Ahimsa Center- K-12 Teacher Institute Title of Lesson: Freedom Songs: The role of song in nonviolent mass movements. Lesson By: Tisha Donnelly Grade Level/ Subject Areas: Class Size: Time/Duration of Lesson: Highschool English Language Can be modified for any class 95 minutes, can be extended to Arts, Social Studies, size several days with activities Performing Arts Guiding Questions: What role does song play in a mass movement for freedom? How does song unify a large group of people in a shared cause? How does song teach about the movement to its individuals? Lesson Abstract: (50-75 words) This lesson focuses on the role of song within mass movements for social reform. Students will learn that song can unify large quantities of people through interactive singing; educate, clarify, and reinforce the values and goals of the movement through customized lyrics; as well as strengthen and encourage nonviolent protestors as they face hardship. Songs used by Gandhi, King, and Chavez are represented within cultural and socio-political context then connected to current musical social commentary. Lesson Content: “These songs bound us together, gave us courage together, helped us march together.” - Martin Luther King, Jr. Throughout the freedom struggles of the 20th century, song played a role in unifying mass movements and expressing their needs and hopes. Song continues to reflect the frustrations, challenges, disappointments, and dreams of society. The relationship between art and struggle is complicated. As tensions and frustrations build, it is frequently the artist that is able to represent those who feel voiceless and powerless. While in the midst of suffering, hardship, and inequity, it is difficult to imagine change. Artists are uniquely able to paint the picture- or compose the song- of that possible future. As Denise Levertov stated in “Making Peace”: A voice from the dark called out, "The poets must give us imagination of peace, to oust the intense, familiar imagination of disaster. Peace, not only the absence of war." (lines 1-5) Song allows that vision to become a shared experience; thereby, unifying large groups of people in support of a common cause. Song has the ability to express latent feelings of dissatisfaction and strife, making the unstated tangible. King felt it was necessary to dramatize and make apparent the underlying tension that existed in the South. Through traditional congregational songs adapted to reflect the racial inequities and goals for freedom these feelings were shared, the ideas crystallized, and the human struggle was made apparent and understandable to others. It is crucial to remember the scope of these movements. Gandhi led millions in South Africa and hundreds of millions in India; the Civil Rights movement of 1955-68 and the United Farm Workers movement also involved millions of nonviolent protesters. Music became the metaphor for these struggles, creating a feeling of belonging to something bigger when sung together. Mohandas Gandhi used devotional song during the morning and evening prayer sessions at the ashrams, communal training centers for nonviolent satyagrahi (followers of the truth or spiritual warriors). As related by his grandson, Rajmohan Gandhi: “The presence of the newcomers underscored the need for multi-faith prayers and prayer songs” to unite the varied community (p. 133). The struggle for freedom in South Africa and in India attracted conscientious supporters from many religions, cultures, and classes. Devotional songs, such as “Vaishnava Janato,” helped educate, emphasize, and remind followers of the most fundamental tenets of Gandhi’s philosophies. Service to others, or an awareness and concern for universal well-being (sarvodaya) is captured in the following lyric from one of Gandhi’s favorite devotional songs: “He alone can be called a vaishnava (devotee of God) who knows the Other’s pain.” (Kahiye) Gandhi’s use of congregational, or group, singing of prayers, was based on his understanding of the social nature of human beings. “As social beings they have a need, even the obligation, to pray in a social setting…As a social activity, it involved music” (Parel, p.1). Music was seen by Gandhi as a “natural ally of prayer” and a “means of spiritual development” (Parel, p.2). He collected popular and secular music from many cultures to be used in the ashrams resulting in the Bhajanawali, a book of over 200 songs. Song was an integral part of nonviolence training and the search for truth; through devotional songs Gandhi believed our thoughts are cleansed and otherwise unavailable spiritual energy is released. Gandhi’s ashrams used song to unify individuals from different backgrounds and harness their energy toward a common goal of social change. Song also served to unify individuals from a shared history behind a common cause. As a grassroots movement, many of the civil rights demonstrations began through mass meetings held in churches. Lead by community leaders and songleaders, leadership passed from person to person intuitively, much like congregational singing. Meetings consisted of shared songs intermingled with ideas. Congregational songs were adapted to reflect the issues at hand and some like “We Shall Overcome” and “This Little Light of Mine” became anthems of the struggle. These anthems evolved in many stages; their simple lyrics and refrains allowed continuous alteration to fit the needs of the moment. “We shall overcome. We shall overcome. We shall overcome someday. Oh, deep in my heart, I do believe We shall overcome someday.” This traditional congregational song was adapted to “We are not afraid, we are not afraid today” as needed by a young girl locked in a dark room in Montgomery, Alabama (Reagon, p. 109). The history behind the songs emphasized the justice of their desire for freedom. The nonviolent army sang the songs of their enslaved ancestors because they felt themselves to be oppressed as well. John Lewis, a leader of the student sit-ins in Nashville, Tennessee, expressed his views that the marches were supported by singing: “The song represented the coming together, you really felt it--it was like you were part of the crusade…You felt uplifted and involved in a great battle and a great struggle” (Reagon, p. 107). In his autobiography, King mentions moments of despair while in a jail cell in Albany, during which his spirits were lifted by hearing the singing of his fellow demonstrators. “Through music, the Negro is able to dip down into the wells of a deeply pessimistic situation and danger-fraught circumstances and to bring forth a marvelous, sparkling, fluid optimism” (Carson, p. 178). Despair, anger, and aggression could be transformed through communal, or congregational, singing. Energy was creatively redirected through song. Lyrics inspired people and joined voices generated feelings of communal strength and companionship. Like the freedom struggles in South Africa, India and throughout the southern United States, the United Farm Workers movement used traditional songs to unify its members. These folk songs were adapted for the El Teatro Campesino meetings. “Lyrics were either assigned new meaning as protest songs or were changed to reflect the farm workers' struggles and accomplishments, alongside the emergence of a Chicano consciousness” (Ragland, p. 489). The UFW movement leaders used art to bring in members and strengthen commitment. El Teatro Campesino involved farmers in amateur theatrical productions. Through music and plays written specifically about their struggles members were allowed to constructively express their feelings of dissatisfaction. Cofounder of this theatrical institution, Agustin Lira, wrote songs which spoke of the struggle for improved work and living conditions as well as the desire for better education. Songs such as "Llegando a los Files" (Arriving at the fields) and "Yo no le Tengo Miedo a Nada" (I'm not afraid of anything) also indicated the willingness to use mass nonviolent action to bring about social change. Despite the frustration expressed in the Campesino songs, there is a feeling of empowerment and community solidarity imbued in each. In order to accomplish social change it is necessary to unify, motivate, and educate large quantities of people. Unfortunately, strife causes division. Music is a tool of nonviolent social reform, a natural companion to boycotts, marches, sit-ins and any other form of social noncooperation. Freedom songs educated not only the participants in mass movements, but also educated the community about the issues, needs, and consequences of systemic injustice. California State Standards: 3.0 Students read and respond to historically or culturally significant works of literature that reflect and enhance their studies of history and social science. They conduct in-depth analyses of recurrent patterns and themes. 3.2 Compare and contrast the presentation of a similar theme or topic across genres to explain how the selection of genre shapes the theme or topic. 3.5 Compare works that express a universal theme and provide evidence to support the ideas expressed in each work. Materials Needed: Digital story: “Freedom Songs: The role of song in freedom struggles” Computer LCD Projector (preferred) or DVD player and TV CD player Handouts: “Thematic Song Presentation,” “Freedom Song Lyrics,” “Song Analysis: Reading Beneath the Surface” Suggested Teaching Activities: 1. If used for one class: Handout the “Freedom Song Lyrics” handout and view the digital story with your class. Ask students to share out what they feel the role of songs were in the various freedom struggles based on their own knowledge and the digital story. Divide students into 7 groups and assign each group a freedom song to analyze. Students should discuss how the song reflects the struggles and hopes of the movement supporting their statements with specific lyrics. Each group will read their lyrics and share their analysis with the class. 2. If extended for several classes: Listen to and analyze one song a day from the digital story using the accompanying handout.