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Shawn M. Higgins, PhD [He, Him, His]
E-mail: [email protected] Office: Fitch 212 Office Phone: 575-835-5455 Office Hours: MWF 12:00-1:00 and by appointment Office Hour Sign-ups: http://shawnhiggins.youcanbook.me
** This syllabus has been optimized for your cell phone viewing pleasure.
Course Content Description
This is a 3-unit, lower-division, undergraduate course in the field of Humanities. This
course has no prerequisite. This course helps to complete the Area 5—Humanities
section of the General Education Core Curriculum requirement for a Bachelor of
Science degree. This course also fulfills units for a Minor in Music.
Specifically, this course examines hip hop music in connection with its histories,
cultures, politics, and key creators. From
1979 until today, hip hop has been a highly
influential, controversial, and liberating
movement in American music and popular
culture. Much attention in this course will
be given to hip hop’s roots in United
States black culture and how it has spread
across the globe. Students will listen to and
analyze the lyrics of important hip hop
songs as well as critically analyze excerpts
from memoirs, periodicals, and essays. Students will read approximately 400 pages
and write approximately 1,500 words throughout the semester. This course culminates
in a creative production (make a beat, write a rhyme, or spit a verse).
Accessibility
I want this classroom to be accessible for all students, including those with learning
differences (disclosed or undisclosed) or those needing accommodations. Please feel
free to meet with me at the beginning of the semester to discuss more long-term
concerns. To schedule an appointment with the office of counseling and disability
services, to discuss formal accommodations, or for free mental health and substance
abuse counseling, please call (575) 835-6619.
** (A visually accessible version of this syllabus is available upon request).
Table of Contents
Learning Outcomes
+ Recording Policy 2
Statement of Values 3
Textbooks,
Homework,
Grading, + Office
Hours
4
Oral
Communication
Assessment
(OCA)
5
Writing Assessment 6
Academic Integrity 7
Final Project 8
Course Schedule
(Link to Spark site)
Hip Hop and American Popular Culture
New Mexico Tech | Spring 2018 | HUMA 189-01/02
Brandon Daniel. “Roland TR-808.” Wikimedia.
Field Learning Outcomes
1. Analyze and critically interpret significant primary
texts and/or works of art (fine art, literature, music,
theater, and film).
2. Compare art forms, modes of thought and
expression, and processes across a range of
historical periods and/or structures (such as
political, geographic, economic, social, cultural,
religious, and intellectual).
3. Recognize and articulate the diversity of human
experience across a range of historical periods and/
or cultural perspectives.
4. Draw on historical and/or cultural perspectives to
evaluate any or all of the following: contemporary
problems/issues, contemporary modes of
expression, and contemporary thought.
Recording Policy
My lectures, notes, handouts, and displays are protected
by state common law and federal copyright law. They
are my own original expression, or when they are taken
from another source, they are documented accordingly.
Students are authorized to take written notes in my
class; however, this authorization extends only to
making one set of notes for your own personal use and
for no other use. "Smart pen" digital recording/writing
utensils are not allowed in this course or in office hour
meetings. If you wish to record my lecture, you must
receive written authorization at the beginning of each
class session; authorization during one class period does
not extend to another separate period. If you are so
authorized to record my lectures, you may not copy this
recording or any other material, provide copies of either
to anyone else, post these on any form of social media
(regardless of privacy settings), or make a commercial
use of them without prior written permission from me.
Course Learning Outcomes
Throughout this course, students will work toward
learning, improving on, and mastering the following
skills (adapted from the Association of American
Colleges & Universities VALUE rubrics):
1. Creative thinking: Students will compose papers,
reports, and presentations that require pushing
beyond boundaries, uncovering or critically
perceiving new syntheses, and using or recognizing
creative risk-taking to achieve a desired outcome.
Students will be assessed on their ability to showcase
the acquiring of these competencies, their
willingness to take risks, and their innovative modes
of thinking.
2. Critical thinking: Students will complete
assignments that require evaluating information
sources and self-reflection. Students will be assessed
on their critique of ambiguity, their recognition of
assumptions, their ability to contextualize, and their
extraction of meaning from sources.
3. Intercultural knowledge and competence:
Students will demonstrate their understanding of
their position as a member of a world community
and their knowledge that we share the future with
others through their seminar interactions. This
involves meaningfully engaging with others, placing
social justice in political and historical context, and
putting culture at the core of transformative
learning. Students will identify their own cultural
patterns, compare and contrast them with others,
and adapt empathetically and flexibly to unfamiliar
ways of being. Students will be assessed on their
presence and participation in seminar and their
fostering of this intercultural environment.
4. Oral communication: Students will individually
deliver presentations in which a central message is
conveyed that is supported by materials and
organized in a purposeful way. Students will be
assessed on the clarity of their central message, their
delivery techniques, their language usage, the
organization of their points, and their usage of
supporting materials.
Statement of Values (The statement on the left is adapted from Dr. Viet Thanh Nguyen of the University of Southern
California's online post regarding his departmental statement. Not only did he win the Pulitzer for fiction
and the Guggenheim, but I find the wording of this statement to be particularly beautiful and effective).
Literature is a sanctuary. No book has ever refused a
reader. Great literature cannot exist if it is based on
hate, fear, division, exclusion, scapegoating, or the
worship of injustice and power. Writers cannot write if
they are incapable of empathy, of imagining what it is
that an other feels, thinks, and sees. Through reading
and writing, through identifying with characters who are
nothing like us, we who love words learn to love others.
As a practitioner, scholar, and teacher of literature, I am
committed to these literary principles, which manifest
themselves outside of books through inclusion, diversity,
hospitality, respect, dialogue, and love. I stand against
any form of physical or verbal abuse, any use of language
to stigmatize or demonize people, any assault on
someone’s body or character, any threat to deport, report,
or register someone because of their race, culture, national
origin, religion, sexuality, gender, ideology, class,
disability, or being. I proclaim to my students what we
know so well from our paradoxical experiences with
literature: even if each of us is solitary as a reader or a
writer, none of us is alone. Words bring us together.
I remain committed to the power of the story, the word,
and the image. Storytelling has always been crucial to this
and any other country. Those who seek to lead our
country must persuade the people through their ability to
tell a story about who we are, where we have been, and
where we are going. The struggle over the direction of our
country is also a contest over whose words will win and
whose images will ignite the collective imagination. While
the recent presidential election was and is controversial, it
serves to remind us of the necessity of our vocation, of the
crucial role that literature plays in shaping the
imagination and in offering refuge. What we do in
literary studies matters. What we do, as teachers, writers,
and scholars, is to assert, again and again, that you are
not alone.
New Mexico Tech supports freedom of expression within the
parameters of a respectful learning environment. As stated in the
university’s Nondiscrimination Policy: “New Mexico Institute of
Mining and Technology (New Mexico Tech) does not discriminate
on the basis of race, color, religion, national origin, ancestry, sex
(including pregnancy, childbirth, and related medical conditions),
sexual orientation (including perceived sexual orientation), gender
identity, marital status, disability (physical or mental), serious
medical condition, age (40 and older), or veteran status. New
Mexico Tech is committed to ensuring persons of all these protected
classes will have access to the University’s programs, facilities, and
employment .”
We learn best and grow most when we are around those different
than ourselves. I am a firm believer that diversity, in multiple
forms of the word, is not only ideal but also necessary for our
mutual growth. New Mexico Tech’s Mission Statement reads:
“New Mexico Tech serves the state and beyond through education,
research, and service, focused in science, technology, engineering, and
mathematics. Involved faculty educate a diverse student body in
rigorous and collaborative programs, preparing scientists and
engineers for the future. Our innovative and interdisciplinary
research expands the reach of humanity's knowledge and
capabilities.”
Jordy, “Hip Hop Microphone.” Pixabay, 2014. CC0 License.
In-Class Participation
Homework is due at the beginning of each class.
Quizzes, presentations, and exams can be made up at
the professor’s discretion.
Make arrangements to complete assignments early if you
know you will miss class.
University learning is a communal activity. We converse
about subjects, reacting and responding to others, and
create a living environment in the classroom that cannot
be replicated with “make-up” assignments or excused
absences. With this aspect of community in mind,
attending class and participating are of great importance.
Grade Components & Scale
Find your current grade on Canvas or in office hours
Office Hour Meetings
All supplemental discussions of in-class work,
participation, essay drafting, and grading take place
during office hours. The instructor can/will submit
written comments back to students after having met in
office hours. Please arrive on-time with note-taking
materials/devices, and please do take notes on the
content of the discussion.
100—93 A 92 — 90 A-
89 — 87 B+ 86 — 83 B 82 — 80 B-
79—77 C+ 76—73 C 72—70 C-
69—67 D+ 66—63 D 62—0 F
In-Class Participation
(verbal/written production)
30%
Song Presentation
See OCA for rubric
10%
Oral Exams (10% each)
See OCA for rubric
30%
Final Project
(Performance + 1,500 word memoir)
See Writing Assessment for rubric
30%
Textbooks (Required)
(Please get my approval for alternative editions)
1. Mane, Gucci with Neil Martinez-Belkin. The
Autobiography of Gucci Mane. Simon & Schuster, 2017.
2. An American English Language Dictionary of your
choice (print or digital)
Recommended: Merriam-Webster's Advanced
Learner's English Dictionary. Springfield, Mass:
Merriam-Webster, 2008. Print.
This dictionary is available (for free, in part)
online at: http://learnersdictionary.com
Subscriptions Genius account: https://genius.com/
Create an account with a username beginning “NMT.”
Use either your actual name or an alias.
Aliases must be registered with professor by e-mail.
Example: “NMTShawnMHiggins” (real)
Example: “NMTLilMustard” (alias)
PDFs on Canvas 1. Alexander, Michelle. “The Rebirth of Caste”
2. Bradley, Adam. “Rap Poetry 101” and “201”
3. Bush, George W. “Katrina”
4. Cooper, Brittney. “Iggy Azalea’s Post-Racial Mess”
5. Lipsitz, George. “How Whiteness Works:
Inheritance, Wealth, and Health”
6. Ogbar, Jeffrey O.G. “Rebels with a Cause:
Gangstas, Militants, Media, and the Contest for
Hip-Hop”
7. Tolchin, Martin. “South Bronx” 1973 Series
Oral Communication Assessment (OCA) (adapted from an AAC&U Rubric)
Criteria Ratings Points
Argument Clearly articulates an
interesting argument,
and anticipates at
least one counter-
argument.
40/40 pts
Articulates a limited
argument, and is able
to respond when
prompted to discuss
counter-argument.
30/40 pts
Articulates an
unfocused
argument, and
responds
unsteadily when
prompted to
discuss counter-
argument.
20/40 pts
Does not
articulate
argument, and
unable to
respond when
prompted to
discuss counter-
argument.
10/40 pts
Does not
articulate
argument, and
does not
understand the
concept of
counter-
argument.
0/40 pts
40 pts
Evidence Presents evidence to
support argument that
is relevant and
accurate from texts
and class discussions.
40/40 pts
Presents evidence to
support argument
that is mostly relevant
and mostly accurate
from texts and class
discussions.
30/40 pts
Presents evidence
that is somewhat
inaccurate and
irrelevant, but
corrects when
prompted; sources
of evidence
unclear.
20/40 pts
Presents little
evidence;
presents
inaccurate and
irrelevant
evidence;
responds poorly
when prompted;
evidence not
based in course
materials.
10/40 pts
Presents no
evidence.
0/10 pts
40 pts
Structure Logical progression of
ideas; easy to
understand.
20/20 pts
Somewhat logical
progression of ideas;
mostly easy to
understand.
15/20 pts
Disjointed
progression of
ideas; difficult to
understand.
10/20 pts
Extremely
difficult to follow
ideas.
5/20 pts
No structure.
0/20 pts
20 pts
Total Points: 100
Writing Assessment (adapted from an AAC&U Rubric)
Criteria Ratings Points
Content Demonstrates a
thorough
understanding of
context, audience, and
purpose that is
responsive to the
assigned task and
focuses all elements of
the work. Uses
appropriate, relevant,
and compelling
content to illustrate
mastery of the subject,
conveying the writer's
understanding, and
shaping the whole
work.
80/80 pts
Demonstrates
adequate
consideration of
context, audience, and
purpose and a clear
focus on the assigned
task (e.g., the task
aligns with audience,
purpose, and context).
Uses appropriate,
relevant, and
compelling content to
explore ideas within
the context of the
discipline and shape
the whole work.
64/80 pts
Demonstrates
awareness of
context, audience,
purpose, and to
the assigned
task (e.g. begins to
show awareness of
audience's
perceptions and
assumptions).
Uses appropriate
and relevant
content to develop
and explore ideas
through most of
the work.
48/80 pts
Demonstrates
minimal attention
to context,
audience,
purpose, and to
the assigned
task (e.g.,
expectation of
instructor or self
as audience).
Uses appropriate
and relevant
content to
develop simple
ideas in some
parts of the work.
32/80 pts
Shows no
attention to
context,
audience,
purpose, or the
task at hand.
Does not use
appropriate or
relevant
content to
develop any
ideas.
0/80 pts
80 pts
Syntax &
Mechanics
Uses graceful language
that skillfully
communicates
meaning to readers
with clarity and
fluency, and is virtually
error-free.
10/10 pts
Uses straightforward
language that
generally conveys
meaning to readers.
The language in the
portfolio has few
errors.
8/10 pts
Uses language that
generally conveys
meaning to
readers with
clarity, although
writing may
include some
errors.
6/10 pts
Uses language
that sometimes
impedes meaning
because of errors
in usage.
4/10 pts
Uses language
that makes the
project
unreadable.
0/10 pts
(might require
redoing
assignment)
10 pts
Genre &
Conventions
Demonstrates detailed
attention to and
successful execution of
a wide range of
conventions particular
to a specific discipline
and/or writing task
including organization,
content, presentation,
formatting, and
stylistic choices.
10/10 pts
Demonstrates
consistent use of
important
conventions particular
to a specific discipline/
assigned task,
including organization,
content, presentation,
formatting, and
stylistic choices.
8/10 pts
Follows
expectations
appropriate to a
specific discipline
and/or writing
task for basic
organization,
content, and
presentation.
6/10 pts
Attempts to use a
consistent system
for basic
organization and
presentation.
4/10 pts
Shows no
effort toward
organizing or
mode of
presentation.
0/10 pts
10 pts
Total Points: 100
Academic Integrity (It would be ridiculous if I did not give credit to the sources from which this information on plagiarism
comes. This policy takes from my previous teaching experience at Temple University, the University of
Connecticut, and New Mexico Tech. Page numbers are not listed as much of the information is web-based.
The citation information for photos used under Creative Common licenses are listed next to that photo
whenever possible. Other graphics are either free usage clip art or those of my own creation).
New Mexico Tech believes strongly in academic
integrity and honesty. Plagiarism and cheating are,
therefore, prohibited. The development of your own
original thought is essential to intellectual growth
and the respect of others. We want to avoid
plagiarism and cheating to encourage independence
and respect.
Plagiarism is the unacknowledged use of another
person’s labor, another person’s ideas, words, or
assistance. Normally, all work done for courses —
papers, exams, homework, reports, presentations —
is expected to be your own work and yours alone.
Any assistance must be reported to the Instructor. If
the work involved uses resources like journals,
books, or other media, these resources must be cited
in the appropriate manner for this course (MLA). It
is the Instructor’s responsibility to teach you the
appropriate manner of citation. Everything used
from other sources — suggestions for organization
of ideas, ideas themselves, language — must be
cited. Failure to cite borrowed material equals
plagiarism. Uncited use of materials from the
Internet is also plagiarism.
Academic cheating is, generally, breaking the rules
of academic work or the rules of individual
courses. It includes submitting work from one
course for another, helping others to cheat from
their own work, or actually doing someone else’s
work.
Students must assume that all graded assignments,
quizzes, and tests are to be completed individually
unless otherwise noted in writing. The Instructor
reserves the right to refer any cases of suspected
plagiarism or cheating to university officials. The
Instructor also reserves the right to assign a grade
of “F” for the given paper, quiz, or assignment.
Freedom to teach and freedom to learn are
essential parts of academic freedom. The
University has adopted the Academic Honesty
Policy for Undergraduate Students, which can be
found in the Undergraduate Catalog. Per this
policy, it is each student’s responsibility to
“understand for every academic assignment what
is expected from them and what would indicate
academic dishonesty.”
DR. HIGGINS, ENGL 189-01/02 (HIP HOP AND AMERICAN POPULAR CULTURE)
FINAL RESEARCHED PROJECT
Researched Project Description: For your creative, performative final project in this course, you will work either independently or collaboratively to create and perform a hip hop song. Your options for contributing include a vocal performance (spit a verse), a lyrical creation (write a rhyme), or a musical composition (make a beat). If you complete all three independently to form one hip hop song (as rapper/lyricist/producer), your project will be considered complete. If you only complete one or two of these contributions, you must then find a partner/s to fulfill the remaining parts, working collaboratively to complete the project. This project will not be graded on artistic merit alone. Rather, a written component in the form of a memoir will stand in for the final project’s graded material. Without a complete final performance, the project will be considered ungradable and will receive 0 points. Performance Project Requirements: Length: 3:00—5:00 minutes Lyrics: 400-600 words (this metric decided using the catalog of Childish Gambino) Longer compositions in musical length/lyric count are acceptable at professor’s discretion General Performance Project Component Checklist: Intro section (spoken, instrumental, or a combination) Distinct verses Consistent chorus with an identifiable hook (normally serving as the song’s title) Bridge sections moving between verses or from chorus to verse (optional) Outro section (spoken, instrumental, or a combination) Memoir Project Requirements: Length: 1,350—1,650 words all-inclusive Sources: No outside sources required Format: Handwritten in a bounded notebook (freeform) or typed (MLA 7th or 8th edition) General Memoir Project Component Checklist: Date/timestamp for entry Use of a consistent writing voice (your own or an adopted, fictional, artistic voice) Summary of day’s events outside of writing/rehearsing, events which serve as inspiration/frustration in the
artistic process Goals for the session (performed, written, composed, collaborative) Outcome of the session Goals for the next session