Cyphers as Restorative Circles
Ian, you make our minds jump to places we weren’t anticipating. In this particular moment, we jump to a fabulous teacher in a nearby district, Sweta Patel, who has been doing work with restorative circles. She has found fabulous success—said this year in particular has been amazing, which seems to be in large part because of the ability to have individual conversations with students through new uses in technology. It seems like another example of a different way to involve students, make sure they are heard, and have hard conversations. My assumption is that, if we do that, hip hop will emerge as a key vehicle.
I think about it in a couple ways. One way is - yeah, you can do restorative work, and if it is done authentically and there are hip hop voices within that space, that will naturally come to the surface. I also think that, when you talk about chapter six, which talks in depth about interacting in cypers--Isn’t a cypher itself a restorative circle? I think they are.
This idea of creating circles in school environments so youth can process conflict with each other, come to some sort of resolution, reach restitution—the cypher has always been that. Much like the circle has been as well. There are connections to Paulo Freire and all the work that has been done circularly in Brazil. That’s where all the critical consciousness ideas come from—all situated in circles. I am thinking of African drum circles. Circles themselves have cross-cultural meaning as communicative spaces. If I’m not incorrect, circles are pulled from a lot of inuit populations and culture. Again, hip hop is a version of the restorative circle in so many ways, and that is a beautiful thing.
Having the Bigger Conversations
The examples in your book, such as students making a mix tape around police brutality, with them you mention resolving conflict. We have the internal things we may be dealing with, then we have the large external things that may be happening. Was the choice of the police brutality example in your book about speaking to a larger audience, or is there something about grappling with those large world issues that makes students feel like they are trusted to have bigger conversations?
Youth decided on that topic, that concept, and all the songs on that album—very much because that was what was happening around them at that time. Effective group counseling work is able to grapple with the impacts of the larger context and the worlds in which youth live in and how that impacts them and can pivot to those when it needs to.
I can come into a group and say, “We’re only going to talk about your self doubt in your math class.” I could make a group narrow, and there is some evidence that can still be effective even if you’re very prescriptive with the direction. But, at the high school level, in particular, I love facilitating groups where youth decide on the direction of the group. That is very process oriented. That is what happened here.
There were a ton of shootings. A lot of death of a lot of youth—black and brown boys and girls. It was all over the media. This was at a time that the media was hyper focused on it. It was everywhere. Youth were saying, “We need to talk about this,” “We need to talk about this: did you see this case happen?” so naturally. As we talked about each and created songs around each and their feelings around each, this project came together.
I think it is hard to separate that out from what youth are experiencing in school. Unfortunately, that’s often what happens—that we say: this student didn’t do their homework, they were struggling at home to finish it, and they must not feel competent at math. But what if it is just that when the student is at home and they go to pull out the book, they are thinking about the world around them? And then they are bringing that to school and they walk through a metal detector and see police officers at school. If you live in this hyper vigilant kind of world and you feel like you are being watched and seen as threatening, how can you focus on anything else?
Naturally, this stuff came to the surface. I don’t think you can parse out one’s reaction to a specific situation in school, whether that be relationally or with regards to academic content, and not think about the larger context. Youth took it there because that is where it needed to go. That is the value of this kind of work.
We loved the story about going to a school and students coming in wearing sneakers being forced to change into the school uniform. Are you familiar with the poem, “In a Station of the Metro” by Ezra Pound?
The apparition of these faces in the crowd:
Pound said he was trying to capture a moment that something external became something internal. In grappling with the larger issues, well, you aren’t isolated from them. You are showing that they interweave.
They aren’t binary, right? We can’t just deal with one and then deal with the other, they don’t work that way.
In terms of those externals and internals are “zones of control.” Something internal, I can control to a certain extent: something local to me, I hope I can control to a certain extent. The wider mindset of the world, it would be great if I can influence it, but probably less influence than with something local. Is there power in these activities because of the feelings of helplessness around certain topics?
Yeah, in a myriad of ways. If I express something that I am expressing as external, and a bunch of people around me are like, “Hey, I felt that also,” that is universality. That, in and of itself, helpful in realizing, okay, this isn’t a “me thing.”
By the way, when you are fifteen, everything’s a me thing. News flash—when you are thirty-two, it still feels that way. That’s life. Everything feels like it’s us. To disconnect oneself from that—to say, I’m not alone in feeling this—is great in terms of control. In terms of realizing that I don’t need to bear the burden of this myself. This is something that the world is feeling, that my peers are also feeling.
There’s another—expressing it out into the world to potentially impact or effect change—is that advocacy work that is also very helpful. Letting youth know that there are ways they can advocate from a place of deep personal knowledge and experience affect positive change on the world. That is one way of taking control. Even if it's not changing the whole thing, but being able to produce this mixtape and share it and let other people hear how you feel: it depersonalizes it because you’ve had this experience and you’ve talked about it with your peers, and you realize that it isn’t only you, but then you’re owning it to the world as this thing outside of me. You're telling the world, “Hey, this is something that’s going on.”
That is the ultimate way of realizing that it's not you. Trying to hold the world accountable. What’s beautiful about hip hop is that the entire process is ideal counseling: ideal counseling is realizing universality, transferring what you’ve learned inside a session to outside a session. Mixtapes as a cultural medium offers the ability to discuss, to create a cohesive product with your peers, and a distribution plan so the world hears what you need to share. Hip hop offers this pathway for realization. Regaining control by saying, “this is you all, it isn’t me.”
I’m going to read one more comment from our poet in residence, Jean Prokott. (A plug for Jean--go buy The Birthday Effect and The Second Longest Day of the Year.) Prokott noted: “Just to comment on how amazing this professional development would be. Since I am in English, I always wonder how STEM teachers would address this. Notes on using hip hop as statistics, counting beats to per minute, etc., are so wonderfully applicable, something other books on pedagogy fail to do. This isn’t theory, it’s practice.”
I love it. That is really nice to hear. I think a hard task with books is to be practical. That’s something mentors of mine have modeled so well for me: how to keep one foot in schools and one foot in the academy, in such a way that you’re able to bridge theory and practice. To reimagine how we think about the work and applying it. That is an incredibly important modeling that I am trying to uphold in my career because I don’t want to become the classic stuffy old guy in an ivory tower. That balance has been on my mind a lot lately.
We love drawing lines in the sand in this world. Like counseling is here but education is here. As a school counselor, I’m like, then where do I go?
Well, Ian. You can be with us.
A Hip Hop Education
with Ian Levy | 5.25.21
Ian Levy discusses authentic empowerment of students through hip hop—a truly fantastic conversation.
Concepts and ideas by Wiley Blevins; compilation and added resources by Nick Truxal
Dr. Rudine Sims Bishop's excellent piece on books serves as mirrors to reflect on our own experiences; windows to peer into other’s experiences; and sliding doors that can distort, allow access, or serve as a barrier frames many wider issues in literacy. One that we as educators can struggle with is finding the material that will have the content we need, the skills we need to teach, and the diversity to serve as windows and mirrors.
So, this article shall be that. Where do we find quality resources, and where do we find quality resources that help us find quality resources. It is a babushka doll of an article. Plus, if you’d like to read more about mirrors and windows, we’ve got you covered there, too.
Suggestions from the Rochester Public Library
Third Eye Education has been lucky enough to partner with Rochester Public Libraries (RPL). The resource we can most heartily recommend is one they created just for us; yet, we share here with you because we believe it’s important to spread good resources wide and far.
This list recommends books (mostly at the elementary level), along with how they can be taught across content areas, what controversies they may spark, what grade levels they best fit, and most importantly—how it may act as a mirror and window. (If you check the link, make sure to try the category tabs at the bottom.)
Suggestions from Wiley Blevins
Wiley Blevins, in his podcast episode with Third Eye (released April 13th, 2021), covers these topics and in it he shares a plethora of other resources. Blevins, a world-renowned expert in early reading and the Associate Publisher for Reycraft Books suggests the following:
Ideas for your own Reading
Finally, pick up a book yourself. Read it with a friend, or even a stranger!
by Heather M. F. Lyke
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As soon as Dessa’s voice hit the word slay in the third paragraph, I knew I had them. Even my most skeptical sophomore sat up a bit taller—took note. Clearly, this narrative exemplar was not what he and his classmates had been expecting.
We were just about to finish our Telling It Like It Is unit in American Literature and Composition, and the grand finale was to craft a nonfiction, mini-memoir overflowing with description and—ideally—cleverly framed. What exemplar could be better than the chapter “Household Magnets” from Dessa’s book My Own Devices? Oh. Wait. The audio version where Dessa herself reads her own words.
Honestly, most were leaning in, highlighters poised, right from the first sentence: “Mayo Clinic is a world famous hospital in Rochester, Minnesota.” After all, at the time I was teaching in Rochester, Minnesota, at a high school named after the famous clinic where many of my students’ parents were gainfully employed.
But, to hear the author herself use language like what students used in the hallways--slay, punk kid, s’pose—in an American Literature class was novel enough that even the cynical took note. Success!
My own students discovered what many educators know, and yet that many educators forget.
“The world is not organized like a university, with its sharply demarcated departments. There is one world, which we can (and should) approach from many perspectives. Dessa’s work is a great illustration of this principle.”
My students were expecting American Literature to be something that it is not. Stagnant. Isolated. Lacking soul.
The “transdisciplinarity of Dessa’s art and work make it well suited for rich conversation and analysis” that “allows educators to cross boundaries.”
In showing students how interlaced learning, content areas, and personal interests can be, it allowed them to break down their preconceived notions. This boundary-crossing approach is part of what makes learning “sticky” for students. According to John Hattie’s research, “Integrated Curricular Programming” has the effect of producing approximately a year and a quarter of growth, and “Creativity Programs” have an effect of producing over a year and a half of growth, when compared to an average school year. This is not how Hattie is meant to be read, but is our best approximation of simplifying his data.
“I teach English, but through that, my students learn Psychology, History, Cultural Context, and how everything ultimately connects together. The more connection between material we can make for our students, the more they will be able to see the full picture...It is not my job to tell them what to think, it’s my job to teach them how to think so they can make critical and informed decisions/ not be taken advantage of due to ignorance.”
In the same chapter I shared with my students, Dessa notes that for that day her “job was to talk about life as an indie musician, hopefully sparking some cross-disciplinary insights.” Yet, as the renaissance person that she is, Dessa manages to ‘spark cross-disciplinary insights’ even when she’s not necessarily trying to. As a rapper with a philosophy degree who once worked as a medical technical writer, it’s not surprising that her polymath skillset has her interweaving inspiration from across a wide spectrum into her vast portfolio of works.
Dessa’s work is beautiful, intellectual, witty - it speaks to me personally and is a great example to my Alternative Ed learners that you can weave your interests and your passions into your work. That the things we enjoy, like Rap, don’t have to be 180 degrees different from schoolwork, or your life’s work.
At the time I used “Household Magnets” with my students, I leaned on her references to local geography, to biological science, to kickdrums, as a way to ensure student interests. (You don’t like writing creatively, but you enjoy science? Well, maybe this will keep you listening! -- You don’t want to read a long piece by a dead white guy? Well here is a work of art created by a living, breathing, female rapper: so there!)
However, when I return to the classroom, I suspect I will do things differently. I missed a golden opportunity with this chapter. Rather than just hook the science-loving learners, what if I had collaborated with Mr. Devine on an analysis of the accuracy of Dessa’s biological descriptions in this section? Rather than simply connecting with the musicians in the classroom via the content covered, what if instead we had worked with Mr. Cole and Mr. Devine to do a side by side analysis of how a kick drum sounds in comparison to the beating of a heart?
Perhaps, this is one of the most inspirational ways in which Dessa can push us to be better educators. She is never locked into the confines of one content area, so why should we be?
Classroom Application Suggestions
Third Eye Education posts weekly articles focusing on education and innovation.