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"F! 6%,,'*&/$"*&78&!9%&:*;<0'*.%*+&"*2&=>."*&)9"0"?+%0<,+2<%*?%8&Primary (3rd Grade) B+"*2"02,8&History and Social Science Standards of Learning in Virginia 3.4 The student will develop map skills by a) locating Greece, Rome, and West Africa; b) describing the physical and human characteristics of Greece, Rome, and West Africa; c) explaining how the people of Greece, Rome, and West Africa adapted to and/or changed their environment to meet their needs NCSS Standard 1D: The learner can compare ways in which people from different cultures think about and deal with their physical environment and social conditions & & A"+%0<"$,C!<.%CB1"?%8&Projector; access to Google Earth; two Mancala games; Handout 1 (map of Western Africa adapted from William Rainey Harper College. (2010); Handout 2A; Handout 2B; one full hour; whole group; small group; individual; typical classroom space; average elementary class size (20 students). 6%,,'*&D%,?0<1+<'*8& @*+Mali, such as the Great Mosque of Djennes and architecture in Timbuktu. Ask students to describe the environment that they see on the projector. Write these adjectives on the board. (5 minutes) E#F%?+<;%&"*2&-+,&/>01',%8&Given knowledge of the Ancient Mali environment, students will discuss how location affected the citizens’ occupations and lifestyles of the Ancient Mali Empire. -*1>+CA'2%$<*58&Pull up Google Earth on the projector, and zone in on Mali’s location. Ask students to identify the characteristics of climate, land, and large bodies of water around it. Zone in on Google Earth where the salt mining, gold mining, and farming took place. Also point out where the Great Mosque of Djennes is located. (10 minutes) )9%?G&('0&H*2%0,+"*2<*58&Pass out Handout 1 to students. Handout 1 contains a map of Western Africa. While coloring in the maps, ask students how the geography of the map would affect an empire’s population. Ask the students how they think this would affect the citizens’ lifestyles and occupations. Ask students to think about problems that Mali citizens may have encountered due to its geographic location and environment, and ask students to share their ideas. These problems could include difficulties in farming or lack of water sources. (10 minutes) ! ! ""! I><2%2&/0"?+ &-*2%1%*2%*+&/0"?+game of Mancala and allow students will play it. (20 minutes) & )$',>0%8&Review the correct answers for Handout 2A and 2B, asking for student participation. Write the correct answers on the board. Ask if the students have any questions about the handout, maps, or Mali. Give the students an Exit Slip consisting of a short answer and multiple-choice question. Ask each student to look up three websites concerning Ancient Mali, and to post them on the classroom Diigo website. (5 minutes) :;"$>"+<'*8& J'0."+<;%8&Observe student participation in the small group discussion by walking around the room to informally assess guided practice. Note attentiveness during input/modeling. B>.."+<;%8&The teacher will evaluate both Handout 2 and the Exit Slip. & & & ! "M! K".%8&LLLLLLLLLLLLLLLLL& D"+%8&LLLLLLLLLLLLLLLLLL& ! A"1&'(&+9%&@*?<%*+&:.1<0%,8&6"*2&"*2&M"+%0& & & ! "V! ="*2'>+&N@& K".%8&LLLLLLLLLLLLLLLLLLLLLLLLLLLLL& D"+%8&LLLLLLLLLLLLLLLLLLLLLLLLLLLLLL& & A"$<& & 7O M9"+&P%0%&+9%&.',+&<.1'0+"*+&*"+>0"$&0%,'>0?%,&+'&+9%&1%'1$%&'(&@*?<%*+&A"$ ! "Z! ="*2'>+&N3& K".%8&LLLLLLLLLLLLLLLLLLLLLLLLLLLLL& D"+%8&LLLLLLLLLLLLLLLLLLLLLLLLLLLLLL& & A"$<& & 7O M9"+&P%0%&+9%&.',+&<.1'0+"*+&*"+>0"$&0%,'>0?%,&+'&+9%&1%'1$%&'(&@*?<%*+& A"$ ! "G! K".%8&LLLLLLLLLLLLLLLLLL& D"+%8&LLLLLLLLLLLLLLLLL& :[<+&B$<1& & & )<0?$%&+9%&.%+"$&+9"+&P",&.<*%2&<*&A"$<8&& @O )'11%0& 3O I'$2& )O B<$;%0& DO 30'*\%& & M0<+%&'*%&.'0%&0%,'>0?%&+9"+&P",&.<*%2&<*&A"$<8& LLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLL& /+%U)*6!731-! ! ">! ]%(%0%*?%,& Art.com. (2011). Retrieved October 1, 2011, from http://www.art.com/products/p12892959-sa-i2053364/ariadne-van-zandbergen-djennes- grand-mosque-1905-is-the-largest-mud-brick-building-in-the-world-djenne-mopti- mali..-@! Brook, A., & Webb R. (1999). Daily life in ancient and modern Timbuktu, Runestone Press Masoff, J., & Brown, B. (2004). Mali, land of gold & glory. Five Pond Pr. McKissack, A., & McKissack, F. (1996). The royal kingdoms of ghana, mali, and songhay, life in medieval africa. Henry Holt and Co. ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! "`! Lesson #2: Three Cultures, Three Sculptures Preparer: Christine Putnam Grade Level: Primary (Grade 2) Time: 1 hour Space: Whole Group (20-25 students) Standards: Virginia Standards of Learning – Visual Arts 2.9 The student will identify and use a variety of sources for art ideas, including nature, people, images, imagination, and resource materials. 2.11 The student will create a work of art my manipulating clay. National Visual Arts Standards Grade K-4 Visual Arts Standard 4 ! Students identify specific works of art as belonging to particular cultures, times, and places Objectives: 1. Given images of three horse sculptures, students will identify characteristics of each that can serve as inspiration for their own art. 2. Given visual references and teacher explanation, students will create identifiable horse sculptures using clay. 3. Given images of four sculptures, students will identify three as belonging to particular times and places. Resources: Digital images of Artemision Jockey, Inland Niger Delta Equestrian Figure, Terra Cotta Horse; multiple choice assessment activity sheet; clay for each student; paper to cover desks Artemision Jockey (ca. 140 BC). Available online. http://www.namuseum.gr/collections/sculpture/hellenistic/hellenistic13-en.html Inland Niger Delta Equestrian Figure (13th-15th century). Available online. http://africa.si.edu/collections/view/objects/asitem/search$0040/1/title- asc?t:state:flow=35aad933-13cd-4598-83fb-51b858d53199 Terra Cotta Horse (ca. 210 BC). Available online. http://www.smithsonianmag.com/history-archaeology/On-the-March-Terra-Cotta-Soldiers.html# Marini, M. (1955) L’idea del Cavaliere. Available online. http://www.artnet.com/ Content and Instructional Strategies: Introduction: Begin the lesson by asking the students what a sculpture is. Use the students’ answers to assess their prior knowledge. With the students, discuss how sculptures differ from paintings, emphasizing that sculpture is three-dimensional art. Create a chart on the board that compares and contrasts the two art forms. Ask the students to list materials that sculptures can be made out of and write the list next to the chart. If the list does not include clay and bronze, add them. Content Focus: Lower the projector screen and tell the students: we are going to look at three sculptures from three different cultures. Display each image individually, starting with the Equestrian ! "X! Figure. When the image is projected on the screen, ask the class the following questions: what do you think the horse is doing? What do you think the rider is doing? (objective). Have you ever seen a horse similar to this one? (reflective). Are the horse and/or rider decorated? If so, how? (objective). Make sure that the students recognize that the Greek horse is moving. Ask them: how can you tell that the horse is in motion? (objective). Provide background information about each sculpture. Include its age, origin, and building materials. For age, note how many years old it is rather than the approximate date of production. Expand the inquiry by asking questions that require personal interpretation: what do you notice most about this sculpture? (reflective). Why do you think that the artist decided to sculpt this horse? (interpretive). Is the artist showing a rider who is happy, sad, or just working hard? (interpretive). Record the answers on the board. Give students an opportunity to connect the sculptures to their own lives by asking: how can you relate to this sculpture? (decisional). Next, have the students review the list on the board and identify the sculptural traits that they want to incorporate into their art. Circle their selections. Pass out clay to each student and tell the students that they are going to create their own horse sculptures. Ask them: why are we making sculptures rather than paintings? (decisional). Direct the students to refer the historical sculptures for inspiration. Instruct the students to incorporate two traits from the list on the board into their projects. There are two inclusion students in the class. They are not required to incorporate the traits. One will sculpt his dog instead of a horse. Project the digital images on the screen while the students work Closure: Work on the sculptures for twenty minutes and then clean up. If necessary, students can complete their work during free time. As a class, compare the students’ sculptures with the historical sculptures. Chart the similarities on the board. Next, give each student an assessment sheet to complete independently. To ensure clarity, read the questions out loud. Collect the completed assessments and review the answers as a class. Project the question on the screen and use the Interwrite pad to mark the answers as indicated. Assessments: Formative: Responses to questions, following directions, selection of sculptural traits, creation of horse sculptures. Summative: Completed horse sculpture and activity assessment sheet. Background Information: Sculpture: the art of carving or modeling statues, figures, or designs in stone, wood, clay, etc. Inland Niger Delta Equestrian Figure: a ceramic figure from Ancient Mali. Ancient Malian ceramic figures are among the earliest known surviving art forms from sub-Saharan Africa. Artemision Jockey: a horse race monument from Ancient Greece. It was recovered in pieces from the seafloor off Cape Artemision in 1928 and 1937. It is made out of bronze. Terra Cotta Horse: part of the Terra Cotta Army, a collection of over 7,000 soldier, chariot, and horses statues that were discovered inside the tomb of China’s first emperor, Qin Shi Huang. Key Concepts: Visual Arts: ideas can be derived from images and used to create original works of art. Art History: art has history, as evidenced by sculptures from different cultures, times, and places. ! "]! Inland Niger Delta Equestrian Figure Artist: Unknown Ancient Mali ! ! ! ! ! ! ! ! ! ! MF! Artemision Jockey Artist: Unknown Ancient Greece & & & & & & & ! M"! Terra Cotta Horse Artist: Unknown Ancient China ! ! ! ! ! ! ! ! & ! MM! Name: ______ Identify the following sculptures: 1) Circle the horse from Ancient Mali. 2) Put a square around the horse from Ancient China. 3) Cross out the horse from Ancient Greece. Answers: (1) c, (2) a, (3) b (a) (b) (c) (d) ! MV! Example Sculpture Project ! MZ! References Artemision Jockey. (n.d.). In National Archaeological Museum. Retrieved from http://www.namuseum.gr/collections/sculpture/hellenistic/hellenistic13-en.html Consortium of National Arts Education Associations (ArtsEdge). (2010). Grades K-4 visual arts standard 4. Retrieved from http://artsedge.kennedy-center.org/educators/standards/ national/arts-standards/k-4/visual-arts/visual-arts-4.aspx Flexner, S.B. (Ed.). (1984). The random house school dictionary. New York, NY: Random House. Hemingway, S. (2004). The horse and the jockey from Artemision. Berkeley, CA: University of California Press. Inland Niger Delta Equestrian figure. (n.d.). In National Museum of African Art. Retrieved from http://africa.si.edu/collections/view.objects/asiterm/search$0040/18/title- asc?t:state:flow=22703160-027e-4991-addb-c98e7addfeac Lubow, A. (July 2009). Terra cotta soldiers on the march. Smithsonian Magazine. Retrieved from http://www.smithsonianmag.com/histroy-archaeology/On-the-March-Terra-Cotta- Soldiers.html# Marino Marini Past Auction Results. (2011). In artnet.com. Retrieved from ! .--N6SSUUUT3*-+)-T&'@S3*-$%-%S1'-9)-3$1N3,)T3%N\i1'-j$9kLL"E>ZG"EO]""LO>"M` ! FEO0EM`"X#G]"! ! Virginia Department of Education. (2008). Visual Arts Standards of learning. 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RO&B1%"G&"&6<++$%&B$'P%0&_&e8%-!3!1$--1)!?$-!%1'U)*!-.3+!H'8!U'819!-31R!U$-.!3! 4*$)+9T!C4!H'8!-31R!-''!43%-Y!U)!U'+d-!8+9)*%-3+9!U.3-!H'8!3*)!%3H$+,T!! ! & & & & ! V"! Inquiry Lesson 4: Looting Artifacts Prepared by: Gertrude Okyere and Talia Frye Purpose: Students will understand through conducting research, some causes and effects of the looting of Malian antiquities. Students will recognize that looting is a problem related to the economic conditions of contemporary Mali, and that looting is a problem because it hinders our ability to reconstruct historical events/preserve history. Standards: NCSS Standard Global Connections D. [The student will] explore the causes, consequences, and possible solutions to persistent, contemporary, and emerging global issues, such as health, security, resource allocation, economic development and environmental quality. National History Standard 4A, Grades 5-12: [The student will] Formulate historical questions from encounters with historical documents, eyewitness accounts, letters, diaries, artifacts, photos, historical sites, art, architecture, and other records from the past. Grade Level/ Time/ Space: 6th grade; 3-1 hour sessions; whole group (24-26 students)/ small group, individual Objectives: 1. Given eyewitness accounts, interviews and background information, students will generate questions, hypotheses, and conduct research pertaining to and linking the past with current economic issues. 2. Given a guiding worksheet, students will research and record causes, viewpoints and recommended possible solutions to the looting of antiquities. 3. Given research on the viewpoints of looters and archeologists students will argue for or against looting and justify their assigned positions. Resources: Excerpts from “Looting Mali’s History” (Enclosed), Bookmarked articles and books (see Overview of Resources), Internet-equipped computers for student use, Guided research worksheet (enclosed). Procedure: Day 1 Introduction: Read aloud excerpts from eyewitness accounts of looting of antiquities (enclosed). Solicit student reactions to excerpts. Use guiding questions to prompt students’ reactions. How did you feel when listening to the excerpts? What problems were identified? What are your thoughts on the issue? Why do you think there is a looting problem? What are the effects/consequences of looting on cultural preservations? Record students’ comments on the board. Ask students to think about further questions they have based on the read aloud and class reactions. Use the prompting question: If you were a journalist investigating looting what would you hope to discover based on your interview? Record students’ questions on the board, and instruct students to record their questions on the Research Worksheet (enclosed). Content Focus: Instruct students to select a question to investigate. Provide students with a list of bookmarked websites and books for preliminary research, and a worksheet to record facts ! VM! uncovered. Allot 10 minutes for investigation. Instruct students to formulate another question based on research, and a hypothesis; direct students to record their new question and hypothesis on the Research Worksheet. Day 2 Content Focus: Direct students to conduct further research based on their hypothesis; their aim is to investigate their question to confirm/disprove their hypothesis Divide students into groups of 3-4. Instruct students to (as a group) identify 2 ideas from their research; facts that they think the class should know about. Have students share their 2 ideas on the board. Ask the whole group to assess the ideas on the board, and erase duplicates. Key ideas that can be expected from students include: 1. Artifacts, such as the door at the mosque at Djenne, Timbuktu manuscripts and terra cotta figurines have been looted and sold for thousands of dollars. 2. Looting became a real problem around the 1970s; around this time, two archeologists from California discovered artifacts near Djenne and made their discoveries public through the London Times and Archeology Journal. 3. Some Malians loot because they are poor, and need money for their families. 4. Some looters claim to help the economy when they sell artifacts. 5. The president of Mali from 1992-2002 (Oumar Konare), was an archeologist, and attempted to protect artifacts, but failed. 6. Some Malians have formed groups in charge of protecting artifacts. 7. There is a U.S. law from 1993 that prohibits the import of ancient Malian art. There is also an international law that protects artifacts (the 1970 UNESCO Convention), but looters find a way to circumvent the law. 8. Archeologists have a difficult time protecting the sites for digs because of looters. When artifacts are looted, it is difficult to uncover or preserve the history of a group of people. NOTE: these statements reflect possible ideas that could be generated by students, and are meant to be informational – allow students to develop ideas, and avoid giving answers Type up student generated ideas and distribute to students as notes. Use the “notes” as basis for developing essay question. Day 3 Debate: Two clear viewpoints that could emerge as a result of research are those of looters and archeologists. Looters pursue artifacts for money and archeologists look to preserve history; each side has reasons for their viewpoints. As closure to the assignment stage a debate between looters and archeologists. Assign students randomly to each side by drawing names and positions out of hats. Allot students 10 minutes to prepare for their debate. Allow debate to progress for 20 minutes Closure: Solicit students’ reactions to what they discovered in their research. Ask students to explain why it is important to study this issue. Evaluation: Formative: Were students engaged in the activity? Did students formulate their own questions about ancient artifacts and their connection to the past and the problems associated with looting? Summative: Worksheet and essay question ! VV! Essay Question (8pts): Explain why ancient artifacts such as the manuscripts and statuettes are important to Mali’s past and present (2pts). Explain why such items are sold or smuggled today; include at least two causes (2pts) and one effect of looting (1pt). Explain how Mali, the United States and other countries have tried to limit looting in Mali (2pts). Based on your own research, what do you think can be done to limit the looting of artifacts (1 pt). Background Information: Ancient Mali boasted enormous wealth and power. Mali was not only a center of trade, but also a center of great knowledge and art. It was here that scholars and artists congregated in the first universities, which resulted in the formation of many art forms including statues, pottery, and manuscripts. These medieval documents, known as the Timbuktu Manuscripts, contained information ranging from scholarly works on astronomy and law to short letters, with some dating back as early as the 13th century. Many of the art forms and manuscripts have been preserved by private households and passed down between family members. Unfortunately looting has become commonplace in contemporary Mali. Artifacts from archeological digs in Djenne, including items such as the Timbuktu Manuscripts, terra cotta statuettes, Neolithic pottery, and the door to the Mosque at Djenne have been lost due to looting. According to Malian officials, Mali’s cultural history is threatened by the skyrocketing prices for African artifacts and the development of a rather sophisticated smuggling system. Various organizations have formed in hopes of preserving and locating the stolen manuscripts and artifacts so the people of Mali as well as the world can connect with the past (Hammer, 2009). Skills: The process of inquiry; research; developing generalization from research about looting in present day Mali and how it affects our understanding and connection with the past. Values: Respect for the different cultures; an understanding of economics that can be implemented worldwide; respect for the use of reason; tolerance for ambiguity; curiosity; skepticism; respect for evidence. Concepts: How the present day issues of looting affect our ability to connect with the past. ! VZ! Overview of Resources: Websites/ Primary Sources: “Looting Mali’s History” – This article from the Smithsonian details a reporter’s experiences being sold looted artifacts from the Niger Delta. It provides a historical view of the issue of looting, and suggests some possible causes and effects “The Treasures of Timbuktu” – This article describes archeologists’ and preservationists’ efforts to find and restore the Timbuktu Manuscripts, evidence of the scholarly works in the universities and libraries of the ancient Malian city, before they are destroyed buy dust and heat, or stolen and smuggled. “Faking African Art” – This article describes one of the results of looting, and the growing market for Malian antiques – forgery – and its disruption of the art record. “Ancient Manuscripts from the Desert Libraries of Timbuktu” – This website gives access to an exhibition of some of the ancient Manuscripts of Timbuktu, and how they have contributed to the history of Malians. “Bureau of Educational and Cultural Affairs (Mali)” – This website provides links to two primary resource documents; the 1993 U.S. agreement to restrict imports of Malian artifacts, and the 1970 UNESCO convention which prompted U.S. action “Djenne: West Africa’s Eternal City” – The “More to Explore” section on this website summarizes the effects of looting in Mali and provides links to additional resources. “The looting of Cultural Material in Mali” – This article explains factors that contribute to and motivate looting. Additionally, its author identifies two types of looting “intentional looting” (the collection of surface finds from archaeological sites; the illicit excavation of archaeological sites) and “organized group” (either families who make this their source of income, or looters hired by antiques dealers). “SAFE: Saving Antiques for Everyone” – This website provides an overview of the causes of looting, and efforts by the U.S., Mali and other countries to protect Malian artifacts. “Diggers in Mali Looting Relics of Ancient Culture” – This article from the Houston Chronicle provides facts about the issue of looting, and identifies poverty as the root problem, which motivates looting. Books: “The Plundered Past: the Story of the Illegal International Traffic in Works of Art.” This book is about the illegal trade in art and archaeological objects from 1900 to 1975. It provides comprehensive documentation of the destruction and theft of the artifacts of the past. Within it are several extensive appendixes which include the United States Antiquity Legislation, a list of major art thefts from 1911-1972, and many other pieces of pertinent information. An extensive 24-page bibliography is also included. ! VG! “A History of Archaeological Thought”. Useful for setting the context of archaeological method and practice. “Archaeological Ethics”: A Collection of Archaeology Magazine articles written for a general audience on archaeological ethics (looting, reburial, repatriation issues), plus summaries, discussion questions, suggestions for further reading, and a resource guide should make this a useful teaching tool. “Stealing History: Tomb Raiders, Smugglers, and the Looting of the Ancient World: This book discusses the looting of Moche royal tombs in Sipan, Peru, and uses this incident as a case study of the effects of looting on historical preservation. Catalyst: Excerpts from Looting Mali’s History (Smithsonian Magazine) I'm sitting in the courtyard of a mud-walled compound in a village in central Mali, 40 miles east of the Niger River, waiting for a clandestine meeting to begin. Donkeys, sheep, goats, chickens and ducks wander around the courtyard; a dozen women pound millet, chat in singsong voices and cast shy glances in my direction. My host, whom I'll call Ahmadou Oungoyba, is a slim, prosperous-looking man draped in a purple bubu, a traditional Malian gown. He disappears into a storage room, then emerges minutes later carrying several objects wrapped in white cloth. Oungoyba unfolds the first bundle to reveal a Giacometti-like human figure carved out of weathered blond wood. He says the piece, splintered and missing a leg, was found in a cave not far from this village. He gently turns the statuette in his hands. "It's at least 700 years old," he adds. Oungoyba runs a successful tourist hotel next door to his house; he also does a brisk business selling factory-produced copies of ancient wooden statuettes and other objects to the Western package-tour groups that fill the hotel during the winter high season. But his real money, I've been told, comes from collectors—particularly Europeans—who may pay up to several hundred thousand dollars for antique pieces from villages in the region, in defiance of Malian law. My guide told Oungoyba that I was an American collector interested in purchasing "authentic" Dogon art. The Dogon, subsistence farmers who hold ancient animist beliefs, are one of central Mali's ethnic groups. On the porch of his private compound, Oungoyba, a Dogon, unwraps a few additional objects: a pair of ebony statuettes, male and female, that, he says, date back 80 years, which he offers to sell for $16,000; a slender figurine more than 500 years old, available for $20,000. "Check with any one of my clients," he says. "They'll tell you I sell only the real antiquities." Two days earlier, in the village of Hombori, I had met an elderly man who told me that a young Dogon from the village had been cursed by the elders and died suddenly after stealing ancient artifacts from a cave and selling them to a dealer. But endemic poverty, the spread of Islam and cash-bearing dealers such as Oungoyba have persuaded many Dogon to part with their relics. ! V>! Indeed, Oungoyba says he purchased the 700-year-old human figure, which he offers to me for $9,000, from a committee of village elders, who needed money to make improvements to the local schoolhouse. "There are always people in the villages who want to sell," Oungoyba says. "It's just a question of how much money." With a fierce wind blowing from the desert, I venture beyond Gao to observe examples of the systematic looting in the region. Mamadou Cissé, McIntosh's graduate student, leads me across an archaeological mound known as Gao-Saney. Grains of sand nip at our faces as we trudge across the 25- to 30-foot-high mound, crunching shards of ancient pottery beneath our feet. Below us, on the flood plain, I can make out the long dry bed of the Telemsi River, which likely drew settlers to this site 1,400 years ago. What commands my attention, however, are hundreds of holes, as deep as ten feet, that pockmark this mound. "Watch out," says Cissé, hopscotching past a trough gouged out of the sand. "The looters have dug everywhere." Locals have created "brigades of surveillance" to help protect the sites. The Malian government has made modest progress combating antiquities theft. Former President Alpha Oumar Konaré, an archaeologist who held office between 1992 and 2002, established a network of cultural missions across the Inland Niger Delta, responsible for policing sites and raising awareness of the need to preserve Mali's heritage Shady exporters are furious about the regulations, he adds, because they make it more difficult for them to pass off copies as authentic artifacts, and prices have nose-dived. Oungoyba, the illegal antiquities dealer, scoffs at the regulations. I asked him if I would be able to smuggle Dogon sculptures out of the country. "Pas de problème," he says, flashing a small smile. Oungoyba says that he'll pack up whatever I purchase in a secured wood crate, and he instructs me to undervalue the purchase by 95 percent. Bamako International Airport, he says, can be tricky; he advises his clients to carry their purchases overland to Niger. Malian customs officials at the border usually can't be bothered to open the crate. "Just tell them that you spent $100 on it as a gift for your family, and nobody will ask questions," he assures me, adding that suspicious officials can be bought off. Once I've crossed into Niger, he continues, I'll be home free. The Niger government has been lax about enforcing the Unesco treaty obliging signatories to cooperate in combating antiquities theft. Oungoyba insists that his black-market trade helps the economy of the destitute Dogon region. But others say dealers and buyers hide behind such arguments to justify the damage they're inflicting on the culture. "They claim they're doing good things—building hospitals, spreading money around," Ali Kampo, the cultural official in Mopti, tells me. "But in the end, they're doing a disservice to humanity." ! V`! Looting of Mali’s History Research Notes Name: ______Date: ______ 1. What were your reactions to the news article just read? What did you see? What did you hear? What problems were identified? What do you think about these problems? Write down at least 3 reactions. 2. What other questions do you have? If you were a journalist investigating looting what would you hope to discover based on your interview? Write down at least 3 questions. 3. Select one question to investigate. Record your finding below: a. Write your question here. b. What resources will you use to research your question? Select at least 2 c. What information did you find related to your question? d. Additional information? ! VX! 4. What is another question you have after conducting your research? 5. Write a hypothesis relating to your new question. 6. Investigate your new question. a. What resources will you use to research you question? Select at least 2 new resources. b. What information did you fins related to your question? c. Did you find any additional information? 7. What is one fact you found that you think the class should know about? ! V]! Looting of Mali’s History Research Notes (Sample) Name: Talia Frye Date: 11/9/2011 1. What were your reactions to the news article just read? What did you see? What did you hear? What problems were identified? What do you think about these problems? Write down at least 3 reactions. I felt out of place. I could picture my surroundings but it is not familiar. I could see the sandy ground and all of the animals. There was something about the writing that made me feel that I was in Mali. When the author talked about the looting, it bothered me. Why take someone’s things? If we were to take something of our neighbor’s we are punished, these people should be punished. 2. What other questions do you have? If you were a journalist investigating looting what would you hope to discover based on your interview? Write down at least 3 questions. Why are they looting these things? Is this a problem in other nations? Is looting preventable in Mali? 3. Select one question to investigate. Record your finding below: a. Write your question here. Why are they looting these artifacts? b. What resources will you use to research your question? Select at least 2 - Looting Mali’s History - The Looting of Cultural Material in Mali c. What information did you find related to your question? People sell artifacts to help their families and even to help their communities. African art and artifacts are worth a lot of money. Their worth seems to create looting/smuggling. d. Additional information? There are organizations working to protect and restore the artifacts. Thieves will ransack dig sites. 4. What is another question you have after conducting your research? Are thieves looting for the money or for their families/communities? 5. Write a hypothesis relating to your new question. Many of the people of Mali sell artifacts that have been in their families for hundreds of years because they live in poverty and need the money to feed and clothe their families, but there are many others who steal so they can have the money for the wrong reasons. ! ZF! 6. Investigate your new question. a. What resources will you use to research you question? Select at least 2 new resources. - Treasures of Timbuktu - Stealing History: Tomb Raiders, Smugglers, and the Looting of the Ancient World b. What information did you find related to your question? The selling of artifacts is both bad and good depending on the origins of the artifact. These artifacts hold secrets to the past and if sold illegally will be lost. c. Did you find any additional information? There are many organizations working to find and preserve these artifacts. Due to increasing poverty it is clear as to why many people are selling the artifacts they had from their ancestors. 7. What is one fact you found that you think the class should know about? Many African families are selling their ancestral artifacts to help their families survive. It is very noble since many of these items probably hold significant meaning to the family. Unfortunately the selling of the item may get into the wrong hands and be forever lost. ! ! Z"! Inquiry Lesson Rubric Category Exceeds Expectations Meets Expectations Below Expectation Research Notes Lists reactions to catalyst Lists reactions to catalyst Lists reactions to catalyst Lists 3 or more questions Lists 3 or more questions Lists fewer than 3 Selects 3 or more Selects at least 2 questions resources for research resources for research Selects fewer than 2 Lists at least 5 details per Lists at least 3 details per resources for research source source Lists fewer than 3 details Produces plausible Produces plausible per source hypothesis hypothesis Produces plausible Selects 3 or more Selects at least 2 hypothesis resources for additional resources for additional Selects at least 2 research; sources include research resources for additional both primary and Details 1 fact to share research secondary with the class Details 1 fact to share Details 2 or more facts to (15pts) with the class share with the class (10pts) (20pts) Essay Explains significance of Explains significance of Explanation of ancient artifacts to Mali’s ancient artifacts to Mali’s significance of ancient past and present (2pts). past and present (2pts). artifacts to Mali’s past Explains why such items Explains why such items and present (2 pts). are sold or smuggled are sold or smuggled Explanation of looting today; includes at least today; include at least two includes less than two two causes (2pts) and 2 or causes (2pts) and one causes and/or effects of more effects of looting (2 effect of looting (1pt). looting missing. (1pt). pts). Explains how Mali, Explains how Mali, the Explanation of how Mali, the United States and United States and other the United States and other countries have tried countries have tried to other countries have tried to limit looting in Mali limit looting in Mali to limit looting is present (2pts), and comments on (2pts). Presents one but lacks detail (1pts). successes or failures (1 possible solution to Possible solution to pt) Presents one possible limiting looting (1 pt). looting missing. (0 pts) solution to limiting (8pts) (4pts) looting and explains why this solution is plausible (2 pts). (11pts) ! ZM! Debate Student produces more Student produces at least Student does not than one detail in defense one detail in defense of participate in debate, is of assigned position, and assigned position not cooperative with team at least one counter- Students is enthusiastic in preparation, or does not argument. and collaborative with pay attention when others Student is enthusiastic team are speaking and collaborative with Student pays attention (3pts) team when others is speaking Student pays attention (8pts) when others speak, and comments on the arguments of the opposition (10pts) ! ZV! References Atwood, R. (2004) Stealing history: Tomb raiders, smugglers, and the looting of the ancient world. New York, NY. St. Martin's Press. Brent, M. (2001). Faking African art. Archeology, 54 (1). Retrieved from http://www.archaeology.org/0101/abstracts/africa.html French, H.W. (1995, Feb 26). Diggeres in Mali looting relics of ancient culture. Houston Chronicle. Retrieved from http://www.chron.com/CDA/archives/archive.mpl/1995_1258813/diggers-in-mali- looting-relics-of-ancient-culture.html Hammer, J. & Huey, A. (November 2009). Looting Mali’s History. Smithsonian. Retrieved from http://www.smithsonianmag.com/people-places/Looting-Mali.html?c=y&page=1 Hammer, J. (December 2006). The treasures of Timbuktu. Smithsonian. Retrieved from http://www.smithsonianmag.com/specialsections/making-a- difference/timbuktu.html?c=y&page=4 Jarvis, H. (2011). The Looting Question Bibliography. Retrieved from http://wings.buffalo.edu/anthropology/Documents/lootbib.shtml Lange, K.E. (2001). Djenne: West Africa’s eternal city. National Geographic. Retrieved from http://ngm.nationalgeographic.com/static-legacy/ngm/0106/feature6/ Library of Congress (2010). Ancient manuscripts from the desert libraries of Timbuktu. Retrieved from http://www.loc.gov/exhibits/mali/ Meyer, K.E. (1977). The plundered past: The story of the illegal international traffic works of art. New York, NY: Atheneum Press. SAFE: Saving Antiquities for Everyone. (2008). Say yes to Mali. Retrieved from http://www.savingantiquities.org/Malimou.php Sanogo, K. (1999). The looting of cultural material in Mali. (K. Boyle Trans). Culture Without Context, 4. Retrieved from http://www.mcdonald.cam.ac.uk/projects/iarc/culturewithoutcontext/issue4/sanogo.htm The Bureau of Educational and Cultural Affairs, U.S Department of State. (2011). Mali: Cultural property agreement with U.S. Retrieved from http://exchanges.state.gov/heritage/culprop/mlfact.html Trigger, B.G. (1989). A history of archaeological thought. New York, NY: Cambridge University Press. Vitelli, K.D. (1996). Archaeological ethics. Walnut Creek, CA: Altamira Press. ! ZZ! Artifact #1: Art Prepared by: Christine Putnam Background Information: (Activities should be preceded by a lesson on Ancient Malian trade and Mansa Musa’s pilgrimage to Mecca) Terracotta equestrian figures were created in Ancient Mali between the 13th and 16th centuries. They are amongst the earliest known surviving art forms from sub-Saharan Africa. The sculptures often depict warriors wearing elaborate military dress and carrying weapons. Horses are often decorated with ceremonial adornments. Equestrian figures were a widespread iconographic type in Ancient Malian art. They represented the wealth, power, and status of the empire and its warriors. Horses are not indigenous to Africa and maintaining them required considerable effort and expense. Mansa Musa always kept two horses at his disposal, preferring them to camels because they were significantly more expensive. Camels are indigenous to Africa and well-suited to desert transportation. During Mansa Musa’s pilgrimage, they carried food, water, and gold. While there is no concrete data on the identity of the figure above, his dress and the quiver on his back suggest that he is a warrior. Student Activities: Primary Activity: Whole Group: Students discuss the occupation of the rider and the role that he would have played in Mansa Musa’s caravan. They also discuss how the rider and the horse are depicted. With the teacher, the students then plan their own caravan, incorporating groups of horses and camels. For example, some horses carry soldiers and some camels carry food. The teacher creates a diagram of the caravan on the board. Small Group: The students, in small groups of no more than four, plan the sections of a caravan. Each group is assigned one section. The groups select their transport animal and design the animal’s adornments (decorative bridles, anklets, etc.). Each group also designs a unique symbol that represents all of its members and can be used to identify the section. ! ZG! ! ! ! ! Individual: Each student traces, cuts-out, and decorates a horse or camel, based on the caravan section to which he or she has been assigned. The students incorporate their small group’s unique symbol into their decorations. They also incorporate their preferred method of transportation (ex. foot, bike, boat). When completed, the students present their animals to the class. The caravan is then assembled on the classroom wall. Intermediate Activity: Whole Group: The students discuss the occupation of the rider, drawing upon what they previously learned about Ancient Malian trade and Mansa Musa’s pilgrimage. With the teacher, the students create a chart on the board that shows the transportation roles that horses played in Ancient Mali. The students then brainstorm and identify other animals that are used for transportation (ex. camels, llamas, elephants, dogs). Small Group: The students are divided into small groups of no more than five, and each group is assigned one animal. The groups discuss how their animal is used for transportation. Books are available for reference. Each group designs a storyboard based on its discussion. The storyboards depict a cohesive pictorial story about the animal’s transportation role. Individual: Each group member illustrates one storyboard frame using a collage technique. The students combine hand-drawn components with cut-out pictures from magazines. The students reference the Ancient Malian figure for stylistic inspiration. For contrast, the students incorporate one man-made form of transportation into their collages. When completed, the storyboards are assembled and presented to the class. Primary Assessment: 1. Circle the item that camels carried during Mansa Musa’s pilgrimage: A. Porcelain B. Gold C. Steel Intermediate Assessment: 1. Which non-indigenous animal was often depicted in sculptures that represented the wealth, power, and status of the Ancient Malian empire? A. Llama B. Camel C. Horse D. Cow ! Z>! ! ! ! ! ! References: Conrad, D. (2005). Empires of Medieval West Africa. New York, NY: Facts On File, Inc. C+13+9!D$,)*!#)1-3!:),$'+!EB8)%-*$3+!L$,8*)!a"V-.="G-.!&)+-8*HcT!!/(3$13?1)!'+1$+)T! ! .--N6SS34*$&3T%$T)98S)\.$?$-%S*)%'8*&)%S@31$SU'*R%T.-@! Tansey, R.G. and Kleiner, F.S. (1996). Gardner’s Art Through the Ages (10th ed.). Fort Worth, TX: Harcourt Brace & Company.! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Z`! ! ! ! ! ! @0+<("?+&^N=!A8?1$%.)9!#'&8@)+-6!"#&$%&Y!3!J*3()1',8)!?H!C?+!O3--8-3! 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P'U)Y!lT!aMFF]cT!F/.+!B/0$4.M!7-8--,3*-6!<$+,4$%.)*!O''R%T! ! K''9%Y!5TY![!K''9%Y!5T!OT!aMFF]cT!O*2*(!B/(4*0.!/H!%()#*(+!'H0#)%M!O*''R4)$19!6!JU)+-H=! L$*%-!0)+-8*H!O''R%T! & ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! >M! ! ! ! ! ! /*-$43&-!yG!g!O','13+4$+$Y!!^589!01'-._!! A*)N3*)9!?H6!I)*-*89)!QRH)*)! & 3"?G50'>*28&& O','13+4$+$!a^O'=.'=13.+=LEE=+))_cY!U.$&.!-*3+%13-)%!-'! ^@89!&1'-._Y!$%!3!1'+,!)%-3?1$%.)9!-*39$-$'+!3@'+,!-.)! O3@3+3Y!3!53+9)!%N)3R$+,!N)'N1)!U.'!$+.3?$-!3!13*,)!3*)3! -'!-.)!)3%-!3+9!+'*-.!'4!O3@3R'!$+!531$T!J.)!&1'-.!$%!.3+9= U'()+!3+9!.3+9=9H)9!8%$+,!3!&)+-8*$)%!'19!N*'&)%%!'4! *)N)3-)91H!9H$+,Y!%'3R$+,!3+9!9*H$+,!-.)!&1'-.!U$-.!N13+-! )\-*3&-%!3+9!@89T!! ! J*39$-$'+311HY!O3@3+3!U'@)+!@39)!-.)!@89!&1'-.Y!3%!@3*R)*%!4'*!@3e'*!1$4)!'&&3%$'+%Y! %8&.!3%!?$*-.Y!9)3-.!3+9!@3**$3,)Y!3+9!N3%%)9!-.)!-)&.+$B8)%!'4!-.)!3*-!4'*@!-'!-.)$*! 938,.-)*%T!E3&.!N$)&)!'4!O','13+4$+$!$%!8+$B8)Y!9$44)*$+,!$+!%H@?'1%!8%)9Y!3**3+,)@)+-!'4! N3--)*+%!3+9!&'1'*!&'@?$+3-$'+f!-.)%)!4)3-8*)%!&'@?$+)!-'!-)11!%-'*$)%Y!%'!-.3-!)3&.!N$)&)!'4! @89!&1'-.!&'+()H%!@)3+$+,!-'!3+9!4*'@!$-%!U)3*)*T!!J.)!&1'-.!$%!-*39$-$'+311H!?13&R!3+9! U.$-)Y!3%%8@$+,!-.)!&'1'*%!'4!-.)!9H)%!*)-*$)()9!4*'@!+3-8*)f!?8-!4'*!.8+-)*%Y!-.)!&1'-.!$%! 9H)9!3!*8%-S*)9!&'1'*!-'!%)*()!3%!&3@'8413,)Y!3+9!-'!%$,+$4H!3!%8&&)%%481!.8+-T!! ! 7-89)+-%!%.'819!U3-&.!-.)!($9)'Y!J.)!E@N$*)!'4!531$!7)*$)%6!K.3-!A)'N1)!K'*)Y! .--N6SSUUUTH'8-8?)T&'@SU3-&.i(kGC<" & & & & & & & & & & & & & & & & & & & & & & & & & ! >G! ! ! ! ! ! Template for Bogolanfini Sectioning (with names for sections) So Kono Bolo Fini Ba Kenema Bolo “Inside Arm” “Mother of the Cloth” “Outside Arm” This border is worn This is the central portion of the cloth This border is near the body worn facing others Senkorala “Under the Leg” This border is worn near the earth Source: Discovering Mud Cloth: An African Voices Exhibit Bogolanfini Patterns/Meanings: There are many different patterns, and often, meaning differs based on region and ethnic group. The following are 10 commonly used mud cloth patterns. Pattern Meaning This pattern depicts wealth and luxury. It is said to represent the cushions of wealthy woman from the Mauritania area. These woman don't have to work, just put their heads on pillows. This is one of the more common mud cloth symbols. It represents the talking drum, which is used to call warriors to battle as well as to frighten animals while hunting. This pattern reflects the love of family and community. The circle represents the house of the family and the dot in the middle is the family. It is said to represent a unity between the family members. This represents a bed of bamboo and millet leaves. It is said that this pattern is used by a woman who wishes to show her superiority to a co-wife. However, the pattern is extremely popular, so it is not always assumed that a woman wearing it is making that assumption. ! >>! ! ! ! ! ! This pattern has a unique story behind it. A farmer had a sickle he particularly liked. It worked well for him and he thought it deserved its own pattern. So this pattern is named the back of the sickles blade. An interesting pattern, which refers to the bone of the snake. When wearing a cloth with this design a person is signifying that they are brave and fearless. This pattern represents a belt worn by warriors when they went off to battle. Iguana's elbow. A very common pattern. Iguana's are common in some areas of Africa. This pattern is said to represent good fortune as an Iguana can lead a hunter to water. The Iguana is also symbolic of African born people in warfare with foreign powers. This pattern represents the spindle used in weaving cloth fabrics, including mud cloths. A very old and traditional design. This is another pattern that is found often on mud cloths. It represents the flower of the calabash. Source: Africa Imports ! >`! ! ! ! ! ! References: Africa Imports. (2011). The meaning of mud cloth. Retrieved from http://africaimports.com/mud-cloth.asp Afro Décor. (2010).Patterns of mud cloth. Retrieved from http://www.afrodecor.com/cgi- bin/store.pl/page=mud_cloth_meanings.htm Basart, M. (n.d.) Bogolanfini. Retrieved from http://miriambasart.com/gallerypage.html Creative Jewish Mom. (2010, April 10). Fun and sculptural modeling clay artwork (blog). Retrieved fromhttp://www.creativejewishmom.com/2010/04/fun-and-sculptural- modeling-clay-artwork-that-the-kids-can-make-themselves.html Jones, K.M. (2004). History, origin and significance of mud cloth. Cornell University Library. Retrieved from http://www.library.cornell.edu/africana/about/mudcloth.html Keans, T. (2011). Mud cloth crafts: Tempera painted cloth. Retrieved from http://www.ehow.com/info_12069631_mud-cloth-crafts.html Lombardo, Z. (2005). Senegal-America project lesson plan. MHz Networks. (2003). The Empire of Mali Series: What people wore, lesson 4 (YouTube). Retrieved from http://www.youtube.com/watch?v=5IK1KHlppLA Smithsonian Institution. (2002). Discovering Mud Cloth: An African voices exhibit. Retrieved from http://www.mnh.si.edu/africanvoices/mudcloth/index_flash.html Smithsonian Institution. (2011). Malian bogolan. Retrieved from http://www.folklife.si.edu/education_exhibits/malian_bogolan/index.aspx & & & & & & & & & & & & & & & & & & & & & & & & & & ! >X! ! ! ! ! ! Primary Pre/Post-Test Name: ______Date: ______ Directions for teachers: read directions aloud to students. Directions for students: Read the following questions carefully, and circle the best answer. 1. Circle the metal that was mined in Mali: A. Copper B. Gold C. Silver D. Bronze 2. Identify the following sculptures: 4) Circle the horse from Ancient Mali. 5) Put a square around the horse from Ancient China. 6) Cross out the horse from Ancient Greece. Answers: (1) c (2) a (3) b (a) (b) (c) (d) ! >]! ! ! ! ! ! 3. Which of the below is NOT one of the three most important occupations in the Ancient Mali Empire? A. Traders B. Academics C. Miners D. Farmers 4. Circle the item that camels carried during Mansa Musa’s pilgrimage: A. Porcelain B. Gold C. Steel 5. What did Ibn Battuta write? A. Travel Journal B. Poem C. Newspaper D. Letter 6. In the morning, most Malians who live in a village will: A. Take a hot shower B. Watch the News on T.V. C. Walk to the well for water D. Make breakfast in a microwave 7. What language are the lost manuscripts of the Ancient Mali Empire written in? E. Twi F. Afrikaner G. English H. Arabic 8. Bogolanfini means ______. A. Quilt B. Painting C. Mud Cloth D. Cotton ! & ! `F! ! ! ! ! ! Intermediate Pre-Post-Test Name: ______Date: ______Directions for teachers: Read directions aloud to students. Directions for students: Read the following questions carefully, and circle the best answer. 1. The griots of Ancient Mali were famous for being storytellers, but they held other roles too. Circle the letter that is NOT one of the other roles griots held. A. Teacher B. Musician C. Judge D. Historian 2. Which non-indigenous animal was often depicted in sculptures that represented the wealth, power, and status of the Ancient Malian empire? A. Llama B. Camel C. Horse D. Cow 3. When the scholar, Ibn Battuta, wrote about his accounts of Mali, he included all but the following: A. Observations B. Experiences C. Descriptions D. Schedules 4. Which of the following is NOT one of the ways that Peace Corps Volunteers have helped in Mali? A. Musical Instruction Programs B. Education Programs for Children C. Digging Wells/Safe Water Programs D. Malaria Prevention Programs 5. Which is NOT a reason that so many of the ancient manuscripts of Timbuktu are lost or hidden? A. Poor preservation tactics B. Fear of colonization C. Wars with the United States D. The French took many manuscripts as spoils of war 6. What does this common bogolanfini pattern represent? A. The Bone of the Snake B. The spindle for weaving fabrics C. The love of family and community D. Wealth and luxury ! `"! ! ! ! ! ! Essay Question: ! Explain why ancient artifacts such as the manuscripts and statuettes are important to Mali’s past and present (2pts). Explain why such items are sold or smuggled today; include at least two causes (2pts) and one effect of looting (1pt). Explain how Mali, the United States and other countries have tried to limit looting in Mali (2pts). Based on your own research, what do you think can be done to limit the looting of artifacts (1 pt)? ! ! ! & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & ! `M! ! ! ! ! ! ]%(%0%*?%,& ! OO0!K'*19!7)*($&)T!aMF""cT!Q&*!.+/0;!/H!'H0#)%G!,%$#T!:)-*$)()9!4*'@! .--N6SSUUUT??&T&'T8RSU'*19%)*($&)S%N)&$31%S">MZj%-'*Hj'4j34*$&3SN3,)XMT%.-@1! ! !"#$%&'()*(!*'(+(!"#&,'()*(-*(./0012*!O5(D%+%G!%!=*.+!'H0#)%(!*K#)!/H!+&*!,%(4*!K*/K$*T! C+9$3+3N'1$%6!P3&R)--!A8?T!0'T! ! 0'+%'*-$8@!'4!D3-$'+31!/*-%!E98&3-$'+!/%%'&$3-$'+%!a/*-%E9,)cT!aMF"FcT!I0%4*!RST!2#.5%$!! %0+!!.+%(4%04!UM!:)-*$)()9!4*'@!.--N6SS3*-%)9,)TR)++)9H= &)+-)*T'*,S)98&3-'*%S%-3+93*9%S+3-$'+31S3*-%=%-3+93*9%SG=XS($%831=3*-%S($%831= 3*-%=ZT3%N\! 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