The Music Center's Study Guide to the Performing Arts

DANCE

TRADITIONAL ARTISTIC PERCEPTION (AP) ® CLASSICAL CREATIVE EXPRESSION (CE) Artsource CONTEMPORARY HISTORICAL & CULTURAL CONTEXT (H/C) The Music Center’s Study Guide to the Performing Arts EXPERIMENTAL AESTHETIC VALUING (AV) MULTI-MEDIA CONNECT, RELATE & APPLY (CRA)

ENDURING FREEDOM & THE POWER THE HUMAN TRANSFORMATION VALUES OPPRESSION OF NATURE FAMILY

Title of Work: poured like raindrops onto and into my being. I have African Roots in American Soil danced on the dusty earth and the sound of my feet Performed by African American Dance Ensemble pounding against the earth brought the rhythms of life Creator: into my blood. The elders applauded and I fell down and gave thanks.” After two decades of building his company Choreographer, ethnologist: Dr. Chuck Davis b. 1937 in New York, he returned to North Carolina to start a Background Information: second company, the African American Dance Ensemble, Chuck Davis, a towering African American dancer and which he currently directs. He works energetically to bring choreographer, was born on New Year’s Day in Raleigh, all people his message of “Peace, Love and Respect for North Carolina. He states, “I came from a background Everybody” through dance. which was poor financially, but rich in love. I love my About the Artwork: family and the spirit of unity in the community.” His During the infamous ‘Middle Passage,’ black people first dance break came when he filled in for an injured were transported to many places and carried the genes member of the Richardson Dancers in Washington and customs of several different racial and ethnic groups D.C. He continued to dance with the company, but did with them. Mr. Davis meticulously studies the specifics not gain professional status until 1959 when he joined of each and then shows the blending of these different the Klara Harrington Dance Company. He performed cultures. The African diaspora (scatter widely) means with a number of modern, jazz, Afro-Cuban and that there is a connection wherever black people went. African companies, working with such people as Pearl This would include all of the dance styles from countries Primus, Bernice Johnson, Olatunji and Eleo Pomare, to such as Brazil, Cuba, Haiti and black Africa, as well as name a few. In 1968 he founded the Chuck Davis those from black America. Dance Company in New York, prompted by his disdain for the way black people were portrayed in Tarzan Creative Process of the Artist or Culture: movies. To fight this injustice, he set out to portray the Mr. Davis believes that “To understand the culture, truth about black culture through dance. An intro- study the dance. To understand the duction to Charles Reinhart in 1972 gave him his dance, study the people. A person chance to spread his message through the national with no heritage knowledge has a Artists-in-Schools program, as a faculty member at The rough future in store.” American Dance Festival, and later as a member of the New York Duke University dance faculty. In 1977 he took his first N. Carolina trip to Africa and also founded the annual DanceAfrica festival sponsored by the Brooklyn Academy of Music. Photo courtesy of Chuck Davis Many benefit from Davis’ long experience and exten- “My one goal is to service humanity sive research in Africa. “I have gone to Africa and I have through dance.” sat at the feet of elders and I have listened as their words Chuck Davis Discussion Questions: self-determination, collective work and responsibility, After the video has been viewed: cooperative economics, purpose, creativity and faith. • What is Africa? Where is it? Who lives there? See Kwanzaa Celebration Addendum. • What do you know about the continent of Africa? Audio-Visual Materials: About any of the countries in Africa? About any of • Artsource® video excerpt of African Roots in the specific cultural groups? American Soil African American Dance • What is the meaning of “African diaspora?” Ensemble, courtesy of Chuck Davis. Which parts of the world have a direct African • Artsource® audio recording: The Girl on the connection? How is it seen, heard and felt within Rock, an African folk tale from the Shona the culture? People of Zimbabwe, told by Paul Tracey, • Why does Chuck Davis think dance is so powerful? courtesy of Andrew and Paul Tracey. What do you think about the power of dance? Why? • Artsource® audio recording: Traditioal • What impressed you most about the dancing in African music (drums, xylophones, mbira), the video? What words describe the movement? courtesy of the International Library of African • How does this style of dance compare to other Music (Rhodes University, South Africa). styles of dance you have seen? • Photos: courtesy of Chuck Davis. More About the Creative Process of the Artist: Sample Experiences: Every year Chuck Davis journeys to Africa and “sits LEVEL I at the feet of the elders.” He researches the history * • Listen to the African tale, The Girl on the Rock. Learn of specific ethnic groups and strives to learn how the response portion of the chant and the rhythmic each dance is connected to the society and which sounds which represent each animal character. After movements, songs and music are performed for the story is known, dance the parts and characters. specific occasions. Only when he knows this • Watch the video, African Roots in American Soil, and information can he incorporate the authentic give responses to the two dances. movements into original African American work. LEVEL II Although he recognizes that movement takes on * • Experience chanting as a tool for learning, and other meanings when it is removed from its roots, perform in a Call and Response manner. he is conscientious about paying homage to its ori- • Identify some of today’s popular dance steps. Watch gin. His work is an African American interpretation the video of African Roots in American Soil and note of authentic material from Africa resulting in a the similarities between the movements in Isicathulo blending of styles and movement. and some of today’s popular dance steps. Try to do some movements from the video. Multidisciplinary Options LEVEL III • In many of the African ethnic groups, it is * • Many African ethnic groups have some form of a believed that wise people speak in proverbs. It is “Leadership Dance.” Leaders create challenging thought that everything has a place in life and a reason rhythmic patterns which the group performs together. for being. Look at the Proverb Addendum in this • Black African groups have ceremonies which unit and select one, or take a proverb which you celebrate the passages of life. Think of ceremonies in know from your own heritage. Develop a short the American culture which do this (birthdays and story with animal or human characters that ends or weddings). Create a Baby Naming Ceremony, including begins with this proverb. a special chant and dance movement. Students should • Learn about the African American celebration select a name for themselves which tells something of called Kwanzaa. It begins December 26th and lasts their character, appearance, accomplishments or history. for seven days, stressing the principals of unity, * Indicates sample lessons 2

DANCE DANCE AN AFRICAN FOLK TALE ENDURING VALUES

LEVEL I Sample Lesson INTRODUCTION:

There is no substitute for a good storyteller. Their words, gestures, inflections and the emotions they evoke cannot be translated into the printed word. Storytelling is an ancient and respected tradition in societies where verbal communication is foremost and people have time to give to the experience. This art still flourishes in many countries, regions and villages throughout the continent of Africa. At important and exciting moments in a story, the African teller may break into a melodic and rhythmic song or chant. Many times different characters in the story will have Illustration of The Girl on the Rock by Eric Byrd their own song. One of the charms of many from The Lion on the Path, by Hugh Tracey African stories is the creation of roles played by courtesy of Andrew and Paul Tracey animal characters who communicate with humans on equal terms.

In the stories of the Shona-speaking people of Zimbabwe, Elephant and Lion are the undisputed chiefs in the stories; Baboon is their assistant and Antelope is their obedient subject. Others, such as Hyena and Jackal are portrayed as servants, and Tortoise is the creature of unhurried wisdom. Rabbit is quick-witted and playful, but suffers the consequences of those who outsmart him. Python is the healer and Crocodile can take on the traits of a husband or father. Birds are messengers and also serve as a nagging conscience, following evil doers. When the stories are told, the audience is usually aware of these traditional character traits and looks forward to new adventures which involve these various animals.

In well established storytelling groups among the Karanga people (Shona group) in Zimbabwe, it is customary to conclude a session by reciting an old traditional verse, often a nonsense one, in order to break the story spell. It is clearly understood that anything that is said after the story spell is true and no longer make-believe. The following story, The Girl on the Rock, is from the Karanga people and was heard and translated by Dr. Hugh Tracey.

OBJECTIVES:

Students will be able to:

• Gain an appreciation for traditional African storytelling and its universal appeal. (Aesthetic Valuing)

• Participate in the retelling and dramatization of an African story from the Karanga people in the country of Zimbabwe. (Creative Expression)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing) 3 MATERIALS:

• Artsource® audio recording of The Girl on the Rock, told by Paul Tracey.

• The book The Lion on the Path and other African Stories, told by Hugh Tracey. Published by Paul Tracey, 340 Las Casas, Pacific Palisades, CA 90272. (optional)

Adinkra symbol for Improvement, Growth and Interdependence. “No PROGRESSION: child is born with teeth.”

• Have the class sit in a small, informal group. Give the students some background on storytelling in general and then a specific introduction to the characteristics of the stories of the Karanga (Shona group) people in Zimbabwe. Show a map of Africa and locate the area of their homeland.

• Introduce the story and then play the Artsource audio recording of The Girl on the Rock. If you feel comfortable, teach the ‘response’ part of the song to the students ahead of time so they can sing it with the story. If you don’t feel able to teach it, encourage the students to try singing it after they have heard it a few times. The words are: Adinkra symbol for Law & KUNYA RUNDE, KUNYA RUNDE Justice. “You are the subject (phonetically) Koon-ya roon-day of he whose handcuffs you (translation) Down by the River, down by the river. wear.”

• After the story has been told, review the sequence and have the students recall the different animals and their rhythmic sound patterns. Discuss the ways they think each animal might move. Stress the different movement qualities, weight and size. Use the chart below for reference. Saying the rhythmic sounds of the animal will help students with the rhythm of the movement.

ANIMAL SOUND MOVEMENT

Rabbit gwara, gwara jumping, light, quick head motion

Buffalo pi-piti, pi-piti heavy, side sway, big shoulder (it helps to place the hands above the knee)

Antelope ka-kata, ka-kata strong and light, precise feet, curved horns, leaps

Elephant so-kutu, so-kutu heavy, swinging, lifting the trunk

Lion ra-pata, ra-pata strong, powerful, catlike, proud

• Depending on space, have the students improvise the movements of the various animals. They might do this in small groups or as a class.

• Briefly discuss the story with the children to learn their ideas and responses to what they experienced.

4 EXTENSIONS:

• The following is a suggested format for structuring the story for young students:

• Select students to dance the roles of the young children, Girl on the rock, Rabbits, Buffalos, Antelopes, Eagle, Elephants and Lion. With the exception of the Girl and the Lion, let all interested students dance one or more of the parts. The story can be divided in the following way:

• The class, except for the Girl and her playmates, creates a circle which represents the banks of the pool in the river.

• The Girl and her playmates dance their way down to the river, eventually coming to the pool which they enter and mime the play of splashing, jumping and swimming. The girl climbs onto a chair which represents the rock while her playmates join the circle.

• The animals enter in order: Rabbits, Buffalos, Antelopes, Elephants and Lion. Each animal group goes through the same routine, moving to the river’s edge, taking a big drink, looking up and seeing the Girl, asking “Who’s that sitting on the chief’s rock?” in unison. The Girl on the rock answers, “It’s only me. When I tried to get down, I couldn’t.” Each animal group responds, “Oh dear!” They move out again in character and back to their places in the circle.

• Finally, Lion enters and the Girl gets very frightened. Lion says, “Who’s that sitting on my rock?” Girl says, “It’s only me, I made a mistake and I can’t get down.” Lion says, “Well, I’ll have the elephants get you down.” Together, the Elephants lift the Girl down, the Lion then climbs onto the rock and the Girl is escorted home by Eagle while the circle of people perform a simple circle dance.

• The story can end with a chant or rhythm to break the storytelling spell, or a magic word decided upon by the class.

VOCABULARY: Zimbabwe, Karanga people, spell, unison

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe your favorite part of the story.

DISCUSS: Discuss the big problem in the story and how it was solved.

ANALYZE: Discuss what you would have done if you were the girl and why.

CONNECT: Think of a time when you did Illustration by Eric Byrd something that you knew was wrong. from The Lion on the Path, by Hugh Tracey Discuss what happened. courtesy of Andrew and Paul Tracey 5 THE GIRL ON THE ROCK

A story of the Shona people, told in Karanga Translated by Dr. Hugh Tracey Told on the Artsource® recording by Paul Tracey (Printed here is a shortened version of the original)

Once upon a time there were some girls who went down to the river to play. Now at the river there was a large pool, and in the middle of it there was a big rock. Then one of the girls said, “I want to go and climb on that rock.” And the others said, “Oo-o-oh, no-no-no! You can’t climb on the Chief’s Rock!” And she said, “Oh yes I can! I don’t care. I’m going to go and climb on it.” And do you know what she did? She waded out into the pool, climbed right up onto the top of the Rock, and sat down.

Then the others girls said, “Well, we’re tired of playing here now, down by the river. We’re going home.” And she said, “I’m not! I’m not tired. I like it up here on the Rock; I’m going to stay here.” So the other girls went home and left her sitting alone on top of the Rock. Now as the sun began to go down, towards the late afternoon, she said, “A-ha! It’s time for me to go home now.”

And then - what do you think happened? When she tried to get down ...she couldn’t! She couldn’t get down! Soon the animals began to come down to drink. And first, who should come down but Rabbit! Gwara ... gwara ... gwara... gwara ... Rabbit bent down to drink some water ...‘sip, sip-sip, sip-sip.’ Then he looked up, saw the girl on top of the Rock, and said,

“Inogara pa Dombo ra Washe ndiani?” “Who’s that sitting on the Chief’s Rock?”

“Ndini zangu! Ndati ndi simuke zaramba!” “It’s only me! When I tried to get down I couldn’t.”

So Rabbit and the girl, they sang a little song together.

‘Dear oh dear, I’ve made a dreadful mistake! Down by the river, down by the river, Cease your crying, Down by the river, down by the river. The Chiefs are coming, Down by the river, down by the river. And all the Lions, Down by the river, down by the river. That are in the country.’

Then Rabbit, he went and he sat down on one side.

Now next - who should come down - but ... Nyati the Buffalo. ‘Pipiti ... pipiti ... pipiti ... pipiti!’ (He drinks) ‘Ss-ss-sp, ss-ss-sp!’ 6 Buffalo looked up, saw the girl and said, “Inogara pa Dombo ra Washe ndiani?!” “Who is that sitting on the Chief’s Rock?”

“Ndini zangu! Ndati ndi simuke zaramba!” “It’s only me! When I tried to get down, I couldn’t!”

So Buffalo and the Girl, they sang the little song (above) together.

Then Buffalo, he went and he sat down on one side.

Now, next, who should come down but ... Marapara (the Sable Antelope, with his great curved horns.) ‘Ka-kata, ka-kata, ka-kata’ (He drinks) ‘Ss-ss-sp, ss-ss-sp.’

“Inogara pa Dombo ra Washe ndiani?!!” “Who is that sitting on the Chief’s Rock?!!”

“Ndini zangu! Ndati ndi simuke zaramba!” “It’s only me! When I tried to get down, I couldn’t!”

And so Sable and the Girl, they sang the little song (above) together.

And then Sable, he went and he sat down on one side.

Now next, who should come down but ... Elephant. ‘So-kutu, so-kutu, so-kutu, so-kutu.’ (He drinks) ‘Ssssss-sp.’

“Inogara pa Dombo ra Washe ndiani?!” “Who is that sitting on the Chief’s Rock?!”

“Ndini zangu! Ndati ndi simuke zaramba!’ “It’s only me! When I tried to get down, I couldn’t.” So Elephant and the Girl, they sang the little song (above) together.

Now last of all, who should come down but ... Lion! ‘Ra-pata, ra-pata, ra-pata, ra-pata.’ Then Lion looked across the pool and said to Elephant, “Elephant, who is that sitting on my Rock?”

And Elephant said, “Bless me! I don’t know. There she is, she says she’s made a dreadful mistake and she can’t get down.”

“Well,” said Lion, “You go and fetch her down.” So Elephant waded out into the pool, put his trunk right round the girl, lifted her high up in the air, and put her safely down on the bank beside Lion. Then Lion said, “Chapungu (the Great Eagle) and Chipere (the Hyena), take this girl back home to her village.”

And that was the end of that story.

The story, from the book The Lion on the Path by Hugh Tracey, is reprinted with permission from Andrew and Paul Tracey. The book may be ordered from Paul Tracey, 340 Las Casas, Pacific Palisades, CA 90272. 7 DANCE CHANTS AS A WAY TO LEARN ENDURING VALUES

LEVEL II Sample Lesson

INTRODUCTION:

Chanting words and phrases is a very traditional form of communication. Chants can be sung as a prayer, be part of a ritual or ceremony, accompany magic words and acts, teach, preserve one’s history or be part of a game. Examples of the latter in the American culture would be jump rope, hopscotch and clapping games done by children everywhere. Chanting uses words to establish a rhythm which channels our energy physically, spiritually or mentally. ‘Rap’ is a rhythmic form which has its roots in the ancient chants of traditional black African cultures. This lesson involves both a traditional Ghanaian children’s game chant and an original chant which helps with learning.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Perform a children’s game chant from Ghana. (Historical and Cultural Context)

• Create a chant about an academic area of study for the purpose of learning information. (Creative Expression)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS: Chuck Davis • Drum or other percussion instrument. The African American Dance Ensemble Photo: Kevin Keister • An example of a current rap song (optional).

PROGRESSION: (rather than one lesson, the following are points of departure for your own development of several lessons)

IDEA I

• Introduce some background on African chanting and explain that traditional African chants usually have a Call and Response, or a part which is first said by the leader and echoed in unison by the group. The following is one of the many variations of a well-known children’s game chant from Ghana. The words are nonsense sounds and have no specific meaning.

8 CHE CHE KULE

CHE CHE KULE (touch head) Che Che Kule (touch head) CHE CHE KO VISA (touch shoulders) Che Che Ko Visa (touch shoulders) KO VISA LANGAN (touch hips) Ko Visa Langan (touch hips) LANGAN CHE LANGA (touch knees) Langan Che Langa (touch knees) KOO A LAY LAY (stand, arms held high) Koo A Lay Lay (stand, arms held high)

When the chant is completed, everyone falls to the ground and there is alternate counting, from one to ten, beginning with the leader. Then all jump up to a standing position and begin again. After the children jump up, it is an option to have them take a strong shape and hold it, while the leader picks one or more new leaders.

• Also the chant can be sung as a leader creates a movement pattern that the group follows. When the chant is finished, select a new leader.

IDEA II

• When the students become familiar with chanting and the call and response or echo form, you can create a chant, such as the Bacteria Chant below, which can be a tool for learning information.

BACTERIA CHANT by Susan Cambigue-Tracey

BACTERIA ARE ONE-CELLED LIFE-FORMS ONE-CELLED LIFE-FORMS BUT, THEY AREN’T GREEN NO CHLOROPHYLL BUT, THEY AREN’T GREEN, NO CHLOROPHYLL

THE CELL HAS ONE OF THREE MAIN SHAPES THREE SHAPES THREE SHAPES COCCI Adinkra symbol BACILLI for Excellence, SPIRILLA Genuineness & COCCI, BACILLI, SPIRILLA Authenticity. “He who cannot recognize the COCCI ARE SPHERICAL - THAT MEANS ROUND true nsaa, buys BACILLI ARE RODS - THAT’S LIKE STRAWS its fakes.” SPIRILLA ARE SPIRAL - CORKSCREW TYPE THREE SHAPES THREE SHAPES COCCI, BACILLI, SPIRILLA BUT THEY AREN’T GREEN, NO CHLOROPHYLL BACTERIA POWER

9 • This simple chant is a rhythmic way to teach information which might otherwise be difficult to learn. The students become familiar with the special vocabulary words and also learn something about their shapes. After the chant, ask them questions about the information, such as:

• What is bacteria? • What do you know about its color? Adinkra symbol for Patience, Self-contain- • How many different cell shapes are there? ment, Self-discipline and Self-control. “No matter how red-eyed (serious) one becomes, • What are the names of the cells? flames are not sparked in one’s eyes.” • What are the characteristic shapes of each cell?

• This can be followed by a movement experience in which the students physically create the shape variations of bacteria and find ways to move each one.

• Ask the students to find a space in the room and demonstrate a round, spherical shape. They will create their own versions.

• As other cell shapes are explored in movement, add the idea that these cells can also float or travel and can move at different levels or in different directions. Introduce the idea that they reproduce and grow; the result is that they cause disease and decay. Disease is harmful, but decay is necessary for us to digest our food and also helps organic garbage break down into earth. There are both friendly and unfriendly bacteria and this is determined by the combination of the three cell types. Strep throat (streptococci) will have one type of cell combination and yogurt will have another.

• In small groups have the students show the concept of cell division in movement. If photos of bacteria or bacteria slides and microscopes are available, follow this lesson up with scientific involvement and study. The movement experience creates understanding and interest in learning. Music can be added, if desired.

EXTENSIONS:

• Have groups of students or individuals create original chants based on a specific theme, area of study or story idea. Share these with the class. Break the chant into parts which can be done in the Call and Response form.

• See “Proverbs” on pages 15-17. Select one and set it to music. Present it in the Call and Response form.

• Write a poem, story or message about something you believe in and put it into a chant or rap style and perform it.

VOCABULARY: chant, Call and Response, rap, bacteria, cocci, bacilli, spirilla Adinkra symbol for Vigilance, ASSESSMENT: (Aesthetic Valuing) Protection, Security and DISCUSS: Discuss ways in which these chants are similar to rap. Excellence. “The King’s eyes are ANALYZE: Discuss reasons why it might be easier to learn information placed all around through a chant or rap song than just reading about it or hearing a lecture. him.” 10 DANCE BUILDING LEADERSHIP THROUGH DANCE ENDURING VALUES LEVEL III Sample lesson

INTRODUCTION:

In the traditional societies of black Africa, dance is an important medium of education. It helps African societies perpetuate themselves by assisting their members through the rites of passage, teaching accepted behavior, identifying roles and rules and assimilating its members into the prevailing attitudes, beliefs and rituals of the group.

In black African cultures, dance is not seen so much as an artform, but as an integral part of the economic, political, social and religious aspects of life. For example, the Ibo of Nigeria teach about leadership through dance. A popular teen-age dance among the Ubakala Clan is Zik Meme Ka Odi Uma. This means that Zik tries to make things good. Zik (Nnamdi Azikiwewas) a President of Nigeria, led his nation to independence. The point of the dance is to emphasize cooperation with a worthy leader. The prestigious role of dance leader is awarded to the individual recognized as the best dancer, which mirrors the role of the leader of a country.

This lesson is a form of a Challenge and Leadership Dance in which different people will lead rhythmic dance patterns which their group will try to follow. The leader who designs the most innovative movements, which can be well performed by the group, will demonstrate the most effective leadership traits. The group tries to support the leader by duplicating the dance movements accurately and with commitment.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Demonstrate leadership skills through dance. (Artistic Perception)

• Demonstrate an ability to be both a good leader and a good follower through dance. (Artistic Perception)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS:

• Artsource® video performed by the Chuck Davis African American Dance Ensemble.

• Artsource® audio recording of African drum music.

11 PROGRESSION:

• Watch the video. Use the Discussion Questions to elicit student responses.

• Put on some African Drum music of your choice and ask the class to explore simple movements they can perform with different body parts, such as head, shoulders, arms, feet, hips, etc. Explore body parts first in isolation and then in combination, giving each movement idea a specific rhythm and direction. Ask different students to share their patterns with the rest of the class who will copy the patterns in unison.

• Give the class dance information which they can use to change, extend or vary their movement idea. These might include: change of level or direction, an isolation of a body part combined with locomotor movement, large and small movements combined, a change of weight or quality, addition of accents, adding a turn, etc.

• More complex patterns can be built by combining two or three rhythmic ideas together.

• After the students have had an adequate time to explore and design movement patterns, divide them into four groups; each group is gathered behind their leader and is across from another group. Each group should select three to five people to lead them in different movement patterns, performed in unison by the leader and the corresponding group. Each group challenges the group across from them.

• One group at a time performs their pattern, then returns to their place. The group facing them answers the challenge. Then the focus switches to the other two groups. After one set of patterns has been performed, a new leader moves to the front of the group and repeats the procedure. This continues until all leaders have had a turn. This is like a call-and-response format.

• After this experience, discuss the traits of a successful leader and how this corresponds to leadership in African dance. What are the similarities in political and dance leadership? What are the differences?

EXTENSION:

• In small groups, create different rhythmic patterns which are learned by the group. Give each pattern a name. The leader will call out the name of the patterns in whatever order he or she wishes. Each pattern will be performed enough times so that everyone in the group does it well. A ‘break,’ which is a rhythmic signal that the end of one idea has occurred and that the beginning of another step or pattern will begin, can be done in between the patterns. The break can be as simple as a clapping rhythm done by the leader and echoed by the group, followed by the next step.

VOCABULARY: leadership, break, rhythm pattern

ASSESSMENT: (Aesthetic Valuing)

ANALYZE: Discuss how and why the Challenge Dance can build leadership skills. The African American Dance Ensemble Photo courtesy of Chuck Davis

12 GHANAIAN PERSONAL NAMES Their Origins and Significance

The Akans in Ghana have a proverb: Onyankopon mpe asemmone nti no okyee din mmiako mmiako, meaning, ‘Because God does not favor misdeeds, He gave each person a name.’

Ghanaians believe that a name is a religious mark of identification and a sign of honor and respect. A good name is therefore treasured far more than anything else. This belief is again expressed vividly in the following philosophic statement: Onipa begyee din na wammeye hwee ara, meaning, ‘Man was born to make a good name above all things.’ The giving of a name to a person is therefore considered an Ashanti bronze gold weight, important act in Ghanaian society. From his infan- Ghana cy, the Ghanaian is made to believe that the name he bears has something to do with the building and moulding of his character. Great care and thought are therefore taken when selecting names for children.

Every Ghanaian has at least two main parts to his Outdooring Ceremony name. The first part of this name is the Kradin (soul’s name). This indicates the particular day on The outdooring ceremony is observed by almost which one is born. It is therefore a name acquired by all the ethnic groups of the country. Although the fate or chance. The Kradin of a child is observance may differ slightly in procedure from pronounced by the midwife or person who attends region to region, the substance and concept back- the mother at the time of delivery and is therefore in ing it remain the same. Outdooring takes place the position to certify the exact day of birth. very early in the morning and is observed on the eighth day of the birth of a child. It is the belief of A few examples may help to illustrate the Akradin: a all Ghanaians that the baby remains attached to its baby born on Sunday may be called Kwesi, Akwasi, spirit world for the first seven days. So babies are Kwashie (male) or Asi, Esi or Akosua (female); kept indoors and are not allowed to be taken out Monday: Kwadwo, Kwadzo (male) or Adwowa, Adzo of doors, not even on to the yard of the house, (female); Tuesday: Kwabena, Kobla, (male) or during the first week. The baby is believed to have Abenaa, Araba, Abla (female); Wednesday: Kwaku, become a human being on the eighth day. Kweku (male) or Akua, Aku, Akuba (female); Thursday: Yaw, Kwaw (male) or Yaa, Aba, Yaba Early in the morning about 5 o’clock, the child (female); Friday: Kofi (male) or Afua, Afi, Afiba to be named is brought to the yard of the house (female); Saturday: Kwame, Kwamena (male) or for the first time by its mother and placed on the Amma, Ami, Ame (female). ground below the eaves. After a while he is taken indoors and the naming ceremony begins. The The second part of a Ghanaian personal name is the baby is placed on the lap of the person (if he is Agyadin (father’s name). It is the name chosen by the alive) after whom it is to be named, or an elder child’s father and given at a formal outdooring. male member of the father’s family. Libation is This second name is also termed abadin (child’s poured to invoke the blessing of family ancestors name) which stands for the surname of the abusuadin on behalf of the newly-born baby. (family name). 13 Two Ashanti “Adinkira” printing stamps Ghana

The officiating member then pronounces the name of the baby by addressing it in this manner: “Kofi, your name is Okae. May God give you long life and make you great. Your grandfather did great things. He was truthful, honest and kind. May you grow to be like him.” With a finger he then puts three drops of water into the baby’s mouth, Sources of Surnames followed by three drops of wine, and in the process addresses the child as follows: “Learn to recognize The second main part of the Ghanaian name, to water as such and as distinct from wine. You have some extent, helps one to know of which family a come to stay and not merely to make a brief child is a member. That is why this part of the name appearance. Do not come to show yourself fanci- is termed abusuadin (family name). This is chosen fully and then fly away. May God bless you to live from a list of ancestral names from the father’s line to a grand old age.” The ceremony of water and of descent. For example, one can easily trace the wine symbolizes that the child should be guided by lineage of the Abbeys, Sackeyfios or Laryeas in truth in all his future undertakings. It is usual at Accra; the Djabanors and Objidjas in Krobo; the this stage for the father to give a gold ring to be put Larbis and Okantas in Larteh; the Kisseishs and on the baby’s finger and to offer gifts to both his Akunors in Ada and so on. Some Northern wife and the child. Gifts are also presented by Ghanaian personal names have appendices which relatives and guests. Refreshments are then served. make it easy for one to know from which tribe one The ceremony is rounded off by the guests standing comes. Examples of such names are Musa Frafra - to shake hands with the husband and his wife, Musa of the Frafra tribe; Maama Dagomba - saying, Mo tiri nkwa oo! (May God bless you!) Maama of Dagomba; Atenga Mosi - Atenga of Mosi; Isifu Dagate - Isifu of Dagate, etc. In choos- ing this name it is the duty of the father to put into account the general conduct and behavior of the particular ancestor.

This article is reprinted with permission by the author, Ashanti bronze gold weight, Ghana Prince Julius A. Adeniyi, Sr., Artistic Director of the African Cultural Resource Center of Indianapolis, Inc.

Illustrations on these two pages are from African Designs from Traditional Sources by Geoffrey Williams, Dover Publications, Inc., New York. 14 PROVERBS AND WISE SAYINGS FROM AFRICA

Proverbs and wise sayings are found in the cultural heritage of many groups of people throughout the world. No one really knows where they originated. They seem to have always been part of the culture and are passed from generation to generation as “the daughters of experience.” (Sierra Leone, Rwanda and Burundi)

When an old Zulu man was asked for an explanation of the origin of certain proverbs, he said, “My child, that is the way we speak, and that is the way we have always spoken. When we were born, people spoke thus.”

The following is a sampling of proverbs and wise sayings from a variety of countries and groups of people who live in Africa. Have students think of comparable Anglo American proverbs or use examples shown.

There are many ways that students can work with and off these ideas. They can use them as points for discussion, write some of their own proverbs or develop stories which in some way incorporate a specific proverb with an imaginative example. Select one to set to music in the call-and-response form. Be creative and develop other ways that proverbs can be used to explore human values and wisdom. POSSIBLE ANGLO-AMERICAN AFRICAN SAYING EQUIVALENTS OR THOUGHTS: ASHANTI PEOPLE: • Rain beats a leopard’s skin, but it does not wash • A leopard cannot change its spots. out the spots.

• He who cannot dance will say: “The drum is bad.” • Bad workmen blame their tools.

BUGANDA PEOPLE:

• He who hunts two rats, catches none. • A bird in the hand is worth two in the bush.

• When the master is absent, the frogs hop into the house. • When the cat’s away, the mice will play.

CAMEROON:

• By trying often, the monkey learns to jump from • If at first you don’t succeed, try, try again. the tree.

• Knowledge is better than riches. • Give a man a fish, feed him for a day. Teach him how to fish, feed him for life. • Rain does not fall on one roof alone. • We’re all in the same boat.

ZAIRE: Adinkra symbol for State Authority, • Lower your head modestly while passing, and you Legitimacy, Legality and Heroic Deed will harvest bananas.

• The teeth are smiling, but is the heart? • Cold hands, warm heart. (Compare) 15 AFRICAN PROVERBS POSSIBLE EQUIVALENTS

SIERRA LEONE:

• If you climb up a tree, you must climb down the • As you make your bed you must lie on it. same tree.

ETHIOPIA:

• When the heart overflows, it comes out through • There’s a song in my heart. the mouth.

• When spider webs unite, they can tie up a lion. • There is strength in unity.

• If one is not in a hurry, even an egg will start • Patience is a virtue. walking. • It's later than you think.

• If you offend, ask for pardon; it offended, forgive. • Things forgotten are things forgiven; things forgiven are soon to be forgotten. GUINEA:

• The man on his feet carries off the share of the • Early to bed, early to rise, makes a man healthy, man sitting down. wealthy and wise.

• Knowledge is like a garden: if it is not cultivated, • Be prepared! it cannot be harvested.

• It takes two to make a quarrel. • It takes two to tango. Adinkra symbol for Strength, Seat of KENYA: Power, Authority and Magnificence • Try this bracelet: if it fits you wear it; but if it • If the shoe fits, wear it. hurts you, throw it away no matter how shiny.

• Absence makes the heart forget. • Out of sight, out of mind. Absense makes the heart grow fonder. • Seeing is different from being told. • Seeing is believing.

• The dog’s bark is not might, but fright. • His bark is worse than his bite.

• Don't take another mouthful before you have • Don’t bite off more than you can chew. swallowed what is in your mouth.

• Cross the river in a crowd and the crocodile won't • There’s safety in numbers. eat you.

16 AFRICAN PROVERBS POSSIBLE EQUIVALENTS

MAURITANIA:

• Two eyes see better than one. • Two heads are better than one.

• Ashes fly back into the face of him who throws • What goes around, comes around. them.

NIGERIA:

• The stone in the water does not know how hot the • You can’t know what it’s like for someone until hill is, parched by the sun. you walk a mile in their shoes.

SENEGAL:

• It is better to travel alone than with a bad • There are worse things than being alone. companion.

• If a little tree grows in the shade of a larger tree, Adinkra symbol for Wisdom it will die small. and Knowledge. “I have kept what I have heard.” TANZANIA:

• Do not mend your neighbor’s fence before • People who live in glass houses should not throw looking to your own. stones.

• We start as fools and become wise through • Live and learn. experience.

ZULULAND:

• One does not cross a river without getting wet. • You can’t learn to swim without getting your feet wet. • The horse who arrives early gets good drinking • The early bird catches the worm. water.

• Copying everybody else all the time, the monkey • Make up your own mind. one day cuts his throat.

SOURCES:

• Nyembezi, C.L.S. Zulu Proverbs.Witwatersrand University Press, Johannesburg, South Africa: 1974. • African Proverbs. Compiled by Charlotte and Wolf Leslau. Peter Pauper Press, Inc. White Plains, NY: 1985. • Brewer’s Dictionary of Phrase and Fable, Harper & Row, NY: 1965 17 KWANZAA

Kwanzaa is an African American celebration which was created from an amalgam of African harvest festivals. The name is derived from the Swahili word for ‘first fruit of the harvest.’ The seasonal greeting used is Habari gani which means “What’s new?” in Swahili.

The celebration, which begins on December 26th and continues for seven days, was inaugurated in the mid 1960s as a black-nationalist celebration of familial and social values. However, the festivities are now embraced by the mainstream of African Americans. This concept was created by Ron Karenga, now known as Maulana Karenga, a black studies professor at California State University, Long Beach. He states that the holiday is a time to help black people “rescue and reconstruct our history and culture and shape them in our own image.” To do this, there are seven principles which have been tablished as fundamental principles upon which to base one’s actions in life.

THE PRINCIPLES OF KWANZAA 1. Umoja (Unity) 2. Kujichagulia (Self-determination) 3. Ujima (Collective responsibility ) 4. Ujamaa (Cooperative economics) 5. Nia (Purpose) Words in Swahili - a Bantu 6. Kuumba (Creativity) language widely used in East 7. Imani (Faith) Africa.

Families have established their own ways of celebrating the seven days of Kwanzaa, but usually they will light a candle for each day. The candles are Kongo soap stone stele relief called mishumma saba and represent the seven principles of Kwanzaa. Some Angola families sit in a circle each night and ask every person to talk about the specific principle for the day and what they have learned through experience and observation. Many communities design events which include the crowning of a king (oba) and queen (iyaba) to remind African Americans that they are descended from a heritage which included powerful kings and queens. These festivities include African music and dancing and focus on the pride of African heritage. A new tradition involves a character who represents an African griot, or wise man, and wears a Nehru-style suit. He joins hands with children to ask what they have learned about Kwanzaa.

On the final day, friends and relatives often join family members for a feast called Karamu when traditional soul food and traditional African foods are served. Some of the foods include spicy, fried plantains (type of banana) from the Caribbean, (boiled) rice from the U.S., grouper (type of fish) with tomato and thyme gravy from the Bahamas and ginger beer or soda from West Africa. This feast is traditionally decorated in red, green and black, the colors associated with Kwanzaa.

ADDITIONAL REFERENCES:

• Copage, Eric. Kwanzaa: An African-American Celebration of Culture and Cooking. Morrow Publishing, New York, NY: 1991. This book contains stories about black history and culture, as well as suggestions on how to use these stories to illustrate the seven principles.

• McClester, Cedric. Kwanzaa: Everything You Always Wanted to Know but Didn’t Know Where to Ask. Gumps and Thomas Publishers, New York, NY: 1990. 18

ADDITIONAL INFORMATION

Historical and Cultural Perspective Dance, since the dawn of time, has been used as a teaching tool to foster learning and preservation of traditions and beliefs essential to each culture. In Africa, dance lifts the spirit of the ordinary person and places it in the center of the circle of life, which is celebrated from the cradle to the grave. This circle of life, which is reinforced through dance, music and song was interrupted for many during the infamous ‘Middle Passage,’ when they were forcibly taken from their culture and enslaved. During this period, rituals, rites and spiritual connections were severed as a new way of life was forced upon them. As people were herded onto the ships and compelled to exercise with rhythmic jumping on deck, the powerful dance of life was replaced with movement of despair, necessary for survival. Ethnic customs, language, music and dance were eradicated and new forms of communication came into being.

The call and response from the auction block blended the sounds and patterns of unfamiliar tongues which gave new life to ancient rhythms, long suppressed and thought forgotten. Field hollars, yard chants, body percussion and objects from the environment became the new ways to express the cry for freedom and sustain hope for an enlightened future. Pounding feet on the dusty earth evoked memories of drum rhythms that nourished the energy to survive. Rhythmic messages told of passage on the under- ground railroad that led to freedom. (This wasn’t a railroad in the concrete sense of trains, but rather an unmarked trail known only to the abolitionists.) Every year Chuck Davis journeys to Africa and “sits at the feet of the elders.” He researches the history of specific ethnic groups and strives to learn how each dance is connected to the society, and which movements, songs and music are performed for specific occasions. Only when he knows this information can he incorporate the authentic movements into original African American work.

About the Artsource® Video This video, African Roots in American Soil, opens with Chuck Davis speaking about Africa and its historical value and impact on contemporary societies. There are three dances presented in the video. The first is a dance called Lamban (Griot or historian’s dance), a dance style indigenous to the Old Mali Empire, circa 13th century. It is used not only as a social dance, but also to relate history, such as the epics of Sundiata Keita, the powerful king who brought peace to the land. The instruments used for this dance are the Balafon, Djimbe, Songbah, Djoundjoun and Kinkini. The next section shows how traditional movement and music have been adapted and incorporated into the telling of today’s stories. The Isicathulo (gum boot dance) of the Shona, Ndebele and Zulu people in Southern Africa incorporates rubber work boots in complex rhythmic patterns that express their creative spirits. The third dance, Balante, is based on a post-initiation dance of the Jolas of the Casamance region of Senegal. It features the joyous, powerful dancing of young men who have completed their rites of passage, attaining the status of manhood.

Preparing for the Experience Mr. Davis believes that “To understand the culture, study the dance. To understand the dance, study the people.” Every year he journeys to Africa and learns from the elders and master drummers and dancers of each village he visits. He researches the history of specific ethnic groups and strives to learn how each dance is connected to the society and which movements, songs and music are performed for specific occasions. He recognizes that movement takes on other meanings when it is removed from its roots, and so he is conscientious about paying homage to its origin. His work is an African American interpretation of authentic material from Africa resulting in a blending of styles and movement. 19

Introducing the Artsource® Video Prior to the performance, give students some historical and cultural perspective and background on the artist. Ask students what they might already know about countries in Africa, specific cultural groups who reside there or dance movement associated with traditional African societies. Encourage them to consider the reasons that traditional groups use dance, song and music as an intricate part of their lives and ceremonies. Give a brief description about each dance, taken from the previous page. Direct them to observe aspects of the performance which give them information about the mood, movement and relationship between the musicians and the dancers. Be aware of how the dancers work together.

Discussion Questions 1. Discuss what you learned about the traditional instruments used in traditional African dance.

2. Identify and discuss the characteristics of the rhythm patterns and movements of the Isicathulo (gum boot dance). What most impressed you?

3. Lamban is an ancient epic dance. Discuss what an epic (a long poem or other literary work telling of heroic deeds or history) means and how the dance and music serve to preserve this historical record.

4. Initiates, in many traditional African societies, are expected to attain certain moral, intellectual and spiritual qualities before they attain manhood. This “rite of passage” period is secret and the boys and girls are separated from their tribe to undergo these instructions and challenges. Identify and discuss any rituals, activities or accomplishments in our American society that serve as “rites of passage” for young boys and girls.

Activities to Enrich the Experience 1. Work in groups of four and make up four different rhythmic patterns using steps and body percussion that can be performed in unison like the Isicathulo (gum boot) dance. Experiment with putting these four ideas together in different sequences until you decide which one works best.

2. Discuss the title of the video, African Roots in American Soil. What do you think this really means and what significance might this have for the American culture?

3. Chuck Davis journeys to Africa and other countries of the African Diaspora (the scattering of Africans to countries outside the continent of Africa). Do research to discover what these countries are and if possible listen to music that shows the African influence in these cultures. (These countries include Brazil, Cuba, Haiti, United States.)

4. View the video to study the dance movements. Select a few of the movements you find interesting and learn them by trying them with the dancers in the video.

CURRICULUM CONNECTIONS

Curriculum Connections: Visual and Performing Arts View the video again and learn one or two of the patterns performed in the “Isicathulo” dance. This type of research is a way that dances can be reconstructed.

Curriculum Connections: Language Arts Think about the statement, “To understand the culture, study the dance. To understand the dance, study the people.” Write a one page essay that supports or refutes this statement with examples or facts to support your opinion.

Curriculum Connections: Social Studies Look at a map or a globe of the continent of Africa. Pinpoint the area of the old Mali Empire in Western Africa and the southern region where the Shona, Ndebele and Zulu people reside. Select one of these groups that interest you and research the music, dance and art of their culture, as well as some of the traditions and customs.

Curriculum Connections: Math/Science The Isicathulo (gum boot dance) is a dance of complex rhythms that are worked out in counts of eight or 16 even counts. Take a group of eight counts and find four different rhythmic patterns that can fit within these counts. You may add or subtract beats to create the rhythms. Figure out if the patterns fit exactly within the eight counts. See how many sets of eight counts you can create within. Clap or use body percussion to perform your full sequence.

rtsource ® A The Music Center’s Study Guide to the Performing Arts

A Project of the Music Center 135 North Grand Avenue Los Angeles, CA 90012 www.musiccenter.org

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Introduction

ARTSOURCE®: THE MUSIC CENTER’S STUDY GUIDE TO THE PERFORMING ARTS

Artsource® highlights works of art and artists of stature from diverse cultures. It represents early to contemporary art forms in the disciplines of dance, music and theatre and complements the programs and performances of the Music Center’s resident companies and artist roster.

The arts are ancient, enduring and universal forms of communication. Artists present their perceptions, reflections, and points of view which influence, and are influenced by, the culture and period of time in which they exist. Artsource ® Contributors

Project Director Melinda Williams

Project Coordinator Susan Cambigue-Tracey

Writers: Dance Susan Cambigue-Tracey Diana Cummins, Carole Valleskey, Madeleine Dahm, Deborah Greenfield, Barbara Leonard, Melinda Williams

Music Rosemarie Cook-Glover Ed Barguiarena, Susan Cambigue-Tracey, Barbara Leonard, Connie Hood, Annette Simons, Marilyn Wulliger, Diana Zaslove, John Zeretzke

Theatre Barbara Leonard Kathryn Johnson

Technical Production donated by Paul Tracey

Layout and Logo* Design Maureen Erbe Design *Received the LULU AWARD for excellence in graphic design and advertising, sponsored by the Los Angeles Advertising Women (LAAW) Additional Artwork & Artsource® Logo Graphic H. P. Law & Partners

The Music Center of Los Angeles County, wishes to thank the artists featured in this publication for their outstanding artistry and their generosity in allowing us to share their creative spirit in the classroom. Sincere appreciation is also extended to the members of the Center’s Board of Directors and Education Council for their guidance in developing these resource materials; Music Center volunteers for their help in organizing, proofing and editing Artsource® units; the professionals who provided field review; and the dedicated teachers who tested the Artsource® units in their classrooms.

Mark Slavkin Vice President for Education Melinda Williams Director of Education