Professional and Collegial Competencies
For this section there are four entries for six of the competencies. They include a Curriculum Vitae (Curriculum Vitae, Michael McGuire (2019)) that shows, among other things, seven years of undergraduate teaching experience and fifteen years of academic work related to hip hop and social justice in Atlantic Canada. A draft of a scholarly article for submission (Know the Ledge: Hip Hop Based Education Versus the Achievement Gap) revisits issues I wrote about in my earliest doctoral papers (Complete the Cipher: Applications of Hip Hop Based Education in Nova Scotia) through the lens of the advanced educational theory that we learned about in the last of our courses. In particular, this paper considers Butler’s theories of performativity and intelligibility (2004) and Said’s views on cultural imperialism (1993) as theoretical proofs of Hip Hop Based Education’s potential efficacy in Nova Scotian curriculum design.
The subsequent entries are repeated elements that fulfil multiple competencies. The re-inclusion of Lessons from the East stems from the fact that, as a part-time instructor and full-time Educational Studies Ph.D. student, I make every effort to do the work of an academic in spite of the lack of a true place within my home university. Without the stability of a tenure position and its attendant access to proper research capabilities, I have had to make my own path that has included the construction of a massive public archive in partnership with Music Nova Scotia and the presentation of a paper on that work at a conference in one of the most culturally significant music cities in North America. The presentation slides themselves are fairly sparse, but they represent a level of academic achievement that I am proud to have attained.
The final entry—the original/creative contribution documents—are concerned with art or performance adjudication and evidence of significant contributions to both professional and community based organizations. In my capacity as an artist/practitioner within the Atlantic Canadian hip hop community, and later as an academic and community elder, I have had multiple opportunities for art and/or performance adjudication. These include serving for 10+ years as a juror for Music Nova Scotia and East Coast Music Association awards panels, and for 3 years as a juror adjudicating FACTOR grants. I was a founding organizer and resident judge for The Elements League, a scripted rap battle tournament that has since grown into a global movement. As Chair of the Hopscotch Festival Executive Committee I participate in an annual adjudication process to select performers and curate events that highlight diverse elements of the hip hop community. I have been the Chair of Hopscotch for seven of festival’s soon to be ten years and have consistently used my position and the festival to promote youth participation. It is a community based organization that is close to my heart and allows me to give something back to the community on a larger scale than I could manage on my own.
Lastly, the partnership with Music Nova Scotia to build the public-facing website for my East of East Atlantic Canadian Hip Hop Archive is a landmark project with government funding. It is a project unlike any that has been attempted before, and Music Nova Scotia approached me based solely on rumours they had heard of what I was working on. While the project is still under construction and does not represent a longstanding contribution, my partnership with the provincial music association and the sheer size of the project (currently encompassing close to 1300 albums (music and artwork), 350+ posters, and biographical information on 400+ artists) nonetheless represents a significant contribution.
This section may be a bit of a whomp on the head, but all of these artifacts demonstrate my dedication to academia and to education in spite of my precarious employment. Further, they underscore the fact that my academic work largely revolves around Nova Scotia. Rap legend KRS-One came to Halifax many years ago and gave a lecture the day after his show. He said something I’ve never forgotten. It was something along the lines of “I’m from the Bronx. If I want to hear somebody rap about the Bronx, I have that. I’m in Halifax, though. I want to hear what Halifax sounds like, what Halifax has to say.” (KRS-One, Kings University, 2008) While I have always applied that to my work as an artist, it was not until writing this that I realize I have applied the same logic in academia. I believe that Halifax has something to say. That Nova Scotia has its own thing and we don’t need to chase trends or emulate bigger cities. My work is focused here because I am a part of this community and want to be a part of the larger educational community in the region.
Each artifact was written, designed, and/or produced entirely by Michael McGuire with the exception of embedded video content in presentations which are duly cited.
Lecturing aboard Peace Boat (2018)
To help prepare students for active professional engagement, they will demonstrate a range of professional
competencies. While specific artifacts will be determined in consultation with the Supervisory Committee, examples of items in this area might include:
(Click link to view artifact)
A Curriculum Vitae
Curriculum Vitae, Michael McGuire (2019)
D Draft of scholarly article for submission
E Conference paper/participation
F Art or performance adjudication
G Evidence of significant support to professional organization
H Evidence of significant contribution to community-based organization