The Secondary Objectives Emphasized Nonverbal Experience As a Means Of

Home , Little Red School House, Pearl Primus

DOCUMENT RESUME ED 027 095 24 PS 001 710 By-Primus, Pearl E. A Pilot Study Integratirg Visual Formand Anthropological Content forTeaching Children Ages b to 11 about Cultures and Peoples of the World;Specifically; the Preparation of a DancedPresentation with Lecture Interpreting Some of the Cultural Values inWest and Central African Communities.Final Report. New York Univ., N.Y. School of Education. Spons Agency-Office of Education (DHEW),Washington, D.C. Bureau of Research. Report No- CRP -S-369 Bureau No-BR-5-8443 Pub Date Feb 68 Contract OEC-5 -10 -381 Note-100p. EDRS Price MF-$0.50 HC-$5.10 Descriptors-African Culture, Anthropology,Cross Cultural Training, Cultural Awareness,Cultural Education, *Dance, *Elementary School Students,*Intercultural Programs, MultimediaInstruction, *Music, Nonverbal Learning, *Pilot Projects, Sociocultura"Patterns, Special Programs, TeachingMethods, Teaching Models A pilot study was conducted todemonstrate the use of dance as amethod for. curriculum content of world cultures inelementary schools. improving and extending of Thesecondary objectivesemphasizednonverbalexperience as a means interpreting the patternsof cultural values in West andCentral Africa. Most of the 41 presentations of the dance program wereperformed before a variety ofelementary school audiences, but some presentations wereshown to the public. Theevaluation consisted of analyzing 666 lettersand 691 drawings fromchildren, photographs, taped interviews using questionnaires,and letters from educatorsand professional advisors. The results showedthat an educational program usingdance, music, and sculpture to integrate visualform and anthropological contentcould be used successfully to teach children of ages sixto eleven about variouscultures. The director urged the use of such programs as"cultural bridges" to establishbetter understanding among .peoplesof the world. (JS) Tt pEPARTMENTOF HEALTH, EDUCATION & WELFARE BRos-eYX? OFFICE OF EDUCATION THIS DOCUMENT HAS BEEN REPRODUCEDEXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGINATING IT. POINTS'OF VIEW OR OPINIONS 74-02/ STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICEOF EDUCATION POSITION OR POLICY, FINAL REPORT Project No.8-369 Of- 13 Contract No. OE5-10-381

A PILOT STUDY INTEGRATINGVISUAL FORM AND ANTHROPOLOGICALCONTENT FOR TEACHING CHILDREN AGES6TO 11 ABOUT CULTURES AND PEOPLES OF THEWORLD, SPECIFICALLY,

THE PREPARATION OF ADANCED PRESENTATION WITH LECTURE INTERPRETINGSOME OF THE CULTURE VALUES IN WESTAND CENTRAL AFRICAN CONMUNITIES

February 1968

U.S. DEPARTMENT OF HEALTH, EDUCATION,AND WELFARE Office of Education Bureau of Research VISUAL FORM A PILOTSTUDY INTEGRATING TEACHING; ANDANTHROPOLOGICALCONTENT FOR CHILDREN AGES6 to 11 ABOUTCULTURE+. AND PEOPLESOF THE WORLD, SPECIFICALLY, OF A DANCEDPRESENTATION THE PREPARATION OF THE WITH LECTUREINTERPRETING SOME CULTURE VALUESIN WEST ANDCENTRAL AFRICANCOMMUNITIES

Project No.S-369 Contract No.OE 5-10-381

PEARL E. PRIMUS

February1968

reported herein wasperformed pursuantto The research U.S. Contract withthe Officeof Education, a Small and Welfare. Con- Department ofHealth, Education, projects underGovernment tractorsundertaking such encouraged to expressfreely profes- .sponsorship are of the project. Points sional judgmentin the conduct opinions stateddo not,therefore, neces- of view or of Educationposition sarily representofficial Office orpolicy.

NEW YORKUNIVERSITY

New YorkCity, New York CONTENTS

TITLE PAGE

CONTENTS

ACKNOWLEDGMENTS

INTRODUCTION 1

METHOD 9

RESULTS 17 DISCUSSION 19

CONCLUSION and RECOMMENDATIONS 39 SUnIARY 42 REFERENCES 50 CREDITS 51

APPENDIXES

Photograph.. seeCREDITS ACKNOWLEDGMENTS

My sincerest thanks to:

My mother, Mrs.Emily Primus* who taught melove and respect forTtomorrowts citizens"; Professor Ethel J.Alpenfels Reverend Donald SzanthoHarrington Reverend Dana K1ot21e The Board of Directorsof the UnitarianUniversalist Service Committee Deans alaci Faculty (f NewYork University Mr. Nat Hentoff

Dr. Dan W. Dodson,Dr. Joseph V. Azzarelli,Dr. Paul Wingert, Dr. WillardRhodes, Miss HelenTamaris*, Mr. Percival Borde

Dr. Bernard Donovan,,Dr.Joseph Loretan*, Dr.Samuel McClelland, Miss Sg.raM. -.4andis

Mr. Montego Joe, MissVivian Lewis, MissAndrea Williams, Miss BeverlyFranks, Miss HelenTinsley, Mr. Alphonse Cimber,Master Onwin Borde, Mr. Robert Easton

Mr. Ernst Anspach,Mr. Arthur Todd,Mr. Arthur Bart, Mrs. Debbie Cole,Mrs. Nancy Rudolph,Mr. Jean Tiexiera Dr. Esther Jackson,Miss Ida Wood, Dr.Retta Arda, Miss Corrine Morrow,Mr. Austin Wilkder,Mr. James Gilvarry, Dr. EarlShaw, Dr. AllanBlackman

Miss Olga Todd, Mr.Edward W. Gray, Mrs.Hugh Glover, Mr. Larry Lifsitz,Mr. Ronnie Mareel,Miss Karen Becker, Miss AngelaMercurio, Miss LynnMahler, Mrs. Pearl ReynoldsGrice Mrs. Gertrude Goldstein,Dr. Randolph Smith, Miss Margaret Harris, Mr.Irving Wernon, Mrs. Carlton Mason, Mr. LionelMcMurren, Dr. Eliiot, Shapiro, Mr. Sidney Gerchick, MissCatherine Treglia

it Miss Iona Anderson, MissRee Carey, Miss Mabel Hawkins, Miss Margo Mayo,Mrs. Lenchen Devane, Walter Kendra

All those principals,assistant principals and teachers who juggledschedules to accommodate the project

All those principals anddistrict superintendents who voted "yes" but towhose schools the project could not reach: Mr.Harold Ahlquist, Mr. Frederick Kowalski,Miss Theresa Mante, Mother St, Edward of FaithC.N.D., Miss Eliza- beth S. Wright

All those parents whosetremendous enthusiasm .balanced out all frustrations

All those members ofthe "Kitchen Brigade"who prepared meals for theartists

All my friends in thevarious countries ofAfrica who shared their lOveand their way of lifewith me All those others whoseassistance helped me travel the "Cultural Bridges"of dance and music into the hearts of thechildren

Last but truly first,all those thousandsof children who understoodthe dance.

See CREDITS for ProjectPersonnel

*(deceased) Dedicated to

"All thethousands ofchildren exultation." who responded tothe dance with INTRODUCTION

This is the reportof a Pilot Studyin the In- tegration of VisualForm and AnthropologicalContent About for Use inTeaching ChildrenAges Six to Eleven Cultures and Peoples ofthe World;Specifically, the Preparation of a Demonstrationof Dance withLecture designed todramaticalIy interpret someof the culture values inherent inWest, and CentralAfrican societies. (See Appendix, A-1throtagh A.2.) Based on the hypothesisthat it is possibleto present through thedance the way oflife of a people, Other inves- this project hasuntversal implications. tigators interested inthe possibilitiesof education through the dancewill be able tostudy its results and to use theformat of thepresentation as a blue- print for work withother cultures ofthe world. Dance can be aneffective teaching aidfor the elementary schoolteacher. A well conceived program of ethnic danceand music canprovide pupils with emotional as well asintellectual ties withanother cul- is not ture. Often abstractintellectual appreciation sufficient for thoroughunderstanding. Through the study of a people'sdance, certainintangible but vital parts of aculture can becomealive for school children. American education todayis striving to bring about betterunderstanding of peoplesof the world through knowledge ofhow they thinkand live. Through the medium ofdance, children canbe taught to better appreciate and respectthe cultures of theworld's people and thus enrichtheir own lives. For specific instructional units,elementary schoolteachers can utilize filmed andtelevised dancepresentations, live performances by ethnicand creativedancers, and children's programschoreographed by danceconsultants, special or talentedclassroom teachers or,better yet, by the childrenthemselves assistedby teachers or consultants or capableparents. of dance ineducation needs no The effectiveness be used in proof. To demonstratethat the dance can elementary schools toteach Americanchildren about other peoples andcultures of theworld was no chal. (B-1 through lenge. As anthropologistand artist, B-4) I have long been awareof certainbasic know.

1 ledge; Society as a whole andall of its parts are re- lated. It is impossible tochange one part of a society and not touch everycomponent of that society's structure. Family life, religion,economic life and all the arts of apeople are interrelated. Therefore: 1. Dance like anyother art form is a part of the culture cemplexof a society and cannot be divorced fi.om thesociety in which it functions. Dance, therefore, acts as amirror re-

2, One of the main functionsof dance is to com- municate. Dancethereforeinvolves_orticip.aaLs and spectators if any in the wordless

221Aences, 3, One of the main andearliest uses of dance has been to teachthe young the culturetraits and values in theirsociety. LonrsAL, therefora, canteach American Chil- dren the culture traitsand values of the Eau_22221e.Elfclifferent ethnicand na- tiona.1J2EAVALattal5AL!21110_,;. "Americans.' 4, Because daAce is afunctional and inseparable part et many societies,those societies have sought ways of supportingit. The idea of central government orlocal community support of the dance artsis as old as man'soldest societies. Secusity_throualLeaxtriment suportwould enable dance educatorsand dance artibts to_empriment with newideas to make Ell#ater contributionsto the field of edu- 0-1104..hy_lnInximim_npw and vital curriculum materials. Dance educators would be able to assistactively in the develpp- ment of the wholebeina_2f ourcilildren. University to as- I undertook thisproject for Naw York sist in theinvestigation of moreeffective methods of using the dance inAmfrican education.

2 The objecttves of this dancedemonstration with syllabus were: 1.) To present step I of a majoreducational presentation aimed at improvingthe curriculum content and method ofteaching elementary school children about thecultures and peoples of theworld with special emphasis upon the variousethnic groups which make upthe population of America.

2,) To create this presentation especially for use in the classroomsof elementary schools in order to exposechildren to

t7-1e. non-verbal experience of dance as a means by which they canbetter understand the cultures of other peoples.

3. To present through dance some ofthe basic culture values in West andCentral African communities as expressed in thefunction and use of sculpture in Africa.

i , 4.) To integrate visual form andanthropo- { logical content as a meansof communication of culture values,transmitted through the instrumentation ofthe human body. 5,) To improve the method of teachingworld cultures in the classroomsof elementary schools by demonstrating topublic school teachers and educators thegreater uses of the visual and physicalmedium of dance. 6.) To test the validity of thispilot study by classroom demonstrationsin fifteen elementary schools undernormal classroom conditions. These schools were chosen from different economic,geographic and social areas.

7.) To evaluate thisdemonstration through follow-up questionnaires onteacher-level and on child-level.

3 (Culture is here defined as allthat is socially transmitted in a society,including artistic, social, ideo- logical and religious patternsof behavior, and the techniques for mastering theenvironment.)

There was no illusion on mypart that this Dro- ject would be easy. I have long been painfully aware of the tremendous gapwhich exists between theAmerican dance artist and the educator. Misunderstanding widens the gulf between groups. Perhaps one of the main moti- vating factors in myundertaking this work was thede- sire to help narrow thedistance between the educator and artist. The study was supportedby a grant from the United States Office ofEducation. Additional funds were Drovidedby the UnitarianUniversalist Service Committee, a non-sectarian agency.(C-1 through C-3) Officers of the Board ofEducation of New York City gave full endorsementto this project.(D-1 through D-3) Principals, teachers and parents gavetheir whole-hearted cooperation. Because this work wasundertaken in partial fulfillment of the requirementsfor the degree of Doctor of Philosophy,,EducationalSociology and Anthropology, School of Education, the project wasgiven a unique distinction. In a letter to the Officeof Education in Washington, D.C., my, project sponsor,Professor Ethel J. Alpenfels, (E-1 andE-2) eminent anthropologist, wrote: the University requires a high quality of visual and technicalskill as well as sound academicperformance. Such qualifications are, perhaps, morerigorously obse.2ved than for traditionaltheses. The candidate must fulfill all theeducational reauirements for the doctor ofphilosophy degree in addition to presenting thedemonstration. Miss Pearl Primus will not only do the original research,collect the art forms, make decisions on thedemonstration but . will herself perform. Further, a unique contribution will be in thecollaboration between the Humanities through artobjects, music and the dance with the SocialSciences, through anthropological concept andartifact. Her danced demonstration willbe under the direction 4 chosen committeefrom the rlepart- of a carefully and Anthro- ments of Art,Communication Arts Fine Arts, the pology withconsultants from Dance andAnthropology. In order tobetter understandthe various ethnic groupswhich now make upthe population it is necessaryto understandthe of America, The cultures fromwhich theyoriginally came. results of thispilot study willinfluence and guide a majoreducationalpresentation designed elementary schoolteachers with more to provide of present. vital curriculumcontent and methods ing cultures andpeoples of theworld to their students." (F-1) Assisting artists, manyof whom areoutstanding of their time in their field,contributed generously Among these isthe talenteddancer and and energy. technical as- teacIler, PercivalBorde, (G-1) who was sistal,t, companyand stage manager,liaison-officer Mr. Montego Joe, oneof America'sfin- and performer. its est musicians,stayed with theproject through Among the professionaladvisors final demonstration. Dr. Dan W. Dodson, were suchdistinguished educators as Director of The Centerfor Human Relationsand Commun- ity Study at NewYork University,Dr. Joseph T. Azzarelli, Director,Office of EducationalRe.3earch Services, New YorkUniversity, Dr. WillardRhodes, Chairman, Department ofusic, ColumbiaUniversity, Art - Depart- Dr. Paul Wingert,Specialist Primitive ment of Fine Artsand Archeology,Columbia University, The Pearl Primus-PercivalBorde School ofDance in New York (11-1) had tofunction exclusivelyfor this project for over eightmonths in order toaccommodate rehearsals of the troupe,making, mending andstorage of props andcostumes, examinationof letters, drawings and photographs ofchildren. For this demonstrationfifteen schools were and social chosen from differenteconomic, geographic only areas. The response was sogreat that although fifteen demonstrations wereoriginally scheduled, we completed fInty-onepresentations beforeofficially concluding the project. Of these,thirty-two were done before elementaryschool childrenin twenty-two schools; five beforeteachers, public and private and principals and graduatestudents in universities

5 other centers oflearning, two before the generalpub- lic and two beforejunior high and high school students. Because of limited funds,most of the schools and organizations not originallyincluded in the project voluntarily contributed tothe demonstration expenses so that thischallenging study could bepresented to their children. Requests from twenty-six otherschools had to be gently turnedclaim. However, since the officialcompletion of this project, Percival Borde hashonored the requests of many educatorsand presented the essentialelements of this artistic demonstrationin over 250 programs in elementary, junior high and highsdhools. It is evident that there is atremendous need for the continuity and furtherdevelopment of this unique work. Principals, teachers and parents aredemanding that the benefits of thisdramatic and visual teaching aid be made available tochildren in all areas of the United States. In a letter written by meto my project sponsor at New York University,I spoke of thoughts and feelings too vitally importantto the total understanding of this project to beburied in the appendix.

. thaks once again forall your help and understanding during oneof the most intense- ly lived periods of mylife. This project with all of its ramificationshas been an experience too powerful to everbe forgotten. Many times you gave methe encouragement to continue seeking,through the dance, the intangible essence of apeople's culture, to dress in new raiments oneof man's most ancienttech. niques for teachinghis young and to present this in a magic capsulewhich would demonstrate one possiblemethod of helping torevitalize the curriculum in elementaryschools. Together we rejoiced whenthe project emerged into reality. One last task remained --the writing of a finalreport within the confinesof an objectivelyprescribed, academic outline. The emotional impactof the project madethis seem impossible. 6 The iridescence of the project still glows in the hearts of all the children who have known it. Children are clos to the core of truth. The wonder on their faces, the alert brilliance in their eyes, the reaching and searching of their entire bodies would best explain "results". Their own creative response to a creative challenge would give answers more accurate than the words of my pen. As if the emotional impact of living with this project were not enough to make a scientifically sound report seem impossible, the artist and scholar clashed in me! The Artist argued that a work of art should speak for itself; that it was the artist who had enriched this program with creative experiences no report could truly describe. No written report was necessary. The Scholar claimed to be the intellectual creator of the project. Years and years of serious academic training and anthropological research formed the foundation for this work. Then Reason, the impartial judge, took over. This project was not art for art sake, nor was it created for presentation in concert halls, television or artists' studios. The demonstration was conceived as art with the expressed function of educating within the framework of the existing educational system. Its success will not be judged by the beauty, the exceptional grace of the dancers, the rhythms of the magni- ficently carved drums or the color and design of coitumes and decor although all of these were vital to the total projection. Yes, for the Artist the most profound and meaningful report of this project was long completed. It is in the drawings, the unsolicited joyous letters, the whispered secrets, the soft embraces of the children and the photographs which capture the magic of growing human beings responding to the physical and dynamic message of Dance. For the Educator, the greatest value of this project lies in a scholastic interpretation of the artist's wordless report and in the answers to the following questions.

7 1. What effect did thiseducational demon . stration have on the children, their 'teachers, principals and othereducators who witnessed it?

2. Based on sound academicevaluation of this pilot survey, what concreteand practical suggestions can nowbe made to assist American educatorsin their endeavor to enrich L2aaly thelives of tomorrow's citizens?

It is true that this project wouldhave been impossible without the wonderfulunion of artist and scholar. But it is the scholar who must report upon the artist's reportand translate it with skill and sensitivity intothe language of the educator. It is the scholar who must phrase the conclusions and answer the questions. This reasoning has enabled me to complete the Final Report. (I71 through1-3)

I dedicate it

all the thousands of children who responded to the dance

with exultation! METHOD

For the purpose of greater objectivity in this report, the terms artist, artist-investigator, or director will hereafter be substituted for the use of the personal pronoun, "I". Some of the very reasons why New York University considered the director capable of undertaking this project actually help6d determine the experimental procedures. The artist-investigator had been engaged in scientific research for many years. This research concentrated on the study of the cultural arts ofthe indigenous people of Africa in order to betterunder- stand and interpret for others the true life of the people of that continent. The director had already had great experience with the creative process involved in choreographing and presenting dances. The basis of her own technique of dance was derived from a comprehensive study of the dances and sculpture of Africa. The basic positions of body parts in the dance technique which she has evolved are based upon the positions of the corresponding parts in African sculpture. She not only studied the objects of art in specialized courses in universities, various museums,and private collections but observed them functioningat their source in the interior villages of Africa. The study of anthropology had long enabled her to probe beyond the rhythmic action ofmuscles in dance into the relationship of intangibleelements in a society which make upthe culture of a people. For many years, the artisthad been encouraged to organize knowledge which she had gained on her many research trips in Africa and to explain basicanthropological concepts through the medium of dance. In this section of the report the director ex- plains the actual procedures followed indeveloping this project. Brief reasons for major deviations from the original design are also discussed. (The original procedures are detailed in theappendix). (J-1 through J-5) All changes were discussed and approved by the project sponsor at NewYork University and authorized personnel from the UnitarianUniversal-

9 -ist ServiceCommittee prior to beingadopted for use. The Procedure for thisproject was dividedinto three principal phases:

1, The Pre-presentationPhase 2, The PresentationPhase ( TestingPhase) 3. The EvaluationPhase

) The Pre- resentationPhase

; Thf'.s included conferenceswith the project spon- assistant, sor, professionaladvisors, the technical consultants, specialistsand representativesof the Unitarian UniversalistService Committee;the selection of sculptureto be used, thechoice of the demonstration programusing authenticand creative dance, music, dance-dramaand ethnic themes. Also considered inthis phase were the preparation of props,costumes and music,the conducting of rehearsals,the selection ofschools to be involved in thepresentation and thepreparation of the narrative,hereafter referred to asthe sylla- of bus. This phase alsoincluded the obtaining written permissionfrom the NewYork City Board of Education to use specificschools for testdemon- strations, (K-1thrlarghif=6 and D-1 throughD-3) correspondence with theprincipals of schoolsand the working out ofthe questionnaire.(L-1)

2) The Presentation Phase This is also referredto as the TestinE_Ehaff, It involved theartist and performingpersonnel with the studentsand teachers of theelementary schools which had beenselected for the experiment, the presentation ofthis demonstration in the classrooms and auditoriumsof these schools and the photographing of childrenduring the actual dance demonstration. To be solved were theproblems of transporting key personnel to andfrom demonstrations, the repair, storage andtransportation of costumes, props and musical instruments. Also considered were the director's personalobservations, her recordingsof

- -

, the response ofthe children andthe constant conferences with theproject sponsor whoobserved the presentations underdifferent conditionsand in different areas for purposesof evaluation. (11-1 and M-2)

3) The EvaluationPhase This period involvedthe collecting, sortingand analysis of letters,drawings, photos andtaped interviews with thechildren, conferenceswith the project sponsorand advisors atNew York University and the writingof a final report.

These phases were at notime distinctlyseparate from one another; norwere they aseasily workt4 out as this briefdiscussion would imply. At the project's inception many problems wereimmediately recognized. These problems arementioned here becausetheir solu- tion caused greatchanges in theoriginal plans for the PresentationPhase and the methods ofevaluation. Among those roblemsinherent in the Pre-resentation Phase of this study themost important were: Determining which specificculture values to empha- size in thispresentation. Since here in America so little isknown about the peopleof Africa, the meaning of thespecific Lulture valuein the lives of the peoplein West and CentralAfrica had to be clearly andskillfully interpreted through the dance. The very short timelimit for creating,choreographing and rehearsingthe dances limited thenumber of culture valueswhich could be emphasized. Since, too, this project was conceivedespecially for children ofelementary school level,the authentic forms ofthe societies must beinterpreted by the use of meaningful symbols forthe child in this society.

The choice of sculpture. Because of the numerous artistic styles foundin African sculpture,the artist-investigator had to beextremely selec- tive in order to getmajor variations. Too, the length of the program(30-45 minutes) would allow very little timefor any equal treatmentof dance, narrative andsculpture.

11 The limitations imposedby the vulnerable position of teachers andadministrators in the elementary school system in NewYork City. Law suits can so easily bebrought against theBoard that certain measures weretaken by the administrators of the Board ofEducation to make sure that no controversy betweenrsarent and school could result from this experiment. Eminent educators at NewYork Lniversity had given their fullendorsement. Dr. Dan Dodson, Director of the Center forHuman Relations and Community Study, wrote in aletter to the late Dr. Joseph Loretan, thenAssociate Superinten- dent of Schools:(K-1)

"Pearl Primus has worked with several principals on aninformal basis in the past and has beenreceived by them very favorably. She would anticipate notrouble getting their cooperation,providing the Board of Education givesits approval to the project. I was sufficientlyimpressed with the possibilities ofit that I was willing to sponsor it fromthe Human Relations Center Professor Ethel Alpenfelswrote in a letter to Dr. Bernard Donovan,Superintendent of Schools for New York City:(K-2 aild "As the chairman of herdoctoral committee at New York Universityand the sponsor forthis United States governmentsubsidized project, I am writing to ask yourhelp in making this unique project acontribution to American education There was never anydoubt that intellectually and morally thispresentation would be inkeep- ing with the highartistic standards of thedirector. Yet the artist-investigatorwas cau- tioned that all dance,sculpture, text of syllabus, costumes, setsand props and theperforming artists used in thisstudy had to be carefully chosen so as not tooffend anyone.

12 group ofperformers to The choosingof a special the dancedemonstration. Since the take part in in as authen- dance movement wasto be projected possible, it wasnecessary to tic a manner as already beentrained find those personswho had the artist, orthose in the dancetechnique of medium of creativeand who hadworked in the ethnic dance. The musicians authentic African professional with spe- and the singerhad to be and experiencein theauthentic cialized training Because of themoral music andchants ofAfrica. this presentationin the schools; implications of extreme care inthe the directorhad to exercise choice of theseartists. not antici- The problemswhich thedirector had threats to thesuccessful comple- pated came as grave show themselves tion of theproject forthey began to early in thePre-presentationPhase. funds and the The main problemwascentered around disbursement of same. This pilot study was small contractproposal. The funded through a corners director knewshe would haveto really cut in theeducational valueof this but her interest try artistic project wasso greatshe decided to and more apparent anyway. Hpwever, it became more to all concernedthat the scopeof this project was entirelyout of proportionto its budget. EVen with additionalhelp from theUnitarian UniversaliBt ServiceCommittee,' (N-1threghN.3) work utilizingthe services this major creative the of professionalpersons inboth education and performing artsneeded at leastdouble the funding.

As it was, -There could be nounderstudies forproject per- meant delay. El sonnel thus anyillness in the group personnel wereforced to drop out -Many project greater and acceptfull timeengagements with Thus rehearsals of newper- financial benefits. longer sons demandedmore timeextended over a period.

* UnitarianUniversalist ServiceCommittee hereafter referred to asUUSC.

13 -Honorariums to personnelhad to be suspended during delaysbeyond theircontrol (the New York City transitstrike, bad weather,etc.). had been -Almost all of theoriginal group which thoroughly rehearsedgradually left theproject. left or justdisappeared. 1 -Overworked secretaries director real- - Atthe time ofnegotiations, the ized that theamount of thought-timeand doing- extend far [1 time involved inthis project would beyond any fullemployment. But she began to seriously feel thegreat discrepancybetween the 1/5 time contractedfor and reality asshe spent endless hours indiscussion withdelegates, parents and, later on,educators. the -Because of the uniquenature of the project red tape ofstandard disbursementprocedures caused delays andfrustration from thebeginning. In a letter to theproject sponsor,Reverend Klotzle, AssociateDirector, UUSC,expressed his concern: It is painfullyobvious with me after discussing on severaldifferent occasions with a most anxiousand deeply disturbed Pearl, that funds areneeded to help her launch the projectoff on a successfulstart. she continue to useless It isn't right that II than the desiredequipment

fl unless we make asmuch of this money availableas necessaryat the beginning of her project,the desiredresults will not be forthcoming."

Other unforeseenproblems involved: -The New York Citytransit strike.-Some teachers and principalscould not reachschool; the ma- jority of performerscould not reach thecity; performances hadto be rescheduled.

-Heavy snowfall andinclement weatherwhich crip- pled traffic andmade travel by cardangerous. presentations wereto have ended The project had prior to thisperiod. Many demonstrations to be rescheduled.

- attitudes - Theeffect of crlielsocial and ethnic imposM.ble the use of someof the which made DIS. finest piecesof Africansculpture. (See CUSSION Section) parents and prin. The great demand onthe part of - this cipals thattheir childrenbe exposed to This eliminated a con- culturalpresentation. evaluation andaffected the use trol group for under of thequestionnaire.(See questionnaire DISCUSSION section) rented vehiclesfor transport- -The high cost of instruments and ing personnel,costumes, musical Certain proposeddemonstrations inout props. Other schools of city areashad to becanceled. weresubstituted. During thePre-presentationPhase, the project conferences withthe director sponsorattended many part of the the progressof the program as and watched studio several validating process. She visited the the intenserehearsals. Her presence times observing sweating artists. gave greatencouragement to the disaster. The PresentationPhase began in near the firstdemonstration one ofthe The night before appendicitis. key dancers wasfelled by anattack of person wascalled in tolearn the At 10:30 P.M. a new of this dances and adjustcostumes. When accidents troupe ofperforming artists,spirits nature befall a does not sink. drop and thewalls cave inbut the ship rehearsed untildawn. Then they That night everyone proPs and cartingthem started packingcostumes and off to TheLittle RedSchoolhouse. children was vim/T- This firstpresentation before professionalconsultants andother ed by educators, New YorkUniversity, vitally interestedpersons from the UnitedStates Office ofEdu- Columbia University, the New York cation, NewYork City Toardof Education, the Arts, theNorman Foundationand State Council on cooperation of the UUSC. The completeinterest and faculty and theexcited responseof the principal and beyond the realmsof children transportedthe artists physical exhaustion. that day, At the end of thesecond demonstration reloaded intc theU-Haul costumes wererepacked, props and taken back tothe studio. 15 Although the proF:ram had been excellently received (0-1 through the director was not satis- fied. The task of rehearsals began again. Professor Alpenfels and Dr. Azzarelli confirmed her thoughts. (P-1) Another format had to be created and presented.

This time, Mr. Nat Hentoff, well known editor and jazz critic sat in the back of the huge school auditorium. In an inspired article entitled "An Inheritance Comes to P.S. 83" (See 1.eference 1) in American Education (Feb. 1966) he wrote his impressions:

the children look at her . . with wonder and surprise and then understanding Understanding that the body can tell many different kinds of stories, can express many different kinds of feelings. That the body can talk."

"Miss Primus may have started a transformation in the teaching of diverse cultures that can extend far beyond what even she herself has envisioned. It can extend so far that it will circle back to the culture of the children themselves - in many,ways, a brand-new subject for most American elementary schools."

His words created such great interest and challenge a- mong those principals, teachers and district superintendents who read them that letters and calls asking about the project came pouring in. However, for the director, it was only during the presentation of the third created program that the magic formula for projecting anthropological concept into visual form was achieved. She wrotev "The in- visible censor smiled inside me and I knew the artistic vessel was ready to carry its message regardless of differences in environment, age groups, sexes, degree of audience preparation, education, racial, economic, national or linguistic backgrounds, weather, time of day or year, or areas of presentation." It is estimated that over 18,785 persons saw this program before the project was officially ended. Of these, approximately 11,635 were school children between the ages of 6 and 11. Presentations were spread over a period of seven months due to reasons

16 already discussed underproblems. Aside from the United States Office of Educationand the UUSC grants, many oifa Azationsand schools including theartist's own stuLloassisted with expenses sothat the project could be successfullycompleted.

RESULTS

The director drew herconclusions from an analysis of 691drawings* and 666letters* from the elementary school children, lettersand comments from her professional advisors atNew'York University, principals, teachers and othereducators, official representatives of the UUSC, commentsin the press, her own observations during and after thepresentations, discussions with the performingconsultants, taped interviews with children, photographsof the children observing the demonstration. The following are the obviousresults of this .study. (Explanations are given under section"Dis- cussion".) 1.) An educational program usingdance, music and sculpture to integrate visualform and anthropological content was successfullycreated for use in teachingchildren ages 6 to 11 a- bout cultures and peoples ofthe world.

.} This demonstration of dance withsyllabus was successfully presented beforechildren and adults of different geographic,educational, racial, economic, religious,social and national backgrounds. It was presented under different environmental and physical conditions, at different times ofthe day. It was observed by both sexesand all age groups;

The magic never failed. The message was received. The response in every instance was completely unrelated to the existingdiffer- ences among groups.

* On file in the director'soffice.

'17 3.) This program, exposing children to the non-verbal experience of dance as a means by which they can better understand the cultures.of .other peoplejwas successfully used it the auditoriums and carried over into the classrooms of elementary schools.

4.) Some of the basic culture values in West and Central African communities were skillfully interpreted through dance and the use of authentic pieces of African sculpture.

5.) This program inspired children to use the dance to interpret their own thoughts and the way of life of people in other cultures. 6.) The greater uses of the visual and physical medium of dance was so well demonstrated to public school teachers and other educators that the demand for further information and follow up projects is increasing. Written response to this study demonstrates agenuine desire on the part of educators for new and more effective curriculummaterials. 7.) The effectiveness of dance as a commondenominator among human beings has been successfully demonstrated. The possibility of using dance to help bring about better understanding among people here in the UnitedStates and in the world was revealed as a definite challenge to educators. 8.) The successful completion of this pilot study demonstrated the cooperation of American educators and test institutions of learning.

9.) The effectiveness of this program of dance with narrative was demonstrated as a new medium for use in educational television. 10.) The success of dance as avehicle for better cultural understanding among people wasde- monstrated by this presentation atthe unique "Conference on International Understanding Through Dance," sponsored by the Schoolof Fine Arts, Wisconsin State University, Stevens Point, Wisconsin.

18 11.) Educators agree thatbecause it is anethnolo- gically soundpresentation of culturevalues of a society asexpressed through art,the demonstration can beused by the teacherof Anthropology.

12.) Educators and graduatestudents agree that although this presentationwas created especially for use byelementary school teachers, it is also aneffective aid at alllevels of American education insuch departments as Anthropology, Sociology,Geography, History, Political Science, ArtEducation, Music, Drama, Dance, Photography,etc. It is also of invaluableservice to elementaryteacher- training programs.

13.) The personality of theartist-investigator did not determine the successof the project. The program formathas been usedeffectively by others as ablue print for work expressing the culturevalues of peoplethrough the dance. Percival Borde, artistand teacher, is still demonstratingthe effectiveness of this work in elementary,junior high and high schools. (Q-1) Sixth grade studentsat one school used the formatfor a program on "Ancestors". Another school usedit for a "Festival of Dance".

DISCUSSION

How can one trulyevaluate what hashappened inside the children as aresult of viewing thisdance demonstration? How does one measurethe degree of the influence of color,music, movement, orform on an audience? To quote onededicated prinrtipal,

H. Working with peopleand with attitudes is not an exactscience. We'll hope we've taught our childrensomething but we mayfind it hard to proveit in charts andtables. We'll watch eyes, andfaces, and smiles, and bodies and we'll wonderif these children will be able to dobetter than our generation ii could do. At least, we willhave exposed them to peoples,ideas, and wnvs ofliving we never gotto know about."13-.1 and R-2)

19 .24A .7149.10,..4.

Fifteen dance demonstrations were originally scheduled for this study butjbecause of the overwhelming response and the great demand on thepart of educators and childrenoforty-one programs were completed before officially concluding the project. As was stated in the introductionto this report, of these, thirty-two Were done before elementary school children in twenty-two public and privateschools; five before teachers, principals and graduatestudents in universities and other centerS oflearning; two before the general public and two before junior high and high school students. Because of limited funds, .most of the schools and organizations notoriginally included in the project voluntarily contributedto the demonstration expenses so that thischallenging study could be presented to their children. Requests from twenty-six other schools had to be gentlyturned down. Because of problems in transportation, demonstrations in four out-of-town schools of theoriginal 15 had to be replaced by presentations in schoolsin town. The direptor here submits the following quotes from two of her profestsional advisorsat New York Uni- versity as part of her evaluation ofthis pilot study. Professor Ethel Alpenfels wrote the artist-investigator: I feel that your role has been far more than either artist or scholar Hav- ing observed the demonstrations, followed your creative thought as youmade changes, talked with teachers and children, felt the impapt of what you were accomplishing, I now prefer to label yourrole . . artist- teacher "

, Your study in the integration of visual form and anthropological content demonstrated and communicated to the children what an important part art forms play in the total round of daily life. Here, in the United States, art is separate and apart rather than a vital part of life. Your approach broke down the rigid dichotomy that exists between such concepts as work or play, between science or the humanities,...."

. As an anthropologist, your springboard into the classroom quite properly utilized the potentials of a discipline that is both a natural and a cultural science. Focused as it is on "mankind", Anthropology strives to demonstrate two things: the differing ways of life in widely separated societies while, at the same time, pointing out the

common denominators in human behavior. . " "Through the dance, oral literature, music, and visual art, you carried the aims of anthropology one step further: you demonstrated the great diversity that exists in professional areas and integrated art and science into an exciting experience for young children. This larger integration of art and science is even more significant, I believe, than what you originally set out to do: namely, the integration of visual form and anthropological content. For art is bound up with life. They cannot be separated. . .

one from the ther. . . . ."

. . You proved that through the dance. ." (11-1 and M-2)

Dr. Joseph Azzarelli wrote after observing the first demonstratibn:

. . . The performance of the Visual Forms Project at the Little Red School House was an extremely fine performance. I noted the intense attention of both all the students and their teachers "

. I also noted that the teachers were quite interested in understanding how your performances could be used in a variety of instructional areas, such as: social studies, language arts, music and art . . .

. . the Visual Forms Project can make a great contribution to elementary education."

" We are pleased that this project is underway here at New York University and we are ready to provide you with all the help you

21 Li need to continue your work." (P-1)

liev. Donald Szantho Harrington,Minister of the Community Church of New York, had yearsbefore discussed with the director theurgent need for using every technique forhelping people understand each other. It was really he who had initiated theidea of a UUSC grant to help theartist make an educational statement in dance for her Ph.ddissertation. Now thoroughly impressed with the results ofthe project, he wrote: Just a note to indicate what Dr. Donovan has said about your work. I am writing also to every member of theBoard of Education, and to various otherassistant superintendents. I hope that at some point ii you will be hearing fromthem, and that a really massive effort will become possible."

You are doing something great and unique, and you must not get discouraged! ." (s-i) Rev. Dana Klotzle, former Director ofUUSC, was elated. He wrote the director:

. , I was e,geply moved by the rapt faces of the childre.n portrayed in the very wonderful photographs depicting the project. It was most exciting to observe a first hand demonstration of my life long belief that children know not the artificial boundaries of race and culture until adults tell them otherwise." (Letter on file in Director's office.)

Because of the integrity with which this project was conducted, the lateDr. Joseph Loretan, then Asso- ciate Superintendent of Schools, Board ofEducation, New York City, gave the artist-investigatorpermission to mention the schools and to use the namesof those principals and teachers whose letters toher served as an aid in the evaluationof this pilot study.(D-3)

- Following, then, are quotes fromprincipals, teachers and other educatorswho observed the presentation and its effect uponChildren.

"Positive Statement of CulturalInheritance" "We, in turn, are echoing but asmall part of the joy which you and yourtroupe brought to our children. It was thrilling for us to see their awe-struckfaces, the imagination kindled by the song, danceand lore which unfolded before them. Thank you for helping to bridge the gap between different worlds with such a positive statement of culturalinheritance." Anne M. Smith (Mrs.) Corrective Reading Teacher ii P.S. 20 - Brooklyn

"Aims of Pro' ect Definitel Accomlished" "From the projected reactions of ourpupils, it becomes very apparentthat the aim of your project, tohelp children to understand other cultures through themedium of the dance, was very definitelyaccomplished." Lionel E. McMurren Assistant Principal P.S. 78 . Manhattan "AddinDeth-KnowlderstaILndin" "Parents have called to tell methat the children 'haven't stoppedtalking' about the event. As I watched you, I realized haw much depth you wereadding to knowledge of Africa and ourunderstanding of its people . . . How I wish it were possible for you, and peoplelike you, to work with teachers sothat the study of foreign cultures cantruly come alive." Gertrude H. Goldstein Director Woodward School - Brooklyn

"Maximum Learning Situation" "It is through the cooperationof groups such as yours and theschool that we

; 1

so, are able to providefor a maximum learning situation for our children." Sidney D. Gerchick Principal P.S. 67-Brooklyn

"Ek ression of Culture" "I cannot tell you how muchenthusiasm was engenderedby your.dance program and how elated all thestudents and faculty Were as a result of yourdemonstration of African and nativedance. Everyone I spoke to was thrilled tohave been able to witness thisexpression of culture as exhibited by andthrough the dance form." Mrs'. Helen B. Mason Headmistress Berkeley Institute Brooklyn

"Mesmerized" "Your dramatic presentationrepresented a fusion of,drama, the danceand art, whereby you conveyed tothe children the feelings and the expressions of oneof the greatest art forms, the dance. I know that this is the first time in thelives of the children where they were able tovisualize such a magnificent performance. You actually had them mesmerized!" Catherine Treglia Assistant Principal P.S. 67 - Brooklyn

"Children Res onded Be ondEx ectations" "At our administrativecommittee today I was asked to express thegratitude of the staff for the programwhich you gave to us last week and thefact that you chose us for the firstpresentation. The children responded to thewhole production even beyond ourexpectations.

2L. Our appreciation of course extends to your entire cast," Margaret E. Harris Assistant Director Little Red Schoolhouse Manhattan

"Understanding of Children" "You are to be commended for the high degree of professionalism and understanding of children which Was so well demonstrated by your informattve lecture." Sidney Z. Gray Principal P.S. 100.Bronx

"A New Dimension To Seeing One's Self" you left such an impact of joy and knowledge on the children, the parents and the school staff. I can not begin to tell you what the parents are saying about the impressions you left. The children are singing the songs, 5th graders to pre-kdg. The parents say the ones at home have picked it up from their brothers or sisters. Some are demanding drums as presents from their parents.

I, personally, wish to thank you for bringing such cultu....-e and joy to a group which has been deprived of this culture here in the U.S.A. The parents expressed the same view- point. It is a new dimension to seeing one's self Iona Anderson P.S. 41.Brooklyn'

"Afternoon Filled with Ma ic" "The afternoon 'we spent at P.S. 92 was one we shall remember .for a long long time. It was an afternoonfilled with magic." Sara M. Landis Acting Assistant Director Early Childhood Education Board of ,aducation -NYC

nlaltnEtARRIEtrit: "Our school is stillbuzzing with the effects of your visit. The influence isapparent in their art work and writtenexpression." Meyer Zaremba Assistant Principal Jamaica Avenue School Plainview-Old Bethpage, L.I.

"Destroying PreconceivedNotions" "I wish to express mypersonal gratitude in regard to your recentperformance at P.S.67. The show was bothentertaining as well as enlightening especially asfar as destroying any preconceivednotions about Africandance as presentedin certain low-grademovies currently seen on T.V. Having only rare opportunities to observethe true art volved, these distortions arereadily ac- cepted. Happily, thanks to you, areversal has taken place amongthe children in bur school." Louis Geneve P.S. 67 . Brooklyn

"Come To Us Again" "The delightful memoryof your recent visit lingers sovividly that we are emboldened to ask you to cometo us again . this time to enhance ourSixth Year Closing El Exercises on Friday, June24th." Elliott S. Shapiro Principal P.S. 92 . Manhattan

26 "Presentation - Magnificent" "Your presentationat the LittleRed Schoolhouse yesterday wasmagnificent," Patricia L. Cahn Editorial Consultant American Education Washington, D.C.

"A Most EnjoyablePerformance" I had the happyopportunity to see yourpresentation Thank you for a mostenjoyable performance," John B. Hightower Executive Director New York StateCouncil on theArts

A note handed tolYieverend DonaldHarrington at the Unitarian UniversalistNational Convention,Florida, May, 1966.

"THANKS" "Don -- You would be gratifiedto hear theexpressions of excitementvoiced by myhusband's fellow teachers in GreatNeck, New York overthe work Pearl Primusis doing in theNew York Schools. They have asked meto convey to whomever isresponsible for givingher some of the help thatshe has had theirthanks. Natalie --"

"Experience Broadened" "The comments ofchildren, teachersand parents who saw theperformances were uni- formly enthusiastic. Again, many, manythanks. I am sure our children were inspiredand their experiences broadened." Irving J. Siegel Principal P.S. 188 .Manhattan

27 A teacher's leter to aschool program director:

"DOUBLE MOTIVATION"

ft Background and cultural material for each dance wassupplied, and in a most delightful way. The children reacted mostenthusiastically to the entire program. In fact, I have never seen them respondin such a favorable way (and I saw all of the assembly programslast year). I would go so far as to say thatthe performance of the dancers was indirect pro- portion to the audiencereaction. I have never before witnessedsuch an example of 'double' motivation." Very truly yours,

(signed) John Banlsik

One year after the presentation, ateacher wrote the director an unexpected summaryof the results of the project in her school.

"MORE POSITIVE FEELINGS"

"This is a summary of whathas happened since your show last year. Many children went homeand taught their younger siblingsand parents the songsand dances they saw. About twenty girls from ourschool were selected to attend a summersleep-away camp. While at camp theystarted dancing Africandances which came to theattention of the campdirector and a junior counselor. The director was the

28 psychologist at P.S. 41 who was workingwith these girls all year and who had seen yourshow himself. He, therefore, encouraged andpromoted these activities at his camp terminating with abig show. The junior counselor planned andorganized the show with costumes which the girlsmade to look as authentic as your attire. Pamela, the junior counselor is now being paid by the P.T.A. to teach dancing once aweek (Wed- nesday) to our fifth grade dance club consisting of twenty-one girls. They have entertained the parents attwo P.T.A. meetings already. At both meetings they presented an African number. They have entertained their colleagues and are preparing anentertainment in the near future. It is difficult to evaluate whatthis has done in terms of the girls personalbehavior and how they view themselves. I do know they have more positive feelings about their worth and are now teaching first grade children how to doAfrican dances. The group has expanded from girls withadjust- ment problems to more welladjusted girls. They never miss a Wednesday. I personally feel the impact has been great and I'm truly grateful to you for your great contribution.

Keep up the good work. . Iona Anderson P.S. 41 . Brooklyn

Also used in the evaluation of thisstudy were the comments in the Press whichreflected the response of educators,parents and the public in general.

C 29 Comes to P.S.83" (2) hat Hentoff's"An Inheritance "Classroom Without Boundaries" ti continue to shiftand "The moods andthe rhythms the stage is aclassroom withoutboundaries .

"At the core ofthe leSson whichdoes not seem like a lessonis Pearl Primus. She moves through the danceswith supple elanand with a face so mobile inits wit anddetermination at her and exultationthat the children look as fewteachers are everlooked at." dimension inteaching . .'clearly, a new children aboutcultural pluralismis close at hand."

Mr. Clyde Barnes expressedthis opinion in the New York Times - March14, 1966: (1) "illanst,plut22.! aslcay, this wasdance with a . . purpose, a purpose neverhammered home yet deftly accomplished

The World Telegram -March 4, 1966: "A New Kind of Lesson" "A7T-8.717573T-THVal-egnd public schoolchildren recently sat through a newkind of lesson. They were brought to theassembly in Public School 20 in Fort Green notto hear about or even see moviesabout cultures in otherparts of the world. They were there to hear, see and enjoy those cultures onthe spot." this is a lesson thatthe kids

enjoy. . 11

The Parent Parent, aschool newspaper at theLittle Red Schoolhouse reported:(07-01)0-'3) "LE_EDIELE_Ialls" "After an hour's magic thechildren returned to the reality of theauditorium with the greatest reluctance."

30 Many times the director was swallowed in the arms of the children, her face bathed with kisses. In areas labeled*"rough", "dangerous", she was overwhelmed with the love which came like a giant wave from the children. tL Not one piece of the director's costly authentic costumes, clothing or jewelry was touched although many times the entire troupe had to leave everything in the open classrooms where they sometimes dressed. Even today, members of the group are waved to or caress- ed in the streets and buses. Parents,too,responded with amazing fervor. They busied themselves preparing meals for the performing artists and even in some areas of greatest economic deprivation they and the teachers raised funds to assist the troupe with transportation.

The program of dance demonstrated universal .characteristics of children and adults. It focused on everyday life and showed how activities, such as washing clothing or preparing meals or welcoming friends etc., although executed differently from here in America, achieved the same results. The demonstration also stressed how children learn the culture values in their society. For instance, brought to reality was the dancing story-teller-the teacher sans pareil who night after night weaves the tale with drums, chant and dance about Mr. Spider.As with the youngsters in West and Central Africa, the children in the test schools saw the undesirability of greed, selfishness and laziness. Analysis of drawings on the basis of recurring symbols showed strong influence of the movements of the dancers, the agility and wit of the story-teller, the beauty of the handsomely carved drums and mortars, the array of colors of clothing and physical environment and the warmth of family life. The influence of the study is also apparent in letters from the children. Here are quotes:

Grade 8

"It was an education, as well as a wonderful experience. There are many people who say that they know people are all the same, but very few who really mean it.

er 31 You helped many peopleunderstand that; to laugh with others,not at them. For this, thank-you."

Grade 7 "I have never heard aconversation between drums before, but itdidn't matter. You could really understandwhat they were saying."

"It was very easy for meto imagine that I was in Africa."

"I think that if everyonedanced and told stories the way you and yourtroop did the world would be a betterplace to live in."

Grade "Last week my teachertaught the class all about the people ofNigeria. Your dances made it all comealive for me. We learhed about the culture ofthe people inAfrica.."

"Before you gave yourperformance, I knew nothing about Africa. I left with a good deal of knowledgeabout it."

"I learned thatAfrican mothers and fathers tell stories to theirchildren like our parents do. I think more groupslike yours should come to visit us,it makes children proud of their raceand not ashamed."

"The way they danced and sangI thought I was in Africa."

32 "I learn things on Africa thatI didn't know, so you not onlyentertained us but showed us things onAfrica."

. . it made me just want to jump up and dance."

"It felt like drums beating onair."

"I liked the performance of PearlPrimus because the performance gave me anidea about how the African people liveand about what they do."

"In art I am painting a picture . . . to capture all the flashing colors on your dresses and put them in a creation of my own, to show youdancing."

"I think I would not of learned thethings that I did not know for a long timeif I did not come."

"The main thing about your performancethat I liked best was the way you enclosed us in a African atmosphere."

"Africa the way you told about it seemed like a more civilized countrythan what I see on television."

"During your performance our school felt as if it were inAfrica."

33 "Everything you said and did was so real. istic that it made me feel as ifI was in Africa,"

"No one ever held our attention so long. I hope you can come visit our school again someday and maybe we can perform for you instead."

"I liked your performance and I do hope you

. can come again. You had such a beautiful voide and the dancing and singing were delightful. It made me feel proud."

I think the major problem of the world is that countries don't realize that all people are alike."

Grade 5 "I learned how drums talk, and that all the people in the world are alike any color, white or orange or black. You taught.us more about our descendantsand about Africa. We were glad that you came. You made us feel proud."

. it seemed as though I was under a charm in Africa."

"I enjoyed the show very much. It gave me a better understanding aboutAfrica and the peoples, how they live like us but alittle bit different Before I saw the show I didn't know as much." "If I had a wishI'd wish for you to coMe back and tell us some moreabout Africa because a lot of peoplehave a wrong impression of Africa."

"I am glad I came andI think I will never forgetit."

"Your dancing wasunlike anythingI have ever seen, I was especiallyinterested for I myself toowant to go into thefield of dancing, althoughnot African. I found your dances veryeducational yet extremely enjoyable,"

"We don't know howto thank youbut I think we thanked youby the way weacted. Thank you again,"

"The reason why Ilike the dances thebest because I like todance. But I really can't dance."

"I enjoyed your showand I was sorryit had to end,"

"The drums were sointeresting. Mama drum sounded just like mymother although my little sister ismuch more toughthan baby drum."

Grade 4 "You could understandwhat was happeningin the dances bythe motions verywell."

35 "Saying that we are all the same make you feel like jumping, going up and down with it."

"It made me feel as if I were right in Africa and doing everything they were doing."

"I could feel the drum beats in my body."

"I felt like I'd jump out of my seat."

"I thought I could do it to. I drummed on my chair. In a way I wanted to get up on that stage."

"I think that it was the best thing I've ever seen. I felt I wanted to go to Africa, I really!"

"It made me feel as if I was there, I wanted to dance."

the dances and the drums, it's a wonderful country, the dancing told the story."

"It made me feel happy."

"I would like it if you would come back and dance all over the world."

36 "You are welcome to come back."

Grade3,

"I have been having dreams of Africa."

"The show you presented and your dance troupe was the prettiest I ever saw."

"It was the best show I ever saw." Grade

"I liked the dances. I liked the dresses and the people. I liked you very much. I liked you a lot. You are very good to me. You teach me. If you put another show on tell me."

SCULPTURE

The director had to pause during the Pre-presentation Phase to comprehend the extent to which cruel attitudes towards minority groups had affected the very fiber of the country. She found herself caught between one of the aims of her project and reality. The sculpture of Africa, now considered a- mong the finest in world art, emphasized those very physical attributes which had been used and are still being used in parts of America to ridicule the Negro people.

It is impossible in one flash ofa moment to erase what centuries have stressed. The dynamic, bold forms in African Art, the full clearly carved lips, the large direct eyes, the often prominent fore- head had been laughed at-- the carvings themselves relegated to the category of infantile idols. In the United States, the people who most resembled these forms were called "ugly", "thick lipped", "bulging eyes". Only today is there really any attempt (small as it is) to erase misconceptions and point out the beauty of form and the powerful function of sculpture in the lives of the people.

3 7 It is wrong to suddenly thrustbefore the eyes of children that whichthey have consideretifunny or inferior and convince themin a fast five minutes of a program thatthey must change theirattitudes. It is even more ridiculousto expect the group whichhas been laughed at to immediatelyaccept those very forms which have been used toridicule them. That one Negro child could beindirectly hurt by one White child who eveninnocently used resem- blance to a carving totease was reason enoughafter the third demonstrationto limit the piecesof sculpture to the elegantlycarved drums and instrumentsfor the dance, There must be a longer periodof preparation for'changing attitudesand there must be special programs devotedto explaining the sculpture. For this pilot study the lessonsection on the carved drums was skillfullyhandled by PercivalBorde as lecturer whileMontego Joe played thetraditional rhythms, The importance of the carved drumsin the life of the people wasemphasized. In this way, sculpture was not entirelyexcluded from the presentation.

THE FOLLOW-UP QUESTIOhNAIRE Early in the study, the idea ofusing the follow- up questionnairebegan to lose validity. The original questionnaire was based on the useof a test group and a control group ineach school. The test group would be exposed to thedemonstration of dance. The control group would not seethe program. Thus, in a given class, the answers to aquestionnaire taken by all the students (test andcontrol) would reveal some of the immediate effects of the program onthe test group.

The principals eagerly cooperatedin every way with the project directorbut stood firm a ainst ex- cluding students fromobserving the presentation. Their reasons were valid. 1. One of the duties ofthe principal is to see to it that all children aregiven .eoual opportunity for learning within theschool. 2. Although control groups areset up for many other educational projects, a programsuch as

38 this one, bringina culturalmessagethrough most un- the visualmedium' of the arts, was usual in the schoolsystem and tooimportant as a.curriculum aid toexclude any child orteacher. known 3. The reputationof the artist wasso well in the test areasthat parents andteachers considered witnessing oneof her programsthe opportunity of a lifetimefor their children.

4. Since the programwould be givenduring school hours, any parent or groupof parents whosechil- dren were excludedcould legitimatelyprotest. One mother told thedirector, "I reallydon't care whatthis project isabout. I just want all my children to seeyou andI'm going to try to sneak insidemyself." (She had five children did in elementaryschool.) Indeed many parents manage to seethe program. Aside from the regular teacher aides,they formed"reception" "I committees, "reviewing"committees or just must see this"committees. The artist noted many fathersin the audience. The idea of a controlgroup hadto be abandoned. The spontaneousletters, expressivedraA-ings, of the childrenplus observations and photographs educators, and of the director,the.reaction of taped interviewstook the placeof the original questionnaires.

CONCLUSIONS ANDRECONNENDATIOL]S

A rrogram ofauthentic andcreative dance with created as a pilotstudy to spoken introduction was anthro- demonstrate theintegration ofvisual form and (Visual form here meansthe media pological content, refers ,of danceand music. Anthropological content values in thecultures of peoplesof the to intangible especially for This demonstrationwas created world.) 6 to 11 about use as anaid in teachingchildren ages cultures and peoplesof the world. interloreted in The specific areachosen to be dance was Westand CentralAfrica. The assignment:

39 to involve the childrenin the physical experienceof the culture of the peopleand to demonstrate to teachers and other educatorsthe greater uses of the visual and physical mediumof dance. Pearl Primus, recognized danceartist and anthropologist, directed thisunique project for new York University. This study was supported by agrant from the United StatesOffice of Education. Additional funds were provided by theUnitarian Universalist Ser- vice Committee, a non-sectarian agency. The director and a small group ofartist.consultants tested the validity of thiscreative program in the classrooms and auditoriumsof public and private elementary schools andother institutions of learning. Fifteen demonstrations were scheduledbut the demand for this uniqueeducational teaching technique was so great,41 presentations were given before the official conclusion ofthe study. It is estimated that over 18,785 persons sawthis program. Approxi- mately 11,635 of these wereschool children between the ages of 6 and 11. The rest were teachers, principals, graduate gtudents,junior high and high school students, parents and thoseinterested in the education of young children. The response was tremendousregardless of where and before whom thedemonstration was presented. Dif- ferences meant nothing. Race, education, religion, geography, social, linguistic oreconomic background, age or sex, time ofday, season of year, size orab- sence of stage - noneof these influenced the response. The dance was a pied-piperdrawing children to better understanding ofthemselves and their fellow beings. The director with the aidof Professor Alpen- fels, the project sponsor,and Dr. Azzarelli, Direc- tor, Office of EducationalResearch Services, New York University, concluded that the study wasnot only successful but could make a greatcontribution to elementary education. The artist-investigatorevaluated the projectS through analysisof letters and drawings from the children, photographsof them observing the program, tapedinterviews, the use of aquestionnaire and written statementsfrom educators.

4o RECOLENDATIONS In making her recommendations, the director concentrated on dance in education as anaid in building "Cultural Bridges" to better understanding amongthe people of the world.

It is recommended: I. That dance-artist-consultantswork in the schools as advisors and assistantsto the classroom teachers and principals on specific cultural, projects relatedto the curriculum. R-1, R-2 II. That dance-artist-consultants workwith tea_ chers in Cultural Workshops(teachers of several schools in anarea). The teachers can be given extracredit by the Board of Education. Specific cultural projects can be discussed and problems worked out.

III.That, for specific instructionalunits, elementary school teachers utilizefilmed and televised dance presentations,live performances by ethnic and creativedancers. A project such as this pilot studywould greatly assist the teacher. A visual presentation of dances and artof a specific area of the worldwould act as source material for teachers and wouldgive their children the rich experienceof emotional and kinesthetic involvement inthe lives of other people. (T-1)

IV. That elementary school teachersbe encouraged to use children's programschoreographed by dance consultants, special ortalented classroom teachers or, better yet,by the children themselves assisted byteachers or consultants orcapable parents. Experience through creative involvement would help children better"experience" the culture they are studying,

V. That this pilot study and future programsin- tegrating visual form.and anthropological content be put on8 or 16 min. film. This would extend theclassroom lesson across the country.(U-1)

VI, That this pilotstudy and futuredance-art programs beused for special groupedu- cation. (V-1 andV-2)

VII, That the followingsuggestions by theWiscon- sin Dance Council(1966-67) be considered: -"Several inservice training coursesfor elementary schoolteachers should be conducted with theco-operation of dance councils, colleges,universities, etc., this next schoolyear."

-"A course in The Teachi, of Creative Movement for Children shouldbe required of every studentworking toward a degree inelementary education." ."School systems should search outquali- fied dance specialistswho might be em- ployed as consultantsto teachers or as teachers on a part-timebasis,"

VIII. That since this pilotstudy effectively demonstrated dance as a commondenominator among human beings, Danceshould be used to help bring about betterunderstanding among people her in theUnited States, The dance can help build"Cultural Bridges".

S UMNAR Y

This is a summary of areport on a pilotstudy integrating visual formand anthropologicalcontent and for teaching childrenages6 to 11 about cultures peoples of the world:Specifically, thepreparation and presentationof a danceddemonstration with syllabus interpreting someof the culturevalues in West and Central Africancommunities. Pearl Primus,outstandihg dance artistand anthropologist, undertook todirect this uniquecreative pro-. ject for Aew YorkUnivex'sity Where she is a candidate for the degree ofDoctor of Philosophy, Educational Sociology and Anthropology, School ofEducation. The project was supported by a grantfrom the United States Office of Education. Additional funds were provided by the UnitarianUniversalist Service Committee, a non-sectarian agency. The study was based on thehypothesis that it is possible to present throughthe dance and allied arts the way of life of a people. Dance like any other art form is a part of the culturecomplex of a society and therefore acts as a mirror reflectingthe inner being of the people who make upthat society. The idea of dance being used to teachthe young is as old as man's first society. However, the idea of it being usedin American education to teach childrenabout cultures and people of the world is stillbeing challenged. The major objective of this pilotstudy was to demonstrate one method of improvingand extending curriculum content of worldcultures in elementary schools. Secondary objectives emphasizedethnic variations in American culture,non-verbal experience as a means ofinterpreting the Datterns ofother cultures, and certain cultureValues in West and CentralAfrican communities through the useof dance.

The artist-investigator waswell qualified to direct this study. She had been engaged inscientific research for many years. This research concentrated on the studyof the cultural artsof the indigenous people of Africa in orderto better understandand interpret for others the truelife of the people ofthat continent. The director had alreadyhad great experience with the creative processinvolved in choreographing and pxesentingdances. The basis of her own technique of dance wasderived from a comprehensive study of the dances andsculpture of Africa. The basic positions of body partsin the dance techniquewhich she has evolved arebased upon the positionsof the corresponding parts inAfrtcan sculpture. She not only studied the objects ofart in specialized coursesin universities, various museums,and private collections but observed themfunctioning at their sourcein the interior villages ofAfrica. The study of anthroDologyhad long enabled her to probe beyond therhythmic action of muscles in dance into the relationshipof intangible elements in a society whichmake up the culture of apeople. Procedure for this study wasdivided into three principal phases:

1. ThePre-presentation Phase 2. ThePresentation Phase (TestingPhase) 3, TheEValuation Phase 1) The Pre-presentation Phase This included conferenceswith the project sponsor, professionaladvisors, the technical assistant, consultants, specialists andrepresentatives of the Unitarian Universalist ServiceCommittee; the selection of sculpture to beused, the choice of the demonstration program usingauthentic and creative dance, music, dance-dramaand ethnic themes. Also considered in this phase werethe preparation of props, costumes andmusic, the conducting of rehearsals, the selectionof schools to be involved in the presentationand the preparation of the narrative. This phase also includedthe obtaining of written permission fromthe New York City Board of Education to use specificschools for test demonstrations, correspondence withthe principals of schools and the working out of thequestionnaire.

2) The Presentation Phase This is also referred to asthe Testing Phase. It involved the artist andperforming personnel with the students and teachersof the elementary schools which had been selectedfor the experiment, the presentation of this demonstrationin the classrooms and auditoriums of these schoolsand the photographing of children during the actualdance demonstration.

To be solved were theproblems of transporting key personnel to and fromdemonstrations, the repair, storage and transportationof costumes, props and muGical instruments.Also considered were thedirector's personal observations,her recordings of the response of thechildren and the constantconferences with the project sponsorwho observed thepresentations

44 different areas for under differentconditions and in purposes ofevaluation.

3) The EvaluationPhase and This periodinvolved thecollecting, sorting photos and tapedinter. analysis ofletters, drawings, children, conferenceswith the project views with the and the sponsor andadvisors at NewYork University writing of afinal report. These phases wereat no timedistinctly separate they as easilyworked out from oneanother; nor were as thisbrief discussionwould imply. having as the pro- The director wasfortunate in Professor EthelJ. Alpenfels,eminent ject sponsor, who assistedher contri- anthropologist. The artists of their timeand energy. Among these buted generously Borde, is the talenteddancer andteacher, Percival company andstage manager, who wastechnical assistant, and performer. Mr. ontegoJoe, one liaison-officer stayed with theproject of Ameridalsfinest musicians, demonstration. Among the profession- through its final educators as Dr. al advisors weresuch distinguished Director of TheCenter for HumanRela- Dan W. Dodson, University, Dr. tions andCommunity Studyat New York Director, Officeof Educational Joseph J. Azzarelli, Willard Research Services,New YorkUniversity, Dr. Music, ColumbiaUni- Rhodes, Chairman,Department of Specialist PrimitiveArt - versity, Dr.Paul Wingert, Uni- Department of FineArts andArcheology, Columbia Primus-Percival BordeSchool of versity. The Pearl for this Dance in NewYork had tofunction exclusively project for overeight months inorder to accommodate rehearsals of thetroupe, making,mending and storage of letters,draw- of props andcostumes, examination ings andphotographs ofchildren. Perhaps the The results ofthis study are many. most obviousis the factthat:- music and An educational'programusing dance, sculpture tointegrate visualform and an. thropological contentwassuccessfully created for usein teachingchildren ages peoples of the 6 to 11 aboutcultures and world.

45 r2his demonstration of dance with syllabus was successfully presented before children and adults of different geographic, educational, racial, economic, religious, social and national backgrounds. It was presented under different environmental and physical conditions, at different times of the day. It was observed by both sexesand all age groups.

The magic never failed. The message was received. The response in avery instance was completely unrelated to the existing differences among groups. Among other important results of this study are the following: Some of the basic culture values in West and Central African communities were skillfully interpreted through dance and the useof authentic pieces of Africansculpture.

The greater uses of the visualand physical medium of dance was so welldemonstrated to public school teachers and othereducators that the demand for further informationand follow up projects is increasing. Written response to this studydemonstrates a gen- uine desire on the part of educatorsfor new and moreeffective curriculum materials. The effectiveness of dance as a commondenominator among human beingshas been successfully demonstrated. The possibility of using dance to help bring aboutbetter understanding among people here inthe United States and in the world was revealed as adefinite challenge to educators.

The successful completion ofthis pilot study demonstrated the cooperation ofAmerican educators and test institutionsof learning.

It is important to note thatfifteen dance demonstrations were originallyscheduled for this study but because of the overwhelming responseand the great demand on the part of educatorsand children forty-one programs were completedbefore officially concluding

46 the project. As was stated in theintroduction to this report, of these,thirty-two were donebefore elementary school childrenin twenty-one publicand private schools; fivebefore teaohers, principalsand graduate students inuniversities and othercenters of learning; two before thegeneral public and twobefore junior high and highschool students. Because of limited funds, most of the schoolsand organizations not originally included in theproject voluntarily contributed to the demonstration expensesso that this challenging study could be presentedto their children.

It is estimated that aver18,785 persons saw this program before theproject was officially ended. Of these, approximately11,635 were school children between the ages bf 6 and 11.

The director drew her conclusionfrom an analysis of 691 drawings and666 letters from the elementary school children, letter, andcomments from her professional advisors at NewYork University, principals, teachers and other educators,official representatives of the UnitarianUniversalist Service Committee, comments in the press, her ownobservations during and after the presentations,discussions with the perform. ing consultants, tapedinterviews with children, photographs of the childrenobserving the demonstration. Because of the tremendous response tothis program, educatorshave given great thought as tohow this program, specifically,and other studies of this nature can be further appliedto American education other than on the elementaryschool level. 1) Educators agree that because it is anethnolo- gically sound presentation ofculture values .of a society as expressedthrough art, the demonstration can be used by the teacherof Anthropology. 2) Educators and graduate students agreethat al. though this presentation was created especially for use by elementaryschool teachers, it is alsc an effective aid atall levels of American education in such departments as Anthropology, Sociology, Geography,History, Political Science, Art Education,lqusic, Drama, Dance, Photography, etc. It is also of invaluabl6 service toelementary teacher-

47 training prorams.

3) This program can be effectively used as a new medium for educational television thus extending the classroom across the nation.

The personality of the artist did not determine the success of the project. The program format has been used effectively by others as a blue print for work expressing the culture values of people through the dance. Percival Borde, artist and teacher, is still demonstrating the effectiveness of this work in elementary, junior high and high schools. Sixth grade students At one school used the format for a program on "Ancestors". Another school used it for a "Festival of Dance." This program of dance demonstrated some of the universal characteristics of children and adults. M:focused on everyday life and clearly showed how activites such as food getting, preparing meals, welcoming friends, although done differently, achieve the same results as here in America. The relationship of the child to various members of his household was cleverly woven into the presentation. The youngsters in the audience immediately identified with what was happening on stage. The demonstration also stressed ways in which children learn the culture values in their society. Brought to reality was the dancing story-teller -the teacher-actor-dancer who night after night weavesthe tale with drums, chant and dance about the adventures of the comic Mr. Spider. Just like the children in West and Central Africa, the children in the test schools saw the undesirability of greed,selfishness and laziness. When the artist-investigator first visited the continent of Africa, there were many areaswhich could be crossed only by traveling the bridgesmade of woven vines. The first time she had to cross one shestretch- ed out on her front side, closed her eyes,said her prayers and to the greatlaughter of her guide, wrig- gled across like a drunken worm. The second time a semi-crawling position got her half-way overthen she stood up and walked the swaying bridge. The educator cannot afford to takechances - - -

48 citizens. not with theninds and livesof tomorrow's The educator hasto be sure thebridge will hold. The educator mustbe assured thateach child will cross safely. The director ofthis project crosses"cultural bridges" every day.,Through the danceshe can reach psychological boundariesand barriers across those his which areman-constr.:acted toseparate him from neighbor. Having successfullyzompleted this pilotstudy in the integrationof visual formand anthropological content for teachingchildren ages6 to 11 about cultures and peoplesof the world,the artist-investigator makes thefollowing recommendations: I. That the dance of apeople be used as source material forsocialstudies by teachers of elementary s(hoolchildren.

II. That elementaryschool teachers beencouraged to utilize the servicesof creative and ethnic dance artists.

III, That the dance-artistswork in the schools as consultants to teachersand principals for specific cultural projectsrelated to the curriculum. IV, That there be workshopsinvolving teachers and artists seeking better waysof involving children in the physical andrhythmic expression of their own and other cultures of the world. V. That programs utilizingcreative or authentic dance, which deals with thelives of people be filmed in order toextend the classroom to all the schools across thenation.

VI. That three suggestions fromthe 1st meeting of the Wisconsin DanceCouncil (1966-67) be given consideration: -"Several inservice training coursesfor elementary school teachersshould be conducted with the co-operationof dance councils, colleges,-universities,etc., this next school year."

49 -"A course in The Teaching_ of Creative Movement for Children should be required 314 eveigFEGIFFITT76FRing toward a degree in elementary education." -"School systems should search out qualified dance specialists who might be em- ployed as consultants to teachers or as teachers on a part-time basis,"

VII. That the dance be used to teachmembers of s ecial groups pridein themselves and their er Itage thus paving the wayfor better relations with their neighbors. Likewise, the dance can teach their neighbors respect and Q understanding. VIII, That, where some distances betweendifferent groups of people cannotbe spanned by bridges of steel and concrete, other bridges canbe built. The educator can call upon the artist to help build those finely woven but secure "Cultural Bridges" to enrich today the lives of tomorrow's citizens.

REFERENCES

Articles 1. Barnes, Clyde, "Dance" New York Times. Mar3h 14, 1966, p. 36,

2, Hentoff, Nat. "An Inheritance comes to P. S. 83," American Education, U. S. Department of Health, Education and Welfare. February 1966, p. 28-33. 3. "With the Arts" (author unknown) World Tele ram (Brooklyn edition) March-77-

, P. Bl

5C CREDITS

Nucleus Personnel for thePresentation

Miss Pearl Primus, director,artist-investigator, performer-choreographer, created anddelivered narrative; Mr. Percival Borde, technicalassistant, professional consultant, stage manager,special teacher- musician-performer; Mr. Montego Joe, professionalmusician-consultant- performer, soloist;

Miss Vivian Lewis,dancer-consultant-performer. Both Mr. Montego Joe and MissLewis not only donated time and talent butpatiently worked with the director andtechnical assistant from the inception to the officialcompletion of this project. Miss Andrea Williams, Juniorperformer-dancer; Mr. Wilson Martin, consultantfor stage, props, etc. ********

Professional Advisors for the Pro'ect

Professor Ethel J. Alpenfels,Anthropologist, New York University School ofEducation, project sponsor, chairman,Pearl Primus' doctoral committee; Dr. Dan W. Dodson, director,Center for Human Rela- tions and Community Study,New York University; ft Dr. Joseph T. Azzarelli,director, Office of Educational Research Services,New York University;

51 1 . I

Dr. Paul Wingert, specialist, PrimitiveArt, Depart- ment of Fine Arts and Archeology,Columbia University; Dr. Willard Rhodes, chairman, Departmentof Music, Columbia University; Miss Helen Tamaris (deceased), professionaldancer, choreographer-teacher; Mr. Alphonse Cimber, professional musician,authority, traditional rhythms of Africa and Haiti; Miss Helen Tinsley, ,professional sinf,,erspecializing in authentic chat,s of Africa; Mrs. Eyo Ita, teacher, dancer, authority onfolklore and dancer of the Efik people ofCalabar.

Others involved in the functionin o. of the Pro ect Music and Folklore - Mr. Kobo Ita Visitinr; artist-dancer - Mrs. PearlReynolds Crice Dancers - Miss Beverly Franks, Miss MiriamGreaves Singers - Miss Leontyne Watts, Mr.George Karme Artist-consultants for sets and props - Mr.Arthur Ti Bart, Mr. Wclter Kendra Costume consultants - Mrs. Audrey Wallen,Mr. Gary Randolph ii Wardrobe consultant - Mrs. Minnie Lewis Clerical assistants - Miss Beverly Franks, Miss Jessie Gill, Miss Maryann Marvelia Junior performer - Onwin Borde Financial advisor - Mrs. OlgaTodd(New York University)

Photographers for the Proiect Mrs. Nancy Rudolph - crcdit front picture,documented initial presentation; Mr. Robert Easton - officialphotographer for ii Project, documented children's reactionduring performances; Mr. Constantine Manos(Magnum) documented first Demonstration; Mr. Dennis Stock(Magnum) documented second creative program.

APPENDIXES (follow)

52 ,

New York University News Bureau Washington Square, New York, N. Y. 10003

Larry Lipsitz $P 7-2000, Ext.442

For Immediate Release (Mailed 12/7/65) Can dance be used effectivelyto teach children about other people andcultures of the world?

8 Pearl Primus, internationallyprominent concert dancer and choreographerand a graduate studentat New York University's Schoolof Education, is nowconduct- ing tests to anawerthis question. Although her efforts are-coacentrated on the sub. jeet of world cultures,Miss Primus believes thather rindings may have an impactgenerally on teachingmett,- -Lods_ throughout the school curriculum,especially in the elementary grades. Miss Primus, as part ofher graduate work inedu- cational sociology andanthropology at NYU, is giving dance demonstrations at15 elementary schools inthe New York metropolitan area. The program is designed specifically to teach childrenof different economic and social backgroundsabout the role of art in the lives of indigenousAfrican people. The effectiveness of dance as ateaching method will be evaluated byMiss Primus through a-seriesof follow-up questionnairesdistributed to pupils and teachers. Miss Primus' study is beingsupported by a grant from the U.S. Office ofEducation. Additional funds have been provided by theUnitarian Universalist Service committee, a non-sectarianservice agency. Miss Primus, who has taughtanthropology at NYU, believes that non-verbalteaching methods and materials can be highlyuseful in schools, particularlyin the elementary grades. In teaching children about various cultures of the world, shestates that there is a great need today to extend thecurriculum materials now a. vailable to teachers.

A-1 "A well-conceived program of ethnic dance and music can provide pupils with emotional, as wel) as intellectual ties with another cultqc," she notes. "Often abstract intellectual appreciatio s not sufficient for thorough understanding. Through the study of a people's art, the intangible but vital parts of a culture can become alive to school children." Miss Primus believes that through dance children can be taught to better appreciateand respect the cultures of the world's people and thus enrich their own lives. Using traditional African art, Miss Primus is interpreting through dance and music some of the basic 111 cultural values of the indigenous people of west and central Africa. The presentation is accompanied by cj} her personal narration, intended to serve as a guide for the demonstration. Miss Primus does not envision a time when all elementary school teachers will become dancers, but she 11cl_ states that filmed and televised dance presentations and occasioial live performances by ethnicand creative dancers, and even by regular teachers should beutilized it for specific instructional units. "All teachers improve their capabilities to the degree that they are able to ii express themselves non-verbally aswell as verbally." Professor Ethel J. Alpenfels, anthropologist and chairman of Miss Primus's doctoral committee atNew York University, encouraged the artist to combine the serious studies of dance and anthropology. No advanced graduate student in the United States had done this previously, despite the recognition in the academic world that ethnic music and dance are significant parts of anyculture. Miss Primus, who is listed in "Who's Who in America," is married to dancer, Percival Borde and is the mother of a son in elementary school. ."I'm preparing myself to meet the real challenge of children's honest reactions 0 to this dance presentation," she says. A report on her dance wesertation as ateaching- learning experience is to be submittedto the United States Office of Education in the spring of1966. For New York University, the results of, this demonstrationwill serve as a pilot study forother' anthropological work dealing with better methods of teachingchildren about other people and cultures of the world --with special emphasis upon the various ethnic groupsin America.

A_2 Directql"._2f.DaatpiLLAttlIt=_ImatliaLca PEARL EILEENE PRIMUS

Pearl Primus, internationallyfamous American dancer, choreographer and anthropologist,Is an outstanding lecturer in the field ofAfrican ethnology and dance and has lectured atoutstanding universities and centers of learning throughoutthe United States, Europe, the West Indies, Mexico,Israel and Africa. She is listed in Who's Who inAmerica for her great contribution to American culturethrough the dance and has been initiated a member ofAlpha Kappa Delta, National Sociology Honor Society, GammaChapter of New York at New York University for"her great contribution tothe fields of Sociology andEaucation." Winner of the last grant fromthe Julius Rosenwald Foundation, Miss Primus has doneextensive research in Africa, has lived with the peoplein the interior villages, shared the experiencesof daily life with them and danced in their ceremonies. She has alto done re. search in the CaribbeanIslands and in the southlands of the United States. She has been presented withthe Scroll of Honor by the NationalCouncil of Negro Women "for superb creative achievementsin the art of dancing". She created a technique of dancebased on her studies of African, Afro-Americanand Afro-Caribbean life and founded her school of dancein New York. Miss Primus was awarded the Starof Africa by Dr. WilliamV.S, Tubman, President of the Republicof Liberiafor"her great contribution to theunderstanding of African culture through thedanceeand was renamed"Omowale" (Child Returned Home) by the Oni ofIfe, H.E. Sir Adesou Aderemi II, SpiritualHead of the Yoruba People, Nigeria, West Africa.

The artist-investigatorhas been awarded the"Page One Award" by the NewspaperGuild of New York "inspecial recognition of her faithfuland always pleasinginter- pretations of African culturethrough the medium of the dance." She holds the singularhonor of being among the last to dance at acommand performance beforehis majesty, the late KingGeorge VI of England. As a professional dancer, she hasseveral times toured the United States, Europe and othercountries of the world and was guest artist onthe record-breakingoff-Broadway concert series of herpartner, the outstandingperformer, Percival Borde. In private life sheis Mrs. Borde and the proud mother of a sonin elementary school. She has appeared as featured dancerin Broadway plays, ontelevision and in opera, and wasthe ethnologist, choreographer and assistantto the director of theBroadway

B-1 play nMr. Johnson". Walter Terry of the New York Herald Tribune hailed MissPrimus as "the distinguished exponent of Negro Dance". Mr. John Martin of the New York Times called her "the mostgifted artist.dancer of her race. But....brany standard of comparisonshe is an outstanding dancer withoutregard for race," Pearl Primus recatalogued the entireAfrican art col. lection of the Newark Museum, Newark,New Jersey and was ethnological consultantfor the Museum's Afriean Exhibit. She is an instructor of Anthropology,field services, School of Education, New YorkUniversity, has written and published many articles ondance and dance drama in Africa, and was appointed directorof the Liberian government sponsored project toinvestigate the status of the cultural arts inLiberia, She recently toured West and Central Africa on a culturalexchange project sponsored by the Rebekah HarknessFoundation of New York in cooperation with the UnitedStates Depart- ment of State. Miss Primus holds a B.A. in Biology,Health and Physical Education, from Hunter College, anM.A. in Educational Sociology and Anthropology from New YorkUniversity where she is presently a candidatefor the degree of Doctor of Philosophy in Amthropology. For her "contributions to the solutionof educational, social and cultural problems ofnational and international concern", Miss Primus was initiated amember of Pi Lambda Theta, Rho Chapter. This is a National Honor andPro- fessional Association for Women inEducation.

Miss Primus is also a member ofKappa Delta Pi (Beta Pi Chapter), an international professionalcoeducational fraternity in education whichendeavors to maintain the, highest edaational ideals. Pearl Primus was appointedDirector of the unique "Con . ference on InternationalUnderstanding Through Dance," sponsored by the School ofFine Arts, Wisconsin State University, Stevens Point,Wisconsin.

The artist-investigator hasjust completed a U.S.Office of Education researchproject in the "Integrationof Visual Form and AnthropologicalContent for use in Teaching Children AboutCultures and Peoples of the World." This pilot study wasconducted through New York University, School ofEducation. Additional funds were provided by theUnitarian Universalist Service Committee, a non-sectarianservice agency.

B.2 EDUCATIONAL BACKGROUND

B.A. Biology, Health and Physical Education Hunter College, New York

M.A. Educational Sociology and Anthropology School of Education, New York University Currently candidate fo::' the degree of Doctorof Philosophy, Department of Educational Sociology and Anthropology School of Education, New York University

OTHEa SPECIALIZED STUDIES: Primitive Art Columbia University Major: Arts of Africa, Arts of North and South American Indians, Arts of Oceania (Melanesia, Polynesia, Micronesia) Minor: Arts of the Middle East

Techniques of Scientific Research Columbia University Folklore Columbia University Choreography Private Specialists Techniques of Theatre ) of New York Theatre Dance Notation Arts The Art of Acting Voice Projection Pedagogy (Health and Physical Hunter College Education) Stage Design Creative Writing

World Drama New York University Creattve Arts for Children 11 11 Child in Society If Educational TV ft ft PUBLICATIONS

Published Articles "Spirituals & Shout Songs ofAmerica" (1948) Dance Encyclopedia, New York.

"Out of Africa"(1948) The Dance Has Many Faces, Walter S6rrell, WorldPublishing Co. 1951 edi.bLon, NM York.

"In Africa" (1950Oct.) Vogue Magazine, New York. "Earth Theatre" (1950Dec.) Theatre Arts, New York. "Earth Theatre of Africa"(1951 Feb.) ponthly Magazine, Brooklyn Instituteof Arts & Sciences, New York.

"Dance in Africa" (1957Dec.) Way Forum . World Assembly of Youth, Paris.

"Africa" (1958 March) pance_NasmIne,New York. "African Dance" Special Edition ofPresence Africaine under title Africa Seen byAmerican pegrota, Dijin, France 1stEdition, 2nd Edition 1963 StandardPress & Graphics Inc., New York City.

"Dreams and the Dance"(1964 Sept.) Monograph No. 8, Journal of the AmericanAcademy of Psychotherapists, New York.

Unpublished Articles "African Influences in theNew World"

"Anthropology as a CulturalTool for the Teacher"

Book, "EJccerpts From anAfrican Journey" Manuscript in preparationfor Seribners

"Dances of Carriacou"

"When People Dance"

uStories for Cliildren" November 1, 1965

Reverend Dana E. Klotzle Associate Director Unitarian UniversalistService Committee 78 Beacon Street Boston 8, Massachusetts

Dear Reverend Klotzle:

I am writing topersonally thank youand Reverend Har- rington for the grantwhich the UnitarianUniversalist Service Committee isgiving to PearlPrimus for as. sistance with herdissertation.As you know, MissPri- and Human- mus hasjust received one ofthe first Arts ities awards fromthe United StatesDepartment of Health, Education and Welfare, With this grantMiss Primus is to create, totest and to evaluate ademonstration of dance with lectureespecially designedby her for use in elementaryschool classrooms. One of her main ob. jectives is to exposechildren to thenon-verbal experience of dance as a meansby which they canbetter understand the Culturesof other people ofthe world.

However, while federalfunds will covermajor expenses of professionalassistants, consultants,transportation, supplies and partialsecretarial service, expensesfor could necessaryartistic equipmentand documentation not be met. The grant from theUnitarian Universalist Service Committee will coverthe cost andprofessional sub- execution of costumes,props, and scenery,a small for Miss Primus,honorariums for per- sistence allowance actual dance sons necessaryto the properrunning of the Most of all, throughyour helpthis pro- demonstration. beginning to end with ject will now bedocumented from and black andwhite. We at the photographs both color Miss University are mostgrateful. I need not describe Primus' reactions. needed and unique Miss Primus hasundertaken this much project as a pilotstudy for New YorkUniversity, School requirements of Education whereshe is nowcompleting the for the degree ofDoctor of Philosophyin Anthropology. She will include inher formal writtendissertation a qualitative analysis ofher findings. F..1.1...911/1INIFfnle A.1011111111111.101111111101=11 .MWRO?9 AMPAINNIMIT

The major objective of this pilotstudy is to demOn- strate the use of the visualand physical medium of dance as a teaching-learningexperience thereby improving and extending curriculumcontent of world cultures in elementary schools. This demonstration will integrate visual form andanthropological content as a means ofcommunication in transmittingculture values through the instrumentationof the human body, 6e 'The validity of this demonstrationwilliltested in fifteen elementary schools withchildren from different social and economic backgrounds. The project will be evaluated through a qualitativeanalysis of the answers on the follow upquestionnaires distributedto teachers and children. T-] As the chairman of herdoctoral committee at NewYork University, and the sponsor forthis United States government subsidized project,I am writing to thank you and ReverendHarrington for your helpin making this untque project acontribution to Americaneducation, Miss Primus will send you afollow-up letter explaining her project anddiscussing arrangements forreceiving this award, the type ofpublicity for the Unitarian . Universalist Service Committeeand performances for the Service Committee's AfricanStudent Fund. Sincerely yours,

Ethel J. Alpenfels Professor of Anthropology School of Education

Li EJA/j3g

C-2 ".," , Ue!TAttiiAhi , Quarter Centuryof Service UNNERSALIST Toward One Humanity

SFrr).- LACE a 78 BEACON STREET,BOSTON, MASSACHUSETTS 021 Telephone: 742-2100 (Area Code 617) PRESIDENT LOVI. IVUTTEE, 114C Harry R. Van Cleve t v VICE PRESIDENTS Carleton M. Fisher November 10, 1965 Jack Mendekohn, Jr.

SECRETARY Ruth Crary Young t /y Dr. Ethel J. Alpenfels TREASURER Rnbert Saltonstall Professor of Anthropology OARD OF LIRECTORS School of Education Officers and J. H. Auchincloss, Jr., M.D. New York University Lloyd Brown, M.D. Washington Square, Daniel S. Cheever Charles Doughty New York 3, New York Henry Franklin Donald S. Harrington Richard Henry Dear Dr. Alpenfels: Mrs. John A. Holabird A. J. Horn your.letter of November 1st, may Mrs. Verda Horne In response to William P. Jenkins I. report my enthusiasticendorsement for the plans 'Mrs. Max Kapp the Pearl Primus Project,which in ci Winston E. Kennedy you have made for Jack A. Kent many ways willexert a greater influence on inter- Kenneth Kindelsperger original project, William A. W. Krebs cultural relaticmships than the Walter D. Kring "since it will demonstrate the useof the risual and Fenwick L. Leavitt Samuel Z. Levine, M.D. I physical medium of dance as ateaching-learning Mrs. Charles T. Main, II experience thereby improving andextending curriculum Mrs. Howard G. Matson in elementary schools." Don- ;J M. Moreland t content of world cultures Mrs. David Ogden Mrs. Floyd Potts willingness to Donald Sabin I am deeply grateful for your Meyer Saklad, M.D. expedite and supervise this cooperativeproject. Frank H. Schramm Hugh Smythe Carlyle Stehman I regret very much that Idid not have the oppor- Mrs. Elbridge Stoneham t challenging Mrs. Ada Barnett Stough tunity to greet you following your Very Malcolm Sutherland address to the ReligiousEducation group at our May Kenneth B. White know that T Whitney M. Young, Jr. Meetings in Boston, but I do want you to Robert Zoerheide was themand enjoyed yourlecture very mucfi. (tMembers Executive Committee) I shall be in touchwith you later as plans EXECUTIVE STAFF other items. Willard Johnson develop regarding publicity and Executive Director Dana E. Klofzle Most cordially, Associate Director Harold J. Bejcek ..-- Associate Director for Development Eugene Teixeira V Director Public Relations Rev. Dana E. Klotzle Theodore C. Naughton Campaign Manager Societies Associate Director Theodore F. Klug Campaign ALsociate

PROGRAM DIRECTORS DEK/db Helen Fogg Mrs. Dudley Moore Richard L. Nash Alice Sheridan C- 3 Charles N. Vickery

CABLE ADDRESS: UNSERCOM BOSTON .G3Fo, 25 ,

BOARD OF EDUCATION OF THE CITY OF NEWYORK 110 LIVINGSTON STREET BROOKLYN , N. Y. 11201

BERNARD E. DONOVAN SUPERINTENDENT OF' SCHOOLS

November 8, 1965'

Dr. Ethel J. Alpenfels Professor of Anthropology New York University School of Education Washington Square New York 3, N. Y. Dear Dr. Alpenfels: You wrote to me onOctober 31 concerningMiss Pearl Primus who wishes to doher doctoral study inthe use of the medium of dance as ateaching-learning experiencein the elementaryschools. I am sure we would bewilling to cooperate withMiss Primus in this effort.I would suggest thatMiss Primus contactdirectly Miss Truda Weil,Assistant Superintendent,who is in charge of the elementary programof this city. Very truly yours,

ernard E. Donovan Superintendent of Schools

BED:al cc: MissTruda Weilf---(90 IF

-1 '419 BOARD OF EDUCATION OF THE CITY OF NEW YORK BUREAU OF EDUCATIONAL RESEARCH 110 LIVINGSTON STREET ROOKLYN I, N. Y.

ASSISTANT DIRIECTOR ASSISTANT SUPIERINTENDIENT AMUEL D. MCOLELL1 J. WAYNE WRIGHTSTONE

November 22, 1965

TO: Principals of Selected Schools

Dear Principal:

This is to advise you that MissPearl E. Primus, a candidate for the degree of Doctor ofPhilosophy in Anthropology at New York University school of Education, has receivedpermission from the Division of Elementary Schools and theBureau of Educational Research to conduct a research studyentitled,11 A Pilot Study in the Integra tion of Visual Form and AnthropologicalContent for Use in Teaching Chiliren Ages Six to Eleven AboutCultures and Peoples of the World;. Specifically, the preparation of aDemonstration of Dance with Lec ture on the Function and Use ofSculpture in West and CentralAfrican Societies%

If you am willing to cooperatewith Miss Primus you are hereby authorized to do so.

I have advised Miss Primusthat any report she may prepare for her university concernedwith the results of this studyshould not include any identificationof school or school personnel. I haVe suggesLed that a code system bedevised.

-Very truly yours,

Samuel D. McClelland Acting Director NEW YORK UNIVERSITY School of Education WASHINGTON SQUARE, NEW YORK, N.Y 10003 AREA 212 777-2000

September 22, 1967 TO WHOM IT MAY CONCERN:

Because of the integrity with which this Project, Integration of Anthropological

Content and Visual Form, was conducted, the late Dr. Joseph Loretan, then Associate

Superintendent of.Schools, Board of Education,

New York City, gave Me permission to mention,' the names of those principals and teachers

whose letters to me served as an aid in the

evaluation of this pilot study.

His secretary, Miss Mercurio, informed

me of this permission.

Sincerely,

//7'Pearl E rimus Project Director

D-3 1.1 ETHEL J. ALPENFELS - Project Sponsor

Professor of Anthropology, New York University School of Education since 1946 Nationally known authority in the field of social behavior Native of Denver, Colorado B.A.- University ofWashington, Seattle, Washington Elected Phi Beta Kappa Chosen by the American Anthropological Association for training in the field work Among the American Indians. Studied under the direction ofDr,Leslie Spier of. Yale University Granted a scholarship to the University of Chicago Fellow of the Encyclopedia Brittanica, edited the one million words lin Anthropology and recently wrote the articles on Anthropology in the Junior Brittanica Doctorate-Colorado State College, Greeley, ColoradO Taught at Beloit College, Wiseonsin and the Untversity of Wisconsin, Milwaukee Taught at the University of Innsbruck, Austria during the summer, 1955. Directed research on the racial origins of Europeans Directed Nom.York Untversity graduate workshops in Anthropology in Mexico, Peru, Scandinavia aAd Japan' Conducted tours in the Orient and Around-the-World for the Association for Academic Travel Abroad Research among the Modoc Indians of British Columbia under a Rockfeller grant Studied life of the Haida Indians of British Columbia Under the National Conference of Christians and Jews, carried out a three-year study on "Will Facts Change AttitudesVI Chairman of New York University School of Engineering SOLAR STOVE PROJECT to India sponsored by the Ford Foundation directing the anthropological team Li Member of the Board of Trustees and Chairman of Faculty and Student Affairs of Cazenovia College in New York Board of Directors of Academic Travel Abroad In December, 1963 became the first woman to serve on the Y.M.C.A.Is Board of Directors, Sloane House, New York City Served on the Danforth Foundation Scholar Program re- presenting the field of Anthropology at twelve selected Liberal Arts Colleges 1963-1964 Named Lecturer for the "Jennings Scholar Lecture" in Cleveland, Ohio, 1964, Did research paper on "Anthro- pological Factors in Food Selection".

E-1 ETHEL J. ALPENFELS.Project Sponsor

AWARDS:

1955 - "Woman ofthe Year" by theNational Association of Negro Women 1956-"Woman of the Year" and"Teacher of the Year" by the American Woents Association 1959 - "Judy Award" forteaching "Medal for Eminence inTeaching" by the National Pan Hellanie Society 1960.Elected InternationalHonorary member of the Delta Kappa Gaima InternationalTeaching Sorority -Tile Colorado "SilverDollar Award" for "out- 1963 , standing scholarship inAnthropology", presented at Colorado Women'sCollege, Denver, Colorado 1964-The Alpha Kappa DeltaMANKIND AWARD "in recognition of outstandingcontributions to Anthro- pology, Sociology, Educationand Humanity." (First award of its kind presentedby New York University Gamma Chapter) 1964-Montclair State College,Montclair, New Jersey established ALPENFELS'AWARDfor excellence in educational anthropology 1964.The "DorothyHutchinsonAward"by the Child Welfare League of America for"excellence in teaching", presented atHartford, Connecticut

PUBLICATIONS: "Sense and Nonsense AboutRace" (1957) - widelyused by school and churchstudy groups

"TheAnthropology of the HumanHand" (article) 1The Emergenceof the Modern Mind",University of' Pennsylvania Press "The American Woman, aChanging Image", BeaconPress "The Changing Role of theFamily", Report 46th Biennial Assembly, Washington,D.C., 1963 "The Hand of Man inCulture'and Society",Synopsis, New York University,Spring Issue

"Cultural Clues toReactions", (cancer) AmericanJournal of Nursing, April,1964

"In the World of Ideas,Lb Women Count?",P.E.O. Record, October, 4961!,

E-2 Copy - letter to U.S. Office of Education

"The precedent for accepting an artistic present. ation in partial fulfillment of the requirements for a doctor of philosophy degree from New York University, School (4 Education, was established on February 24, 1953. At tint time, I serVed as Chairman of the Doctor- al Committee of Portia Mansfield's filmed _Issert The Conchero Dancers of Mexico, filmed on location in niico City, Mexico. Dr. Mansfield received her degree June, 1953.

"Dr, Mansfield's successful completion of this documentary and its acceptance by New York University demonstrated not only the academic "respectability" of such a thesis but also the need for similar instructional materials for use in both the public schools and higher education. The financial costs of such a documentary are prohibitive to talented candidates. Further, the University requires a high quality of visual and technical skill as well as sound academic performance. Such qualifications are, perhaps, more rigorously observed than for traditional theses. The candidate must fulfill all the educational requirements for the doctor of Philosophy degree in addition to presenting the demonstration. "Miss Pearl PrimuS1 thesis differs from that of Dr. Mansfield in that the candidate herself will not only do the original research, collect the art forms, make decisions on the demonstration but, unlike Conchero Dancers, will herself perform. Further, a unique contribution will be in the collaboration between the Humanities through art objects, music and the dance with the Social Sciences, through anthropological concept and artifact. Her danced demonstration will.be under the direction of a carefully chosen committee from the departments of Art, Communication Arts and Anthropology with eonsultants from Fine Arts, the Dance and Anthropology. "In order to better understand the various ethnic groups which now make up the population of America, it is necessary to understand the cultures from which they originally came. The results of this pilot study will influence and guide a major educational presentation designed to provide elementary school teachers with more vital curriculum content and methods of presenting cultures and peoples of the world to their students." Ethel J. Alpenfels Professor, Department of Educational Sociology and Anthropology, School of Education New York University- Area Code 212 SPring 7-2000, Extension 201 7-1 PERCIVAL S. HORDE, outstandingdancer, choreographer, teacher and lecturer is aspecialist in the cultural heritage of the Peoples ofthe Caribbean as reflected in their dance and music. Born in Trinidad, he has doneextensive research in West Indian folklore andhistory with special emphasis on African influences. He has studied and performedwith the world authority on African danceand culture, Pearl Primus. He has appeared in conce-ts, ontelevision and has recently returned from 4 years ofindependent research in West and Central Africa, Among the countries in Africa whichhe has visited are: Senegal, Mali, Guinea, SierraLeone, Liberia, Ivory Coast, Ghana, Togo# Dahomey,Nigeria, Cameroon, Congo, Southern Rhodesia; Kenya,Uganda, Burundi. Mr. Borde has lecture. andperformed at such festi- vals as the Caribbean ArtsFestival, in Puerto Rico; The Virgin Islands Festival ofArts, in St, Croix, The Jacob's Pillow DanceFestival, in Lee, Mass. He present(a paper at theFirst Congress of African Art and Culture, inSalisbury, Southern Rho- desia, and has appeared incommand performances before the Heads of State of manyAfrican countries. At present he is executivedirector of the PRIMUS. BORDE School of Dance in NewYork City, a member of the dance faculty of theHaryou-Act Inc. Arts andCulture division and is on the staffof the Harkness School of Ballet. Percival Horde is also thedirector of a special project, Dance inEducation, sponsored bythe Rebekah Harkness Foundation at theClinic for Learning at New York University. He is an honor memberof ALPHA KAPPA DELTA - Gamma Chapter . New YorkUniversity, where he is presently enrolled in theSchool of Education,specializing in Cultural Anthropology. His latest production,"BLACK RHYTHM", was presented last springOFF-BROADWAY at theCircle-in-the- Square, and the GramercyArts Theatres with his full company of dancers,musicians and singers.

G THE PRIMUS- BORDE SCHOOL OF DANCE

17 W. 24th ST, NEW YORK, N Y10010

The Primus-Borde School of pance offers ADULT COURSE. Classes in the Funda- a full course of training in mode.aland eth- mentals of Movement and basic Primus nic dance to both children and adillts based modern technique for adults without pre- upon the Pearl Primus technique. ThePri- vious training. mus Technique is a uniqueatfd dynamic dance expression inspired by the deep power Classes are also offered by the school in of authentic African ceremonies. It was de- Steel Drums, Traditional Drums, Carib- veloped after years of careful research into bean Dance and Adult Exercise: A "Cul- the rhythms of the Caribbean Isles, the Spirit- tural Bridges" Lecture Series is offered by uals, the work songs, the blues, the swift pul- the school weekly in the evening. The sating jazz and the modern dance forms of series presents outstanding guest lecturers America. Ballet is also offered for children. on dance and associated subjects. Careful attention and personal direction are given every student in preparation for a pro-THE FACULTY fessional career or for augmented dance edu-PEARL PRIMUS is an internationally fa- cation. The Primus-Borde School of Dance is ous dancer, choreographer and anthropolo- the official school of the African-Caribbean- ist, as well as. teacher. She has done pioneer American Institute of Dance Arts, Inc. work in the ethnic sources of modern dance, and has done extensive research in Africa, the COURSE OF INSTRUCTION Caribbean and the United States. She has been awarded the "Star of Africa" by Liberia The Primus-Borde School of Dance offersfor "her great contribution to the under- dance instruction in four divisions. standing of African culture through the dance." She created the Primus modern tech- 1. PROFESSIONAL COURSE: For the ma-nique taught in the school, of which she is ture student of Intermediate level orthe Artistic Director. above. Includes training in Primus mod- em techniques, African, Caribbean, BluesPERCIVAL BORDE is an outstanding and Jazz. dancer, choreographer, teacher and lecturer, specializing in the area of Caribbean dances 2. CHILDREN'S COURSE. Training inand their African origins. A native of Trini- Primus modern technique and ballet. Indad, he has done extensive research on West four divisions for ages 4 through 12. Indian folklore and history. He has presented command performances before the Heads of Li ,3. TEEN-AGERS' COURSE. Training inState of many African countries. He has also Primus modern technique for ages 13appeared on Broadway and on television. In through 16. private life, Miss Primus is Mr. Borde's wife. NEW YORK UNIVERSITY SCHOOL OF EDUCATION

WASHINCTON SQUARE, NEW YORK, N.Y. 10003 AREA CODE 212 SP 7-2000 COPY September 22, 1967

Professor Ethel J. Alpenfels School of Education New York Univerdity Washington Square New York, N.Y. 10003

Dear Ethel: I write you to saythanks once again forall your help and understanding during oneof the most intenselylived periods of my life. This project with all ofits rami- fications has been anexperience too powerful to ever be forgotten. Many times You gave me theencouragement to continue seeking, through the dance,the intangible essenceof a people'sculture, to dress in newraiments one of man's most ancient techniquesfor teaching his young and to present this in amagic capsule which wouldde- monstrate one possible methodof helping to revitalize the curriculum in elementaryschools. Together we rejoiced when theproject emerged into real. ity. One last task remained -the writing of a final report within the confinesof an objectively prescribed, academic outline. The emotional impactrof theproject made this seem impossible. The iridescence of the projectstill glows in the hearts of all the children who haveknown it. Children are close to the core of truth. The wonder on their faces, the alert brilliance in their eyes,the reaching and searching of their entire bodieswould best explain "results". Their own creative response to acreative challenge would give answers moreaccurate than the words of my pen.

As if the emotional impaot of livingwith this project were not enough to make ascientifically sound report seem impossible, theartist and scholar clashed inme! The Artist argued that a work of artshould speak for itself; that it was the artist who hadenriched this program with creative experiences noreport could truly (cont.) (See Intro. p. 7,8) I-1 Procedures original

a, Pre-presentationphase 1,) Conferences with educationaland professional advisOrs concerning thescientific nature of thit project and the bestmethods of achiev- ing the desiredresults are in progress. The artist-investigator and thechairman of her doctoral comniittee meet atleast twice each week and supplement thesemeetings by numerous telephonediscussions. Other conferences involving the artist-investigator,the chairman of her doctoral committee andprofessors in the departments ofAnthropology and Socio- logy, Art, Communicationsand Human Relations are also'in progress.Meetings with various specialists in the field of Africanart, dance, music and drama are beingarranged and will begin on approval of thisproject. This phase will involve travelingto the specialists. Proper presentation locale willbe decided upon, 2,) Select representative pieces ofAfrican sculpture for their useand/or their function in their original societies, The selection of the pieces will be influencedby the overall objectives of this project. The sculpture ii will be chosen by theartist-investigator to achieve the greatest possible rangeof culture values in West and CentralAfrican communities, such as emphasis on legend as atool for educating the young as depicted inthe Mano dance dramas using the carved staff;belief in the ancestor as portrayed by thedouble-headed axe of Shongo (Yoruba); passageinto adulthood as expressed through the initiationmasks of the Bapende. Sources of sculpture to be used are: Museums (Museum of Natural History, Museum of Primitive Art, Brooklyn Museum, Newark Museum, Philadelphia Museum) Tribal property (Because of the artist- investigator's status in the tribal life of certain areas in Africa, objects not ordinarily seen will be made available to her.)

J-1 Procedures (contd The artist-investigator'sprivate col. lection of uniqueAfrican art. The private collectionsof such persons as Dr.Wingert, Professor,Fine Arts and Archeology, ColumbiaUniversity. Photographs where theactual object is not available.

Since research for thisproject has already been completed andsince locations of repre. sentative sculpturedobjects are alreadyknown, the gathering andselection of the objectswill take approximatelytwo weeks. The term sculpture asused in this project re..w fers to any threedimensional object inwood, metalb fiber, stone,clay, ivory or bonewhich has been carved,molded, cast or wovenby man.

Delimitation: The study will concentrate onobjects of antiquity, Each object dealt with will be representativeof the tradition. al form and will havebeen used by the people and not carvedfor sale.

The specific art objectswill be limited to sculptured formsfrom that part of Africa known in theculture area concepts as WesternSudan, Guinea Coast and Congo, These are the threemajor art producing areas ofAfrica.

3.) Choreograph the dancesfor the demonstration using authentic andcreative.dance, music, dance-drama and ethnicthemes, The sculpture will be danced withemphathis on life in the specific community at thetime of the active functioning of the object. The artist-investigator has already beenengaged in the creative process of choreographingthe dances. The basis of her own techniqueof dance was derived from a comprehensivestudy of the sculpture of Africa, (The basic positions of body parts in the techniqueWhich the artist- investigator has evolved arebased upon the positions of the correspondingparts in African sculpturc. She not only studied theobjects in specialized coursesin universities, various museUms and privatecollections but observed them, functioning attheir source in the interior villages of Africawhere she, herself, is amOng dancers. cLI considered "Jaibundu", first The study of anthropologyhas enabled her to

J-2 Procedures (cont.)

probe beyond therhythmic action of musclesin dance into the relationshipof intangible elements in a society whichmake up the culture of a people.)A time limit of fourweeks is estimated for furtherwork on choreography.

4.) Prepare the syllabu6which will accompanythe demonstration and will bespoken by the artist- investigator. It will be oriented forthe elementary schools but willhave meaning for all levels of education. It will act as an educational guide post forthe child and theteacher. Based on accurate researchdata, the outline will be writtenapproximately two weeksprior to the actual workwith group choreographyand will be revised asneeded during theentire period of rehearsals. The outline for this syllabus must beapproved by the committeefor the doctoraldissertation and theval5dating committee of specialistschosen by NewYork University from the fieldsof Anthropology, Dance, Art, Music andCommunications, These specialistsy the doctoralcommittee and the artist-investigator will commencework on this outline upon approvalof this project.

5.) Rehearse a speciallychosen group totake part in this demonstration. This group will in . elude theartist-investigator three dancers, two musicians, onesinger. TI'Iese persons will be those who havebeen trained inthe dance technique of theartist-investigator and have worked i7 the mediumof creative andauthentic African ethniC dance. The actual workwith performers andmusicians will begin onap- proval of thisproject. The rehearsal phase will take approximatelyfour weeks.

6.) Prepare costumes, props,sets, etc. for the most effectivepresentation. This phase will have begun indesign with theactual choice of sculptured pieces andthe determinationof the form of the dancesaccompanying them. All costumes, props, sets,etc. will be asclose to the authentic asis possible. Since' this projectis conceivedespecially for children of elementaryschool level inAmerica, it is necessaryto artisticallyinterpret the authentic forms ofthe Africansocieties by the in this use ofmeaningful symbolsfor the child society.

J-3 Procedures (cont.) Costumes, sets and props cannot belisted here since what they will be must bedetermined by the actual pieces of sculptureinterpreted (see Procedure 2). All costumes, sets and props will be designed by the artist-investigator in cooperation with herconsultants. Some will be furnished from her personaleffects. All sculpture, costumes, sets and propsused in this pilot study will beintellectually and norally in keeping with the highartistic standards of the artist-investigator, The time involved in the execution ofthis phase will be Oix weeks andwill be concurrent with choreogxaPhing and rehearsals.

b. Presentation phase will bedivided into two categories: 1.) Presentation before the sponsoringand validating committees. This will involve the proper projection ofthe finished demonstration before the doctoral committee and avalidating committee made up of eminentspecialists in the fields of dance choreography,African sculpture and music. The sponsoring committee willde- termine whether theartist-investigator through the dance and s:llabus hasgiven a scholarly accounting of the functionand use of sculpture in African society. The sponsoring committee will confer with the validatingcommittee to determine whether this work is onthe highest artistic level. The artist-investigator will be prepared to answer anyquestions on the dance, the sculpture, the music,the presentation and the syllabus. The demonstration will last30 minutes and its presentation will be repeatedif the sponsoring committee so requests.

2.) Testing phase involving the students. If in the opinion of the sponsoringcommittee this pilot study has achievedits educational ob. jectives, it will be takento fifteen schools where children, ages6.11, and their teachers will observe thedance demonstration. Each school will be dividedvertically into two groups. One will observe; the other will be the control group. In this way, 4one-half of the students in each classwill observe the presentation. The teachers will be divided at the discretion-of the-principalof each school.

J-4 Procedures (cont.

The schools will be chosen from different econoMic, geographic and social areas.

0. Evaluation phase will involve thedistribution of questionnaires to schools where the demonstration has been presented. (It has been suggested that this test for reactions be given.to the child immediately after he has seen the demonstration. In this way, discussions between tested and control groups are avoided and the validity of thetest is greatly. preserved.) This phase also involves the gathering of questionnaire. When the questionnaires have been returned, each membel4 of the sponsoring committee will study the answers. Through scientific analysis of the answers, this pilot study will bere-evaluated by the sponsoring committee and a select committee of New York University professors chosen from the departments of Anthropology and Sociology, Art, Communi- cations and Human Relations. A report on this pilot study will be written and used as a guide for the major educational presentation aimed at improving the curriculum content and method of teaching elementary school children about the cultures and peoples of the world If;.th special emphasis upon the various ethnic groups which make up the population of America.

The time required for the completion of thispilot study is twenty-two weeks. .This will consistof nine weeks for the pre-presentation phase; twoweeks for the sponsoring and validatiing committees and fourweeks for the school demonstrations(fifteen schools, i.e. four schools per week) during the presentationphase; five weeks for the evaluation phase and two weeksallowance for contingencies.

J-5 COPY

October 27, 1965

Dr. Joseph Loretan Board of Education 110 Livingston Street Brooklyn, New York

Dear Joe: I called your office a few days ago to inquire as to where requests for cooperation on research should be channelled. They felt that this particular one should be direeted to your attention. Pearl Primus received a grant from the Office of Eduea- tion to undertake this project in fifteen elementary schools. Pearl has worked with several principals on an inforial basis in the past and has been received by them very favorably. She would anticipate no trouble getting their cooperation, providing the Board of Edu- cation gives its approval to the project. I was suf- ficiently impressed with the possibilities of it that I was willing to sponsor it from the Human Relations

^ Center. It is not anticipated that all the schools would be in New York City; however we would like to involve some of the wonderful principals with whom we have worked. Sincerely,

Dan W. Dodson Director DWD:BP Enclosures

K-1

J.. NEW YORK UNIVERSITY SCHOOL OF EDUCATION

WASHINGTON SQUARE, NEW YORK, N.Y. 10003

AREA CODE 212 SP 7-2000 Copy of questionnaire to be anugered by children in 5th and 6th grades after they have seen the program (one week to three months after the presentation). More space was allowed for answers. These questions were also used for taped interviews with 3rd and 4th grades.

Here are some questions about the dance programs on Africa:

1, Would you like to live in a village in Africa?

2, What did the story-teller in the dance program say about children all over world?

3. Do you agree with her?

4. Give one reason for your answer to question #3.

5. What part of the entire dance program did you enjoy most?

6. Why did you enjoy this part so much?

7. Did you see anything on the program which reminded you of your home? Explain your answer.

8. Did you hear anything you have ever heard before? Explain your answer,

9. While the program was going on, did you feel anything you have ever felt before? Explain your answer 10. Do you think that dance can really tell us about people? 11.. Please explain your answer to question 10. 12. Is there anything that you really ever wanted to tell about in dance?Please explain your anawer. Thank you ever so much for all your answers. After we read them we shall be able to make the program even better. If you have anything else to tell me about the program, please do so in the space below.

(

L-1 NEW YORK UNIVERSITY SCHOOL OF EDUCATION

WASHINGTON SQUARE, NEW YORK, N.Y. 10003

AREA CODE 212 SP 7-2000

September 30,1967

Dear Pearl: Your recent letterevaluating your Projectis a sensitive statementof the very real problemsarising out of a "clash"between the artist andthe scholar, You are nowfaced with the job ofsumming up and com- pleting an evaluationthat will be bothacademically sound to the educatorand, to the artist,profession- ally and emotionallysatisfying. However, I feel that yourrole has been far more than either artist orscholar. In fact, looking back to those earlyconfOences in planning yourproject, I, too, would haveunhesitatVy labelled your role as artist-scholar. But, having observedthe demonstrations, followed yourcreative thought as you made changes, talked with tpachersand children, felt the impact of what you wereaccomplishing, I now prefer to label your roleteacher-artist or, if you wish,artist- teacher. The artist does indeed comeinto the classroom with color, and children areattracted in numerous ways. However, such aneducational demonstrationbrought in by the artist must alsoreinforce what the teacherdoes in her every dayclassroom situation. You took this into account in yourplanning. Your deep concern now about what happens aftet youleave the classroom under- scores, Ithink, one of the mostimportant outcomes of the Project and one forwhich educators have long sought answers: How do you prepareteachers to utilize and incorporate intothe life of the school therich content and the soundeducational techniques such as you demonstrated? Few artists are asqualified as you are to interpret dance, musicand legends to children. In what ways can your lesson becommunicated to more teachers after your visit? Your study in the integrationof visual form and , -

-2-

anthropological content demonstrated and communicated to the children what an important part art forms play in the total round of daily life. Here, in the United States, art is separate and apart rather thana vital part of life. Your approach broke down the rigid dichotomy that exists between such conceptsas work 11 or play, between science and the humanities, between even the varied art forms, One goes to the opera, attends a theater but separates the visual from the performing arts. The way in which the humanities support science must be communicated to teachersso that they, in turn, will see the importance of such integration and make it a part of their teaching.

As an anthropologist your springboard into the classroom quite properly utilized the potentials of a discipline that is both a natural and .a cultural science. Focused as it is on "mankind", Anthropology strives to demonstrate two things: the differing ways of life in widely separated societies while, at the same time, pointing out the common denominators in human behavior. Through the dance, oral literature, music, and visual art, you carried the aims of anthropology one step further: you demonstrated the great diversity that exists in professional areas and integrated art and science into an exciting experience Tor -61-inaren.

This larger integration of art and science is even more significant, I believe, than what you originally set out to do, namely, the integration of visual form and anthropological content. For art is bound up with life-they cannot be separated. The teacher needs to be reassured that this union can work in her classroom. The children are ready. You proved that. Now it is the educator who must make use of what you have found out and the many techniques you have developed in the process of planning and carrying through this Pilot Project. ii Best wishes,

Ethel 3, Alpenfels EA:EG Professor of Anthropology

/1-2. -Swords into Plowshares' Isaiah iV

DONALD SZANTHO

0'1 MELVIN C. VAN Olt MmIsterto RICHARD Mini BERJOUH Minister t Molssaye MransSculptor 8 October 1965

Dear Pearl:

This is just a brief note to tell you how happy I am that the grant from the Unitarian Universalist Service Committee of $49000 is on its way. I. am so glad we were able to hang on to it over these intervening years, and that the project has made such good progress.

When I was talking with Dana notzle the other day, he asked me whether I thought it would be possible to get youand Percy to do a benefit concert for the Service Committee's African Student Fund, perhaps in the early part of next March, similar to the one you did at the church a couple of years ago. The African Student Fund of the Service Committee is for work with the unsponsored AfOxan students in this a)untry who get into one or another kind of difficulty.We would get up a committee of people from all the Unitarian Universalist churches around New York, and so call upon a much wider constituencythan that which came to the concert two years ago. Do you think this would be possible?

Vilma was saying to me the other day how much she wished we could see each other more often. I guess we are all awfully busy, but me do hope to see you beforelong.

Our love to you and congratulations!

Always yours faithfully,

Donald Szantho Harrington

Miss Pearl Primus 17 West 24th Street New York, N.Y.

N-1 DEPARTMENT OF HEALTH, EDUCATION, AND WELFARE OFFICE OF EDUCATION WASH I NGTON. D.C. 20202

December 3, 1965

Miss Pearl Primus Department of Anthropology New York University New York, New York 10003

Dear Miss Primus: Es Your presentation at the Little Red Schoolhouse

yesterday was magnificent. Despite the difficulties pre-

sented by cramped space, illness in your company, and the

uncertainties of a first performance, the program was very

effective. I feel certainhat the photographs Mr. Manos

made will illustrate beautifully the article we are pre-

paring for American Education.

It was. a pleasure to meet you, Mr. Borde, and

your company.

Sincerely yours,

Patricia L. Cahn Editorial Consultant American Education

0-1 An Article from "The Parent Parent"

A review of the first Demonstrationof the Pro- ject, December 2,1965 at the Little Red School- House.

On Thursday, December 2, PearlPrimus and members of her dance company created abit of Africa for us at Little Red. As the first of fifteen schools thatwill be participating in this teachingexperiment, we were truly privileged to be taking part.After an hour's magic, the children returned to thereality of the r auditorium with the greatest reluctance. At first we saw only a stage with twoconical grass huts at the side and a grass fencein the background. But when the lights went out, the drumsbegan...and there was Pearl, joining the rhythmin dance and ges- ture, in words And rhyme; to weave aspell, "let's take a trip, no matter how, upcountry, to Africa." Sudden. ly the village was alive with men and women,singing as they danced, dancing asthey did their daily tasks. And then began the story ofMr. Spider whidh was to ap- pear and reappearthrolIghout the prOgram, the thread around which the dances were woven. It seems that long ago, before our mother, or ourmother's mother, or our mother's mother's mother, Mr.Spider had no waistline tale that mothers . and so began the classic African tell their children when they,like children all over the world, don't want to goto bed. Mr. Spider lived to eat, narrated Pearl, andwhen famine came to the land, he had to leave the villageand begin a never- ending search for food. We followed him on histraUL iels. Singing and laughter were heard.and,reasoned Mr. Spider, where there was laughterthere were happy people and things to eat. With drums and song, girls practicing their engagement danceappeared. We watched them, enchanted. Then Mr. Spider took us on. Pearl explained next about theZoe mask which taught the people how to live; howto grow from childhood to adulthood: "Today a child; tomorrow theworld is yours." The dance she did invokedthe earth for strength, the heavens, thedrums, the palm trees. A- gain the wandering Mr. Spidertook up his search for food. He was set upon from allsides, first by a woman in a hornedanimal mask, then by a figureclad as a palm tree,and last by avillager who chased him with her broom. But the tableswere turned, to the delight of the children, andaftermuch squealing the woman was frightened away,

Next two drummers playedalone in mounting rhythms, creating an audience of openmouths and tapping feet. Pearl explained how African drums weremade, carved from tree trunks, some huge, somesmall, some plain, some adorned withmasks and animals. She explained how African dances make useof everyday artifaCts: drums, masks, plates, staffs,and dolls. Then she des- cribed how African childrenimitate their mothers and carry their dolls qntheir backs just as little girls in this country copy theirmothers and hold their dolls in their arms, "Naw where is thatMr. Spider?" asked Pearl. Once a- gain we followed him, this timealong a road that a bride was taking, going to herhusbandts.home. She was accompanied bytwo women who danced before her and a third who followed,bearing her possessions. Next a Woman sang a "crying song" of thesort that mothers all over the world sing whentheir child is ill. Then we traveled to anothervillage where people were sing. ing, Hungry Mr. Spider entered, searching asusual. This time he knocked at the door of ahome and, in A- frica, when guests invite themselvesto dinner, they must be fed. But the spider made a greatmistake this time. Tempted by the smell of food in aneighboring village, he did not stay to eatin the first one. knocking at a door in the secondvillage obligated him tO eat there as well, and sobegan a tug of war hei.- tweenthe two villages aver theirfickle guest. And his waistline. This that . . . is haw Mr. Spider got was technicallythe end of the program, butthe dancing and singing continuedthroughout the curtain callsand everyone hopedagainst hope that it would go onand on. NEW YORKUNIVERSITY SchoolofEducation WASHINGTON SQUARE, NEW YORK, N.Y.10003 AREA 212 777-2000

Office of Educational Research Services

Miss Pearl Primus 17 West 24th Street New York, New York 10010

Dear Miss Primus,

The performance of the VisualForms Project at the Little Red School House w..s anextremely fine performance. I noted the intense attention of bothall the students and their teachers. I believe that thevitality of the music, the lyrics, and the costumes could verywell improve the way in whichchildren learn about cultures other thantheir own.

I also noted that the teachers werequite interested in understanding how your performancescould be used in a variety of instructional areas, such as: social studies, language arts, music and art.With proper supervision and alittle more extensive preparation, theVisual Forms Project can make a great contribution to elementary education.

We are pleased that thisproject is underway here at New York University and we areready to provide you with all the help you need to continue yourwork.

Yours truly,

c) 7 Joseph J. Azzarelli Director

JJA:kb

P-1 THE IRVINGTONBOARDOF EDUCATION

and THE FEDERAL GOVERNMENT (Title Ill, Elementary and Secondary Education Act)

present Percival Borde and Company

in THE TALKING DRUMS

Credits Artistic Director and Choreographer Pearl Primus Special Choreography: Bongo, Yanvalou Percival Borde Costumes Pearl Primus Drummers Alphonse Cimber, Thomas Duval Dancers Vivian Lewis, Barbara Gordon, Sue Brown Music Traditional Management Frances Schram, New York, N. Y.

Irvington High School Auditorium NOVEMBER 18, 19678 P.M.

LII Copy of Letter

Miss Pearl Pritus 17 West 24 Street New York City

Dear Miss Primus, Before leaving for my trip aroundthe world on Sunday, I want to write you toreaffirm my interest and enthusiasm in participatingwith you in the U.S. Office of Education project wediscussed. Ever since its inception, Woodward,Schoolhas considered as its main goal and raison d'etrethe teaching of betterhu- man relations. We have constantly andceaselessly sought new techniques ofteaching young children the importance of understandingtheir awn culture andthe culture of other people. The Staff at Woodwardfeels that the greatest andmost critical unsolvedworld pros- We have 'Ilmm is that of peopleknowing one another. tried, in our small schooland with children of nurE-,ry and elementary school age,to implement thebasic concepts of the samenessand differences among us. As you know, we:lave maintained anatural level of Negro- white integration ofone-third to two-thirds andthis has befm one way ofstartirg the process. And now you come along withthe most exciting idea I've heard in a long time! To work with children, teachers, student-teachers,and parents on a contin- pus projectthat will correlate withthe school curric. on a daily,almost hourly basis. Fo--; children to learn empathy for aforeign culture through the arts and through thedance is nothing less than anin- spiration! Having seen their faces, theirpaintings, and having heard theircomments when you and the com- something that fl pany came toschool, I feel we have will bear watching. I reported the whole ideato the Staff at our end of yearmeetings and I was commis- sioned to tell you thatall classroom teachersand specialists will welcome youeagerly and cooperate in time, effort, and talents. I'm sure you agree wewill work hard and find many rewardsand frustrations. Working with people and with attitudes is not anexact science. We'll

R-1 fri t t

hope we've taught our children something but we may ITS fir t hard to prove it in charts and tables. We'll watC:, eyes, and faces, and smiles, and bodies and we'll wonder if these children will be able to do better than our generation could do. At least, we will have exposed them to peoples, ideas, and ways of living we never got to know about. Having worked with elementary school children for thirty years and having seen my own early attitudes changed by education, I can only say that I have great faith in your wonderful ideas. I am eager to plan and implement these with you and look forward to September when we can start. I hope you can complete all the planning by then and that the U.S. Office of Education will have given us the necessary approval.

With this in mind for the fall, I look forward with deepened insights to my trip to the far East. Of course, I can only be a tourist but I hope that our discussions will have given me new eyes to see the many strange lands I shall visit.

I'll call you first week in September. Have a wonderful summer.

(signed) Gertrude H. Goldstein Director Woodward School

Director's Note: The original is on file in the director's office.

R-2 041

Isitt:th I I- IV

DONALD SZANTHO HARRI

MELVIN C. VAN de WO Ministertothe Con MCHARD D.LE Ministaa t 'dr TJ %.011G VILMAmonHoHARM MhtMer W College

JOAN Mos ssaye Mara.vsSculptor memmrshipi June 14, 1966

Miss Pearl Primus 17 West 24 Street New York, N.Y.

Dear Pearl:

JUst a note to indicate#hat Dr. Donovan has said about your work. I am writing also to every member of the Board of Education, and to various other assistant superintendents. I hope that at some point you will be hearing from them, and 'Oat areally massive effortwill become possible.

Our love to you and Percy and Unwin, and all of your artists. You are doing something great ana unique, and you must not get discouraged!

Our love to you as always,

Yours devotedly,

S-1

a. I% DI I A 1rI .s ii 1 Len 5 411500 Excer ts From a Letter July 15, 1967

Dear Miss Primus:- Your work with Elementary Schoolchildren came to our attention through theARTS AND HUMANITIES PRO- GRAM of the US Office of Education. We have the re- ports of the enormouslyexciting Project: "Communi- cation in Visual Forms" which youcarried on with such success in NewYork Schools. I also have the impression that you have been doingfurther experimentation in teaching on Long Island, morerecently, under either Title I or Title III for schools withdisadvantaged children. Our program is a performing artsschool program for the children of NewMexico, an outgrowth of the YOUNG AUDIENCES, Inc. school concertmovement which I helped to initiate in Baltimorein 1949. In the Southwest we have been bringingperform- ing arts presentations for thepast six years in a growing movement which in thepast two years has been financed in part by the new educationgovernmental grants. - ...... We believe that the SpanishAmerican children and Indian children(They predominate in our schools in the northern regionswhich are located in isolated rural communities) gain a greatdeal from their ex- posure to "live",skillfully presented programs some of which acquaint them withthe best aspects of their awn cultural heritageand others, which show thechil- .dren that many cultures fromall over the world have similar elements. The African rorthms and traditions of dance and ceremonycontain especially meaningful elements of for our students.

I ...... Would you be interested intaking part in a two week or three week seriesof concerts in the Santa Fe, Albuquerque and NorthernNew Mexico Schools areas? Mrs. Charles Collier Chairman, YOUTH CONCERTS of New Mexico, Inc.

T-1 Arlington Toutttg Public ripitutos

4751 2581 forte Noel,

Arlington, Virginia 22287

(Mee of the bupertatenbesd March 31, 1967

Miss. Pearl Primus Department of Educational Sociology andAnthropology New York University S.chool of Education WashingtonrSquare New York, P.Y.

Dear Miss Primus:

I have read with great interest thedescription of your Africandance program before the schoolchildren in New York. Some of our general elementary supervisorshave also read "An Inheritance Comes to P.S. 83" in American Education,February 1966.

It is our desire to see thisprogram made available to schools throughout the country. Could this program be puton 8 or 16 mm. film?This would give themany children throughout the country the advantage of seeing andunderstanding something of African culture as perceivedthrough the medium of dance. It could be a tremendous advantage forAmerican schools in the study of other cultures and anthropology.

Perhaps the U.S. Office of Educationor the Encyclopedia Brittanica would be interested infunding such a project ifyou would be willing to make the film.

I would like to knowyopr reaction to this proposal.

Ver truly yours,

4,4 Lucille Mitchell Elementary Supervisor

LM:er

U-1 PITTSYLVANIA COUNTY SCHOOLS CHATHAM, VIRGINIA

March 7, 1967

Miss Pearl Primus The Primus-Borde Dance Studio 17 West 24th Street New York, New York 10010

Dear Miss Primus:

I have received information from the National Conference of Education of the Disadvantaged explaining the performing arts under Title I.

I am very interested in the culture of the deprived child, and would like further information concerning your dancing demonstrations.

I would also like to know if you could perform in each of our eight (8) elementary consolidated schools under this program. Please include in your reply our obligations to you if this request 0.s feasible.

Yours truyt,

(Mrs.) Hester S. Wallace, Elementary Supervisor

HSW: .cdf

V-1 DEPARTMENT OF HEAILT,H, EDUCATION, ANDWELFARE OFFIC bF EDUCATION WASH IW3TON. D.C. 20202

SEP 1 1966

Miss Pearl Primus and Members of Vanguard Projects Primus-Borde Dance Studio 17 West 24th Street New York, New York 10037

Dear Miss Primus:

May I on behalf of the staffof the Office of Education and myself thank you and members of the VanguardProjects for your assistance to theNational Conference on Education of the Disadvantaged held at the MayflowerHotel, Washington, D.C., July 18-20.

You made q splendid culturalcontribution to the National Conference. In addition, you demonstrated andoffered useful ideas to the conferees for initiating andimproving Title I programs in the performing arts.

Please accept our good wishes.

urs,

Hariowe II U.S. CoMinissioner of Education

ii V- 2 u:-