Student ID

2106872

FAN

Moon0070

First name

Kirsten

Family name

Mooney

Topic code

EDUC2420

Topic name

Teaching Indigenous Australian Students

Tutorial lecturer

Abi Diplock

Assignment number and title

Major Essay

Word count

2200

Due date

Friday 27th September 2013

Date of submission

Friday 27th September 2013

Is this a resubmission?

No

Essay Question 5: Blanch argues that popular culture of African-American rap and hip
hop can be a tool for encouraging Indigenous students in the schooling environment.
Discuss and evaluate the use of rap & hip-hop and popular cultures in schools as a
strategy that could be used to ensure positive learning outcomes for Indigenous students.

Music cannot be ignored: it blasts from television programs and commercials, is

embedded in film, played through radios and portable devices, and is becoming easier to
share through developments in technology. It is something most of the world enjoys and
numerous cultures regard as a valuable art; national anthems are sung proudly, and the
music chosen for a wedding, funeral or other ceremony reflects the individual in a way
that barely anything else can. The Indigenous cultures of Australia have embraced music
for thousands of years (Pascoe p. 46), using it in ceremonies, and lately, to make their
Kirsten Mooney, 2106872, p1

voices heard. Young Indigenous males in particular see rap and hip-hop as means of selfexpression and power as they encounter issues in their lives, and can employ rap to
challenge these problems (Blanch 2010). This is essential for educators: a space must be
available for individuals to be heard and understood, in a time when Indigenous students
are becoming disengaged with schooling, and the education system is failing them
(Burridge, Whalan and Vaughan, 2012, p1).
Rap, hip-hop and similar genres emerged from oppressed black American
societies in the 1960s to the 1980s (White, p 109). The founders of these genres did not
have expensive equipment, but they did have creativity and persistence: two
characteristics which teachers try to foster in their students. They also had messages,
stories of resistance which had been silenced for generations by the dominant white
society. The writers responded to this forced silence, inequality and police brutality by
forming minimalistic music styles, usually backed by lone beats, which could carry
messages across in the form of rap, which set them apart from their oppressors (Nielson
2012).
While the American Civil Rights movement and ongoing political unrest was
being broadcast to the world, Indigenous Australians were also being persecuted on
terms of race, and like the black Americans, being forcibly silenced. Indigenous
Australians were inspired by Afro-Americans seen on television protesting, and
eventually adopted rap into their culture, resulting in Aboriginal music groups (White
2009). Rap gave, and gives, the Indigenous people of Australia a loud voice, critical in
their oral culture. Many Indigenous students and educators use rap as an empowering
force which can be integrated into the current Australian curriculum. Of course, this
integration requires effort, and can be met with resistance. There is the large issue of
Kirsten Mooney, 2106872, p2

some rap music encouraging rape culture, misogyny, violence and thuggish gangs,
which can foster abusive and negative behaviour (Blanch, p. 8). That is not to say that
rap which discusses these problems cannot be used: it is possible to critically examine,
with older students, how and why these themes of rap are present. It is also important to
note that many Indigenous hip-hop artists are concerned about the impact of these
typically American influences, and are eager to distinguish themselves from them (Ward
2011 & White 2009).
Indigenous students face many issues in their lives from a young age, such as
racism and exclusion, and some worry about their identity and place in the schooling
environment (Rhea & Atkinson, p. 89-91), reflecting the close ties most Indigenous
people have to their land. These groups of students are also more likely to drop out of
school than non-Indigenous pupils, with only 20.4% staying on to Year 12 in 2008.
(Bureau of Statistics 2012). In 2011, Indigenous students only made up 1% of higher
education, although this figure is treble what it was in 1986, and is estimated to have
grown again in recent years (Bureau of Statistics 2013). The National Aboriginal and
Torres Strait Social Survey of 2002 stated that participation in education may be
affected by economical disadvantage, social marginalisation, health problems and
geographical isolation (Bureau of Statistics 2002). Indigenous communities can be
plagued by health problems such as unsafe drinking water, and in some communities, up
to 80% of children have the ear infection Otitis Media, caused by a combination of
poverty and poor hygiene. This hearing problem severely impacts on learning, and
usually gets worse as children get older (NACCHO 2011).
Considering the problems mentioned, it is not difficult to see why Indigenous
children are unsatisfied with their education: it does not tackle or come to terms with
Kirsten Mooney, 2106872, p3

these issues. As education researcher Cathryn McConaghy comments in her book

Rethinking Indigenous Education (2000), the current education system is a result of
white culture and colonisation (p. 9). Educators should embrace chances to challenge
the curriculum, in a way that allows equity for all students, regardless of their culture.
Two important and complimentary ideas to consider are noise and silence. They
are often seen as binary opposites, yet sometimes silence can speak louder than words,
and the pair help each other. In Western societies, silence after asking a question is
interpreted as a no for an answer. This assumption ignores the fact that silence can be
more important than an answer: silence can indicate a refusal to answer, confusion over
the question, or the question itself has invoked strong emotions, leaving the person at a
loss for words. Just because Indigenous people can refuse to talk about the stolen
generations, it does not mean that the affair did not happen. Philosophers and researchers
Ilana Mushin and Rod Gardner undertook extensive research in Indigenous Australian
communities and found that the residents tolerate long periods of silence in everyday
conversation. They point out that Indigenous people treat silence as ordinary (p. 2050)
and perfectly normal, in contrast to non-Indigenous societies, where silence is related to
the abnormal or introverted individual. Indigenous educator Mary ODowd notes that
the Great Australian Silence (a term coined in 1966 by William Stanner to describe the
silencing of Australian history) has severe implications in the educational setting. She
says that the Great Australian Silence has endured to the current day due to the
reluctance on the part of students to listen to this history and a reluctance of teachers
to teach this history (p. 89). She argues that silence has a power to communicate and
dominate (p. 1). Silence is not passive: silence is active and can control, in both
positive and negative ways.
Kirsten Mooney, 2106872, p4

A rap curriculum offers a way of engaging, educating and communicating in a

space that all students feel safe in. There is no simple quick fix to the issues Indigenous
students face, or else there would be no educational disadvantage in the schooling
system, and there would be no gap to close (Department of Education 2013). Teachers
and other educators are not alone, however, in approaching these problems: friends and
family friends of Indigenous students are often eager to cause change, and students
themselves can be passionate for change if it is encouraged. Teachers should look
outside their classrooms and engage with the wider community, such as those who use
art to express themselves. Researchers commonly agree that both Indigenous and nonIndigenous students are more focussed in their learning if they are allowed a say in their
studies (Duchesne et al., p. 289-296), even though learning styles can vary dramatically
(Harrison p. 13). Rap and hip-hop provide a resistance to mainstream white Australian
culture, but can be used by non-Indigenous Australians too, as it does not require skills
only refined to certain cultures. Rather, rap calls for individualism and encourages
storytelling and creativity.
Cameron White (2009) traces Aboriginal rap back to its origins with reggae and
jazz, and notes that all the genres have been in some form, a movement against
dominating cultures. He points to Bob Marley as influencing Indigenous reggae band
No Fixed Address in the 1980s and 1990s; band member Bart Willoughby says that
Marley opened up music, and that reggae consisted of a mixture of rests and
syncopations. Willoughby, most importantly, says that reggae (and similar genres) was
beautifully structured in a place which [was] so violent (p. 119), and saw this as a
reflection of hip-hop in Australia: it was created during a time of violence and
oppression, and emerged as a popular music genre. Thus, Australian hip-hop cannot be
Kirsten Mooney, 2106872, p5

purely attributed to the United States: Jamaican reggae has also influenced Australian
hip-hop, which sets itself apart from the other two countries, reflecting Australias
current, diverse societies.
Mark Ross, known as Munkimuk in the music industry, is a founder of
Indigenous hip-hop group South West Syndicate, and is regarded as The Godfather of
Indigenous Hip Hop (ABC 2009). He says that the Aboriginal language is never a
written language: [it is] oral and visual...stories, being passed down...through song and
dance...hip hop fits in quite well with that (White 112). Munkimuk remastered one of
South West Syndicates songs called Dreamtime, and it was nominated in 1999 for a
Deadly award. It is hard, however, to find much information on Munkimuk and his
songs, possibly reflecting his comment on Indigenous culture being a spoken rather than
written language. Since no lyrics for Dreamtime could be found in texts, a YouTube
video was watched. Interpreted were the lyrics
Genocide, suicide, homicide ,
The people that protect us,
On death row,
Would rather die from
Deprivation;
This story of assimilation,
Stolen generations,
Separation,
Reconsideration,
Reconciliation;

Kirsten Mooney, 2106872, p6

Mass killings that made us sick,

But genocide was the
Future of politics.
(Dreamtime- Munkumuk Live 2009)

The

video watched was taken in 2009 at Melbournes Oxford Arts factory, and the venue
appears to be sold out. Thus, Munkimuks lyrics are still relevant today, and many
Indigenous youths are likely to identify with his easy to follow lyrics. Munkimuk is not
just a hip-hop artist, but also a prouder, songwriter, musician and breakdancer (Vibe
Australia), and runs workshops all over Australia, where local children are encouraged
to try rapping in their local language as well as English (White p.112).
It is important to note that Australian hip-hop gives more than just a voice to
Indigenous students. The Deadly Awards, held every September, have seven categories
for music categories. Hip-hop has its own category, and this year (2013), a group by the
name of Yung Warriors won. Their highly popular singles Standing Strong and Pray for
Better Dayz received national airplay and praise (Vibe Australia 2013) and Standing
Strong was used as the official song for the AFLs Indigenous Round. Their music is
released under Essendon player Nathan Lovett-Murrays Indigenous record label,
Payback Records (Ward 2011). At this years Deadlys, another hip-hop group called Stik
n Move won most promising new talent in music, and band of the year went to two
Indigenous brothers called Street Warriors. Jessica Mauboy won in two categories, and
she also frequently uses hip-hop and rap in her music. The Deadlys remind the nation
that Indigenous people are not simply a part of history: they are alive, and shaping
history. With names like Yung Warriors and Street Warriors, Indigenous Australians are
proudly claiming they are in a battle against whiteness, and hip-hop artists appear to see
Kirsten Mooney, 2106872, p7

themselves as warriors against it, and protectors of their oral culture. History is not dead:
Australia is a living place and the people in it can shape the history to come, and hip-hop
reminds the nation of their power.
Blanch argues that a rap curriculum could offer to students an identity with their
selves, the ability to tell their stories, turn Indigenous culture into a privilege, and help
them to find a way home (p. 5). With so many established Indigenous hip-hop and
upcoming artists, teachers are spoilt for choice when it comes to deciding what aspect of
the genre to incorporate into their pedagogy. Websites such as Vibe Australia and Desert
Pea Media can give teachers ideas of how to engage with rap artists, and are filled with
media content to use in the classroom. Researcher and educator Ernest Morrell says that
the formal curriculum is taught- the program of study. The hidden curriculum consists
of standardized learning conditions, teaching styles (etc)...To disrupt these two forms of
curriculum, educators must practice a critical pedagogy that prepares students to act for
racial and social justice in their lives... (p 33). Rap and hip-hop are indeed disruptive:
they attack traditional views of history and make way for histories which have been
silenced (Morgan and Warren 2010), in a way that engages students. Rap can be
integrated into many subject areas, but the Australian curriculum by itself only
recognises Aboriginal and Torres Strait Islander topics as cross curricular studies
(ACARA 2013). That is to say that Indigenous culture is recognised and encouraged, but
is not a pinnacle of the curriculum; teachers could simply do one small unit on
Indigenous studies and it would be deemed appropriate. As Indigenous activist Gary
Foley asks, How can genuine reconciliation be achieved without an acknowledgement
of the past? (2011). If the past is simply shrugged off, how are we, as teachers, able to
teach equity without explaining why equity is needed?
Kirsten Mooney, 2106872, p8

Rap and hip hop seeks to shout out histories that have been silenced and
forgotten, and builds futures upon experience. It not only gives Indigenous students a
voice, but can enhance their education; almost every subject area can be rapped. Rap in
English builds language and oral skills; in History and Geography it can foster critical
and alternative thinking, as well as giving students their own identity. Media literacy and
communications can be developed; technology can be utilised, mathematics employed,
and creativity through the arts can be encouraged (Sheridan-Rabideau 2010), to name a
few. It should be pointed out that the Reconciliation Action Plan being put into place in
Australian schools (Reconciliation Australia 2010) can be shortened to the abbreviation
RAP. Whether just a coincidence or not, it is clear that rap has a large role to play in not
only Indigenous education, as Blanch states, but also in Australian culture as a whole. It
is up to educators to approach rap and reach out with it, and tackle critical issues in order
to create equitable education for all students.

References
ABC (2009). Making Waves Hip Hop launch. Retrieved from </www.abc.net.au/
indigenous/stories/s2549985.htm>, accessed 26th September 2013.
ACARA. (2013). Cross-curriculum priorities. Retrieved from
<www.australiancurriculum.edu.au/English/Cross-Curriculum-Priorities#Aboriginaland-Torres-Strait-Islander-histories-and-cultures>, accessed 24th September 2013.
Blanch, F. R. (2010). The silences waiting: young Nunga males, curriculum and rap.
Curriculum Perspectives, 30, 1-13.
Kirsten Mooney, 2106872, p9

Bureau of Statistics (2012). Aboriginal and Torres Strait Islander Peoples Education,
Learning and Skills. Retrieved from <www.abs.gov.au/websitedbs/c311215.nsf/web/
Aboriginal+and+Torres+Strait+Islander+Peoples+-+Education,+Learning+and+Skills>,
accessed 22nd September 2013.
Bureau of Statistics (2002). Aboriginal and Torres Strait Islander Social Survey 2002.
Retrieved from <www.abs.gov.au/AUSSTATS/abs@.nsf/Lookup/4714.0Main
+Features12002?OpenDocument>, accessed 22nd September 2013.
Bureau of Statistics (2013). Hitting the Books: Characteristics of Higher Education
Students. Retrieved from <www.abs.gov.au/AUSSTATS/abs@.nsf/Lookup/4102.0Main
+Features20July+2013#p10>, accessed 23rd September 2013.
Burridge, N., Whalan, F., Vaughan, K. (Eds.) (2012) Indigenous Education: A Learning
Journey for Teachers, Schools and Communities. Rotterdam: Sense Publishers.
Department of Education (2013). Closing the Gap on Indigenous Disadvantage.
Retrieved from <www.deewr.gov.au/closing-gap-indigenous-disadvantage>, accessed
26th September 2013.
Desert Pea Media (2013). News. Retrieved from <www.desertpea.org.au/news/>,
accessed 24th September 2013.
Duchesne, S., McMaugh, A., Bochner, S., Krause, K., (Eds.) (2010). Educational
Psychology for Learning and Teaching. Melbourne: Cengage Learning.

Kirsten Mooney, 2106872, p10

Foley, G. (2011, September 24). Intertwining Histories: Heritage and Diversity.

Retrieved from <www.australianhumanitiesreview.org/archive/Issue-November-2001/
ang.html>, accessed 27th September 2013.
Harrison, N. (Ed.) (2008). Teaching and Learning in Indigenous Education. Melbourne:
Oxford University Press.
McConaghy, C. (Ed.) (2000). Rethinking Indigenous Education: Culturalism,
Colonialism and the Politics of Knowing. Brisbane: Post Pressed.
Morgan, G., & Warren, A. (2010) Aboriginal Youth, Hip Hop and the Politics of
Identification. Ethnic and Racial Studies, 24, 925-947.
Morrell, E. (Ed.) (2008). The Act of Critical Pedagogy: Possibilities for Moving from
Theory to Practice in Urban Schools. United States: Peter Lang Publishing.
Mushin, I., & Gardner, R. (2009). Silence is Talk: Conversational Silence in Australian
Aboriginal talk-in-interaction. Journal of Pragmatics, 41, 2033-2052.
NACCHO (2011). Plain Language Summary of the Systematic Review on the
Management of Otitis Media in Aboriginal and Torres Strait Islander Populations.
Retrieved from <www.health.gov.au/internet/main/publishing.nsf/Content/
E769255CE4197794CA25743C00083165/$File/opls.pdf>, accessed 25th September
2013.
Nielson, E. (2012) Here come the cops: Policing the resistance in rap music.
International Journal of Cultural Studies, 15, 349-363.

Kirsten Mooney, 2106872, p11

ODowd, M. (2012) Embodying the Australian Nation and Silencing History. Arena
Journal, 37/38, 88-104.
Pascoe, B. (Ed). (2012) The Little Red Yellow Black Book. Canberra: Aboriginal Studies
Press.
Reconciliation Australia (2010). Schools. Retrieved from <www.reconciliation.org.au/
home/reconciliation-action-plans/who-has-a-rap-/schools>, accessed 27th September
2013.
Rhea, Z & Atkinson, B. (2008). Im Black...Apart From That I Enjoy School. In E.
Alerby &J. Brown (Eds), Voices From the Margins. (pp89-108). Rotterdam: Sense
Publishers.
Sheridan-Rabideau, M (2010). Creativity Repositioned . Arts Education Policy Review,
111, 54-58.

Taha, M. (2013, July 31). Teachers, pupils on mission to tackle racism in Australian
schools. Retrieved from <www.abc.net.au/news/2013-07-31/hip-hop-helps-studentsovercome-racism-in-australian-schools/4854174>, accessed 23rd September 2013.
Ward, M. (2011, April 10) AFL player seeks payback through hip hop. Retrieved from
http://www.greenleft.org.au/node/47322, Accessed 23rd September 2013.
White, C. (2009). Rapper on a Rampage: Theorising the Political Significance of
Aboriginal Australian Hip Hop and Reggae. Transforming Cultures, 4, 108-130.

Kirsten Mooney, 2106872, p12

Vibe Australia. (2013). 2013 Deadly Awards Winners. Retrieved from

<www.deadlys.com.au/winners/>, accessed 24th September 2013.
YouTube (2009). Dreamtime- Munkimuk Live. Retrieved from <www.youtube.com/
watch?v=TZFMQLo8zIM>, accessed 21st September 2013.
Vibe Australia, (2013). Deadly Vibe. Retrieved from <www.vibe.com.au/>, accessed
24th September 2013.

Kirsten Mooney, 2106872, p13

Grade

36/40 = 90%

Hi Kirsten,
This is an excellent essay a pleasure to read! Youll be a great teacher of both Indigenous and non-Indigenous
students.
Well done.

Kugfvufvugvfugfv

Aby
Co-marked L.D.

EDUC2420 Marking Rubric

Pass

Credit

Distinction

High Distinction

Structure

Evidence of some
structure. Some minor
problems with sentence
and paragraph
construction.

Sound organisation
of essay structure
relevant to the
topic.

A well organised
structure is provided.
Evidence of a high level
of understanding.

Extremely well organised

with a clearly developed
argument and in-depth
knowledge of subject
matter.

Key Ideas

Ideas are stated at a

general level. Needs
literature to support
relevant key ideas.

Evidence provided
of key ideas
pertaining to essay
questions showing
some logical flow.

A clear and logical flow

of ideas is evident. Key
ideas are pertinent to
the assignment
question.

A sophisticated discussion
of the key ideas is
presented within a logical
format to challenge the
reader.

Application of
Knowledge

Logical application of
knowledge to the teaching
of Aboriginal and Torres
Strait Islander students is
underdeveloped

Demonstrates
application of
knowledge to the
teaching of
Aboriginal and
Torres Strait
Islander students.

Detailed application of
knowledge to the
teaching of Aboriginal
and Torres Strait
Islander students.

Excellent application of
knowledge. You will be an
effective teacher of
Aboriginal and Torres Strait
Islander students.

Expression &
Presentation

Expressions and
presentation is not always
clear. Care needs to be
taken with sentence
structure, grammar and
spelling.

Fair quality of
writing.
Appropriate
paragraphing with
sound attention to
expression,
sentence structure
and grammar.

Competency with
expression, smooth
transitions and very
well presented
sentence structure and
correct grammar.

Excellent quality of writing

with correct grammar,
sentence structure and
terminology.

Referencing &
Literature
Sourcing

Insufficient use of the

Indigenous Authoritative
Voices limited evidence
of appropriate texts to
adequately respond.

Utilises a few
Competent use of the
Indigenous Authoritative
relevant readings literature relevant for
Voices are used to
appropriate
the assignment and a
excellent effect. High
inclusion of
confident use Kirsten
of
quality2106872,
research.p14
Mooney,
Indigenous
Indigenous
Authoritative
Authoritative Voices.
Voices.