Book Study

For White Folks Who Teach in the Hood… And the Rest of Y’all Too
Cassie Coss, Sarah Dodge, Christina Fiol, Janelle Harris, Julia Picchiottino
Assigned Chapter Summaries

➔ Intro/Chapter 1 Camaraderie: Reality and the Neoindigenous - Cassie Coss
➔ Chapter 2 Courage: Teach without fear Julia Picchiottino
➔ Chapter 3: Chuuuuch: Pentecostal Pedagogy - Christina Fiol
➔ Chapter 4: Cogenerative Dialogues - Janelle Harris
➔ Chapter 5: Coteaching - Sarah Dodge
➔ Chapter 6: Cosmopolitanism - Cassie Coss
➔ Chapter 7: Context and Content Julia Picchiottino
➔ Chapter 8: Competition - Sarah Dodge
➔ Chapter 9: Clean: Change the World and Dress Well Doing It - Christina Fiol
➔ Chapter 10: Code Switching - Janelle Harris
➔ Chapter 11: Curation and Computing Julia Picchiottino
➔ Conclusion Completion: Thoughts on Transformative Teaching - Sarah Dodge
Due Dates
● February 9 @ 4:30 pm: Chapters 1 through 5 summaries (meeting in apartment)
● February 16 @ 4:30 pm: Chapters 6 through 10 summaries (meeting in apartment)
● February 23 @ 4:30 pm: Chapter 11 and Conclusion summaries (meeting in apartment)
● February 24 @ 7:00 pm: Collaborative Book Review (meeting in apartment)
Our group will be reading and summarizing our book chapters as individuals. To begin with, we
will meet on February 9th to discuss the first five chapters, having previously completed our
chapter summaries, including the key points and discussion questions. On February 16th, we
will meet to discuss chapters 6 through 10, chapter summaries in hand. February 23rd will be
our last meeting to discuss chapter 11 and the conclusion.
On February 24th, we will meet once more to write the collaborative book review as a group and
to organize our collaborative review, chapter summaries, and citations into one collective
document. Individual reflections on the entire book study will take place separately and will
(ideally) be turned in before the final due date.
Introduction: Commencement
Emdin begins the opening of this book by discussing his feelings throughout his experience
giving a professional development lecture in Wyoming. He received many questions regarding
the poor academic performance of some students and their interest in learning. He discovered
that there was a large cultural difference between the teachers in their students and it was that
cultural divide that caused teachers to not understand their students. Teachers can have
fantastic educational tools and skills, but still may not be reaching their students. In order to be
effective in teaching, teachers must be able to fully understand their students. Some of the
public school settings that we have tend to force diverse people to assimilate to white norms.
Emdin compares practices of public schools to the Carlisle School. Many of these practices
occur in urban schools. Many connections between people of color and the indigenous is very
helpful in understanding people and urban education better. Emdin creates the word
“Neoindigenous” to better identify the urban youth of color.
Key Points
● “...I wasn’t sure that the teachers knew or cared about the origin of their challenges: the
vast divide that existed between the traditional schools in which they taught and the
unique culture of their students. (Emdin 2)
● “...urban education is more complex than saving students and being a hero...making
deep connections between the indigenous and urban youth of color.” (Emdin 7)
● “Identifying urban youth of color as neoindigenous allows us to understand the
oppression these youth experience the spaces they inhabit, and the ways these
phenomena affect what happens in social settings like traditional classrooms…The
neoindigenous often look, act, and engage in the classroom min ways that are
inconsistent with traditional school norms. (Emdin 9)
● “...the brilliance of neoindigenous youth cannot be appreciated by educators who are
conditioned to perceive anything outside their own ways of knowing and being as not
having value.” (Emdin 11)
Discussion Questions
● Many new teachers are being educated about understanding students and oppression in
schools. How can new teachers contribute to a better school environment when some
more experienced and older teachers are set in their ways?
● At what grade level or age should teachers openly acknowledge cultural divisions and
have discussions with students about real world situations and issues?
● What can teachers do to grasp a better understanding of the urban youth of color in their
specific communities?
Chapter 1 - Camaraderie: Reality and the Neoindigenous

In this chapter, Emdin discusses the differences between what teachers see and what the
students perceive. He tells a very intriguing story about a young girl who was sent to the
principal’s office for never being prepared or on time for class. After hearing her side of the story
and the teacher’s side of the story, Emdin realized that the girl perceived herself as being ready
and prepared for class. The student’s good image was replaced by a negative one created by
the teacher who saw her as disruptive and unprepared. She did not fit the mold of a “good
student” and was therefore alienated. This is a situation that reflects many that happen on a day
to day basis in public schools today. Students who don’t fit the good student mold created by
schools do not receive the best education because they are painted in a bad light and do not
have the opportunity to be heard or succeed. They become invisible. Emdin also discusses the
“savior complex” that makes communities and students invisible. The concept of space is
extremely important when working in a classroom. Teachers must understand that students
exist in places very distinct from the classroom. Connections and relationships to emotional
space is very important to the neoindigenous. Emdin closes out this chapter by discussing the
concept of Reality Pedagogy. This involves the students and teachers co-constructing the
classroom.
Key Points
● “...A more narrowly defined, traditional perception of being prepared for learning...can
result in students being made invisible to the teacher.” (Emdin 18)
● “This teacher...had alienated one of the few students who liked the class, because she
did not fit the mold the school and the teacher had cast for what a good student looks
and acts like...We privilege people who look and act like us, and perceive those who
don’t as different and, frequently, inferior.” (Emdin 19)
● “The idea that one individual or school can give students “a life” emanates from a
problematic savior complex that results in making students, their varied experiences,
their emotions, and the good in their communities invisible.
● “For the indigenous, the relationship to emotional space is a constitutive part of their
existence.” (Emdin 26)
● Where is the line between understanding a student’s background, community, and
emotional space, and getting too far involved in their personal life?
● Should there be a separation between the emotional, personal lives of students and their
professional, educational lives? How do we bridge the gap between the two?
● In what ways can we change the classroom and school policies to make neoindigenous
students more visible?
Chapter 2 - Courage: Teach without fear
Emdin reminisces about his first day teaching at an urban school. While he and the other
teachers watch the students file in, they label certain students as they pass as “teachable” and
“unteachable”. Typically, the students labeled “teachable” were white while the students that
were labeled “unteachable” were black. Emdin goes on to mention that the black children that
choose to not do well in school do so because they want to seem less “white”. The correlation
comes from how teachers, who are mainly white, are the rule enforcers. Additionally, Emdin
talks about how teachers go “...from passionate educators into automatons who work[ed] to
maintain the school’s structures and inequities.” (Emdin 37) This is due to mantras such as
“Don’t smile ‘till November”, “Be careful not to show too much emotion” and so on. The solution
to bringing these automatons and “unteachable” students lies in absolving the disconnect
between student and teacher.
Key points:
● “Rather than approach teaching with the confidence that comes from knowing your
mission and the joy of being placed in a school where one can fulfill it, we approached
the arrival of the students with an unhealthy apprehension about what the next academic
year would bring.” (Emdin 32)
● “... the persistence of achievement gaps proves that teaching that is not personalized
and not hands-on (as is most teaching in traditional urban schools) does not equate to
success on standardized exams.” (Emdin 39)
● “The current landscape of urban education, which holds teachers accountable for
student outcomes while failing to equip teachers with the tools to meet these outcomes
is paralyzing.” (Emdin 40)
Discussion questions:
● Do you think that music classes are more susceptible or less susceptible to labeling
students as “teachable”/”unteachable”?
● Since music is an emotion based practice, what do you think the outcome would be if
music educators were told “Don’t smile ‘till November” or “Be careful not to show too
much emotion”? Is this something that already happens?
Chapter 3 - Chuuuuuch
In this chapter, Emdin talks about an experience he had going to a service in a predominantly
black church. He relates the pastor to the educator, talking about the need to be able to engage
their audience, call-and-response, and vocal inflections; he also compares the environment of
the church to the classroom, talking about how light and bright it is, music being played, and
how the pastor gets the audience engaged immediately. He describes a situation he went
through with a teacher, who made meticulous lesson plans, but couldn’t engage his students,
and he talks about how he made him go to one of the services and watch videos of services,
and the author demonstrated the similarities between the two.
Key Points:
● “After leaving this class, I wondered why the ability to plan a lesson, and not the ability to
connect with students, was the prerequisite for being a model teacher” (Emdin, p.48)
● “The preacher’s ability to have control over the service while allowing the congregants to
guide his preaching can be replicated in the classroom through an approach to teaching
that I call ‘Pentecostal Teaching’” (Emdin, p.50)
● “...two of the most powerful elements … are the call-and-response exchanges… and the
solemn call to the altar that moves them to be reflective (Emdin, p.51)
● “...teaching is not just telling students what you know; it is about knowing how to share
what you know so that it can be optimally received” (Emdin, p.51)
Discussion Questions:
1. What pedagogical similarities and/or differences do you personally see in a black church
service versus a classroom setting?
2. What are some of the benefits of having such a precise lesson plan for your class?
3. If you talk to anyone from any field to get insight on how to engage a group of students,
who would you talk to and why? Can be limited to one, or no limit.
Chapter 4 - Cogenerative Dialogues
Emdin talks about using “cyphers” in the classroom. A cypher is a freestyle rap passed on to
one person to another. It is collaborative tradition that brings people together. Emdin realized
this was a way for students who are different to come together and share ideas in a safe
environment. He decided to use this method in his class by asking students to be a part of a
group force that would improve classroom learning. This group would be student ran, and like a
cypher, everyone has a turn to share their voice. Emdin emphasis the importance of making this
project come across as as a great opportunity than another assignment or chore. The students
will then cycle through, so that the teacher can hear everyone's opinions and ideas. The author
discusses the importance of knowing students on the individual level, especially in urban
schools. Instead of grouping students as “Latinos,” teachers should understand the difference
between “Mexican, Puerto Rican, and Cuban.” The teacher’s job is to empower the student. We
do this by recognizing their individuality and giving the opportunity to choose. The cypher/cogen
is optional, not a requirement. These meetings should be informal so that the students are
comfortable. Emdin does not agree that a student being stifled is a way of learning. This is
common with teachers who teach in urban areas. Sometimes they think that students being
submissive and quiet is a good way of learning, when it doesn’t encourage individuality and
creativity at all. He calls the idea of suppressing students “Pedagogy of Poverty.” Emdin calls
the concept of rewarding students for being quiet and submissive the “Pretty brown girl
syndrome.”
Key Points:
● “The cypher transcends place and creates spaces where neoindigenous provide clues to
the outside world about how to engage across differences and create an appropriate
space of learning” (Emdin 2016, pg. 64)
● “Cogens are simple conversations between the teacher and their students with a goal of
co-creating/generating plans of action for improving the classroom” (Emdin 2016, pg. 65)
Discussion Questions:
● How can we incorporate Cogens in a musical setting?
● What are other factors to incorporate in the Cogens with a music class? And how can we
adapt to still make this process effective?
Chapter 5 - Coteaching
In this chapter, Emdin talks about his experiences with learning from his students and gathering
teaching strategies from them. Most people see “coteaching” in one of three ways: two adult
teachers teaching together, a teacher and a student-teacher (master-apprentice), and a teacher
and special education teacher in an inclusive classroom. To broadly define “coteaching” as
Emdin does, it is a teaching partnership between the teacher and their students in which
students conduct research and teach content however they see fit. Students are treated as the
experts in their field. On the first day of teaching a college course, Emdin “disguised” himself as
a student, laughing and complaining about the lateness of a teacher to the initial class meeting.
Once he revealed himself as a teacher, the friendly dynamic of the students towards him
changed into one more distant. He taught the course and over time noticed that students didn’t
seem to be enjoying themselves or learning as effectively as they could be. So, he turned to
having his students teach the class, and found that they knew how best they could learn!
Teachers are experts when it comes to teaching content, but students are the ultimate experts
on how to apply the content in ways that best resonate with them. Emdin talks about applying
this in a classroom setting using students who have participated in “cogens” so students are
more willing to put themselves out there.
Key points: A bulleted list of key points with page references: ex. (Author, Year, p. #)
● When differences between students and the teacher go without being addressed, they
multiply quickly (Emdin, 2016, pg. 83).
● On traditional coteaching scenarios - the responsibility of teaching “neoindigenous
students” is never placed in the hands of those best equipped. It doesn’t close as many
gaps as we think it does. (Emdin, 2016, pg. 86)
● Reality pedagogy-based learning focuses the power on having multiple classroom
leaders, but redistributing the teacher-student roles so everyone has a chance to
experience teaching and learning in different ways. Students can be the experts! (Emdin,
2016, pg. 87)
● Coteaching in reality pedagogy involves teachers acknowledging they may be experts in
their content area, but not at teaching it to the neoindiginous. (Emdin, 2016, pg. 89)
● For the neoindiginous, coteaching in reality pedagogy provides a counternarrative to the
stereotypical unwillingness to learn of these students. (Emdin, 2016, pg. 92)
● The fundamental principle of coteaching in reality pedagogy is that the neoindiginous

student is the expert on the best way to deliver information to others who share their
culture. (Emdin, 2016, pg. 99)
● Once the context has been set for them to be their authentic selves, they make deep
connections with their teachers, students, and the learning process. (Emdin, 2016, pg.
102)
Discussion questions:
● 1. Could coteaching be applied without using cogenerative groups?
● 2. Why might some students be reluctant to participate in coteaching?
○ How can students be made more comfortable to participate in a “flipped”
classroom environment?
● 3. How could we make sure students know enough about the material to teach it
confidently?
○ Would coteaching work better or worse in small groups?
● 4. How does coteaching combat the “glossing over” of culture associated with some
schools today?
● 5. While coteaching can happening in reality pedagogy, what are some ways in which
these two concepts may differ?
Chapter 6 - Cosmopolitanism
In this chapter, Edmin discusses the importance of the type of environment teachers create in
the classroom. Many classrooms tend to have a structure that places teachers above the
students and places all of the responsibilities on the teachers. The students have little
connection to other students and the classroom environment. Emdin advocates for a classroom
environment that’s structured around and inspired by cosmopolitanism. The intent is to make
every student responsible for each other’s learning and contributions to the positive classroom
environment. If students are committed and connected to the classroom. They will be committed
to learning. Students should develop deep connections across their differences and these
connections will make them all stronger individuals. Emdin goes on to discuss specifics when
setting up a cosmopolitan classroom in regards to student roles and speaking the language of
the students. The teacher has to speak with the students like they are people. This will help the
students and teacher develop a strong connection. Emdin also explains the significance of
creating a family structure in the classroom. It is also important to name the classroom because
each class is special and has a unique identity.
Key Points
● “A young person who is emotionally connected to the classroom as a cosmopolitan

space will not only be willing to learn in that classroom byt is committed to that
classroom.” (Emdin 105)
● “Cosmopolitanism is an approach to teaching that focuses on fostering socioemotional

connections in the classroom with the goal of building students’ sense of responsibility to
each other and to the learning environment.” (Emdin 105)
● “Cosmopolitanism...focuses on developing deep connections among students across
difference such as race, ethnicity, gender, and academic ability as they work to ensure
that they move collectively toward being socially. Emotionally. And physically present
and committed to the classroom they share.
● “...institutions foster divides among the neoindigenous, and illustrates how schools foster
divides among the neoindigenous.” (Emdin 111)
● “...the creation of a space where the expression of vulnerability in the classroom is not
taboo, and where those who elect to express this vulnerability are not viewed as weak by
their peers.” (Emdin 116)
● “For the educator, understanding the significance of cosmopolitanism, and establishing
norms that allow youth to create deep and personal connections to the classroom,
elevates classrooms from places or locations of learning to spaces that have the
potential to truly transform teaching and learning.” (Emdin 128)
● Sometimes it can be difficult to be an educator and create a classroom environment that
is similar to a family structure without being “mom.” Would the placement of
responsibilities on students take away the mom figure idea, or are there still instances in
which the educator is a parental figure that assumes most responsibility for the
emotional well being of students?
● Is cosmopolitanism a classroom environment that would be suitable for all classrooms?
Are there grade levels or ages in which this structure would not work as well?
● As a new educator, what would be the best way to go about starting a cosmopolitan
classroom? Would students who have been there longer than a new educator enjoy this
idea or would they resist against the extra responsibility at first?
Chapter 7 - Context and Content

Key Points
Chapter 8 - Competition
Emdin details how important competition is to cultures in general, although more specifically to
neoindigenous cultures, he uses the ongoing theoretical hip hop and rap battle situations that
play such specific cultural roles. Communities come together as part of the process in preparing
for these kinds of battles, all people are placed on the same level, and the tension that once
existed between two hypothetical groups is almost forgotten as a positive, uplifting, supportive
community results from the experience. The kinds of engagement and community-building that
come from this “competition” can be used in the classroom. In bringing these ideas to the
classroom, one ideally creates a space in which novices are placed on the same levels as
experts. Having students create raps about what they’re learning and “battling” in the classroom
offers another level of connecting their backgrounds to the classroom. An important part of
teaching the neoindigenous is validating their culture! Rap and hip hop battles are ways we can
bring competition into the classroom that students can learn from.
Key Points
● The chief way to address stressors created outside of the community is to delve deeper
into the culture and utilize it to address the larger issues. (Emdin, 2016, pg. 152)
● The battle is a contemporary form of indigenous modes of teaching, learning, and
community building, and a way to engage in a teaching and learning process that is
different from one that inflicts symbolic violence on the neoindigenous. (Emdin, 2016, pg.
156)
● Educators [should] implement a teaching and learning model that positions novices as
no different from experts. (Emdin, 2016, pg. 157)
● Presenting one’s brilliance through words instead of written text has been part of the
tradition of the neoindigenous for hundreds of years. (Emdin, 2016, pg. 161)
● It takes reality pedagogy and pedagogical structures birthed from neoindigenous
practices like the battle to bring their voices to the fore and allow their brilliance to
flourish. (Emdin, 2016, pg. 162)
1. How do Emdin’s examples of neoindigenous competition motivate students?
2. Could these strategies for bringing neoindigenous culture be applied to the classroom in
ways that differ from the content being taught?
3. Why would Emdin have named this chapter “Competition?”
4. How might you apply the “rap battle” to a music classroom?
Chapter 9 - Clean: Change the World and Dress Well Doing It
In this chapter, Emdin’s main point is about dressing in a way that will engage others around
you. Fashion is a prominent way that neoindigenous students can express themselves in an
artistic sort of way. The chapter details the happenings between the author and a teacher
having trouble engaging her students when the author suggested buying new shoes similar to
the ones the kids were wearing. As soon as she wore them to school, students who rarely
spoke to her brought up conversation, starting recommending fashion, music, and the teacher
saw engagement spike up because she was willing to relate and put herself out there and her
students recognized that and did the same. The second half of the chapter goes into detailing
the atmosphere of the classroom. The author interviewed students about the school, and most
gave short responses, but once put in a classroom with posters of hip-hop artists with inspiring
quotes and a blackboard wall they could write on, they thought longer and gave more in-depth
responses.
Key Points
- “What the sneakers do is open up a portal to a new type of conversation that has the
potential to transform your instruction” (Emdin, 2016, p. 166)
- “In many ways, when we objectify youth and observe their culture without entering it or
participating in it, we implicitly carry on a tradition of subhumanization” (Emdin, 2016, p.
174)
- “I am suggesting that the teacher does not stop short at watching the students, but takes
the steps to fully engage so as to express their connection to, or learn about the purpose
of, the neoindigenous choice to dress a certain way” (Emdin, 2016, p.174)
1. In what sorts of ways would you try to engage neoindigenous students in your own
classroom? (ex. Inspirational hip-hop posters, blackboard wall, etc.)
2. Why do you think students choose the ways that they do to express themselves? For
some it’s graffiti, and for some it’s fashion. In your opinion, why would students (or
maybe even just you) pick one versus the other?
3. In what ways might you try to improve the environment of your classrooms in order to
help the chances of getting better engagement for your students?
Chapter 10: Code Switching
Code switching means being a social chameleon. This means the ability to adapt to any social
group or situation, not to change who you are. For example, how you would act in a different
country, a professional setting, a casual setting, and so forth. A great example of this skill is
Barack Obama. We need to teach students to be code switchers so they can exist in worlds
beyond their own while simultaneously celebrating and appreciating the own world they came
from. Students have to first connect to a classroom/school that welcomes their brilliance,
celebrates it, and make them realize that they have a natural ability to be academically
successful.
Key Points
● “...students must be taught to become code switchers, social chameleons, and
instigators/catalysts of the new norms in the world through the development of new and
powerful hybridized identities” (Emdin 176).
● “...students must use what emerges from the enactment of their culture in schools to
help navigate worlds beyond the classroom that have traditionally excluded the
neoindigenous” (Emdin 176).
● “...for an authentic code switching that involves valuing oneself and one’s culture while
appreciating and understanding the codes of other cultures” (Emdin 178)
● When “celebrating one’s culture,” should we identify the culture in which they exist in?
Are the students aware of it? Should they be the ones to identify it to us?
Chapter 11: Curation and Computing
Key Points
(Conclusion) Completion: Thoughts on Transformative Teaching
In the final pages of the book, Emdin offers a few personal thoughts on teaching and educating,
based on his experience. He seeks to remind teachers of why they do this kind of work and
what they need to do it well! To summarize the somewhat sporadic thoughts Emdin closes with,
all in all, teachers need to be aware of themselves and their students. What the system says will
work best may not always BE what will work best. The longer teachers teach, the better they
become at their practice. It is important to spend time with teachers and coworkers who are as
open-minded as one is. Ultimately, there are and will come many opportunities for making
choices as educators - it’s up to us to use our judgement and experiences to make the best
choices.
Key Points
● The way that a teacher teaches can be traced directly back to the way that the teacher
has been taught. (Emdin, 2016, pg. 206)
● The effectiveness of the teacher can be traced directly back to what that teacher thinks
of the student. (Emdin, 2016, pg. 207)
● Planning for your lesson is valuable, but being willing to let go of that plan is even more
so. (Emdin, 2016, pg. 2017)
● The kind of teacher you become is directly related to the kind of teachers you associate
with. (Emdin, 2016, pg. 208)
● What are some possible overarching themes of Emdin’s final thoughts?
● How would you define an effective teacher? Effective teaching?
● What could Emdin be referring to when he says “the spirit of the teacher?”
Collaborative Book Review
Christopher Emdin’s For White Folks Who Teach in the Hood is a brilliant work that walks the
reader through pedagogical and personal ways to connect with their students in a more urban
education setting. As a whole, the book discusses Emdin’s personal experiences, as well as
those of his fellow teachers, to bring to the table a product that offers real suggestions, wisdom,
and understanding. It offers an easily readable, accessible way to move between the worlds of
educational theory and application to the urban classroom, allowing even the youngest students
of education to understand his ideas and draw their own conclusions from them.
The purpose of this book is to offer suggestions, experiences, and ways for teachers to apply
what Emdin explains as his theory of “reality pedagogy,” focusing on teachers understanding
their students and meeting students in their spaces. Creating a family environment in the
classroom is integral, as well as finding ways to connect the students’ communities with their
learning spaces. Over the years, the education system has been white-washed, crushing out
urban culture and oftentimes painting youth of color as “impossible to teach.” Comparing the
urban youth to the indigenous people of the American Westward Expansion movement, Emdin
uses the term “neoindigenous” and emphasizes the importance of nurturing the culture of the
students as opposed to conforming to outdated educational norms.
Despite focusing on urban youth of color, this book’s ideas of connecting with one’s students
could apply to any classroom at all. In this way, the “...and the Rest of Y’all Too” part of the title
is completely accurate! Any teacher looking to make more connections with their students can
find a number of ways to do so by reading about Emdin’s personal experience and following the
particular step-by-step processes he outlines. For example, Emdin shares his ways of creating a
successful “cogenerative dialogue group” (Chapter 4, pg. 67), a group in which a few select
students and the teacher engage in an open dialogue about the classroom and teaching
environment. Another of his processes involves explaining how to incorporate coteaching in the
educational environment (Chapter 5, pg. 93), a way to let students lead their teaching and
learning.
Compared to other books in the field of education, such as close-textured, dense educational
textbooks, Emdin’s easy-to-read language is conversational; it communicates educational
theory using personal experience and examples to keep the reader engaged. Emdin remixes
previously-existing ideas of education and brings to the table something new and accessible for
both new and experienced teachers. Perhaps most importantly, Christopher Emdin is an
open-minded, experienced educator who draws upon more than simple psychology and
educational standards to communicate his ideas. He has had a variety of classroom
experiences, from college professor to teacher within an urban high school to being a young
student of color himself, coming from the same kinds of communities his students grew up in.
Overall, Christopher Emdin’s book does well in reflecting the importance of making connections
with one’s students and bringing aspects of their home communities into the classroom.
Approaching these ideas from all sides of typical urban culture and community, he offers
experience, offers advice, and plants many seeds for the reader to grow into an open-minded
educator with a heightened awareness of others.

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For White Folks Who Teach in the Hood… And the Rest of Y’all Too

Assigned Chapter Summaries

Chapter 1 - Camaraderie: Reality and the Neoindigenous

Chapter 2 - Courage: Teach without fear

Chapter 4 - Cogenerative Dialogues

● The fundamental principle of coteaching in reality pedagogy is that the neoindiginous

● “A young person who is emotionally connected to the classroom as a cosmopolitan

● “Cosmopolitanism is an approach to teaching that focuses on fostering socioemotional

Chapter 7 - Context and Content

Chapter 9 - Clean: Change the World and Dress Well Doing It

Chapter 10: Code Switching

Chapter 11: Curation and Computing

(Conclusion) Completion: Thoughts on Transformative Teaching

Collaborative Book Review

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