Oh, This World and Slingshot Hip Hop
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Greetings from The Paley Center for Media’s Education Department! 


Welcome to the latest installment of “What We’re Watching.” Twice a month the education department reaches out to the community with tips and ideas for consuming media with kids by highlighting different themes that connect to two selected programs, one for younger viewers and one for older viewers, each with related activities and resources. 


Watching media alongside your kids is a perfect jumping-off point to making media literacy a part of your everyday lives. Familiarizing yourself with the basics is a great first step. You can view our first newsletter about media literacy best practices archived here. We also recommend the National Association for Media Literacy Education’s Parents Guide—it’s a terrific introduction!

‌What We're Watching: Songs of Freedom 


Music is a powerful medium for expression. A unique art form, music reconnects our intangible selves, our minds, our hearts, our souls to a time when our sense of the world was not literate but magical, more sonic and physical, less cerebral and grounded. Flying on fanciful wings, a song flutters and soars, spreading medicinal melodies that affirm and heal or broadcast frontline reports of pain, anger, joy, and bravery. In these grievous times, the power of music to raise awareness and bridge different experiences to a common humanity has never been more critical. For this month, we turn the mic up on two videos that showcase how music gives voice to the young people of Palestine. Helping unify a world discordant and out of tune, a song mends and envisions a path towards change, justice, and ultimately peace.


This Week's Recommendations for Younger Viewers


Oh, This World (2014)
Recommended for Grades 4+
Available on YouTube


Filmed in Jenin in the Israeli-occupied West Bank, this graceful, poetic, and tender music video centers the voices of young Palestinian children proclaiming, through song, their “right for the world to hear my words.” The video begins at dawn as the city awakens. A young Palestinian boy walks through the souq, an open-air marketplace, taking pictures of children playing and working. Scenes of everyday life cut between recording sessions of the young vocalists as they relate their stories in verse and melody. Providing prudent advice, the young singers remind adults that education can’t be taught “with a stick,” and school should not turn “into a prison.” Symbolizing the power and enchantment of their defiant imaginations, the children declare that “with violence they can silence our songs. But our eyes will sing.” When the windows we use to see our world join others in chorus, perhaps our world can sing a joyful song.

 
Viewing Questions

  • What words would you use to describe the music: the piano, violin, and youth chorus?
  • How does this song make you feel?
  • What do you think is meant by the lyrics, “when a child in my country speaks; when he laughs, when he cries; it means he has a message, and he wants it to be received; this is how a child complains.”
  • Why do you think the young boy with a camera is taking pictures?
  • Why do you think the young girl is selling roses?
  • Where does the young photographer take the young boy playing video games? Why do you think he takes him there?
  • How is this community in Jenin different or like your community?
  • How would you describe the power of music?


Additional Resources


Read


Homeland: My Father Dreams of Palestine by Hannah Moushabeck


We are Palestinian: A Celebration of Culture and Tradition by Reem Kassis, illustrated by Noha Eilouti


Sitti’s Bird: A Gaza Story by Malak Mattar


Watch


I Am from Palestine

This Week's Recommendations for Older Viewers


Slingshot Hip Hop (2008)
Recommended for Grades 10+
Available on YouTube


The stage names of Hip Hop artists DAM, PR, and Arapeyat brazenly drop into the animated opening of this remarkable and groundbreaking documentary about Palestinian Hip Hop. Fierce and sharply keen, this insightful film forges solid connections between the development and rise of rap music in the Israeli-occupied territories of Palestine and the birth of Hip Hop in the South Bronx. Tamer Nafar, one of two brothers who are part of DAM (Da Arab MCs), considered the first Palestinian group, breaks down the evolution of DAM, aligning themselves with American rappers like Public Enemy, Tupac Shakur, the Fugees, and Nas. Tamer spotlights Public Enemy’s Fear of a Black Planet making a connection between an anxiety some white Americans hold and a concern his country feels: fear of an Arab nation. Throughout the film, we meet other young rappers, PR (Palestinian Rapperz), the first group out of the Gaza Strip, Arapeyat, a female duo from the city of Akka, and Abeer Alzinaty, a young female rapper who carries Hip Hop as a secret from her family. Life under occupation breathes a different reality than most will ever know but beats and rhymes can make the unknown familiar. Music is the flare we hear now, giving us a sense of what can’t be seen but felt through vibrations heavy with bottom or light as a fledgling dream birthing freedom.


Viewing Questions

  • Why is the meeting between DAM and Chuck D of Public Enemy so significant for DAM? How has Public Enemy influenced the views of these Palestinian rappers?
  • What does Tamer say about the first time he saw the music video for Tupac Shakur’s “Holla, If You Hear Me?”
  • When DAM first started rapping, they rapped in English. Why do you think they did so? And what was the reason they switched to Arabic?
  • How do most of the parents of the Palestinian rappers feel about their children’s musical aspirations? Do they support them? Why or why not?
  • What are some of the experiences that these Palestinian rappers are relating through their lyrics? Does it sound familiar to other stories we hear in American rap? If so, what is the same and what is different?
  • What happens to the young rappers Bilal and Rami from Deheishe Refugee Camp when they write and perform a rap about their friend who was killed?
  • Why did female rappers like Arapeyat and Abeer start rapping?
  • What do the different rappers from Lyd, Israel, the West Bank, and Gaza hope to do together? What is stopping them and what eventually happens?


Additional Resources


Read


Can’t Stop, Won’t Stop: A History of the Hip Hop Generation by Jeff Chang


Palestine by Joe Sacco


A Child in Palestine, The Cartoons of Naji al-Ali


Watch


DAM on Democracy Now!


Palestine 1920: The Other Side of the Palestinian Story


Listen


The Safe House Travel Diaries, explores the global impact of Hip Hop


Muslims on the Mic from “Islam and the U.S.,” a Backstory podcast

As always, if you have any questions, thoughts, or ideas, don’t hesitate to reach out to us at eduny@paleycenter.org.


Happy viewing,


Rebekah Fisk

Director of Education


Carlos Pareja

Manager of Education

 

Photos—Oh, The World: Al Kamandjati; Slingshot Hip Hop: Fresh Booza Productions

 

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