGINE THE BALL, TUCKED
SOMEWHERE BETWEEN HIS LIFELINE AND HIS HEART. THIS BALL. THIS STAINED JERSEY.
THIS NUMBERED FIELD THIS IS WHAT HE DREAMED OF. WHAT HE IMAGINED HIMSELF ONE DAY.
HIS MAMA COULD HAVE TOLD HIM THAT IT WASN'T PROBABLY LIKELY. BUT WHO IS SHE, OR WE, TO STOP THE DREAMING
OF A CHILD. IMAGINE HIM DREAMING. IMAGINE HIM. KISS HIM, LOVE HIM.
LOVE HIM. GET HIM. STOP HIM. HURT HIM.
DESTROY HIM, KILL HIM. IMAGINE IT'S FOURTH AND GOAL AND THE ONLY THING STANDING BETWEEN YOUR TEAM
AND SUPER BOWL RING IS THE ROOKIE WHO THINKS HE CAN COME IN HERE AND STOMP ALL OVER YOUR DEFENSE
LIKE THEY ARE THE WELCOME MAT TO HIS KINGDOM. NOT IN THIS HOUSE. WE'VE WAITED YEARS
FOR A CHAMPIONSHIP IN THIS CITY, IN THIS ABYSS OF A CITY. WE NEED SOME LIGHT, SOME HOPE, SOMETHING TO BELIEVE IN.
WHO IS HE OR ANYBODY TO TAKE THAT AWAY FROM US? WE'RE UP BY 3. BLUE, 42!
ONE STOP! WE ARE KINGS. BLUE, 42! WE NEED THIS!
WE ARE BURNING FOR THIS. HUT! SNAP. JUMP.
TOUCHDOWN. ON THE EVENING NEWS. THE NAME OF A CHILD IS RUSHED THROUGH THE LIPS
OF A NEUTRAL NEWSCASTER IN ORDER TO GET TO THE SPORTS QUICKER. JUST ANOTHER CHILD LOST
TO A BULLET. BUT HOW COULD THIS FOOTBALL TEAM LOSE ANOTHER ONE? THAT'S THE FOURTH LOSS
THIS SEASON. WHAT'S GOING ON WITH THEM? THEY NEED TO GET IT TOGETHER BEFORE IT'S TOO LATE.
LATE ON A SATURDAY AFTERNOON SOMEONE'S SON IS SOMEWHERE ON THE SOUTH SIDE
SLIPPING IN AND OUT OF CONSCIOUSNESS. WON'T BE FOUND UNTIL SUNRISE SUNDAY.
IT'S TOO LATE. 44th LIFE WE'VE LOST THIS SEASON. WHAT IS GOING ON WITH THEM?
WHO'S TRYING TO CHANGE THIS? WHAT IS IT ABOUT OUR CITY STREETS THAT FLY-SWAT CHILDREN, AND TURN THEM INTO
CORNER STORE MEMORIES. IMAGINE THE STADIUM BUILT SO THAT THE TEAM COULD PLAY BETTER THE NEXT SEASON.
IMAGINE THE SCHOOLS IN THE SAME CITY. IMAGINE THE SALARY OF THE PLAYER BROUGHT HERE
TO BE A GAME CHANGER. IMAGINE THE MONEY SPENT TO MAKE SURE THAT THE DEATH THAT SPROUTS IN SUMMER
NEVER SOWED SEEDS IN THE FIRST PLACE. DO WE SEE THE PROBLEM HERE? IT'S ALL GLORY TO GOD.
AND THE BEARS. BIBLE FOR THE FATHER AND THE PACKERS. PRAISE JESUS
AND THEM VIKINGS. BUT YOU ANGELS, YOU, WITH BULLET HOLES STILL SMOKING IN YOUR WINGS,
THE SMELL OF DEATH STILL FRESH ON YOUR HALOS, WE'RE SORRY FOR MOURNING YOU SO QUIETLY.
YOU DESERVE MORE THAN OUR WHISPERS AND WHACKS. MORE THAN OUR TEARS AND OUR ABILITY TO MOVE ON.
YOU DESERVE A RIOT, SUCH A BEAUTIFUL RIOT. NO DEATH, JUST LIFE. AN ARRANGEMENT OF FLOWERS
WON'T SUFFICE. JUST IMAGINE YOUR DEATH WAS MORE THAN A TOUCHDOWN.
VICTORY.
>> THIS PROGRAM IS A PRODUCTION OF THE UNIVERSITY OF WISCONSIN-MADISON. IF YOU HAVE COMMENTS
ABOUT THIS BROADCAST, PLEASE EMAIL THEM TO: programming@uc.wisc.edu
>> WELCOME BACK TO "OFFICE HOURS," WHERE WE'RE TALKING ABOUT HIP HOP AND THE FIRST WAVE PROGRAM
AT THE UNIVERSITY OF WISCONSIN-MADISON. NOW WE'RE JOINED BY SOFIA AND DANEZ, WHO PERFORMED FOR US
IN THE LAST TWO SEGMENTS. THAT WAS GREAT. THERE ARE ALL SORTS OF QUESTIONS I HAVE FOR YOU,
AND COMMENTS AFTERWARDS. ALL POSITIVE. >> THANK YOU. >> SOFIA, TELL ME HOW DOING
HIP HOP, DOING FIRST WAVE, HOW YOU'RE FROM MASSACHUSETTS AND HOW YOU ENDED UP AT UW-MADISON, AND HOW THAT,
YOUR TRAINING WITH CHRIS PLAYS INTO OTHER SORTS OF NORMAL THINGS THAT A COLLEGE STUDENT DOES.
>> I WAS RECRUITED FOR FIRST WAVE FROM BOSTON. A FRIEND OF MINE WHO WAS A PART OF A YOUTH GROUP IN CHICAGO
CALLED YOUNG CHICAGO AUTHORS, WENT TO SCHOOL AT HARVARD. AND HE WAS TELLING ME ABOUT HOW THIS NEW PROGRAM WAS
GOING TO START THE NEXT YEAR. I WAS A SENIOR THEN. AND THEY DID HIP HOP THEATER. AND I WAS LIKE, WISCONSIN?
WHAT'S WISCONSIN? NO WAY. I DIDN'T EVEN KNOW WHERE IT WAS ON A MAP.
I'M A CITY GIRL. SO EVENTUALLY, A COUPLE MONTHS LATER I GUESS, HE TOLD THEM ABOUT ME, AND
I GOT A CALL FROM THE OFFICE JUST SAYING, YOU KNOW, ABOUT THIS AMAZING PROGRAM. AND THE NEXT THING I KNEW,
THE EXECUTIVE DIRECTOR FLEW OUT TO BOSTON, AND WE HAD DINNER, AND HE SOLD IT TO ME, SAYING, TO GET A FULL RIDE TO GROW
ARTISTICALLY AND ACADEMICALLY. AND I WAS SOLD. >> EXCELLENT. >> AND DANEZ?
>> HOW DID I GET HERE? I HAD HEARD ABOUT WISCONSIN TWO YEARS PRIOR TO COMING HERE. I CAME WHEN FIRST WAVE
WAS JUST A BABY. >> YOU'RE FROM MINNEAPOLIS. >> I'M FROM MINNEAPOLIS. >> YOU COULD FIND US ON A MAP.
>> I COULD FIND YOU ON A MAP. I DROVE THROUGH HERE ON THE WAY TO CHICAGO. [LAUGHTER]
>> BUT I CAME, AND FIRST WAVE WAS JUST THIS BABY IDEA. I SAID, HIP HOP AT A UNIVERSITY, IS NOT REALLY GOING TO HAPPEN.
THEN I GOT A CALL MY SENIOR YEAR, AND THEY'RE LIKE, WELL, WE'RE ACTUALLY DOING IT. AND I WAS LIKE, OH, WOW.
SO I CAME, AND IT'S JUST BEEN A REALLY GREAT EXPERIENCE. I'VE TRIED TO INCORPORATE THINGS I LEARN IN FIRST WAVE
IN A LOT OF MY OTHER CLASSES. I'M AN EDUCATION MAJOR NOW. IN MY CLASSROOM, I TRY TO DO AS MUCH OF THE WORK THAT
WE DO HERE AT THE UNIVERSITY WITH MY STUDENTS. IT'S REALLY GREAT. >> TELL ME MORE ABOUT THAT.
I IMAGINE BEING ACTIVE, ENERGETIC, ARTICULATE. MOVING IS GOING TO HELP YOU WHEN YOU TEACH.
>> YEAH, IT'S REALLY GREAT. IF YOU CAN KEEP UP WITH THE KIDS, THAT'S A GREAT THING. I THINK, ALSO, THE OTHER THING
THAT IT'S TAUGHT ME IS JUST HOW EDUCATION DOESN'T NEED TO BE ABOUT THE TEACHER, ABOUT WHAT THEY'RE LEARNING,
BUT ABOUT MY STUDENTS LEARNING FOR THEMSELVES, AND LEARNING ABOUT THEMSELVES AND USING THE TOOLS
THAT THEY ALREADY HAVE TO EXPLORE SO MANY OTHER THINGS. IT'S NOT NECESSARILY ABOUT ME BEING AT THE FRONT OF
THE CLASSROOM FOR 45 MINUTES AT A TIME, TALKING TO THEM ABOUT HISTORY, OR ABOUT A BOOK THAT WE JUST READ, BUT ABOUT
ME GIVING THEM THE MATERIALS AND SAYING GO AT IT. YOU KNOW, MAKE IT YOUR OWN, MAKE IT SOMETHING THAT
YOU CAN UNDERSTAND. I'M NOT GOING TO GIVE THEM A TEST AND SAY, SHOW ME WHAT YOU KNOW.
I WANT THEM TO SHOW ME HOW THEY LEARN. >> CHRIS, WE'RE NOT ONLY RECRUITING BIG TEN FOOTBALL
CHAMPION ATHLETES HERE, BUT WE'RE ALSO RECRUITING OTHER SORTS OF SCHOLARS HERE. >> ABSOLUTELY.
>> WHO ARE ALSO DOING THINGS. THEY CAN FIND OUT ABOUT THAT HOW? WE HAVE A COUPLE SECONDS LEFT.
>> OUR STUDENTS ARE PRIMARILY CHANNELED THROUGH THE BRAVE NEW VOICES POETRY FESTIVAL.
THAT'S HOW MOST OF THEM FIND OUT ABOUT THE PROGRAM. BUT THEY CAN FIND OUT ABOUT US AT: omai.wisc.edu, OR JUST
VISITING THE UNIVERSITY WEBSITE AND SEARCHING FOR FIRST WAVE. I LOVE DANEZ'S RESPONSE, BECAUSE HE'S TALKING ABOUT THE CORE OF
THE PEDAGOGY, WHICH IS BASED ON IDENTIFYING THE STUDENTS' STRENGTH AND RETURNING EDUCATION TO THE STUDENT.
>> CHRIS, WANT TO HAVE YOU BACK. THANKS TO BOTH OF YOU. THAT'S TO ALL OF YOU FOR JOINING US ON "OFFICE HOURS."
PLEASE STOP BY AGAIN.
>> THE PRECEDING PROGRAM WAS PRODUCED BY THE UNIVERSITY OF WISCONSIN, IN ASSOCIATION WITH THE BIG TEN NETWORK.