Classroom Cyphers: Remixing the Five Elements for Education and Liberation (Part Two)

Beats of Resistance: Hip Hop as Critical Pedagogy for Empowerment

Note: This is not a complete history of hip hop. No single account can capture the vastness of its creativity, the multiplicity of its voices, or the countless local stories that shaped its evolution. The emergence of hip hop is a movement that is larger than any one telling. The following reflection traces some of the key moments, figures, and rhythms that sparked hip hop’s rise, but it does not and cannot encompass every beat, every rhyme, or every street corner where culture was born, nor the countless voices (often unheard, often undocumented) that shaped its rise. Hip hop’s story is fragmented, stitched together from memory, observation, interviews, and recordings, and even then it resists total capture. It is a history lived as much as it is performed, a story that unfolds differently depending on who tells it, when, and where.

Hip hop emerges not as a monolith but as a conversation between DJs and dancers, emcees and graffiti artists, the streets and the studio, the past and the present. Its history is oral, improvised, improvised again, remembered, lost, reclaimed, and celebrated. This account is one thread, offered to illuminate, not to exhaust, the story of a movement whose rhythms now reverberate across the globe.

It is a story rooted in place and time, yet it has never stayed in one place for long.

We hope that you explore the resources, references, websites, books, and documentaries included in this post to delve deeper into the history and origins of hip hop from then to now.

The Pulse of the Bronx: The Birth of Hip Hop

Old School Documentary For Your Pleasure and Leisure: Beat This! A Hip-Hop History (Documentary (1984)

In the 1970s, the South Bronx was a city in decay, a landscape of abandoned buildings, broken streetlights, and streets scarred by economic disinvestment. Factories had vanished, public services had withered, and neighbourhoods faced the relentless pressures of poverty, segregation, and systemic neglect (Rose, 1994). Fires, arson, and displacement were common and yet, in the midst of these harsh realities, a new rhythm began to pulse, as if the city itself were resisting erasure.

Hip hop was born not in studios but in basements, rec rooms, and block parties where young people, denied conventional outlets, carved their own spaces for expression. DJs like Clive “Kool Herc” Campbell arrived from Jamaica with a deep understanding of sound system culture and brought with him an ear for percussive detail. Herc extended the instrumental “breaks” of funk and soul records, creating loops that transformed brief moments of rhythm into extended canvases for dance and improvisation. These breakbeats became both a literal and figurative heartbeat of the neighbourhood: a space where the community could gather, move, and narrate their lives through motion (Chang, 2005).

Over these beats rose the voices of emcees, narrators of the streets, who took the microphone to testify, celebrate, challenge, and mourn. Grandmaster Flash and the Furious Five, in The Message (1982), articulated the tension between despair and resilience, chronicling the daily realities of life: the violence, the struggle, and the perseverance of young people determined to survive and be seen. MCs developed storytelling techniques that blended rhythm, rhyme, and wit: verbal acrobatics that mirrored the improvisational energy of the DJs.

Hip hop’s emergence was inseparable from other forms of creative assertion. B-boys and b-girls spun, flipped, and froze on concrete, claiming space through dance in neighbourhoods where visibility was scarce. Graffiti artists, in turn, made the city their canvas, transforming blank walls and subway cars into statements of identity and resistance. Together, these practices formed a constellation of cultural expression: DJing, MCing, breakdancing, and graffiti were not isolated arts but interwoven threads in a tapestry of survival, pride, and community (Rose, 1994).

The story of hip hop is also a story of geography and migration. As economic and social pressures pushed people across neighbourhoods, the culture traveled with them. By the early 1980s, hip hop’s rhythms had crossed boroughs, landing in Brooklyn, Queens, and Harlem, and eventually beyond New York City. Philadelphia nurtured its own voice, with DJs and MCs interpreting the breakbeat through local histories. Los Angeles added the swaggered funk of West Coast beats, while cities in Chicago, Houston, and Atlanta fused hip hop with regional musical traditions. Across the Atlantic, Parisian youth and Johannesburg’s marginalized communities found in hip hop a medium to articulate their struggles and affirm their presence (Alim, Ibrahim, & Pennycook, 2009).

Hip hop’s evolution was inseparable from the social realities that shaped it. It was, as Paul Gilroy (1993) would argue, a Black Atlantic phenomenon: a conduit through which memory, identity, resistance, and diasporic connection flowed across space and time. Each rhyme, scratch, and move carried with it histories of oppression, triumph, and survival, as well as the imaginative possibilities of what a community could create when given voice and rhythm.

Even as hip hop has been broadcast globally, commercialized, and commodified, its roots remain etched in the streets of the Bronx. The culture’s improvisational genius, its insistence on visibility, and its celebration of creativity as resistance continue to resonate. Hip hop tells the story of resilience: of young people claiming voice in the face of neglect, of communities transforming scarcity into innovation, and of a global movement that still honors its origins in the heart of a city that refused to be silent. Its history is lived, performed, and remembered in every beat, every rhyme, every corner where culture finds a voice.

Echoes Across the Streets: Hip Hop in Its Golden Age and Beyond

By the mid-1980s, hip hop had begun to pulse far beyond the South Bronx, threading its rhythms through New York City and spilling into the nation’s consciousness. The culture that had grown in basements, block parties, and subway stations now found itself amplified by the airwaves and vinyl records, as radio stations, independent labels, and early television programs carried its sound to new ears. Yet even in this spread, the essence of hip hop remained tied to storytelling, resistance, and improvisation. Each rhyme was a witness; each beat, a pulse of a lived reality.

This era, often called the “Golden Age” of hip hop, roughly spanning the mid-1980s through the early 1990s, was defined by innovation, experimentation, and the expansion of lyrical complexity. Artists such as Rakim, KRS-One, and Public Enemy pushed the boundaries of rhythm and rhetoric, using intricate wordplay to interrogate society, history, and identity (Rose, 1994). Their music was more than entertainment; it was a discourse, a form of public scholarship performed on turntables and microphones. Sampling — the art of weaving fragments of existing music into new compositions — became a form of cultural dialogue, connecting past and present, jazz and funk, Caribbean beats and African rhythms. Hip hop, in this period, was as much a reclamation of cultural memory as it was a forward-looking art form.

The commercialization of hip hop, while controversial, also signaled its ascent into the broader American imagination. Record labels began to see its profitability, and hip hop entered mainstream charts, magazines, and eventually, television. Yet this shift brought tensions. On one hand, artists gained unprecedented visibility and resources; on the other, the commodification threatened to flatten the culture’s multidimensionality. Critics warned that the market might privilege spectacle over substance, performance over politics, and entertainment over community (Chang, 2005). But the culture, resilient and improvisational by nature, continued to resist simple containment.

During this period, regional scenes flourished, giving rise to distinct styles that reflected local histories and social landscapes. The West Coast developed a funk-laden sound that spoke to Los Angeles neighbourhoods shaped by racial tension and policing, while the East Coast emphasized complex lyricism and gritty storytelling rooted in lived experience. In the South, cities like Atlanta, Houston, and New Orleans began to cultivate their own cadences, rhythms, and slang, adding depth and diversity to the national conversation. Hip hop was no longer a singular New York phenomenon; it had become a polyphonic nation, a conversation among cities and communities across the United States.

Internationally, hip hop traveled with diasporic currents, carrying messages of resistance, identity, and cultural pride. In France, artists like MC Solaar articulated the frustrations and aspirations of marginalized youth, while in the UK, groups fused hip hop with punk and reggae to craft uniquely hybrid expressions. In South Africa, hip hop became a soundtrack for anti-apartheid youth, a medium to critique inequality and imagine new social futures. Across continents, hip hop’s essence endured: it remained a language of survival, a map of memory, and a stage for visibility (Alim, Ibrahim, & Pennycook, 2009).

The 1990s and early 2000s witnessed both the intensification of commercial success and the deepening of hip hop as a global cultural force. Artists like Tupac Shakur, The Notorious B.I.G., Nas, and Lauryn Hill pushed the music’s lyrical and emotional boundaries while negotiating fame, politics, and the contradictions of capitalist markets. Hip hop became a site where personal narrative and collective history intersected: tales of struggle, triumph, love, and loss flowed over beats that had traversed oceans and decades. Even as the world embraced hip hop as a commodity, the culture’s grassroots foundations persisted. Block parties, underground battles, community radio shows, and independent labels maintained spaces where creativity was experimental, community-centred, and uncommodified. Graffiti continued to transform the city landscapes; breakdancing evolved in style and global tournaments; emcees performed in cyphers, sharing space, voice, and history in improvisational dialogue. The tension between underground authenticity and mainstream visibility became a defining feature of hip hop, one that continues to shape debates about art, ownership, and cultural power.

Hip hop’s story in this period is, at once, a story of audacious creativity and of negotiation: negotiation with commercial markets, with regional differences, with racial and economic inequality, and with the weight of expectation. It is a narrative of expansion without surrender, of visibility without erasure, of history in motion. Each beat, each verse, each dance step carried with it the history of the streets, the weight of social struggle, and the possibilities of future expression. Hip hop, having grown from block parties to global stages, remained grounded in its original pulse: the improvisational, resilient, and collective voice of a community that refused to be silent.

From the Streets to the Streams: Hip Hop in the 21st Century

As the calendar turned to the 2000s, hip hop had moved far beyond its original boroughs, evolving into a global language of identity, resistance, and aspiration. The rise of the internet, file-sharing platforms, and later social media transformed how music was created, shared, and consumed. Where once a DJ’s turntable or a local radio station defined access, now anyone with a microphone and a connection could broadcast their verse to the world. Hip hop entered a new arena, one where creativity collided with connectivity, and the culture’s improvisational spirit found fresh terrain in the digital landscape.

Artists like Jay-Z and Missy Elliott demonstrated hip hop’s potential to dominate mainstream culture while pushing musical and lyrical boundaries. Their work explored personal narrative, fame, race, and the contradictions of success in capitalist society. Meanwhile, regional diversity continued to flourish: Southern trap, West Coast hyphy, Midwest drill, and international fusions all contributed to a mosaic of styles, reflecting the specificity of place while speaking to a global audience. Hip hop had become both hyperlocal and universal, a paradoxical space where individual stories reverberated worldwide.

The digital era also amplified hip hop’s social and political voice. Movements such as Black Lives Matter found in hip hop both a soundtrack and a platform, while rappers and producers continued to use their art to address racial injustice, economic inequality, gender dynamics, and political corruption. Hip hop became a medium through which younger generations could document lived experience, mobilize communities, and assert their presence in public discourse. Songs, videos, and viral performances carried messages that were simultaneously aesthetic and activist, merging rhythm with resistance.

Globalization further expanded the cultural geography of hip hop. From Seoul to Lagos, Berlin to São Paulo, local artists adopted and adapted hip hop to articulate social struggles, historical memory, and diasporic identity. In France, hip hop became a vehicle for youth marginalized by socio-political inequality; in Japan, the genre inspired fashion, dance, and linguistic creativity; in South Africa, it documented the ongoing legacies of apartheid while imagining new futures. Hip hop’s flexibility, improvisational ethos, and oral roots allowed it to resonate across languages, borders, and generations (Alim, Ibrahim, & Pennycook, 2009).

Simultaneously, commercialization intensified: hip hop began to shape fashion, advertising, film, and global markets, often stripped of the histories, struggles, and voices that gave it life. Corporate interests frequently extracted the culture’s aesthetics while minimizing or ignoring the Black communities from which it emerged, commodifying rhythms and styles while leaving little recognition or economic reward for the originators. Yet even amid mass media saturation, the culture’s roots in improvisation, community, and self-expression persisted. Underground scenes, independent labels, cyphers, and street-based movements continued to nurture innovation and authenticity. The tension between mainstream co-optation and marginal creativity became a defining characteristic of hip hop’s 21st-century evolution: a constant negotiation between art and commerce, visibility and integrity, profit and the preservation of cultural memory.

Perhaps most profoundly, hip hop in this era has become a tool for intergenerational connection. Older artists mentor emerging voices; communities archive and preserve local histories; educators use hip hop to teach language, history, and critical thinking. The culture’s narratives continue to be both deeply personal and collectively resonant, proving that the improvisational genius born in the Bronx decades earlier still thrives, reshaping itself, and reaching new ears and eyes across the globe.

In reflecting on hip hop’s journey into the digital era, it is evident that the culture remains, at its core, a language of survival, creativity, and visibility. Its rhythms carry histories of struggle, expressions of joy, and aspirations for the future. From block parties to global streaming platforms, hip hop is both a chronicle and a promise: that voices, when raised with ingenuity and courage, can ripple across time, space, and society, transforming both those who create and those who listen.

Yet even as the culture reaches new heights of visibility, it faces persistent tensions: commodification, cultural erasure, and the pressures of global markets challenge the integrity of its expression. And still, hip hop endures: evolving, resisting, and reminding us that the power of art lies not only in its reach, but in the communities, stories, and struggles it carries forward. Its legacy is not static; it is lived, performed, and reimagined with every beat, every rhyme, every movement of the body and the mind.

Hip hop reminds us that every voice matters, that even in struggle, creativity becomes resistance, and that the stories we tell can shape worlds. In hip hop, the streets became a stage and the unheard became unforgettable. Every scratch, every verse, every dance step is a declaration: we exist, we resist, we transform. From breakbeats to cyphers, hip hop reminds us that our stories matter, our voices persist, and our dreams will not be deferred.

As Tupac said, “Reality is wrong. Dreams are for real.”

Keep resisting, keep rhyming, keep rising,

Ms. K

Deep Cuts to Deepen Knowledge

Adjapong, E. (2025). Teach like an MC: Hip-hop pedagogy in the K–12 classroom. Heinemann. ISBN 978-0-325-17085-5

Adjapong, E., & Emdin, C. (Eds.). (2021). HipHopEd: The compilation on hip-hop education. Brill.

Adjapong, E. S., & Emdin, C. (2015). Rethinking pedagogy in urban spaces: Implementing hip hop pedagogy in the urban science classroom. Journal of Urban Learning, Teaching, and Research, 11, 66–77.

Alim, H. S., Ibrahim, A., & Pennycook, A. (2008). Global Linguistic Flows: Hip Hop Cultures, Youth Identities, and the Politics of Language. Routledge.

Alim, H. S., & Haupt, A. (2017). Reviving soul(s) with Afrikaaps: Hip hop as culturally sustaining pedagogy in South Africa. In D. Paris & H. S. Alim (Eds.), Culturally sustaining pedagogies: Teaching and learning for justice in a changing world (pp. 157–174). Teachers College Press.

Alim, H. S., & Paris, D. (2017). What is culturally sustaining pedagogy and why does it matter? In D. Paris & H. S. Alim (Eds.), Culturally sustaining pedagogies: Teaching and learning for justice in a changing world (pp. 1–17). Teachers College Press.

Brown, K. D. (2013). Trouble on my mind: Toward a framework of humanizing critical sociocultural knowledge for teaching and teacher education. Race, Ethnicity and Education, 16(3), 316–338. https://doi.org/10.1080/13613324.2012.725039

Buffington, M. L., & Day, J. (2018). Hip hop pedagogy as culturally sustaining pedagogy. Arts (Basel), 7(4), 97–107. https://doi.org/10.3390/arts7040097

Cammarota, J., & Fine, M. (2008). Youth participatory action research: A pedagogy for transformational resistance. In J. Cammarota & M. Fine (Eds.), Revolutionizing education: Youth participatory action research in motion (pp. 1–12). Routledge.

Campbell, H. (2020). Colorism: An understanding of the multiplicity of voices among black women and how their experiences inform their postsecondary lives [Master’s thesis, Brock University]. DSpace. http://hdl.handle.net/10464/14857

Campbell, M. V. (2010). ‘Connect the T.dots’—Remix multiculturalism: After Caribbean-Canadian, social possibilities for living difference. In C. A. Nelson (Ed.), Ebony roots, northern soil: Perspectives on blackness in Canada (pp. 254–276). Cambridge Scholars Publishing.

Chang, J. (2005). Can't Stop Won't Stop: A History of the Hip-Hop Generation. St. Martin’s Press.

Chhabra, S. (2020, October 9). How Canadian hip hop prepared a future music professor and DJ to navigate the world he was growing up in. CBC.

Childs, D. (2015). Socially constructing race and history: Exploring black identity and popular culture in social studies classrooms through cultural studies framework. The Journal of Pan African Studies, 8(2), 55–73.

Davis, A. (2017). “The real Toronto”: Black youth experiences and the narration of the multicultural city. Journal of Canadian Studies, 51(3), 725–748. https://muse.jhu.edu/article/695719

Emdin, C. (2016). For white folks who teach in the hood… and the rest of y’all too: Reality pedagogy and urban education. Beacon Press.

Emdin, C. (2019). Urban science education for the hip-hop generation. Brill.

Freire, P. (2012). Pedagogy of the oppressed. Bloomsbury Publishing Inc.

Gates, R. J. (2018). Double negative: The black image & popular culture. Duke University Press.

Gilroy, P. (1993). The black Atlantic: Modernity and double-consciousness. Harvard University Press.

Ginwright, S. (2008). Collective radical imagination: Youth participatory action research and the art of emancipatory knowledge. In J. Cammarota & M. Fine (Eds.), Revolutionizing education: Youth participatory action research in motion (pp. 13–22). Routledge.

Giroux, H. A. (2004). Public pedagogy and the politics of neo-liberalism: Making the political more pedagogical. Policy Futures in Education, 2(3 & 4), 494–503.

Guishard, M. (2008). The false paths, the endless labors, the turns now this way and now that: Participatory action research, mutual vulnerability, and the politics of inquiry. Urban Review, 41(1), 85–105. https://doi.org/10.1007/s11256-008-0096-8

Hall, S. (1992). What is the black in black popular culture. In G. Dent (Ed.), Black popular culture (pp. 21–33). Bay Press.

Hall, S., & Morley, D. (2019). Essential essays, volume 1: Foundations of cultural studies. Duke University Press.

hooks, b. (1992). Dialectically down with the critical program. In G. Dent (Ed.), Black popular culture (pp. 48–55). Bay Press.

Horsford, S. D., & Grosland, T. J. (2013). Badges of inferiority: The racialization of achievement in U.S. education. In M. Lynn & A. D. Dixson (Eds.), Handbook of critical race theory in education (pp. 153–166). Routledge.

Ibrahim, A. (2020). Black immigrants in North America: Essays on race, immigration, identity, language, hip hop pedagogy, and the politics of becoming black. Myers Education Press, LLC.

James, C. E. (2011). Students “at risk”: Stereotypes and the schooling of black boys. Urban Education, 47(2), 464–494. https://doi.org/10.1177/0042085911429084

James, C. E. (2020). Racial inequity, COVID-19 and the education of black and other marginalized students [Working group]. The Royal Society of Canada.

James, C. E., Taylor, L., & Saul, R. (2007). Who belongs? Exploring race and racialization in Canada. In G. F. Johnson & R. Enomoto (Eds.), Race, racialization, and antiracism in Canada and beyond (pp. 151–178). University of Toronto Press.

James, C. E., & Turner, T. (2017). Towards race equity in education: The schooling of black students in the greater Toronto area. York University.

Kincheloe, J. L., McLaren, P., Steinberg, S. R., & Monzo, L. D. (2018). Critical pedagogy and qualitative research: Advancing the bricolage. In N. K. Denzin & Y. S. Lincoln (Eds.), The Sage handbook of qualitative research (pp. 235–260). Sage Publications.

Kinloch, V. (2017). “You ain’t making me write”: Culturally sustaining pedagogies and Black youths’ performances of resistance. In D. Paris & H. S. Alim (Eds.), Culturally sustaining pedagogies: Teaching and learning for justice in a changing world (pp. 25–42). Teachers College Press.

Kruse, A. J. (2016a). Toward hip hop pedagogies for music education. International Journal of Music Education, 34(2), 247–260. https://doi.org/10.1177/0255761414550535

Kruse, A. J. (2016b). Toward hip hop pedagogies for music education. International Journal of Music Education, 34(2), 247–260. https://doi.org/10.1177/0255761414550535

Kruse, A. J. (2020). “He didn’t know what he was doin’”: Student perspectives of a White teacher’s Hip-Hop class. International Journal of Music Education, 38(4), 1–18. https://doi.org/10.1177/0255761420924316

Ladson-Billings, G. (2006). From the achievement gap to the education debt: Understanding achievement in U.S. schools. Educational Researcher, 35(7), 3–12.

Latz, A. O. (2017). Photovoice research in education and beyond: A practical guide from theory to exhibition. Routledge.

Love, B. L. (2012). Hip Hop’s li’l sistas speak: Negotiating hip hop identities and politics in the New South. Peter Lang.

Love, B. L. (2023). Punished for dreaming: How school reform harms Black children and how we heal. St. Martin's Press.

Love, B. L. (2019). We want to do more than survive: Abolitionist teaching and the pursuit of educational freedom. Beacon Press.

Low, B. E. (2011). Slam school: Learning through conflict in the hip hop and spoken word classroom. Stanford University Press.

Macdonald, M. B. (2012). Hip hop citizens: Local hip hop and the production of democratic grassroots change in Alberta. In B. J. Porfilio & M. J. Viola (Eds.), Hip hop(e): The cultural practice and critical pedagogy of international hip hop (pp. 95–109). Lang Publishing.

McLaren, P. (1999). A pedagogy of possibility: Reflecting upon Paulo Freire's politics of education in memory of Paulo Freire. Educational Researcher, 28(2), 49–56.

Nelson, C. A. (2010). Identity, capitalism and the mainstream: Towards a critical practice of Black Canadian popular culture. In C. A. Nelson (Ed.), Ebony roots, northern soil: Perspectives on blackness in Canada (pp. 54–80). Cambridge Scholars Publishing.

Ozer, E. J. (2017). Youth-led participatory action research: Overview and potential for enhancing adolescent development. The Society for Research in Child Development, 11(3), 173–177. https://doi.org/10.1111/cdep.12228

Parris, A. (2016, April 21). Remixing the classroom: The great potential of hip hop education. CBC, 1.

Richardson, E., & Pough, G. (2016). Hip hop literacies and the globalization of Black popular culture. Social Identities, 22(2), 129–132. https://doi.org/10.1080/13504630.2015.1121567

Rose, T. (1994). Black noise: Rap music and black culture in contemporary America. Wesleyan University Press.

Rykert, L. (2017). TDSB enhancing equity taskforce: Report and recommendations.

Simpson, A. (2007). On ethnographic refusal: Indigeneity “voice” and colonial citizenship. Junctures: The Journal for Thematic Dialogue, 12(9), 67–80.

The Education for Liberation Network & Critical Resistance Editorial Collective. (2021). Lessons in liberation: An abolitionist toolkit for educators. AK Press.

Tuck, E., & Yang, K. W. (2014). R-words: Refusing research. In D. Paris & M. T. Winn (Eds.), Humanizing research: Decolonizing qualitative inquiry with youth and communities (pp. 223–248). SAGE Publications, Inc. https://doi.org/10.4135/9781544329611

Varelas, M. (2012). Identity construction and science education research: Learning, teaching, and being in multiple contexts. Brill I Sense.

Vindevoghel, L. J. (2016). Power, identity, and the construction of knowledge in education. Education, 22(2), 87–97.

Viola, M. J., & Porfilio, B. J. (2012). Introduction. In B. J. Porfilio & M. J. Viola (Eds.), Hip hop(e): The cultural practice and critical pedagogy of international hip hop (pp. 1–18). Lang Publishing Inc.

Walcott, R. (2010). Towards a methodology for reading hip hop in Canada. In C. A. Nelson (Ed.), Ebony roots, northern soil: Perspectives on blackness in Canada (pp. 238–253). Cambridge Scholars Publishing.

Walcott, R. (2018). Black like who? Insomniac Press.

Wynter, S. (1984). The ceremony must be found: After humanism. Boundary 2, 12/13(3/1), 19–70. https://doi.org/10.2307/302808

Yang, J., & Kennedy, D. (2020, September 12). COVID-19 sends the ideals of public education to the back of the class. Toronto Star, 20–21.

Yosso, T. J. (2005). Whose culture has capital? A critical race theory discussion of community cultural wealth. https://pmc.ncbi.nlm.nih.gov/articles/PMC10116857/

Hip hop education and neurodivergent learners. (n.d.). NAfME. https://nafme.org/blog/hip-hop-education-and-neurodivergent-learners/

Humanizing education through hip hop. (n.d.). Harvard Graduate School of Education. https://www.gse.harvard.edu/ideas/edcast/22/11/humanizing-education-through-hip-hop

Hip hop reading. (n.d.). NEA. https://www.nea.org/professional-excellence/student-engagement/tools-tips/hip-hop-reading

Hip hop: A culture of vision and voice. (n.d.). Kennedy Center. https://www.kennedy-center.org/education/resources-for-educators/classroom-resources/media-and-interactives/media/hip-hop/hip-hop-a-culture-of-vision-and-voice/

Power, rap, and hip hop in the classroom. (n.d.). Edutopia. https://www.edutopia.org/article/power-rap-and-hip-hop-classroom/

ILA Bridges. (n.d.). International Literacy Association. https://www.literacyworldwide.org/docs/default-source/member-benefits/bridges/ila-bridges-7015.pdf

Canadian Journal for New Scholars in Education. (n.d.). https://journalhosting.ucalgary.ca/index.php/cjnse/article/view/76558