ERIC EJ881325: To Be or Not to Be Gifted: The Choice for a New Generation

2010·2.2 MB·English

by  ERIC

To Be or GGiifftteedd
Not to Be
The Choice
for a New
Generation
by Malik S. Henfield,
Ahmad R. Washington,
and Delila Owens
gifted child today 17
To Be or Not to Be Gifted
The Brown v. Board of Education Racial identity development
(1954) decision provided unrestricted
access to educational opportunities for
assumes added significance for
all students. Unfortunately, despite the
passing of the 50th anniversary of this
landmark decision, academic excel-
gifted and high-achieving Black
lence remains a dream deferred for
many Black students when compared
to their peers. This disparity, more students who confront a barrage of
popularly known as the achievement
gap, has garnered considerable atten-
stereotypes associated with race
tion in the educational research litera-
ture (Barton, 2003; Jencks & Phillips,
1998) and has been characterized as
and intelligence as an inevitable
“the most significant educational prob-
lem in the U.S.” (Olszewski-Kubilius,
Lee, Ngoi, & Ngoi, 2004, p. 127). aspect of their schooling.
Disparate participation, referred to
as the participation gap, in rigorous
coursework and programs is slowly
technology, engineering, and math unique factors influencing the educa-
becoming recognized as a contribu-
(STEM) fields (Bush, 2006). tional decision-making of Black stu-
tor to the overall gap in achievement
Many educational researchers have dents in the new millennium.
between Black students and their peers
written on the topic of the achieve-
(Ford, Grantham, & Whiting, 2008).
ment gap between Black students Acting White and
Black students are quite often the
and their peers; however, only a few Acting Black
most underrepresented group in the
have focused on the participation
nation with regard to participation in
gap explicitly (Ford, 1996; Ford et
the types of courses designed to pre- Racial identity development has
al., 2008). According to these educa-
pare students for challenging careers been reported to have a significant
tional researchers, many complex cul-
(Ford et al., 2008; Henfield, Moore, impact on the academic experience of
tural variables might contribute to the
& Wood, 2008). For example, accord- Black students (Kozol, 2005; Tatum,
widespread disparities. For example,
ing to The 4th Annual AP Report to the 1997). Racial identity development
researchers have contributed cultural
Nation (College Board, 2008), Black assumes added significance for gifted
concepts such as “acting White” and
students represented 14% of all gradu- and high-achieving Black students
“acting Black” to the gifted education
ating college seniors in the U.S. but who confront a barrage of stereotypes
only 7.4% of them took Advanced research literature (Ford et al., 2008; associated with race and intelligence
Placement (AP) examinations. In com- Henfield et al., 2008). Such concepts as an inevitable aspect of their school-
parison, White (64.0%) and Latino/ can be useful in terms of providing ing (Ford et al., 2008; Henfield et al.,
Hispanic (14.6%) graduating seniors cursory knowledge related to the expe- 2008). For example, in a research study
took 61.7% and 14.0% of the AP riences of high-achieving and gifted conducted by Henfield and others
examinations in 2007, respectively. Black students, which, in turn, may (2008), gifted Black students reported
In 2001, 8.1% of the bachelor’s and help explain why many Black students differential school experiences from
5.1% of the master’s degree recipients decline participation in advanced pro- that of their Black peers who were not
in science and engineering were Black grams and courses. In this article, the enrolled in gifted and talented pro-
(Hill & Green, 2006). Although this authors will introduce the influence grams. These students often described
may be perceived as an issue separate of hip-hop culture on education and being put in a position to defend their
from the achievement gap, it is no less explain how it interacts with Black stu- identities as “real” African Americans
important given the nation’s need for dents’ perceptions of “acting White” by their peers who were not enrolled
a more diverse workforce with duly and “acting Black.” This explanation in gifted and talented programs sim-
honed skills, particularly in science, may help stakeholders understand the ply because they were participating in
18 spring 2010 • vol 32, no 2
To Be or Not to Be Gifted
advanced courses. Many of the partici- ity for Black culture. Black students Hip-Hop: A Culture
pants in this study reported that being who “acted Black,” on the other hand, of Influence
Black and gifted was something of an were most often described as being
anomaly in their schools, and, at one “ghetto,” which is a derogatory state-
Popular culture has a profound
time or another, had been told or knew ment associated with class status.
impact on youth of any generation.
someone who had been accused of “act-
With the advent and increased usage
ing White” because they were Black [I]t could easily
of innovative mass communicative
and intellectual. Some participants in
and technological devices, however,
this study seemed to be more adept at
be argued that the influence of popular culture on
managing their discomfort with racial
today’s youth is unmatched with any
stereotypes when they attended major-
other time period in history. Given the
ity Black schools and participated in
popular easy accessibility of such stimulation,
their respective gifted program for an
adolescents are constantly receiving
extended period of time.
messages that help them self-evaluate
Ford et al. (2008) also explored “act-
the appropriate ways to establish their
ing White” in their investigation of
identities in areas such as race, class,
gifted Black students and the achieve- culture
and gender. According to Erikson
ment gap. In this study, students were
(1968), adolescents are, indeed, very
asked open-ended questions related
concerned with the notion of who they
to the term “acting White.” After
are and what others think of them as
analyzing participants’ responses,
is the major they develop positive identities. For
respondents overwhelmingly associ-
Black students, though, a large part
ated “acting White” with terms such
of the development of a healthy per-
as “being intelligent,” “caring about influence of
ception of self involves their beliefs
school,” and “taking advanced/honors
about themselves as not only a per-
classes.” Attitudes toward Black stu-
dents who “acted White” were far more millennial youth. son, but also as a Black person, in
particular. Although many educators
negative. For example, Black students
have asserted the significant impact of
accused of “acting White” were said
school culture on Black students’ per-
to be “stuck up,” “uppity,” and “not
embracing Black culture.” These studies provide powerful ceptions of themselves, popular culture
In addition to “acting White,” the illustrations of how intelligence, posi- impacts Black students’ lives inside as
“acting Black” phenomenon also has tive academic attitudes and behaviors well as outside the context of school.
been found to be a prevalent issue such as caring about school, and taking As such, it could easily be argued that
among Black students in general edu- advanced/honors classes can be per- popular culture is the major influence
cation, as well as gifted education ceived somewhat negatively when such of millennial youth.
courses (Ford et al., 2008; Henfield et attitudes and behaviors are internalized According to Hughes (2002), hip-
al., 2008; Peterson-Lewis & Bratton, and projected by Black students (Ford hop culture is considered to be “the
2004). “Acting Black” is considered to et al., 2008; Henfield et al., 2008). culture of America’s urban youth. It’s a
be the opposite of “acting White” (Ford According to these findings, Black way of dressing, speaking, and behav-
et al., 2008; Henfield et al., 2008). For gifted students may be viewed as trai- ing, all with an in-your-face attitude”
example, students perceived “acting tors to their race and, thus, accused of (Hughes, 2002, p. 72). More accurately,
Black” as “unintelligent,” “dumb,” and “acting White.” Many Black students in the U.S., hip-hop culture derived its
“ignorant.” Interestingly, according hold extremely negative views of what prototypic cultural aesthetics (e.g., lan-
to Henfield et al. (2008), there were it means to be a “real” Black student guage/grammar, attire) from the fusion
different perceptions associated with and may perceive “acting Black” as of Latino and African-Caribbean racial
White students versus Black students not performing well academically (the and cultural traditions that existed in
who “acted Black.” Black gifted stu- opposite of “acting White”; Ford et al., numerous urban communities in the
dents perceived White students who 2008; Henfield et al., 2008; Peterson- mid- to late 1970s (Kitwana, 2002;
“acted Black” as simply having an affin- Lewis & Bratton, 2004; Willie, 2003). Ogbar, 20co0n7t)i.n uHedip o-hno ppa’sg ef o?u?r funda-
gifted child today 19
To Be or Not to Be Gifted
mental elements include rapping, Disc considerable criticism for the adverse and, as a result, is strikingly absent on
Jockey (DJ), graffiti, and break danc- influence it exerts on young impres- many radio and television stations.
ing. MC is an acronym for Master of sionable minds. Social conservatives Parents, teachers, and school coun-
Ceremony and the act of MCing is bet- often indiscriminately describe rap selors should achieve a richer under-
ter known to the masses as rapping. DJ music as filthy and reprehensible; these standing and appreciation of hip-hop
is an acronym for disc jockey, whose scathing characterizations have been culture and how its promotion is
function is to provide the music that the primary ammunition used by crit- related to Black students’ conceptual-
contains the message that the MC is ics who advocate for censorship of hip- ization of “authentically Black behav-
trying to convey. Break dancing is the- hop’s inappropriate material (Dyson, ior,” as it may have implications for
orized to have evolved from capoeira, 2007). For instance, McWhorter education in general and academic
which is an African Brazilian martial art (2000) insinuated that rap music has a excellence in particular. To more clearly
believed to have originated in Angola, deleterious impact on the development illustrate this point, a case study of a
where many Brazilians were enslaved. of young people, especially minority gifted Black student is provided. The
It is an African and Latin tradition of youth who reside in urban communi- data presented in this case study is
dance that has been practiced and has ties. McWhorter implicated rap music part of a larger qualitative study that
been evolving long before it was offi-
in promoting anti-intellectualism, investigated the experiences of African
cially termed break dancing and became
abhorrent behavior, and rampant vic- American students in gifted education
part of the Black culture (Ogbar, 2007).
timization among minorities, all of programming (Henfield et al., 2008).
Finally, graffiti consists of tagging, or
which, according to him, prevent them In it, three contextual clues will be
painting one’s name, a group’s name,
from attaining success in this society. provided to shed light on the role of
or simply beautiful artwork on public
From this perspective, hip-hop consti- hip-hop culture in the life of a gifted
property. This art form also is closely
tutes a very real and ominous threat to African American student, which may
tied to African culture, specifically
the psychosocial and intellectual devel- provide reasons for why a Black student
Egyptian culture. Much like the ancient
opment of those who consume it. may be apprehensive about enrolling in
Egyptians, contemporary graffiti artists
There is no denying the existence advanced academic courses.
leave their mark as to not be forgotten.
of socially irresponsible rap music.
Therefore, leaving your mark, or picto-
Unfortunately, mass media often- The Case Study
rial representation, is a part of African/
times fails to promote the assortment
Black culture and so is graffiti.
of rap music that is being created. As Name: Amy
Of hip-hop’s four elements, rap has
a result, consumers get a skewed vision Race: Black
become the most influential. From its
of the music and believe that the most Gender: Female
beginnings in New York City during
popular rap music is the embodiment Mother’s Highest Educational Level:
the mid-1970s, rap has emerged as the
of hip-hop culture, and rap music, High school (single-parent home)
most commercially successful genre of
in particular. Hip-hop culture is not Age: 15
Black music to date, accounting for
89.2 million or 11.7% of the 762.8 monolithic, and rap music may be one School Enrollment: 939
million records sold in the United of its most diverse forms of expression, School Location: Southeastern U.S.
States in 2001 (Hughes, 2002). In as a wide variety of artists create many School Demographics: 967 students
fact, when these revenues are combined different types of music for countless (61% Black; 28% White; 8%
with clothing, film, and television rev- audiences. For example, a wealth of Hispanic; and 3% Asian American)
enues, the figures grow exponentially. rap music encompasses and reflects Grade: 8th
Although hip-hop’s impact has been the beliefs, concerns, and frustrations Grade Point Average (GPA): 2.75–3.24
witnessed both globally and domesti- espoused by many African American
cally among individuals from various youth (Dyson, 2007). From this per- Contextual Clue #1:
racial/ethnic and social backgrounds, spective, it becomes more than merely “Black Kids Run the School”
its most resounding influence has a form of musical expression but an
occurred among African American con- instrument of self-examination and Amy attends a predominantly Black
sumers (Dyson, 2007; Kitwana, 2002). societal critique (Boyd, 2004). Sadly, school and has developed a great deal
Despite hip-hop’s staggering com- this type of rap music does not garner of racial pride in this environment.
mercial success, the genre has received the attention of mass media executives Speaking to this point, Amy stated that
20 spring 2010 • vol 32, no 2
To Be or Not to Be Gifted
“even the White kids” prefer to be Black I want what I do [as a career]
because “the Black kids run the school.
The White kids want to do everything
the Black people prefer to do, includ- to be fun and cool but at
ing listening to rap, dressing in a certain
[hip-hop] dress code, using profanity
and saying the new slang.” Amy’s racial the same time safe.
pride seems to be tied to tangible mea-
sures of what it means to be Black (music
listening tastes, dress, and speech). When
asked, specifically, what it means to “act
Initially, she said she wanted to be a the issues associated with being a Black
Black,” she said, “Acting Black is rap,
“teen psychiatrist but that don’t really student enrolled in gifted education
baggy jeans and sweat pants, and saying
pay.” However, she still wants to help programs, particularly as they relate to
a lot of profanity.”
youth and plans to do so by opening racial identity (Ford, 1996; Ford et al.,
recreation centers nationwide because 2008; Ford, Harris, & Schuerger, 1993;
Contextual Clue #2:
“I want what I do to be fun and cool Henfield et al., 2008; Moore, Ford, &
“It’s Not Benefiting Me”
but at the same time safe.” When Milner, 2005). Even fewer researchers
asked about the other career goals of have detailed the experiences of gifted
Amy seems to enjoy being a Black
some of her Black peers outside of the Black students with regard to the notion
student in a predominantly Black
gifted program, she said they “want to of “acting White” as well as “acting
school; however, she says it is quite
be rappers, singers, backup dancers, Black” (Ford et al., 2008; Henfield et
difficult to be a gifted Black student
just things that will get them famous. al., 2008). To date, however, there is no
in her school. She stated that although
Nothing realistic.” She went on to say research related to the impact of hip-
she has been in her school since the
that she does extensive research on hip- hop culture on gifted Black students’
sixth grade, they “are always looking
hop moguls and has come to under- educational experiences. As such, the
for someone to pick a fight with.” She
stand that “they all make more money case study of Amy is very informative.
further explained that many of her
from their advertisements than their In the first contextual clue, Amy
troubles are focused on her weight
music.” When asked why she thinks conveys a great deal of pride in being
and her skin color: “[I] used to weigh
her nongifted peers do not want to fol- or acting Black, which she describes
a lot and they [nongifted Black stu-
low these rappers’ steps and open their in terms of dress, speech, and taste in
dents] would constantly make fun of
own business, she said it is because music. According to her, the culture
my weight, calling me ‘Big Amy,’ you
“they have adapted to their roles [act- of hip-hop has come to define what
know, or because my skin was too dark
ing Black], to what they are labeled as it means to be Black. As such, when
they would call me ‘Blacky.’” She went
and they are fine with it.” she suggests that “even the White kids”
on to say “it’s hard being gifted because
want to act Black, what she is really say-
they call you nerd, even if you are cool”
Discussion ing that in her school, White students
and has even been accused of “acting
have an affinity for hip-hop culture.
White,” which she defines as “acting
preppy, rock, or pop” and saying “stuff The complexities associated with This assumption brings the salience of
like ‘cool’ and ‘sweet.’” When asked navigating Amy’s school are numer- the popularity of hip-hop culture to
how she feels about being a gifted stu- ous. Although the difficulties demon- the forefront of K–12 education; it has
dent, she said, “It don’t do anything strated in the case study may not be a managed to transcend race to the point
for me. It’s not benefiting me.” direct function of hip-hop culture, one where how people speak, how they
could easily argue that given the genre’s dress, and the music they listen to have
Contextual Clue #3: ubiquitous presence in mass media, the become intertwined with Blackness
“They Are Fine With It” relationship between hip-hop culture and, more importantly, is valued when
and the education of Black students juxtaposed with Whiteness. Although
When asked about her career in general is in desperate need of fur- Amy is proud of being a Black student
goals, Amy said that she wants to do ther exploration. There is a small yet in her school, when discussing being a
continued on page ??
something beneficial for teenagers. growing body of literature detailing Black gifted student, she is much less
gifted child today 21
To Be or Not to Be Gifted
enthusiastic. Apparently, despite her adapted to their roles [acting Black], Although there have been studies that
school being predominantly Black, to what they are labeled as and they have investigated this phenomenon,
few Black students are in gifted pro- are fine with it.” She has an apprecia- little, if any attention has been given to
grams; as a result, she is somewhat of tion for certain aspects of Blackness the influence that hip-hop culture may
an anomaly. In Contextual Clue #2, she as defined by hip-hop culture but in ultimately have on students’ decision to
describes instances of being ridiculed terms of career aspirations, she views enter such courses and programs. This
by students who are not in the gifted herself as being different from these article is an attempt to fill this void
programs (nongifted students) because students and maybe even superior to and help parents, teachers, and school
of her body type and skin tone. Such them, in a sense, by saying that they counselors understand the influence
unfortunate instances are not uncom- “want to be rappers, singers, backup of hip-hop culture in the new millen-
mon in the lives of all gifted students. dancers, just things that will get them nium. By doing so, it is hoped that
Nonetheless, Amy attends a school famous. Nothing realistic.” they will be able to harness this power
that highly values hip-hop culture; as This case study supports the the- and use it as a tool to create hip-hop
such, her difficulties should be explored ory that Black students enrolled in influenced interventions aimed to bet-
using a hip-hop cultural lens, as this is a advanced education courses and pro- ter market gifted education to students
unique situation. For example, hip-hop
grams may have dissimilar experi- who qualify for such programs, yet do
culture has a rich tradition of uplifting
ences from their peers. Although this not perceive them as places where they
and empowering Black youth through
has been reported in numerous other belong.
socially and politically conscious, posi-
gifted education literature (Ford,
tive rap music (Dyson, 2004; Kitwana,
1996; Ford et al., 2008; Ford et al., Recommendations
2002; Ogbar, 2007). However, the rap
1993; Henfield et al., 2008), to date,
music most often played on the radio
there has not been an explicit emphasis Based on this research, the follow-
and television could be considered
on hip-hop culture and its influence on ing recommendations will be pro-
misogynistic because of its degrada-
the educational experiences of African vided to assist parents, teachers, and
tion of women. In fact, in a study of
American students in advanced edu- school counselors help Black students
music that degrades women, rap was
cation courses and programs in gen- explore, and seriously consider, all of
found to contain the most offensive
eral. To remove such a salient issue as their options as it relates to advanced
lyrics (Primack, Gold, Schwarz, &
academic performance from its proper academic programs and classes. In
Dalton, 2008). Black women, in par-
cultural context negates the complexity addition, information will be provided
ticular, often are portrayed in rap music
of the issue and continues the tradition to help stakeholders assist gifted Black
as sex objects and belittled if they do
of rendering students of color voiceless students who find it difficult to be suc-
not fit into narrowly constructed views
as it relates to their lived experiences cessful learners in environments that
of beauty, as defined by body type and
and subsequent values (Fernandez, may view giftedness and Blackness as
skin tone (Neal, 2004). In addition to
2002). For educators unaware of the
mutually exclusive.
this, Amy’s issues are compounded as
hip-hop culture and its influence,
a function of her not fitting into pop-
Black students’ reluctance to enroll in Recommendations for Parents
ular rap music’s definition of beauty.
advanced coursework such as that pro-
Multiplying her unfortunate school
experience is her identification as a vided in gifted and talented programs The following are suggested recom-
gifted student, which disassociates her and classes may seem rather perplex- mendations for parents:
from what it means to be Black, as evi- ing; however, if educators examine the • Hip-hop culture has been spread-
decision of whether or not to enroll
denced by claim of being accused of ing across the world and growing
in such programs and classes through
“acting White.” in influence since its inception
a cultural lens—a hip-hop cultural
Despite her negative interactions in the 1970s. It is a powerful
lens—it may be easier to understand.
with Black students not enrolled in the force that is here to stay. Most
gifted program, Amy seems to value students will have some contact
Summary
their opinion of her Blackness, none- with aspects of the culture at some
theless. Contextual Clue #3 reveals she point in their educational expe-
also seems to have a low opinion of Recruiting Black students into gifted rience. As such, parents should
these students’ Blackness: “they have courses can be quite a daunting task. make attempts to become more
22 spring 2010 • vol 32, no 2
To Be or Not to Be Gifted
knowledgeable of hip-hop culture school to equip them with a better popular rap music seems to glorify
in general, and rap music in partic- understanding of how to support anti-intellectualism, it should not
ular, in order to fully understand their children and best meet their be assumed that students who like
its potential influence on their needs. For instance, students may this music and adopt the language
children. Students have the ability share with their parent that they and styles associated with it will
to understand that what they hear don’t want to enroll in a gifted lack the motivation, interest, and
on the radio is purely entertain- program because doing so would skills needed to excel academically.
ment, much like many popular mean that they are “acting White.” • Teachers should seriously consider
movies. Furthermore, there are a In response, a parent may explain the utilization of culturally rel-
number of rap artists who cre- to their child that intelligence and evant pedagogical strategies and
ate music that may be considered Blackness are not mutually exclu- styles whenever possible (Ladson-
“positive” (e.g., Common, Talib sive. For example, some of the Billings, 1995; Stovall, 2006). For
Kweli, and Mos Def). Parents most successful rap artists have example, after becoming more
should explore the culture of hip- managed to parlay their musical aware of the variety of rap artists,
hop to better understand the range success and notoriety into other, teachers may then select certain
of rap artists and the music they even more successful, business ven- artists’ music (e.g., Nas, Tupac,
produce. This will enable them to tures that have nothing to do with The Fugees) as examples of popu-
have a discussion with their child music (e.g., Reverend Run, 50 lar Black artists utilizing witty,
about the meanings of the music Cent, Jay-Z, Nelly). intelligent lyrics, yet maintaining
and make decisions regarding what their popularity as authentically
is appropriate for their child. Recommendations for Teachers Black rap artists. Using rap artists
• If a child exhibits an affinity for as role models is, potentially, a way
hip-hop culture, parents should The following are suggested recom- to help Black students learn that
not hastily conclude that this mendations for teachers: intelligence and Blackness are not
necessarily threatens their child’s • Teachers should first and foremost mutually exclusive, thus increasing
academic functioning. Frequently, be honest with themselves and their racial identity, as well as their
rigid and overly simplified repre- challenge any existing notions they affinity for education, because the
sentations of rap music have been may have of the intellectual inepti- rap artists are someone with whom
portrayed by a plethora of media tude of Black students. Stereotypes they can identify.
outlets (Dyson, 2007; Ogbar, they may hold about the unedu- • Gifted education teachers in par-
2007). Parents should under- cable nature of Black students can ticular should think about using
stand that these portrayals do not act as a deterrent to their nomi- different aspects of hip-hop to
encompass the wide array of rap nating Black students for gifted pique the interest of students
artists who currently exist. This education programs. If teachers who may qualify for gifted pro-
increased understanding will help explore how they have come to gramming but believe that gifted
prevent parents from overgener- internalize these negative beliefs programs are not for them. For
alizing and making judgmental, and take necessary steps to dispel instance, besides rapping, there are
presumptuous indictments of hip- them, they may be more apt to rec- a number of lucrative occupations
hop, thus allowing students to ognize the talents of Black students associated with hip-hop culture,
discuss the role that hip-hop plays who embrace hip-hop culture. It including professional DJ, dance
in their lives more openly. is important to understand that choreographer, radio and televi-
• Parental support can be an invalu- how a student communicates is sion personality, clothing designer,
able asset in facilitating academic not a determinant of their inter- or artist. Gifted teachers may be
success; however, parents may not est in education and/or academic able to collaborate with a local
understand how difficult it is to ability. As such, teachers should college or university to develop a
excel academically as a Black stu- not associate students’ apprecia- program that is designed to infuse
dent in today’s schools. Parents tion for aspects of hip-hop culture academics into courses designed
should invite their children to (e.g., language, attire/style) with to expose students to such careers,
have candid discussions with them a devaluation of academic suc- which may help to remove some
continued on page ??
pertaining to their experiences in cess. Although some of the most of the stigma attached to being in
gifted child today 23
To Be or Not to Be Gifted
a gifted program because it would gifted programs but are hesitant tions of the poor decisions they
then be associated with hip-hop to enroll, as well as those currently were making, which is a criti-
culture and, thus, considered a enrolled, can meet with school cal step toward behavioral change.
place for Black students, as well. counselors who can explain the Contemporary school counsel-
benefits, as well as the difficulties, ors could utilize similar resources
Recommendations associated with taking advanced and conduct classroom guid-
for School Counselors courses. In the explanation, school ance lessons designed to examine
counselors can help them under- the notion of what it means to
The following are suggested recom- stand that it is not uncommon for “act White” and “act Black.” For
mendations for school counselors: Black students to face educational instance, school counselors can use
• Many societal influences have challenges. Jay-Z as an example of an intelli-
negatively impinged on Black stu- • School counselors should appro- gent, highly successful Black male.
dents’ academic performance. By priately inject aspects of students’ He has successfully transitioned
being Black, students have histori- culture into their therapeutic from music artist to mogul. This
cally had to encounter and over- approach. On several occasions, sort of classroom guidance activ-
ity could, ultimately, serve two
come extreme difficulties in school. counselors have used dimensions
purposes: (a) help students to asso-
However, some research suggests of hip-hop culture to broach
ciate hip-hop culture with intel-
that Black students enrolled in issues associated with students’
lectualism and (b) help students to
advanced courses may have added academic functioning (Lee, 1987;
associate intellect with Blackness,
difficulty in school as a function of McFadden, Lee, & Lindsey, 1985;
given that hip-hop culture often is
their race, as well as their gifted- Muller, 2002; Utsey, Howard, &
associated with Blackness (Ford et
ness (Ford, 1996; Henfield et al., Williams, 2003). For example,
al., 2008; Henfield et al., 2008).
2008). With this in mind, school McFadden et al. (1985) intro-
• In addition to personal/social
counselors should acknowledge duced hip-hop lyrics to a group
issues, school counselors also are
gifted Black students’ unique aca- of Black males in order to exam-
in a unique position to assist stu-
demic experiences when rendering ine their beliefs about the role
dents with their academic and
services and develop anticipatory confrontations play in the profes-
career development using their
measures as a means to address sional mobility of Black people.
state’s comprehensive guidance
“predictable” cultural issues com- Through subsequent meetings and
model (American Counseling
mon among gifted Black students. discussions, students were able to
Association, 2005). As such, they
Those students who qualify for understand the academic implica-
should be proactive in collaborat-
ing with teachers, as well as par-
ents, to develop culturally relevant
activities that invoke hip-hop cul-
ture. For example, school coun-
selors can help teachers develop
an assignment requiring students
to research hip-hop-related careers
that may require some level of
academic achievement. The report
could include pertinent informa-
tion such as the salaries and the
course requirements, as well as
potential future opportunities.
School counselors could then col-
laborate with parents to arrange
for a visit to a college campus
where students can speak to Black
college students who are also hip-
24 spring 2010 • vol 32, no 2
To Be or Not to Be Gifted
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gifted child today 25