Those expectations are in addition to minority students being discouraged and disconnected from a system of education that seemingly devalues them by either ignoring contributions made by individuals that they share commonalities with or that offers minimal acknowledgement of events with any significant relevancy. They are faced with unrealistic expectations of simultaneously learning content, the context of the content, and the skills and tools needed to access and unpack the content.
Minority students often bare an undue burden in regards to accessing standard content under current pedagogical approaches. It is also suggested that Black male and White female singers employ impoliteness to resist oppression, offer a counter-narrative about their own experience and self (re)presentation and reinforce in group solidarity.Īnti-deficit pedagogy is an innovative and practical concept that aids in closing the cultural gap minority students face in education. The analysis of impoliteness instantiations by considering race and gender as determining factors in the lyrics selection process unveiled that both male groups use impoliteness strategies more frequently than female groups. A cursory look at the sub-corpora (Black male/ Black female/ White male/ White female artists’ sub-corpus) revealed the prominence of the ‘use taboo words’ impoliteness strategy. The data for this paper comprise songs of US African American and White performers retrieved from the November 2017 ‘TOP100 Chart’ for international releases on. It focuses on the social and artistic function of the key discursive element of hip-hop, namely aggressive language. The aim of this paper is to examine the functionality of impoliteness strategies as rhetorical devices employed by acclaimed African American and White hip-hop artists. Therefore, women's advocacy should be intensified, especially among players in the creative arts and entertainment industry, to portray women positively in their works. We conclude that when musicians are oriented about gender inequalities, they will compose songs that portray women positively. The themes that were identified in the lyrics include conscientisation/psychological empowerment, gender equality and rights, ending violence against women, and recognition of women's traditional roles. Thematic analysis was used to organize and categorize the transcribed data, guided by Longwe and Stromquist's empowerment framework. Audio-recorded songs from 26 contestants in the Centre for Gender Studies and Advocacy (CEGENSA) popular song competition were qualitatively analysed. This study sought to examine how music artistes who participated in a singing competition identified and defined women's empowerment in their songs as well as the aspects of empowerment that dominated their lyrics. Generally, women are the subject of most of these songs. Popular music has over the years been used as a conveyer of ideas and ideology, and as a major transmitter of cultural beliefs, values, perceptions, and norms. “camp”, to reflect the prevailing local discourse and meaning. “bare life” to argue for a reconsideration of the somewhat misplaced term, Hegemony and domination and Agamben’s notion of the “camp” and Interviews in northern Ghana, the article draws on Gramsci’s ideas of Relying on empirical data collected from qualitative Narratives that often circumscribe a particular identity and reality for these This article seeks to interrogate the seemingly complex rights-inspired Often approach them with sentimentalist, euro-modernist assumptions. (NGOs), civil society actors and the media that work with these “camps” Notion of (in)equality is looming large in contemporary developmentĬorridors, empowerment and human rights narratives appear to be topicalĪnd overbearing the agenda of the state. Kind of discourse or narrative around these settlements. The post-1990 globalised developmentĪnd democratisation regime in Ghana has seen the emergence of a new Local, traditional sphere and rarely appeared in national and international The management of these settlements had largely been confined to the In mythologies and historical narratives. More than a hundred years, and their founding stories are often conveyed Most of the so-called “witch camps” in northern Ghana have existed for
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