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NOTZ EDFS PRIE Is Provided for Humanities Courses. Stunts DOCUMENT BESUM 1. ED 211 442 ..10 C13 E45 / ! . AN ' AUTHOR Levine,, iPby H. TITLE Jumlistreet Humanities Project Learning Package. Curriculum Materials fcr Secondary Schtel Teachers and Students in Language Arts, faster)/ and Himavities. 'INSTITUTION National Endowment for the Humanities (NFAH) , Washington, D.C\ Elementary and 6eccndary Program- i PUB DATE 81 NOTZ 215p. P EDFS PRIE MF01/PC09 Plus Postage. DESCRIPTORS Black AchieveMent; Elack History; Blacks;,31cBlack Studies; Ethnic Studies; *Humanities Instruction; *Interdisciplinary 'Approach; *Language Arts; Musit Appreciation; *Music Eduation; Musicians; Secondary Education; *United States History; Units cf Study `ABSTRACI These language arts, U.S. history, and humanitges lessons for .secondary school student's are designed tc he used with "From Jumpstreet,A Stcry of Black Music," a series of13 half-hour terevIsiorli prOgrams. The'colorfgl-and rhythmic serifs explores the black muscal heritage from its African roots to its wide influence in.mcder/f American music. Each program of the series features ' performatmes end discussicn by talented contemporary entertainers, plusafilm clips and still photo sequences of Campus clack performers of,the past. This publication is divided into thr section's: language areit, history, and tht humanities. Each section beginswith a scope and sequence .outline. Examples oflesson activities fellow. point of view of . In the language arts lessons, students identify the the lyricist in selected songs by blacks,'participatein debate, give speeches, view and write a brief suinmary of the key ccnceptsin e. alven-teleyision program, and.create a dramatic scene based eke song lyric. The history lesso1s invelve'itudents in identifying characteristics of West African culture reflected in the music of black people; examining slavery, analyzing the music elpest-Civil War America, and comparing the Tanner in whichmusical etyles reflect social and political forces.A multicultural unit on dance and, poetry is provided for humanities courses. Stunts learnthat dance and pcetry document various forms of cultural expression.(Auther/RM) . ,-. ******************************************************************** * Peproductions supplied by EDPS art the best that cam be made * * * , from the original document- ****,***********************t*********4*********4********************** U.S. DEPARTMENT OF EDUCATION NATJONAL INSTITUTE OF EDUCATION EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) This documentrifas" been reproduced as received horn the person or organization Jumpstreet Humanities onginating Minor changes have been made to improve reproduction quality Project. Points of view or opinions stated in this docu ment do not necessarily represent officialNIE Learning Package positron or policy "PEEIMISSION T.0 REPRODUCETHIS MATERIAL HAS BEEN griANTEDby TOh. /1* JUMPSTRIET , TO THEEDUC4IONAL RESOURCES INFORMATION CENTER (ERIC)" curriculum materials for secondary school teachers and students in language arts history and humanities Project Director Toby H. Levine Director of Educational Activities WETA-TV C This project was developed with funding from the National Endowment for the Humanities, Elementar'y and Secondary Education Program sir 4 "1 to WET& Box 2626, Washington DC 20013 '1981 Greater Washilon Educational Teleiommuntcations Association Inc t '.5 ei ti Jumpstreet HUmanities Project Staff Project Director Toby H Levine Project Coordinator Patricia Clouden Project Comptroller Sonia Cnstancho Project Interns I Susan Grossberg. Susan Toohey Project Secretary r Dirra Brown Constiltants Design Lovelace Graphics 'Editorial Caryl Austrian Jan Levinson, Cynthia Sauer Paul Larkin, Ph D William McCray Evaluation History Olive Tayter, Ph [1 "Onguage ArAs Larry Grant Colean Pi9180 Multicultura),Edudation James A Stand' Ph D and Workshop Design Music, Vada E Butcher D F A Workshop Management Alan Evans Advisorydommittee WilladineamirriculvmSpecialist Grace Bradford,Superviing -- Division of Reading andEnglish Director of MuseDistrict of School District of Philadelphia Columbia Public Schools Krona Bricklin Tevis roductiop William Clark, Director of the Coordinator Scho 'strict of Divisiondpf Academic Skills . Philadelphia Montgomery County Public Schools Marguente Farley Executive Diredtor William Green, Director of Afro- of Communications Media School District American Studies School District of Philadelphia of Philadelphia* Gabriel A Massaro Director Sidney Mollard of Department of Instructional Planning Secondary Music Montgomery County and Development Montgomery County Public Schools Public Schools ., P Francis PovIl Supervising Director, DorothyStephens, Director of escialStudies, District of Columbia Instructional Services Center, Public Schools District of Columbia Public Schools Loretta Webb. Director of the Mary White, Supervising Director. Department of Quality Integrated English/Language Arts, District of Education, Montgomery County Public Columba Public Schools Schools Richard Wilson, Coordinator of Secondary Social Studies, Montgomery County Public Schools 3 Conienis, 4 ivAbout the project vFrom Jumpstreet viii Using the Jumpstreet Humanities Project Learning Package 1 Dimensions of Language Arts 2 Introduction '3Scope and Sequence 6' Program Index 8 -Th&Creative-Literary Dimension 22T.he:CoMmunications Dimension 56The Composition Dimension 69The'Theatrical Dimension 83Bibliography A 87 The Hiitorical Perspective 1 89Scope and Sequence 92Program Index 93Unit 1 The Peopling of Amenca 103Unit 2 'Slavery 114 Unit Post-Civil War Amenca 126Unit 4 The Turn of the Twentieth Century 136Unit 5 Amenca and Two World Wars 143Unit.6 Contemporary Amenca 151 The Humanities Perspective 152Introduction 153Scope and Sequence 154Program Index 155 Lesson 1Music and Dance 165Lesson 2 Poetry 173Appendix 1. i'i'ogram Synopsis and Segment Breakdowns 199Appendix 2. How to Use Sony 34" Videocassette Equipment From Jumpstreet The JUMPSTREET HUMANITIES PROJECT drawing All Jumpstreet Humanities Project materials are designed on the content, appeal and high entertainment value of to be used with FROM JUMPSTREET -A STORY OF the television series FROM JUMPSTREET, has been de- BLACK MUSIC, a series of 13 half-hour television' pro- veloped to encourage the integration of content relating grams produced by WETA-TV Washington D C with to the black experience in.America.in secondarytschool funding from ME U S Department of Education ESAA classrooms through the provision of curriculum materials Broadcast Brahch Check with yoQr local public tele- and teacher training vision station foe: broadcast times of these programs The The goals of the JUMPSTREET HUMANIT,IES Nbrog rams may do. taped off the air and used for educa- PROJECrare tional purposeilFitil 1992 The programs also are dis- tnbuted on videocassette for non-broadcast Irse by 1 To assist secondary school teachers to enrich theft current courses with multicult'ural content that draws GPN on the social historical and economic conditions urlder Box 80$49' Lincoln NE 68591 which black American music culture developed, ) To provide secondary school teachers and students Phone, 402/472;2007 with a flexible system of resource material on the role of The per program cOst,Of FROM JUMPSTREET video- black music culture in America and its connection cassettes is traditional content areas in social studies langu e -inch $55 25 arts and humanities- yrinch VHS $54 4,5 3 To stimulate and evaluate broad and creative usage of yrinch Beta $50 2e FROM JUMPSTREET in secondary school class- This colorful and rhythmic series explores the black rooms musical heritage ftom its African roots to its wide iriflu- ence in modern American alum Singer/songwriter Oscar Brown, Jr is the on-camera host Each program of FROM JUMPSTREET featutes performances and dis- cussion by,talented contemptrary entertainers (see pro- gram dIscriptions below), plus him clips and still photo sequences of famous black performers of the past FROM JUMPSTREET recommended by the National Education Association and the Music Educators National .Conferente and endorsed by the National Dance Association k A complete synopsis, broken into segments will be found inppendix 1 1 JAll CALISTS demonStrates the influence of 4, West Afnc n music and langDage on Afro-Arrlencan vocal jazz, highlighting particularly the jazz vocalist's use of improvisation and the relationship between jazz vocal and instrumental music Guests AlJarreau, Carmen McRae 2 GOSPEL AND SPIRITUALS examines the develop- 11, BLACK INFLUENCE IN' THE RECORDING IN- ment and musical characteristics of spirituals and DUSTRY demonstrates the collaborative effort re- gospel music and relates the contemporary expres- quired to produce a contemporary recording and re- sion of these styles to their onginal functirs and set- views th'e, history of the black experience in the re- tings Guests The Rev James Cleveland and the cording industry, identifying significant individuals D C Mass Choir of the Gospel Workshop of Amenca, and trends that have shaped that experience Guests The Mighty Clouds of Joy . George Benson, Quincy Jones 3 BLUES COUNTRY TO CITY distinguishes between 12, RHYTHM AND BLUES demonstrates the musical" country and urban blues, demonstrating musical characteristics of rhythm and blues and the relation- characteristics of each style and showing the settings 5ip of rhythm and blues to the musical styles from in which they erNerged Guests Willie Dixon and his which it etolved The influence of 'rhythm and blues Chicago Blues.
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