The purpose of this dissertation study was twofold. First, an examination of Hiphop culture as a site for educational pedagogy by extending the conversation beyond commercial rap music and examining practices associated with the whole of Hiphop culture, which includes dj-ing, emceeing (rapping), b-girl/b-boying(breakdancing), and graffiti art. Second, this study sought to provide an understanding and exploration of Hiphop culture as a way of understanding gender as performance or social construction, with the goal of creating more anti-sexist practices within Hiphop and broader notions of gender.
By gathering and collecting information on the efficacy of Hiphop culture as an educational tool this research aims to provide specific models designed to provide greater depth on the subject of Hiphop as critical pedagogy. By understanding gender as constructed performance, more complexity with regard to the ways in which women are represented, imagined and understood in Hiphop culture is possible.
This study took the design of a qualitative study. The research included four primary participants in addition to analysis of secondary sources. Data were collected from both primary and secondary sources using a series of qualitative research design approaches.
The primary methods used in collecting data from both the primary and secondary sources were interviews, autoethnography, cultural memory, and critical pedagogy. Analysis of the data was done through a Cultural Studies lens. Among the major findings, the study revealed a critical Hiphop pedagogy, and strategies for gender
equity in Hiphop culture.