University of Florida's Center for African Studies
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2010 A PUBLICATION OF THE University of Florida’s Center for African Studies 2010 outreach director dr. agnes ngoma leslie edited by CONTACT corinna greene A PUBLICATION OF THE layout & design P (352) 392 2183 stephen rockwood morgan slavens F (352) 392 2435 University of Florida’s Center for African Studies mykl gormley www.africa.ufl.edu 427 Grinter Hall | PO Box 115560 | Gainesville, FL 32611 photography stephanie tyler morgan slavens the Center for African Studiesoutreach at the University program of Florida The Center is partially funded under Title VI of the federal Higher Education Act as a National Resource Center on Africa. One of only 12 in the U.S., Florida’s is the only Center located in the southeastern United States. The Center directs, develops, and coordinates interdisciplinary instruction, research, and outreach on Africa. The Outreach Program includes a variety of activities whose objective is to improve the teaching of Africa in primary and secondary schools, colleges, universities and local communities. Following are some of the regular activities which fall under the Outreach Program. Teachers’ Workshops The Center offers in-service workshops for K-12 teachers about instruction on Africa throughout the school year. Summer Institutes Each summer, the Center holds teaching institutes for K-12 teachers. Jambo! Each summer the Center holds a high school language program to introduce the students to an African language. Library Teachers’ summer institutes include hands-on activities such as preparing African food. Teachers may borrow videotapes and books NZWU\PM7]\ZMIKPWNÅKM Publications The Center publishes and distributes teach- ing resources including Irohin. In addition, the Center has published a monograph entitled Lesson Plans on African History and Geography: A Teaching Resource. Community & School Presentations Faculty and graduate students make presen- tations on Africa to local communities and schools. Students at Eastside High School participating in an African cultural presentation. 2 IROHIN editora note from the Each summer, the Center for African Studies at the University of Florida hosts a K-12 Teachers Institute. The objective of the institute is to help teachers increase their knowledge about Africa and develop lesson plans to use in their classrooms. The creative lesson plans and articles in this issue of Irohin were written by participants in the 2008 & 2009 institutes. Please feel free to use these materials in your teaching and share them with other teachers. Write or call the Center for African Studies for additional copies or download this issue as well as previous ones in PDF format at P\\X"___INZQKI]ÆML]W]\ZMIKP. Participants in the 2008 Summer Institute Kyle Konkol, Jennifer Bracken, May Steward, Nella Taylor, Daisy Jasey-Sowa-la, Mary Chiozza, Marianne Medley, Dr. Agnes Leslie. Seated: Zane Hasan, Lois Kubol, Dr. Rose Lugano, Stephanie Leander Participants in the 2009 Summer Institute Marihelen Wheeler, Timothy S. Hinchman, Miguel Oyenarte, William Jackson, Dr. Agnes Leslie, Byron David Prugh, Donna Reid, Heather E. McKeever, Deidre Houchen. Seated: Juanita Nelson, Dr. Rose Lugano, D. Alvarez Caron, and Carol Faas. Taking Africa to the Classroom 3 would you believe... 4 IROHIN contents ARTICLES FROM THE 2008 INSTITUTE Jennifer Bracken contemporary music of africa 6 Zane Hassan language in africa 8 Kyle Konkol universal morality 12 As Taught through African Cultures Lois Kubal mali web quest 14 Stephanie Paige Leander-Gionet avoiding miseducation 17 Teaching Traditional and Contemporary African Culture Marianne Medley healing women of africa 19 Past and Present Daisy Ayoka Jasey Sowa-Ia, D. Min. kente cloth & adinkra symbols 21 Ghana May Steward is science fostered in african schools 24 for women? Nella F. Taylor african literature 27 Teaching the Impact of European Colonialism on Traditional African Societies ARTICLES FROM THE 2009 INSTITUTE D. Alvarez Caron how can we deactivate our own colonial 30 mindsets as teachers? Carol B. Faas sugar, chocolate & peanuts 32 Three Crops that Changed African History Timothy S. Hinchman the trickster as scientist 34 <PM;KQMV\QÅK5M\PWLIVLWestern African Folktales Diedre Houchen uneasy justice 36 Apartheid, Truth and Reconciliation in South Africa Heather McKeever the role of women in the african economy 38 Past to the Present Juanita Nelson the impact of african cultures on the music 41 of the caribbean, cuba & latin america Mike Oyenarte igbo uli art in nigeria 43 Byron David Prugh the british askari of wwii 44 Donna M. Reid sportsmen of africa 46 Taking Africa to the Classroom 5 IROHIN 2008 ARTICLES contemporary music of africa by Jennifer Bracken Jennifer Bracken, Stephanie Leander-Gionet, Zane Hassan, Lois Kubal and Kyle Konkol playing African music. 1V\ZWL]K\QWV Africa provides a unique and diverse orally passed from person to person. Af- ;W]\P)NZQKIV5][QK menu of music. Each genre of music is rican music can be explored by looking at South Africa is also alive with its own mu- deeply rooted in the culture and history of North, South, East and West Africa. These sical style. Many musicians started singing each country. There are thousands of lan- areas of Africa were deeply affected by in mission schools or in church and then guages or dialects and geographical condi- colonization and that is seen most preva- moved onto the recording studio. South Af- tions that contribute to African music. lently in their musical styles. rica has one of the most developed record- African music as a whole has several ing industries in Africa. Among others, common features. The music permeates 6WZ\P)NZQKIV5][QK BMG, an internationally recognized record African life. It is used to provide moral Algeria is a large country and is located in label, calls South Africa home. Originally, guidance and to narrate history. Artists North Africa. Originally Algeria enjoyed South Africa looked to the eastern world have long used music as a way to speak Andalusian classical music that eventually for its musical inspirations. But as time pro- out for or against the government. They grew to include distinct local traditions. gressed rural musicians made their way to are concerned that their music makes an Algeria also is home to rural Bedouin mu- \PM[KMVM5][QKQIV[][ML]S]XQSIIÅVOMZ impact. African music is also commonly sic, which contains chanting of epic sagas. style guitar playing as well as the 10-button used to mark the stages of life and death Music in Algeria dealt with rural life and concertina which produced melodic cycles and for religious ceremonies and rituals. _I[XMZNWZUML_Q\PÆ]\M[JIOXQXM[LZ]U[ and call and response singing. Contempo- The instruments used by the musicians are and tambourines. Contemporary Algerian rary music of South Africa includes what another common attribute of African mu- music includes a style known as Kabyle. is commonly referred to as Maskanda. sic. For instance, drums are commonplace This style of music includes violin, guitar, This includes singing, dancing and guitar in African music and can symbolize power banjo and double bass. playing. and royalty. The use of rhythm and percus- One Kabyle style band is Fantazia. The late Miriam Makeba was the best- sion are highly emphasized. Musician’s This band came about in the late 90’s and known artist in South African music until voices tend to be loud, open and resonant brought together the musical tradition of her sudden death in 2008. She was com- and can include other sounds such as clicks North Africa with the vibrant rhythms of monly known as “Mama Africa” around and grunts. Traditional African music was dance music. the world. Makeba started singing in her Taking Africa to the Classroom 7 church choir prior to becoming an inter- -I[\)NZQKIV5][QK siko, mangambe and bikutsi. However, the national singing sensation. She had been East Africa has a diverse set of music that most popular modern music is makoosa. all around the world playing her music and XZW^QLM[IVW\PMZ[QOVQÅKIV\QUXIK\WV\PM 7VMWN\PMUW[\[QOVQÅKIV\+IUMZWW- even played at President Kennedy’s birth- musical world. East Africa consists of many nian musicians is Manu Dibango. Dibango day party. Makeba was well known for her countries. Ethiopia is in East Africa and originally enjoyed classical piano but pop classic “The Click Song.” is usually associated with its widespread moved quickly to the saxophone. Dibango Zimbabwe has also become an impor- hunger problem. However, it also has a created his own version of Jazz called tant part of African music. Their music diverse and exciting musical style. With Soul Makossa, which was very popular in ZMÆMK\[UIVaNWZMQOVU][QK[\aTM[[]KPI[ over 75 ethnic groups in Ethiopia it is dif- Europe and America. American and African Jazz. This later ÅK]T\\WTQ[\ITTWN\PMU][QK[\aTM[0W_M^MZ The Democratic Republic of Congo has progressed to include rock n roll, Congo- Amharic-speaking people have dominated established its own history in West African lese rumba and South African township. In popular music. The musicians usually music. Its music traditionally consisted the 1970’s music revolved more toward its recite oral histories of the country. They of lots of drums being played with danc- original roots. Musicians tried to meld to- use varied musical instruments such as the ing. The modern approach to music has gether local rhythms, moods and melodies ÅLLTMÆ]\MIVLTaZM been called Rumba. It interplayed two or with popular sounds from other areas. Very Mahmoud Ahmed was born in Ethio- three guitars with some sounds of Cuban distinct guitar based sounds developed and pia. He worked in a night club as a young rhythms. Congolese musicians became became popular. However, over the past man. One night when a band’s lead singer well known in other countries and began several years in Zimbabwe music has taken did not appear, Ahmed convinced them to travel abroad where many stayed.