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. Hold a class discussion based on some of the following questions: - Who was the piece written for? - What was the purpose of the piece? - What topic or concern of the era does the piece represent? - What does the piece reveal about the artist and the artist’s viewpoint? Do you agree with this viewpoint? - What does the piece say about what life was like in the past? - What questions does this piece raise? How can you find answers? (discussion questions excerpted from: Lyrical Legacies, Library of Congress)
3. If extended over multiple weeks: Begin with either activity 1 or 2. Use “Thematic Song Presentation” and “Song Analysis: Reading Beneath the Surface” handouts. (Please adapt the Thematic handout to suit your curriculum.) Present a song. In my case, after teaching West Side Story and Romeo and Juliet, I will introduce my students to the themes of To Kill a Mockingbird through “Strange Fruit”. Students are assigned the task of finding a song that represents an act of, or reaction to, injustice. They will sign up to present their songs and thematic analysis to the class.
Bibliography: Carson, Clayborne. Autobiography of MartinLuther King, Jr. New York. Grand Central Publishing, 1998.
Gandhi, Rajmohan. Gandhi: the man, his people, and the empire. Berkeley. University of California Press, 2008.
Levertov, Denise. “Making Peace.”
Parel, Anthony J. “Gandhi as a Man of Prayer.” 2001.
Cathy Ragland. "Rolas de Aztlán: Songs of the Chicano Movement (review)." Journal of American Folklore 121.482 (2008): 489-490. Project MUSE. [Library name], [City], [State abbreviation]. 9 Jul. 2009
Reagon, Bernice Johnson. “Let the Church Sing Freedom.” Black Music Research Journal, vol. 7, (1987): 105-118. Chicago. University of Illinois Press, 1987.
Vaisnava Jan To Tene Kahiye http://www.gandhiserve.org/information/music_online/Vaishnav_text/Vaishnav_text.html accessed 07/15/09.
Appendices: 1. “Freedom Song Lyrics” 2. “Song Analysis: Reading Beneath the Surface” 3. “Thematic Song Presentation”
Freedom Song Lyrics
(for use with “Freedom Songs: The role of song in freedom struggles”)
“Revolution” By: The Beatles (Lennon/McCartney) You say you want a revolution Well you know We all want to change the world You tell me that it's evolution Well you know We all want to change the world But when you talk about destruction Don't you know you can count me out Don't you know it's gonna be alright Alright Alright
You say you got a real solution Well you know We'd all love to see the plan You ask me for a contribution Well you know We're doing what we can But when you want money for people with minds that hate All I can tell you is brother you have to wait Don't you know it's gonna be alright Alright Alright
You say you'll change the constitution Well you know We all want to change your head You tell me it's the institution Well you know You better free your mind instead But if you go carrying pictures of Chairman Mao You ain't going to make it with anyone anyhow Don't you know know it's gonna be alright Alright Alright
“Freedom Songs: The role of song in freedom struggles” Page 6 Freedom struggles of South Africa and India: Using nonviolent methods, Gandhi led millions of oppressed people in South Africa and India in their struggles for freedom. Using devotional songs from a wide array of religions he unified people formerly separated by culture and religion into one “army.” Devotional songs were used in his ashrams to reinforce the most fundamental concepts of their movement. “Vaishnava Janato” By Tene Kahiye
Hindi:
Vaishnav Janato tene kahiye Jay peerh paraaye janneyray Par dukkhey upkar karey teeyey, man abhiman na anney ray Sakal lokma Sahuney bandhey, Ninda Na karye kainee ray Baach kaachh, Man nischal Raakhey, dhan-dhan jananee tainee ray Samdrishi nay trishna tyagee, par-stree jaynay mat ray Vivihva thaki asatya na bolay, par-dhan nav jhaley haath ray Moh maaya vyaayey nahin Jeynay, dridth vairagya jana manma ray Ram-nam-shoom taalee laagee, Sakal teerth seyna tanma ray Vanloohee nay kapat rahit chhay, Kaam, Krodh nivarya ray Bhane Narsinhyo tainoo darshan karta kul ekotair taarya re.
English:
Speak only as godlike of the man who feels another's pain Who shares another's sorrow and pride does disdain Who regards himself lowliest of the low Speaks not a word of evil against anyone Blessed is the mother who gave birth to such a son Who looks upon everyone as his equal, Lust he has renounced Who honours women like he honours his mother Whose tongue knows not the taste of falsehood Nor covets another's worldly goods Who longs not for worldly wealth (or fame) For he treads the path of renunciation Ever on his lips is Ram's holy name All places of pilgrimage are within him He has conquered greed, is free of deceit, lust and anger Through him Narsinh has godly vision And his generation to come will attain salvation.
US Civil Rights: Within the congregational tradition, the songs of the United States freedom struggle were highly adaptable. Lyrics were changed spontaneously during mass meetings and marches to reflect the cause sometimes with locally specific lyrics.
“We Shall Overcome” Original lyrics by: Reverend Charles Tindley, traditional music Introduced to the movement by: Zilphia Horton
We shall overcome, We shall all be free, We shall overcome, We shall all be free, We shall overcome, some day. We shall all be free, some day.
Oh, deep in my heart, Oh, deep in my heart, I do believe We shall overcome, some day. We are not afraid, We are not afraid, We’ll walk hand in hand, We are not afraid, TODAY We’ll walk hand in hand, We’ll walk hand in hand, some day. Oh, deep in my heart,
Oh, deep in my heart, We shall overcome, We shall overcome, We shall live in peace, We shall overcome, some day. We shall live in peace, We shall live in peace, some day. Oh, deep in my heart, I do believe Oh, deep in my heart, We shall overcome, some day.
“This Little Light of Mine” Original lyrics by: Harry Dixon Loes, traditional music Introduced to the movement by: Zilphia Horton
This little light of mine Let it shine, let it shine, let it shine I'm going to let it shine This little light of mine All down the road I'm going to let it shine I'm going to let it shine This little light of mine All down the road I'm going to let it shine I'm going to let it shine Let it shine, let it shine, let it shine All down the road I'm going to let it shine Ev'ry where I go Let it shine, let it shine, let it shine I'm going to let it shine I’m going to let it shine Oh, ev'ry where I go I’m going to let it shine I'm going to let it shine I’m going to let it shine Ev'ry where I go I’m going to let it shine I'm going to let it shine Let it shine, let it shine, let it shine
United Farm Workers: “Llegando a los Files” Lyrics: Agustin Lira; traditional music
Llegando a Los Files Arriving at the Fields
Llegando a los files Arriving at the fields Se ven los esquiroles You can see the scabs Se escónden en las viñas They hide beneath the vines Para no oír la verdad To keep from hearing the truth Nosotros les pidímos We ask them Muy honradamente In a most respectable way Que si son tan hombres That if they are so macho Se salgan de aquí Then leave the field Viva, Viva nuestra huelga Long-live, Long-live our strike Viva Huelga En General Long-live the General Strike Que aquí con los huelguistas Because joining with the strikers No se pueden ya rajar You can’t ever back down Ya vienen los Huelguistas Now the Strikers come Muy cercas de los files Very close to the fields Y desde tierra firme comiensan a gritar And from the side of the road begin to shout Pelean sus derechos que no les da el patron Fight for your rights that the boss denies you Y venga con nosotros, que aquí van a ganar And come with us, because here you will win Vivan, Vivan los Huelguistas Long-live, Long-live the Strikers Viva Huelga En General Long-live the General Strike Ya los patroncitos lloran Now the dear bosses cry Nunca nos olvideran They will never forget us Corran, corran esquiroles Run, run scabs Y no dejen de correr And don’t stop running Que muy cercas los huelguistas Because close-by the strikers Ya los van a convencer Will quickly get you to change your mind (En voz alta) (Spoken) Miren compañeros trabajadores Look fellow farm workers Aquí esta la huelga Here is the strike Y aquel que no pelea sus derechos And he who does not fight for his rights Que se ponga a correr Let him begin to run Corran, corran esquiroles Run, run scabs Y no dejen de correr And don’t stop running Que muy cercas los huelguistas Because close-by the strikers Ya los van a convencer Will quickly get you to change your mind (Translated by Abby Rivera 10/05)
“Yo no le Tengo Miedo a Nada” Lyrics: Agustin Lira (El Teatro Campesino cofounder) the song was performed at a UFW meeting in 1965 during the Delano Grape Strike
Yo No Le Tengo Miedo a Nada I Am Not Afraid of Anything Yo no le tengo miedo a nada I am not afraid of anything A nada le tengo miedo yo There isn’t anything that frightens me Unos pierden y otros ganan Some win and others lose Pero a mi no me gusta perder But I don’t care to lose. Y por éso les digo a mis amigos, That is why I tell my friends, Que se paren ya de vender To stop selling themselves out Porque aquel que es vendido Because he who is a sell-out Siempre le va de perder Will always wind up losing Mira mira, mira mira Look, look; look, look Mira mira, como corren Look, look how they run Parece que si paran It seems as though if they stop El trabajo perderán They will lose their jobs Que no saben esquiroles Don’t the scabs know Que ya la llevan de perder That they’ll wind up losing them anyway Corran, corran esquiroles Run, run, scabs Y no dejen de correr And don’t stop running Que muy pronto los Huelguistas Because surely quick the Strikers Ya los van a convencer Are going to change your minds Yo no le tengo miedo a nada I am not afraid of anything A nada le tengo miedo yo There isn’t anything that frightens me Unos pierden y otros ganan Some lose and others win Pero a mi no me gusta perder But I don’t care to lose (En voz alta) (Spoken) Y si como les digo And yes, as I like to say, Que sigan corriendo That they continue running Que se sigan escondiendose de la verdad That they continue hiding from the truth Que al cabo que aquel que es pendejo Because anyway he who is stupid En la frente se le ve la P. Visibly wears the S on his forehead Pero (continuar cantado) But (return to singing) Yo no le tengo miedo a nada I am not afraid of anything A nada le tengo miedo yo There isn’t anything that frightens me Unos pierden y otros ganan Some lose and others win Pero a mi no me gusta perder But I don’t care to lose
(Translated by Abby Rivera 10/05
Today: “Yes We Can” Performed by: Will I Am It was a creed written into the founding documents that declared the destiny of a nation. Yes we can. It was whispered by slaves and abolitionists as they blazed a trail toward freedom. Yes we can. It was sung by immigrants as they struck out from distant shores and pioneers who pushed westward against an unforgiving wilderness. Yes we can. It was the call of workers who organized; women who reached for the ballots; a President who chose the moon as our new frontier; and a King who took us to the mountaintop and pointed the way to the Promised Land. Yes we can to justice and equality. Yes we can to opportunity and prosperity. Yes we can heal this nation. Yes we can repair this world. Yes we can. We know the battle ahead will be long, but always remember that no matter what obstacles stand in our way, nothing can stand in the way of the power of millions of voices calling for change. (We want change.) We have been told we cannot do this by a chorus of cynics…they will only grow louder and more dissonant ……….. We’ve been asked to pause for a reality check. We’ve been warned against offering the people of this nation false hope. But in the unlikely story that is America, there has never been anything false about hope. Now the hopes of the little girl who goes to a crumbling school in Dillon are the same as the dreams of the boy who learns on the streets of LA; we will remember that there is something happening in America; that we are not as divided as our politics suggests; that we are one people; we are one nation; and together, we will begin the next great chapter in the American story with three words that will ring from coast to coast; from sea to shining sea: Yes We Can.
Page 11 of 13 Song Analysis: Reading beneath the Surface
In preparation for your thematic song presentation, please complete your analysis using the following questions and prompts on another paper. This paper should be shown to the teacher at least one class before you present.
Include the name of your song title and artist on your paper. Answer the following questions in complete sentences using specific examples from the poem/song. If you take any direct quotes from the poem/song lyric, you must use quotation marks.
1. What is the author’s tone in the poem? What emotions, feelings and/or attitudes is the artist/poet expressing towards his/her topic? How can you tell? Use examples from the poem to support your opinions.
2. Does your poem have a rhyme scheme/pattern? If so, explain what the pattern of rhyme is in the poem. Provide some examples of rhyme in the poem.
3. Are there any allusions to other poets/artists, works of literature, songs, well- known famous people, specific places, historical events, etc…in your poem?
4. Are there any similes (comparisons using “like” or “as”) or metaphors (direct comparisons) in your poem? If so, what things are being compared?
5. Are there any examples of alliteration in your poem? Please provide quotes from the poem to support your answer.
6. What was the total effect of the poem/song on you as a reader/listener? How did the poem make you feel (happy, sad, confused, etc…)? Were you able to relate to the lyrics in any way?
7. How many stanzas are in your poem?
8. Who or what is the speaker in your poem? How do you know this?
Page 12 of 13 This semester we’re studying several “texts” with Thematic Song similar themes; West Side Story, Romeo and Juliet, Presentation Steps: and To Kill a Mockingbird all share the theme of injustice among others. Your assignment is to 1. Sign up for a presentation date. select a song that effectively explores the theme of injustice. Injustice can manifest itself in many 2. Select an interesting ways; it is your task to select a song that you can song that focuses on an clearly link to this theme and our class readings. act of, or reaction to, You will present your song to the class in a five injustice. Songs should minute lesson. be appropriate for use in the classroom; you must get teacher approval.
Guiding Questions (refer to specific lyrics in your response): 3. Type the title of the What is this song about? song, name of the lyricist (song writer), name of the How is this song about injustice? performer/group, and the What injustice might this be related to? lyrics. Are there similarities between this song and our class texts? How? 4. Outline your What is the artist’s opinion/stance on this topic? presentation and prepare 3x5 note cards to assist you with your “Strange Fruit” presentation (these will be turned in). Lyrics by Abel Meerpol Performed by Billie Holiday 5. Prepare a poster with
the title, performer, and Southern trees bear strange fruit, lyrics printed clearly, so Blood on the leaves and blood at the root, Black bodies swinging in the southern breeze, the class can read the Strange fruit hanging from the poplar trees. lyrics as we listen to the song. Can you visually Pastoral scene of the gallant south, emphasize the lyrics that The bulging eyes and the twisted mouth, tie into our theme? Scent of magnolias, sweet and fresh, Then the sudden smell of burning flesh. 6. The day of your presentation, bring the Here is fruit for the crows to pluck, recording to class on cd. For the rain to gather, for the wind to suck, Preferably burn an extra For the sun to rot, for the trees to drop, copy for the teacher. Here is a strange and bitter crop.
Page 13 of 13