UCC/UGC/ECCC
Proposal for New Course
Please attach proposed Syllabus in approved university format.
1. Course subject and number: ES 270
2. Units:
See upper and lower division undergraduate course definitions.
3. College:
SBS
4. Academic Unit:
3
Ethnic Studies
5. Student Learning Outcomes of the new course. (Resources & Examples for Developing Course Learning
Outcomes)
This course is designed to introduce you to the various features and elements that make Hip
Hop what it is. Through written and oral sources, as well as experiential involvement with Hip
Hop, students will accomplish the following:
1. Students will use primary source documents, interdisciplinary sources, and secondary
sources to understand and analyze Hip Hop.
2. Students will critically analyze both the obvious and subtle social justice imagery and
techniques contained within Hip Hop.
3. Students will demonstrate through written and oral assignments a clear understanding of
the “essentials” of Hip Hop culture.
4. Students will analyze how different racial and ethnic groups developed, experience, and
continue to engage Hip Hop cultural styles.
5. Students will learn how to engage in seminar discussion and scholarly debate.
6. Justification for new course, including how the course contributes to degree program outcomes,
or other university requirements / student learning outcomes. (Resources, Examples & Tools for Developing
Effective Program Student Learning Outcomes).
This course fills a current void in the ES and NAU curriculum by exploring the elements,
features, and power of Hip Hop. It draws on central theories, concepts, and methodologies
from Ethnic Studies and applies those to the study of a genre that is highly relevant for young
people across the U.S.
7. Effective BEGINNING of what term and year?
See effective dates calendar.
Fall 2015
8. Long course title: THE GENIUS OF HIP HOP
(max 100 characters including spaces)
9. Short course title: THE GENIUS OF HIP HOP
(max. 30 characters including spaces)
10. Catalog course description (max. 60 words, excluding requisites):
Effective Fall 2012
This course examines why Hip Hop holds such an important place in our culture. We seek to
understand how something so controversial and marginal could become so mainstream and
central. This course infuses historical and cultural context as a backdrop for exploring
particular genres, artists, styles, sounds, images, and rhetorical techniques within the Hip Hop
movement.
11. Will this course be part of any plan (major, minor or certificate) or sub plan (emphasis)?
Yes
If yes, include the appropriate plan proposal.
Ethnic Studies Minor
No
12. Does this course duplicate content of existing courses?
Yes
No
If yes, list the courses with duplicate material. If the duplication is greater than 20%, explain why
NAU should establish this course.
See attached memo from CCJ
13. Will this course impact any other academic unit’s enrollment or plan(s)?
Yes
No
If yes, describe the impact. If applicable, include evidence of notification to and/or response from
each impacted academic unit
14. Grading option:
Letter grade
Pass/Fail
Both
15. Co-convened with:
14a. UGC approval date*:
(For example: ESE 450 and ESE 550) See co-convening policy.
*Must be approved by UGC before UCC submission, and both course syllabi must be presented.
16. Cross-listed with:
(For example: ES 450 and DIS 450) See cross listing policy.
Please submit a single cross-listed syllabus that will be used for all cross-listed courses.
17. May course be repeated for additional units?
16a. If yes, maximum units allowed?
16b. If yes, may course be repeated for additional units in the same term?
Yes
No
Yes
No
18. Prerequisites:
If prerequisites, include the rationale for the prerequisites.
19. Co requisites:
If co requisites, include the rationale for the co requisites.
20. Does this course include combined lecture and lab components?
Yes
If yes, include the units specific to each component in the course description above.
Effective Fall 2012
No
21. Names of the current faculty qualified to teach this course:
T. Mark Montoya, Frederick
Gooding, Mary Roaf, Jamal
Ratchford
22. Classes scheduled before the regular term begins and/or after the regular term ends may require
additional action. Review “see description” and “see impacts” for “Classes Starting/Ending
Outside Regular Term” under the heading “Forms”
http://nau.edu/Registrar/Faculty-Resources/Schedule-of-Classes-Maintenance/.
Do you anticipate this course will be scheduled outside the regular term?
Yes
No
23. Is this course being proposed for Liberal Studies designation?
If yes, include a Liberal Studies proposal and syllabus with this proposal.
Yes
No
24. Is this course being proposed for Diversity designation?
If yes, include a Diversity proposal and syllabus with this proposal.
Yes
No
Answer 22-23 for UCC/ECCC only:
FLAGSTAFF MOUNTAIN CAMPUS
Scott Galland
Reviewed by Curriculum Process Associate
1/13/2015
Date
Approvals:
Department Chair/Unit Head (if appropriate)
Date
Chair of college curriculum committee
Date
Dean of college
Date
For Committee use only:
UCC/UGC Approval
Date
Approved as submitted:
Yes
No
Approved as modified:
Yes
No
Effective Fall 2012
EXTENDED CAMPUSES
Reviewed by Curriculum Process Associate
Date
Approvals:
Academic Unit Head
Date
Division Curriculum Committee (Yuma, Yavapai, or Personalized Learning)
Date
Division Administrator in Extended Campuses (Yuma, Yavapai, or Personalized
Learning)
Date
Faculty Chair of Extended Campuses Curriculum Committee (Yuma, Yavapai, or
Personalized Learning)
Date
Chief Academic Officer; Extended Campuses (or Designee)
Date
Approved as submitted:
Approved as modified:
Yes
Yes
No
No
From: Marianne October Nielsen <M.Nielsen@nau.edu>
Date: Tuesday, November 25, 2014 at 11:07 AM
To: Angelina <Angelina.Castagno@nau.edu>
Subject: RE: letter of support
Dear Dr. Castagno,
The Department of Criminology and Criminal Justice offers its support for your new courses: ES 270: The Genius of HipHop, and ES
470/570: Politicizing HipHop. I have spoken with the CCJ instructor who teaches our HipHop course and she sees very little overlap in
the content and approach of our respective courses. We see your courses as excellent elective options for our students with further
interest in the justice implications and consequences of contemporary music. We wish you the best with your courses.
Marianne
Marianne O. Nielsen
Professor and Chair
Criminology and Criminal Justice
Box 15005
Northern Arizona University
Flagstaff, AZ 86011-5005
Ph: 928-523-6512
Fax: 928-523-8011
Effective Fall 2012
NORTHERN ARIZONA UNIVERSITY
College of Social and Behavioral Sciences
Ethnic Studies Program
Semester, year
ES 270: The Genius of Hip Hop
Sequence #: ---- (3 Credit Hours)
Day & time: Tuesdays, 4-6:30pm
Location & room: SBS West 208
Instructor: Dr. Frederick W. Gooding, Jr.
Office: SBS West 222
Office Hours: T/Th 11:30am-1pm
Telephone: 928-523-3057
Email: frederick.gooding-jr@nau.edu
Course Prerequisites
None.
Course Description
Have you ever listened to Hip Hop? Or watched a Hip Hop video on TV? Or listened to someone
recite rhymes while they listened intently with their headphones on? If so, then you are in the right
course! In this dynamic class, we start with the principle that Hip Hop performs an important social
function, and consequently so do the mental images generated within it. We start by examining why
Hip Hop holds such an important place in our culture and explore its mass market global appeal. We
seek to understand how something so controversial and marginal could become so mainstream and
central. This course infuses historical contextualization as a backdrop against exploration of particular
genres, artists, styles, sounds, images, and rhetorical techniques within the Hip Hop movement. We
will analyze how Hip Hop works while studying telling examples from well-known underground sound.
After taking this course, students will be able to effectively screen out biases and stereotypes subtly
conveyed against (and sometimes in) Hip Hop within the various media outlets. Students will also
develop a heightened appreciation for the power that Hip Hop can generate nationally and
internationally. Be forewarned; you will never listen to Hip Hop the same way again!
The Genius of Hip Hop can be broadly described as a methods course – meaning that it aims to help
students understand the basic features and elements of Hip Hop. This course draws on history and
popular culture to explore particular genres, artists, styles, sounds, images, and rhetorical techniques
within the Hip Hop movement, with specific emphasis on how and why Hip Hop works. This course
focuses on the practice of Hip Hop by exploring the fundamental question: What is Hip Hop?
Students will gain an understanding of the themes, beats, lyrics, voice, and rhyme of this genre. By
exploring the various literary, musical, and methodological techniques employed in Hip Hop, students
will better hear and feel the messages, meanings, and impact of this artistic form. Having a thorough
understanding of the methods and elements of Hip Hop, students will then put that knowledge into
practice through deep participation in Hip Hop Week. This course makes Hip Hop widely accessible
as a genre that students will better understand and be able to share with others.
Effective Fall 2012
Distribution Block
This course fulfills the NAU requirements for Aesthetic and Humanistic Inquiry. We focus on Hip Hop
as a form of creative expression and through the study of Hip Hop, students will come to a better
understanding not only of Hip Hop itself but also of the experiences and histories of the people and
communities from which Hip Hop emerges. Drawing on concepts and theories from Ethnic Studies,
this course will engage students in analysis and critical reasoning about the development, evolution,
and GENIUS of Hip Hop through the lens of the major U.S. ethnic groups in the United States.
Student Learning Outcomes
This course is designed to introduce you to the various features and elements that make Hip Hop
what it is. Through written and oral sources, as well as experiential involvement with Hip Hop,
students will accomplish the following:
1. Students will use primary source documents, interdisciplinary sources, and secondary sources
to understand and analyze Hip Hop.
2. Students will critically analyze both the obvious and subtle social justice imagery and
techniques contained within Hip Hop.
3. Students will demonstrate through written and oral assignments a clear understanding of the
“essentials” of Hip Hop culture.
4. Students will analyze how different racial and ethnic groups developed, experience, and
continue to engage Hip Hop cultural styles.
5. Students will learn how to engage in seminar discussion and scholarly debate.
Course Structure & Approach:
The first half of the class is reserved for lecture/instruction on theory, while the second half is
reserved for application, exploration and practicum of key concepts. The number one ground rule to
which we will all adhere is respectful and considerate debate and discussion in the classroom. This is
what a good classroom environment is supposed to do: stimulate you to think for yourselves and
challenge paradigms and raise critical questions. However, if you feel the need to do this in a manner
that offends and insults your peers and otherwise disrupts the learning process, you should find
somewhere else to engage in such behavior.
Required Textbooks
In addition to the required reading listed below, assorted handouts and articles may be
assigned.
1.
2.
3.
4.
Book of Rhymes: The Poetics of Hip Hop, Adam Bradley
Making Beats: The Art of Sample-Based Hip-Hop, Joseph Schloss
The Vibe History of Hip Hop, Vibe Magazine
Native Son, Richard Wright
The books are available for purchase at the NAU bookstore, as well as are likely available at offcampus bookstores, and on-line bookstores. You are welcome to buy earlier editions of the books;
however you should note that some information and page numbers may be different. It is most
imperative that you read the required textbooks. This will provide you with a foundation to actively
participate in class and will help you gain a further understanding of the many issues we will be
discussing/debating.
Effective Fall 2012
NOTE: Students must also be prepared to use Blackboard to remain abreast of course
materials and updates.
Optional Materials/References
Please see the professor for additional readings based upon the particular topic for any designated
week.
Course Outline
Week 1
 Introduction
The anticipation arose as time froze…
Focus Question (FQ) #1: What’s the “rap” on Hip Hop? What are the negative stereotypes and where
do they come from?
Week 2
 A Brief Word about Black History
I stared off stage with my eyes closed and dove into the deep cosmos…
FQ#2: Where exactly do negative stereotypes about black (and brown) come from? Have they been
eliminated over time? Or merely “remixed”?
Reading:
“Black Image in the White Mind,” ch 1-6 & ch 9
Week 3
 The Elements
The impact pushed back the first five rows…
FQ#3: What are the elements? If you could add a sixth, what would it be?
Reading:
TBD
Week 4
 The Beat
But before the raw live shows…
FQ#4: Does Hip Hop actually create new “music” when it samples older beats? Is sampling a tribute
to the past or a cheapening of the present?
Reading:
Schloss, 1st half
Week 5
 The Hiphopetypes
I remember I’s a little snot-nosed…
FQ#5: What themes are consistent throughout Hip Hop songs? Try listing all the different
genres/styles within Hip Hop.
Reading:
Schloss, 2nd half
PROJECT #1: email the Professor describing and explaining at least one example for each
hiphopetype (six total) from within the last twenty years. Prepare to share one example in
addition to your analysis of its first impression. Due Date:
Week 6
 The Vocalist
I remember late nights, steady rocking the mic…
FQ#6: How important is the MC to the track? Why is it important to know where they are from or what
they look like? What can a voice tell you about one’s personality or sincerity?
Effective Fall 2012
Bradley, 1st half
Reading:
Week 7
 The Rhyme
We ripped shit and kept it hardcore for you…
FQ#7: Share, analyze & explain the most complicated/masterful rhyme you have ever encountered.
Reading:
Bradley, 2nd half
PROJECT #2: come prepared to battle! Email the Professor your best 16-32 bar rhyme about an
issue surrounding “social justice.” Prepare to share in class, no fronting and no “wack rhymes”
allowed. Due Date:
Week 8
 The Message
Learning the ropes of ghetto survival…
FQ#8: Describe a Hip Hop track that contains a powerful message explaining both the message and
its power.
Reading:
Vibe, 1st fourth
Week 9
The Culture
Rocking Gazelles, goggles and Izod clothes…
FQ #9: Are Hip Hop song capable of depicting blacks (and brown) with both dignity & respect? Does
the majority culture regard Hip Hop with dignity and respect?
Reading:
Vibe, 2nd fourth
Week 10
 NO CLASS
Reading:
Vibe, 3rd fourth
Week 11
 The Knowledge
Peeping out the situation I had to slide through…
FQ#11: Has Hip Hop educated you in any way and increased your knowledge base or expanded your
world view? If so, be specific as to how.
Reading:
Vibe, last fourth
PROJECT #3: email the Professor short Prezi/PowerPoint/Keynote presentation describing and
analyzing at least five examples for advertisements/commercials that reflect Hip Hop’s influence.
Due Date:
Week 12
 The Mainstream (appreciation vs. appropriation)
When we perform its just coffee shop chicks and white dudes…
FQ#12: How influential is whiteness/capitalism in Hip Hop? What accounts for this power? Can Hip
Hop remain independent? Can it be part of the mainstream and still remain counter-culture?
Reading:
Wright, 1st half
Effective Fall 2012
Week 13
 The Genius
And it sounds so nice, Hip Hop, you the love of my life
FQ# 13: What measurable effect will Hip Hop have on the average person 25 years from now? How
has your perspective of Hip Hop changed over the last three months?
Reading:
Wright, 2nd half
 Final Preparations & Hip Hop Appreciation Week
Weeks 14 & 15
Methods of Assessment

Written Requirement: Students must fulfill a semester-long writing requirement. Weekly,
students are to log in to Blackboard and make a minimum of two entries of at least five
sentences apiece (more detailed instructions listed online in Blackboard) for fifteen (15)
weeks:
o 1) Weekly Focus Question entries are to be made before class on Monday
o 2) Journal entries are to be made before class on Monday

3 Mini-research Projects: At least thrice during the semester, students will be asked to carry
out small projects to supplement their understanding of concepts explored in the course; more
detailed instructions to follow (see Course Outline below).

Participation & Attendance
o Participation: By remaining enrolled in this class, the student assumes the responsibility
of preparation when called upon to respond. Because we will use reading materials as
a starting point for analysis, discussion and debate, it is essential that you read all
assigned materials. In addition, I encourage you to ask questions during class sessions,
and to initiate class conversation about relevant topics. Such conversation facilitates
understanding and critical thinking skills, and makes the class more interesting.
Additionally, each week, students will co-lead a class session. The student will
develop discussion questions, facilitate conversation and artfully present his or her
perspective on the text. Students must submit their discussion questions to the
Professor and post them on Blackboard at least 24 hours before the Discussion period
begins. Students will begin leading classes starting with the 2 nd week of the semester.
o Attendance: Class participation is vital while class attendance is crucial to the student’s
development of the material. Hence, more than two unexcused absences will result
in the lowering of the student’s grade by at least one full letter. While there is no
final exam, the Professor reserves the right to utilize pop quizzes.

Final Project: Hip Hop Appreciation Week
o The Format: As the subject matter we are embarking upon is not well defined, it is
important for us “pioneers” to fashion tools that will help us critically analyze the material
at hand. Thus, the semester-long Final Project will culminate with the production of
NAU’s inaugural Hip Hop Appreciation Week (HHAW) at the end of the semester
along with student presentations reflecting upon their experiences. HHAW is scheduled
for mid to late April, 2015. Details to be distributed subsequently. Below is a sample
schedule:

Effective Fall 2012
MONDAY

























Element: DJing
Event: Tunz
Description: Right outside high traffic area such as the Freedom/1st Amendment
Plaza or HLC, have a DJ booth set up, with multiple local and student DJs taking
turns spinning records all day (e.g., 10a - 4p), have student "crews" distribute
information about upcoming events later in the week, invite people to freestyle,
share poetry
Audience: North Campus students, University Union
TUESDAY
Element: B-boying/girling
Event: "Bring tha Noise" Dance Extravaganza, 8-930p
Description: Inside of a campus auditorium, have local dance crews battle, invite
fraternities/sororities to "step," invite Badjacks to do a couple of HH numbers
Audience: NAU and local dance & theater departments
WEDNESDAY
Element: MCing
Event: NAU Hip Hop Showcase, 730-930p
Description: Have free "clean" concert on campus open to the public featuring
local and student artists
Audience: ASNAU Spring Concert Crowd, general public
THURSDAY
Element: Graffiti
Event: Urban Art @ South Lawn, 11a-1p
Description: Using the back steps of the Franke building facing the grassy knoll,
have live demonstrations of artists creating graffiti drawings out on the yard.
Music will be in background, event scheduled for outside but DuBois center will
be reserved as weather backup. Invite artisans & vendors (tap into Art in the
Park).
Audience: South Campus Students, All SBS students & majors, Business
students, art department, communications
FRIDAY
Element: Knowledge of Self
Event: HH Poster Showcase
Description: Students have the opportunity to present and share that which they
learned over the semester and over the week. Plan ahead to film/video record
students' presentations.
Audience: ES 270 & ES 470/570 Students
Midterm: Students will be tested on a combination of names, dates and important concepts
through multiple choice and short answer questions.
Grading System
Effective Fall 2012
100-90 points
89-80 points =
=A
B
79-70 points =
C
69-60 points =
D
59 points or below =
F
Points are earned as follows:
Written Req’ment
30 points
3 Mini-Research Projects 30 points
Final Project
20 points
Participation & Attendance
10 points
Midterm
10 points
Total
100 points
Extra Credit: There will be at least three (3) additional extra credit opportunities that count as 1/3 of
an overall percentage point. Thus, if on the borderline between B and A, or 89 and 90, attending all
three would raise one's final grade by a full point. Be mindful, as our GPA system is limited to B or A
and does not recognize nor distinguish students' efforts of a high B (i.e., B+).
Course Policies
Makeups: You are expected to submit all materials on the due-date specified in the “Course Outline.”
Make-ups will be given in accordance to the circumstances that caused the missed due-date. Also, it
is solely up to you to get notes from a fellow student and to contact me about turning in make-up work
for both excused and unexcused absences.
Statement on plagiarism and cheating: I will not tolerate cheating of any kind. Cheating and
plagiarism will result in automatic failure of the course. In your papers, you must cite each reference
and direct quotes. If unsure, please see me.
http://nau.edu/OCLDAA/_Forms/UCC/SyllabusPolicyStmts2-2014/
NORTHERN ARIZONA UNIVERSITY
POLICY STATEMENTS
SAFE ENVIRONMENT POLICY
NAU’s Safe Working and Learning Environment Policy prohibits sexual harassment and assault, and
discrimination and harassment on the basis of sex, race, color, age, national origin, religion, sexual
orientation, gender identity, disability, or veteran status by anyone at this university. Retaliation of any
kind as a result of making a complaint under the policy or participating in an investigation is also
prohibited. The Director of the Office of Affirmative Action & Equal Opportunity (AA/EO) serves as the
university’s compliance officer for affirmative action, civil rights, and Title IX, and is the ADA/504
Coordinator. AA/EO also assists with religious accommodations. You may obtain a copy of this policy
from the college dean’s office or from the NAU’s Affirmative Action website nau.edu/diversity/. If you
have questions or concerns about this policy, it is important that you contact the departmental chair,
dean’s office, the Office of Student Life (928-523-5181), or NAU’s Office of Affirmative Action (928)
523-3312 (voice), (928) 523-9977 (fax), (928) 523-1006 (TTD) or aaeo@nau.edu.
STUDENTS WITH DISABILITIES
Effective Fall 2012
If you have a documented disability, you can arrange for accommodations by contacting Disability
Resources (DR) at 523-8773 (voice) or 523-6906 (TTY), dr@nau.edu (e-mail) or 928-523-8747 (fax).
Students needing academic accommodations are required to register with DR and provide required
disability related documentation. Although you may request an accommodation at any time, in order
for DR to best meet your individual needs, you are urged to register and submit necessary
documentation (www.nau.edu/dr) 8 weeks prior to the time you wish to receive accommodations. DR
is strongly committed to the needs of student with disabilities and the promotion of Universal Design.
Concerns or questions related to the accessibility of programs and facilities at NAU may be brought to
the attention of DR or the Office of Affirmative Action and Equal Opportunity (523-3312).
ACADEMIC CONTACT HOUR POLICY
Based on the Arizona Board of Regents Academic Contact Hour Policy (ABOR Handbook, 2-224), for
every unit of credit, a student should expect, on average, to do a minimum of three hours of work per
week, including but not limited to class time, preparation, homework, studying.
ACADEMIC INTEGRITY
Integrity is expected of every member of the NAU community in all academic undertakings. Integrity
entails a firm adherence to a set of values, and the values most essential to an academic community
are grounded in honesty with respect to all intellectual efforts of oneself and others. Academic
integrity is expected not only in formal coursework situations, but in all University relationships and
interactions connected to the educational process, including the use of University resources. An NAU
student’s submission of work is an implicit declaration that the work is the student’s own. All outside
assistance should be acknowledged, and the student’s academic contribution truthfully reported at all
times. In addition, NAU students have a right to expect academic integrity from each of their peers.
Individual students and faculty members are responsible for identifying potential violations of the
university’s academic integrity policy. Instances of potential violations are adjudicated using the
process found in the university Academic Integrity Policy.
RESEARCH INTEGRITY
The Responsible Conduct of Research policy is intended to ensure that NAU personnel including
NAU students engaged in research are adequately trained in the basic principles of ethics in
research. Additionally, this policy assists NAU in meeting the RCR training and compliance
requirements of the National Science Foundation (NSF)-The America COMPETES Act (Creating
Opportunities to Meaningfully Promote Excellence in Technology, Education and Science); 42 U.S.C
18620-1, Section 7009, and the National Institutes of Health (NIH) policy on the instruction of the
RCR (NOT-OD-10-019; “Update on the Requirement for Instruction in the Responsible Conduct of
Research”). For more information on the policy and the training activities required for personnel and
students conducting research, at NAU, visit: http://nau.edu/Research/Compliance/Research-Integrity/
SENSITIVE COURSE MATERIALS
University education aims to expand student understanding and awareness. Thus, it necessarily
involves engagement with a wide range of information, ideas, and creative representations. In the
course of college studies, students can expect to encounter—and critically appraise—materials that
may differ from and perhaps challenge familiar understandings, ideas, and beliefs. Students are
encouraged to discuss these matters with faculty.
CLASSROOM DISRUPTION POLICY
Membership in the academic community places a special obligation on all participants to preserve an
atmosphere conducive to a safe and positive learning environment. Part of that obligation implies the
responsibility of each member of the NAU community to maintain an environment in which the
behavior of any individual is not disruptive. Instructors have the authority and the responsibility to
Effective Fall 2012
manage their classes in accordance with University regulations. Instructors have the right and
obligation to confront disruptive behavior thereby promoting and enforcing standards of behavior
necessary for maintaining an atmosphere conducive to teaching and learning. Instructors are
responsible for establishing, communicating, and enforcing reasonable expectations and rules of
classroom behavior. These expectations are to be communicated to students in the syllabus and in
class discussions and activities at the outset of the course. Each student is responsible for behaving
in a manner that supports a positive learning environment and that does not interrupt nor disrupt the
delivery of education by instructors or receipt of education by students, within or outside a class. The
complete classroom disruption policy is in Appendices of NAU’s Student Handbook.
Effective Summer 2014
Approved UCC – 1/28/14
Approved UGC – 2/12/14
Effective Fall 2012