Popular Culture Review 30.1
hip-hop lives on , it exists without much major support from the record industry .
The use of rap music as pedagogy is also gaining traction among American educators , as it is increasingly seen as being an effective teaching method in classrooms . Tobias argues that because hip-hop music represents a social and cultural practice , the genre critically expresses and socially considers a variety of important subjects that are necessary curricular topics in schools , especially where students of color form the majority of students . Lesson plans that use examples from hip-hop songs that feature themes such as one ’ s representation , agency , place , space , and identity are all valuable ways to understand and teach issues that otherwise may not be discussed in official school curricula . Further elaborating on this subject , Tobias ( 22 ) maintains that the use of hip-hop in education enacts and increases critical pedagogy in classrooms , as it provides opportunities for “ students to consider themselves and their community in terms of who they are and collectively .” Despite this , American hip-hop remains an industry that promotes misogyny and sexual exclusion as profit and the French model differs little from this trope .
RACISM , MARGINS , AND MISOGYNY
In terms of academic investigations on subjects relating to racism and misogyny in France , research on those topics is not easily accessible . Officially , the country is secular and “ colorblind .” This means , even a minor census or academic study , that might examine an issue as it affects one ’ s race or gender will not be sanctioned by federal Ministries or statisticians , and they are generally discouraged or non-existent ( Bleich ; Fleming ). Fleming argues that the French government has abdicated its responsibility for dealing with racism in terms of official policy . Additionally , Fleming further states
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