New YorkN. Carolina

poured like raindrops onto and into my being. I have

danced on the dusty earth and the sound of my feet

pounding against the earth brought the rhythms of life

into my blood. The elders applauded and I fell down and

gave thanks.” After two decades of building his company

in New York, he returned to North Carolina to start a

second company, the African American Dance Ensemble,

which he currently directs. He works energetically to bring

all people his message of “Peace, Love and Respect for

Everybody” through dance.

About the Artwork:During the infamous ‘Middle Passage,’ black people

were transported to many places and carried the genes

and customs of several different racial and ethnic groups

with them. Mr. Davis meticulously studies the specifics

of each and then shows the blending of these different

cultures. The African diaspora (scatter widely) means

that there is a connection wherever black people went.

This would include all of the dance styles from countries

such as Brazil, Cuba, Haiti and black Africa, as well as

those from black America.

Creative Process of the Artist or Culture:Mr. Davis believes that “To understand the culture,

study the dance. To understand the

dance, study the people. A person

with no heritage knowledge has a

rough future in store.”

Photo courtesy of Chuck Davis

“My one goal is toservice humanitythrough dance.”

Chuck Davis

Title of Work: African Roots in American Soil Performed by African American Dance Ensemble

Creator:Choreographer, ethnologist: Dr. Chuck Davis b. 1937

Background Information:Chuck Davis, a towering African American dancer and

choreographer, was born on New Year’s Day in Raleigh,

North Carolina. He states, “I came from a background

which was poor financially, but rich in love. I love my

family and the spirit of unity in the community.” His

first dance break came when he filled in for an injured

member of the Richardson Dancers in Washington

D.C. He continued to dance with the company, but did

not gain professional status until 1959 when he joined

the Klara Harrington Dance Company. He performed

with a number of modern, jazz, Afro-Cuban and

African companies, working with such people as Pearl

Primus, Bernice Johnson, Olatunji and Eleo Pomare, to

name a few. In 1968 he founded the Chuck Davis

Dance Company in New York, prompted by his disdain

for the way black people were portrayed in Tarzan

movies. To fight this injustice, he set out to portray the

truth about black culture through dance. An intro-

duction to Charles Reinhart in 1972 gave him his

chance to spread his message through the national

Artists-in-Schools program, as a faculty member at The

American Dance Festival, and later as a member of the

Duke University dance faculty. In 1977 he took his first

trip to Africa and also founded the annual DanceAfrica

festival sponsored by the Brooklyn Academy of Music.

Many benefit from Davis’ long experience and exten-

sive research in Africa. “I have gone to Africa and I have

sat at the feet of elders and I have listened as their words

DANCE

TRANSFORMATIONTHE POWER OF NATURE

FREEDOM &OPPRESSION

ENDURING VALUES

THE HUMANFAMILY

ARTISTIC PERCEPTION (AP)

CREATIVE EXPRESSION (CE)

HISTORICAL & CULTURAL CONTEXT (H/C)

AESTHETIC VALUING (AV)

CONNECT, RELATE & APPLY (CRA)

rtsource ®

The Music Center’s Study Guide to the Performing Arts

A TRADITIONAL

CLASSICAL

CONTEMPORARY

EXPERIMENTAL

MULTI-MEDIA

*

*

*

* Indicates sample lessons 2

self-determination, collective work and responsibility,

cooperative economics, purpose, creativity and faith.

See Kwanzaa Celebration Addendum.

Audio-Visual Materials:• Artsource® video excerpt of African Roots in

American Soil African American Dance

Ensemble, courtesy of Chuck Davis.

• Artsource® audio recording: The Girl on the

Rock, an African folk tale from the Shona

People of Zimbabwe, told by Paul Tracey,

courtesy of Andrew and Paul Tracey.

• Artsource® audio recording: Traditioal

African music (drums, xylophones, mbira),

courtesy of the International Library of African

Music (Rhodes University, South Africa).

• Photos: courtesy of Chuck Davis.

Sample Experiences:LEVEL I • Listen to the African tale, The Girl on the Rock. Learn

the response portion of the chant and the rhythmic

sounds which represent each animal character. After

the story is known, dance the parts and characters.

• Watch the video, African Roots in American Soil, and

give responses to the two dances.

LEVEL II• Experience chanting as a tool for learning, and

perform in a Call and Response manner.

• Identify some of today’s popular dance steps. Watch

the video of African Roots in American Soil and note

the similarities between the movements in Isicathulo

and some of today’s popular dance steps. Try to do

some movements from the video.

LEVEL III• Many African ethnic groups have some form of a

“Leadership Dance.” Leaders create challenging

rhythmic patterns which the group performs together.

• Black African groups have ceremonies which

celebrate the passages of life. Think of ceremonies in

the American culture which do this (birthdays and

weddings). Create a Baby Naming Ceremony, including

a special chant and dance movement. Students should

select a name for themselves which tells something of

their character, appearance, accomplishments or history.

Discussion Questions:After the video has been viewed:• What is Africa? Where is it? Who lives there?

• What do you know about the continent of Africa?

About any of the countries in Africa? About any of

the specific cultural groups?

• What is the meaning of “African diaspora?”

Which parts of the world have a direct African

connection? How is it seen, heard and felt within

the culture?

• Why does Chuck Davis think dance is so powerful?

What do you think about the power of dance? Why?

• What impressed you most about the dancing in

the video? What words describe the movement?

• How does this style of dance compare to other

styles of dance you have seen?

More About the Creative Process of the Artist:Every year Chuck Davis journeys to Africa and “sits

at the feet of the elders.” He researches the history

of specific ethnic groups and strives to learn how

each dance is connected to the society and which

movements, songs and music are performed for

specific occasions. Only when he knows this

information can he incorporate the authentic

movements into original African American work.

Although he recognizes that movement takes on

other meanings when it is removed from its roots,

he is conscientious about paying homage to its ori-

gin. His work is an African American interpretation

of authentic material from Africa resulting in a

blending of styles and movement.

Multidisciplinary Options• In many of the African ethnic groups, it is

believed that wise people speak in proverbs. It is

thought that everything has a place in life and a reason

for being. Look at the Proverb Addendum in this

unit and select one, or take a proverb which you

know from your own heritage. Develop a short

story with animal or human characters that ends or

begins with this proverb.

• Learn about the African American celebration

called Kwanzaa. It begins December 26th and lasts

for seven days, stressing the principals of unity,

3

ENDURING VALUESDANCE AN AFRICAN FOLK TALE

LEVEL I Sample LessonINTRODUCTION:

There is no substitute for a good storyteller. Theirwords, gestures, inflections and the emotions theyevoke cannot be translated into the printed word.Storytelling is an ancient and respected tradition insocieties where verbal communication is foremost and people have time to give to the experience. This art still flourishes in many countries, regions and villages throughout the continent of Africa. At important and excitingmoments in a story, the African teller may breakinto a melodic and rhythmic song or chant. Manytimes different characters in the story will havetheir own song. One of the charms of manyAfrican stories is the creation of roles played byanimal characters who communicate with humanson equal terms.

In the stories of the Shona-speaking people of Zimbabwe, Elephant and Lion are the undisputed chiefs inthe stories; Baboon is their assistant and Antelope is their obedient subject. Others, such as Hyena andJackal are portrayed as servants, and Tortoise is the creature of unhurried wisdom. Rabbit is quick-wittedand playful, but suffers the consequences of those who outsmart him. Python is the healer and Crocodilecan take on the traits of a husband or father. Birds are messengers and also serve as a nagging conscience,following evil doers. When the stories are told, the audience is usually aware of these traditional charactertraits and looks forward to new adventures which involve these various animals.

In well established storytelling groups among the Karanga people (Shona group) in Zimbabwe, it is customary to conclude a session by reciting an old traditional verse, often a nonsense one, in order tobreak the story spell. It is clearly understood that anything that is said after the story spell is true and nolonger make-believe. The following story, The Girl on the Rock, is from the Karanga people and was heardand translated by Dr. Hugh Tracey.

OBJECTIVES:

Students will be able to:

• Gain an appreciation for traditional African storytelling and its universal appeal. (Aesthetic Valuing)

• Participate in the retelling and dramatization of an African story from the Karanga people in the countryof Zimbabwe. (Creative Expression)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer toAssessment at the end of this lesson. (Aesthetic Valuing)

DANCE

Illustration of The Girl on the Rock by Eric Byrdfrom The Lion on the Path, by Hugh Tracey

courtesy of Andrew and Paul Tracey

Adinkra symbol for Improvement,Growth and Interdependence. “Nochild is born with teeth.”

MATERIALS:

• Artsource® audio recording of The Girl on the Rock, told by Paul Tracey.

• The book The Lion on the Path and other African Stories, told by Hugh Tracey. Published by Paul Tracey, 340 Las Casas, Pacific Palisades, CA 90272. (optional)

PROGRESSION:

• Have the class sit in a small, informal group. Give the students some background on storytelling in general and then a specific introduction to the characteristics of the stories of the Karanga (Shona group)people in Zimbabwe. Show a map of Africa and locate the area of their homeland.

• Introduce the story and then play the Artsource audio recording of The Girl on the Rock. If you feel comfortable, teach the ‘response’ part of the song to the students ahead of time so they can sing it withthe story. If you don’t feel able to teach it, encourage the students to try singing it after they have heardit a few times. The words are:

KUNYA RUNDE, KUNYA RUNDE (phonetically) Koon-ya roon-day(translation) Down by the River, down by the river.

• After the story has been told, review the sequence and have the students recall the different animals andtheir rhythmic sound patterns. Discuss the ways they think each animal might move. Stress the differentmovement qualities, weight and size. Use the chart below for reference. Saying the rhythmic sounds of theanimal will help students with the rhythm of the movement.

ANIMAL SOUND MOVEMENT

Rabbit gwara, gwara jumping, light, quick head motion

Buffalo pi-piti, pi-piti heavy, side sway, big shoulder (it helps to place the hands above the knee)

Antelope ka-kata, ka-kata strong and light, precise feet, curved horns,leaps

Elephant so-kutu, so-kutu heavy, swinging, lifting the trunk

Lion ra-pata, ra-pata strong, powerful, catlike, proud

• Depending on space, have the students improvise the movements of the various animals. They mightdo this in small groups or as a class.

• Briefly discuss the story with the children to learn their ideas and responses to what they experienced.

Adinkra symbol for Law &Justice. “You are the subjectof he whose handcuffs youwear.”

4

EXTENSIONS:

• The following is a suggested format for structuring the story for young students:

• Select students to dance the roles of the young children, Girl on the rock, Rabbits, Buffalos,Antelopes, Eagle, Elephants and Lion. With the exception of the Girl and the Lion, let all interestedstudents dance one or more of the parts. The story can be divided in the following way:

• The class, except for the Girl and her playmates, creates a circle which represents the banks ofthe pool in the river.

• The Girl and her playmates dance their way down to the river, eventually coming to the poolwhich they enter and mime the play of splashing, jumping and swimming. The girl climbs ontoa chair which represents the rock while her playmates join the circle.

• The animals enter in order: Rabbits, Buffalos, Antelopes, Elephants and Lion. Each animalgroup goes through the same routine, moving to the river’s edge, taking a big drink, looking upand seeing the Girl, asking “Who’s that sitting on the chief ’s rock?” in unison. The Girl on therock answers, “It’s only me. When I tried to get down, I couldn’t.” Each animal group responds,“Oh dear!” They move out again in character and back to their places in the circle.

• Finally, Lion enters and the Girl gets very frightened. Lion says, “Who’s that sitting on my rock?”Girl says, “It’s only me, I made a mistake and I can’t get down.” Lion says, “Well, I’ll have the elephants get you down.” Together, the Elephants lift the Girl down, the Lion then climbs ontothe rock and the Girl is escorted home by Eagle while the circle of people perform a simple circledance.

• The story can end with a chant or rhythm to break the storytelling spell, or a magic word decidedupon by the class.

VOCABULARY: Zimbabwe, Karanga people,spell, unison

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe your favorite part ofthe story.

DISCUSS: Discuss the big problem in thestory and how it was solved.

ANALYZE: Discuss what you would havedone if you were the girl and why.

CONNECT: Think of a time when you didsomething that you knew was wrong.Discuss what happened.

Illustration by Eric Byrdfrom The Lion on the Path, by Hugh Tracey

courtesy of Andrew and Paul Tracey5

THE GIRL ON THE ROCK

A story of the Shona people, told in KarangaTranslated by Dr. Hugh Tracey

Told on the Artsource® recording by Paul Tracey(Printed here is a shortened version of the original)

Once upon a time there were some girls who went down to the river to play.Now at the river there was a large pool, and in the middle of it there was a big rock. Then one of the girlssaid, “I want to go and climb on that rock.”And the others said, “Oo-o-oh, no-no-no! You can’t climb on the Chief ’s Rock!”And she said, “Oh yes I can! I don’t care. I’m going to go and climb on it.”And do you know what she did? She waded out into the pool, climbed right up onto the top of the Rock,and sat down.

Then the others girls said, “Well, we’re tired of playing here now, down by the river. We’re going home.”And she said, “I’m not! I’m not tired. I like it up here on the Rock; I’m going to stay here.”So the other girls went home and left her sitting alone on top of the Rock. Now as the sun began to godown, towards the late afternoon, she said, “A-ha! It’s time for me to go home now.”

And then - what do you think happened?When she tried to get down ...she couldn’t! She couldn’t get down!Soon the animals began to come down to drink. And first, who should come down but Rabbit! Gwara ...gwara ... gwara... gwara ... Rabbit bent down to drink some water ...‘sip, sip-sip, sip-sip.’ Then he lookedup, saw the girl on top of the Rock, and said,

“Inogara pa Dombo ra Washe ndiani?” “Who’s that sitting on the Chief ’s Rock?”

“Ndini zangu! Ndati ndi simuke zaramba!” “It’s only me! When I tried to get down I couldn’t.”

So Rabbit and the girl, they sang a little song together.

‘Dear oh dear, I’ve made a dreadful mistake!Down by the river, down by the river,Cease your crying,Down by the river, down by the river. The Chiefs are coming, Down by the river, down by the river.And all the Lions, Down by the river, down by the river.That are in the country.’

Then Rabbit, he went and he sat down on one side.

Now next - who should come down - but ... Nyati the Buffalo.‘Pipiti ... pipiti ... pipiti ... pipiti!’ (He drinks) ‘Ss-ss-sp, ss-ss-sp!’

6

Buffalo looked up, saw the girl and said,“Inogara pa Dombo ra Washe ndiani?!” “Who is that sitting on the Chief ’s Rock?”

“Ndini zangu! Ndati ndi simuke zaramba!” “It’s only me! When I tried to get down, I couldn’t!”

So Buffalo and the Girl, they sang the little song (above) together.

Then Buffalo, he went and he sat down on one side.

Now, next, who should come down but ... Marapara (the Sable Antelope, with his great curved horns.)‘Ka-kata, ka-kata, ka-kata’ (He drinks) ‘Ss-ss-sp, ss-ss-sp.’

“Inogara pa Dombo ra Washe ndiani?!!” “Who is that sitting on the Chief ’s Rock?!!”

“Ndini zangu! Ndati ndi simuke zaramba!” “It’s only me! When I tried to get down, I couldn’t!”

And so Sable and the Girl, they sang the little song (above) together.

And then Sable, he went and he sat down on one side.

Now next, who should come down but ... Elephant. ‘So-kutu, so-kutu, so-kutu, so-kutu.’ (He drinks) ‘Ssssss-sp.’

“Inogara pa Dombo ra Washe ndiani?!” “Who is that sitting on the Chief ’s Rock?!”

“Ndini zangu! Ndati ndi simuke zaramba!’ “It’s only me! When I tried to get down, I couldn’t.”So Elephant and the Girl, they sang the little song (above) together.

Now last of all, who should come down but ... Lion! ‘Ra-pata, ra-pata, ra-pata, ra-pata.’ Then Lion looked across the pool and said to Elephant, “Elephant, who is that sitting on my Rock?”

And Elephant said, “Bless me! I don’t know. There she is, she says she’s made a dreadful mistake and she can’t get down.”

“Well,” said Lion, “You go and fetch her down.” So Elephant waded out into the pool, put his trunk rightround the girl, lifted her high up in the air, and put her safely down on the bank beside Lion. Then Lion said, “Chapungu (the Great Eagle) and Chipere (the Hyena), take this girl back home to her village.”

And that was the end of that story.

The story, from the book The Lion on the Path by Hugh Tracey, is reprinted with permission from Andrewand Paul Tracey. The book may be ordered from Paul Tracey, 340 Las Casas, Pacific Palisades, CA 90272.

7

8

ENDURING VALUES

Chuck DavisThe African American Dance Ensemble

Photo: Kevin Keister

LEVEL II Sample Lesson

INTRODUCTION:

Chanting words and phrases is a very traditional form of communication. Chants can be sung as a prayer,be part of a ritual or ceremony, accompany magic words and acts, teach, preserve one’s history or be partof a game. Examples of the latter in the American culture would be jump rope, hopscotch and clappinggames done by children everywhere. Chanting uses words to establish a rhythm which channels our energyphysically, spiritually or mentally. ‘Rap’ is a rhythmic form which has its roots in the ancient chants of traditional black African cultures. This lesson involves both a traditional Ghanaian children’s game chantand an original chant which helps with learning.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Perform a children’s game chant from Ghana.(Historical and Cultural Context)

• Create a chant about an academic area of study for the purpose of learning information. (Creative Expression)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the endof this lesson. (Aesthetic Valuing)

MATERIALS:

• Drum or other percussion instrument.

• An example of a current rap song (optional).

PROGRESSION: (rather than one lesson, the following are points of departure for your own developmentof several lessons)

IDEA I

• Introduce some background on African chanting and explain that traditional African chants usually havea Call and Response, or a part which is first said by the leader and echoed in unison by the group. The following is one of the many variations of a well-known children’s game chant from Ghana. The wordsare nonsense sounds and have no specific meaning.

CHANTS AS A WAY TO LEARN

DANCE

CHE CHE KULE

CHE CHE KULE (touch head) Che Che Kule (touch head)CHE CHE KO VISA (touch shoulders) Che Che Ko Visa (touch shoulders)KO VISA LANGAN (touch hips) Ko Visa Langan (touch hips)LANGAN CHE LANGA (touch knees) Langan Che Langa (touch knees)KOO A LAY LAY (stand, arms held high) Koo A Lay Lay (stand, arms held high)

When the chant is completed, everyone falls to the ground and there is alternate counting, from one to ten, beginning with the leader. Then all jump up to a standing position and begin again. After the children jump up, it is an option to have them take a strong shape and hold it, while the leader picks oneor more new leaders.

• Also the chant can be sung as a leader creates a movement pattern that the group follows. When thechant is finished, select a new leader.

IDEA II

• When the students become familiar with chanting and the call and response or echo form, you can create a chant, such as the Bacteria Chant below, which can be a tool for learning information.

9

BACTERIA CHANTby Susan Cambigue-Tracey

BACTERIA ARE ONE-CELLED LIFE-FORMSONE-CELLED LIFE-FORMSBUT, THEY AREN’T GREEN

NO CHLOROPHYLLBUT, THEY AREN’T GREEN, NO CHLOROPHYLL

THE CELL HAS ONE OF THREE MAIN SHAPESTHREE SHAPESTHREE SHAPES

COCCIBACILLISPIRILLA

COCCI, BACILLI, SPIRILLA

COCCI ARE SPHERICAL - THAT MEANS ROUNDBACILLI ARE RODS - THAT’S LIKE STRAWSSPIRILLA ARE SPIRAL - CORKSCREW TYPE

THREE SHAPESTHREE SHAPES

COCCI, BACILLI, SPIRILLABUT THEY AREN’T GREEN, NO CHLOROPHYLL

BACTERIA POWER

Adinkra symbolfor Excellence, Genuineness &Au t h e n t i c i t y.“He who cannotrecognize thetrue nsaa, buysits fakes.”

Adinkra symbol for Patience, Self-contain-ment, Self-discipline and Self-control. “Nomatter how red-eyed (serious) one becomes,flames are not sparked in one’s eyes.”

10

• This simple chant is a rhythmic way to teach information which might otherwise be difficult to learn.The students become familiar with the special vocabulary words and also learn something about theirshapes. After the chant, ask them questions about the information, such as:

• What is bacteria?• What do you know about its color?• How many different cell shapes are there?• What are the names of the cells?• What are the characteristic shapes of each cell?

• This can be followed by a movement experience in which the students physically create the shape variations of bacteria and find ways to move each one.

• Ask the students to find a space in the room and demonstrate a round, spherical shape. They will create their own versions.

• As other cell shapes are explored in movement, add the idea that these cells can also float or travel andcan move at different levels or in different directions. Introduce the idea that they reproduce and grow;the result is that they cause disease and decay. Disease is harmful, but decay is necessary for us to digestour food and also helps organic garbage break down into earth. There are both friendly and unfriendlybacteria and this is determined by the combination of the three cell types. Strep throat (streptococci) willhave one type of cell combination and yogurt will have another.

• In small groups have the students show the concept of cell division in movement. If photos of bacteriaor bacteria slides and microscopes are available, follow this lesson up with scientific involvement andstudy. The movement experience creates understanding and interest in learning. Music can be added, ifdesired.

EXTENSIONS:

• Have groups of students or individuals create original chants based on a specific theme, area of studyor story idea. Share these with the class. Break the chant into parts which can be done in the Call andResponse form.

• See “Proverbs” on pages 15-17. Select one and set it to music. Present it in the Call and Response form.

• Write a poem, story or message about something you believe in and put it into a chant or rap style and perform it.

VOCABULARY: chant, Call and Response, rap, bacteria, cocci, bacilli, spirilla

ASSESSMENT: (Aesthetic Valuing)

DISCUSS: Discuss ways in which these chants are similar to rap.

ANALYZE: Discuss reasons why it might be easier to learn information through a chant or rap song than just reading about it or hearing a lecture.

Adinkra symbolfor Vigilance,P r o t e c t i o n , Security and Excellence. “TheKing’s eyes areplaced all aroundhim.”

LEVEL III Sample lesson

INTRODUCTION:

In the traditional societies ofblack Africa, dance is animportant medium of education. It helps Africansocieties perpetuate themselvesby assisting their membersthrough the rites of passage, teaching accepted behavior, identifying roles and rules and assimilating its members into the prevailing attitudes, beliefs and rituals of the group.

In black African cultures, dance is not seen so much as an artform, but as an integral part of the economic,political, social and religious aspects of life. For example, the Ibo of Nigeria teach about leadershipthrough dance. A popular teen-age dance among the Ubakala Clan is Zik Meme Ka Odi Uma. This meansthat Zik tries to make things good. Zik (Nnamdi Azikiwewas) a President of Nigeria, led his nation toindependence. The point of the dance is to emphasize cooperation with a worthy leader. The prestigiousrole of dance leader is awarded to the individual recognized as the best dancer, which mirrors the role ofthe leader of a country.

This lesson is a form of a Challenge and Leadership Dance in which different people will lead rhythmicdance patterns which their group will try to follow. The leader who designs the most innovative move-ments, which can be well performed by the group, will demonstrate the most effective leadership traits.The group tries to support the leader by duplicating the dance movements accurately and with commitment.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Demonstrate leadership skills through dance. (Artistic Perception)

• Demonstrate an ability to be both a good leader and a good follower through dance. (Artistic Perception)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer toAssessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS:

• Artsource® video performed by the Chuck Davis African American Dance Ensemble.

• Artsource® audio recording of African drum music.

11

ENDURING VALUESBUILDING LEADERSHIP THROUGH DANCE

DANCE

PROGRESSION:

• Watch the video. Use the Discussion Questions to elicit student responses.

• Put on some African Drum music of your choice and ask the class to explore simple movements theycan perform with different body parts, such as head, shoulders, arms, feet, hips, etc. Explore body partsfirst in isolation and then in combination, giving each movement idea a specific rhythm and direction.Ask different students to share their patterns with the rest of the class who will copy the patterns in unison.

• Give the class dance information which they can use to change, extend or vary their movement idea.These might include: change of level or direction, an isolation of a body part combined with locomotormovement, large and small movements combined, a change of weight or quality, addition of accents,adding a turn, etc.

• More complex patterns can be built by combining two or three rhythmic ideas together.

• After the students have had an adequate time to explore and design movement patterns, divide theminto four groups; each group is gathered behind their leader and is across from another group. Each groupshould select three to five people to lead them in different movement patterns, performed in unison bythe leader and the corresponding group. Each group challenges the group across from them.

• One group at a time performs their pattern, then returns to their place. The group facing them answersthe challenge. Then the focus switches to the other two groups. After one set of patterns has been performed, a new leader moves to the front of the group and repeats the procedure. This continues untilall leaders have had a turn. This is like a call-and-response format.

• After this experience, discuss the traits of a successful leader and how this corresponds to leadership inAfrican dance. What are the similarities in political and dance leadership? What are the differences?

EXTENSION:

• In small groups, create different rhythmic patterns which are learned by the group. Give each pattern aname. The leader will call out the name of the patterns in whatever order he or she wishes. Each patternwill be performed enough times so that everyone in the group does it well. A ‘break,’ which is a rhythmicsignal that the end of one idea has occurred and that the beginning of another step or pattern will begin, can be done inbetween the patterns. The break can be as simple as a clappingrhythm done by the leader and echoed by the group, followed bythe next step.

VOCABULARY: leadership, break, rhythm pattern

ASSESSMENT: (Aesthetic Valuing)

ANALYZE: Discuss how and why the Challenge Dance can build leadership skills. The African American Dance Ensemble

Photo courtesy of Chuck Davis

12

13

Ashanti bronze gold weight,Ghana

Outdooring Ceremony

The outdooring ceremony is observed by almostall the ethnic groups of the country. Although theobservance may differ slightly in procedure fromregion to region, the substance and concept back-ing it remain the same. Outdooring takes placevery early in the morning and is observed on theeighth day of the birth of a child. It is the belief ofall Ghanaians that the baby remains attached to itsspirit world for the first seven days. So babies arekept indoors and are not allowed to be taken outof doors, not even on to the yard of the house,during the first week. The baby is believed to havebecome a human being on the eighth day.

Early in the morning about 5 o’clock, the childto be named is brought to the yard of the housefor the first time by its mother and placed on theground below the eaves. After a while he is takenindoors and the naming ceremony begins. Thebaby is placed on the lap of the person (if he isalive) after whom it is to be named, or an eldermale member of the father’s family. Libation ispoured to invoke the blessing of family ancestorson behalf of the newly-born baby.

The Akans in Ghana have a proverb: Onyankoponmpe asemmone nti no okyee din mmiako mmiako,meaning, ‘Because God does not favor misdeeds, Hegave each person a name.’

Ghanaians believe that a name is a religious mark ofidentification and a sign of honor and respect. Agood name is therefore treasured far more than any-thing else. This belief is again expressed vividly inthe following philosophic statement: Onipa begyeedin na wammeye hwee ara, meaning, ‘Man was bornto make a good name above all things.’ The givingof a name to a person is therefore considered animportant act in Ghanaian society. From his infan-cy, the Ghanaian is made to believe that the name hebears has something to do with the building andmoulding of his character. Great care and thoughtare therefore taken when selecting names for children.

Every Ghanaian has at least two main parts to hisname. The first part of this name is the Kradin(soul’s name). This indicates the particular day onwhich one is born. It is therefore a name acquired byfate or chance. The Kradin of a child is pronounced by the midwife or person who attendsthe mother at the time of delivery and is therefore inthe position to certify the exact day of birth.

A few examples may help to illustrate the Akradin: ababy born on Sunday may be called Kwesi, Akwasi,Kwashie (male) or Asi, Esi or Akosua (female);Monday: Kwadwo, Kwadzo (male) or Adwowa, Adzo(female); Tuesday: Kwabena, Kobla, (male) orAbenaa, Araba, Abla (female); Wednesday: Kwaku,Kweku (male) or Akua, Aku, Akuba (female);Thursday: Yaw, Kwaw (male) or Yaa, Aba, Yaba(female); Friday: Kofi (male) or Afua, Afi, Afiba(female); Saturday: Kwame, Kwamena (male) orAmma, Ami, Ame (female).

The second part of a Ghanaian personal name is theAgyadin (father’s name). It is the name chosen by thechild’s father and given at a formal outdooring.This second name is also termed abadin (child’sname) which stands for the surname of the abusuadin(family name).

GHANAIAN PERSONAL NAMES

Their Origins and Significance

Illustrations on these two pages are from African Designs from Traditional Sources by Geoffrey Williams, Dover Publications, Inc., New York.

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Ashanti bronze gold weight, Ghana

Two Ashanti“Adinkira”

printing stampsGhana

The officiating member then pronounces thename of the baby by addressing it in this manner:“Kofi, your name is Okae. May God give you longlife and make you great. Your grandfather did greatthings. He was truthful, honest and kind. May you grow to be like him.” With a finger he then puts three drops of water into the baby’s mouth, followed by three drops of wine, and in the processaddresses the child as follows: “Learn to recognizewater as such and as distinct from wine. You havecome to stay and not merely to make a briefappearance. Do not come to show yourself fanci-fully and then fly away. May God bless you to liveto a grand old age.” The ceremony of water andwine symbolizes that the child should be guided bytruth in all his future undertakings. It is usual atthis stage for the father to give a gold ring to be puton the baby’s finger and to offer gifts to both hiswife and the child. Gifts are also presented by relatives and guests. Refreshments are then served.The ceremony is rounded off by the guests standingto shake hands with the husband and his wife, saying, Mo tiri nkwa oo! (May God bless you!)

Sources of Surnames

The second main part of the Ghanaian name, tosome extent, helps one to know of which family achild is a member. That is why this part of the nameis termed abusuadin (family name). This is chosenfrom a list of ancestral names from the father’s lineof descent. For example, one can easily trace the lineage of the Abbeys, Sackeyfios or Laryeas inAccra; the Djabanors and Objidjas in Krobo; theLarbis and Okantas in Larteh; the Kisseishs andAkunors in Ada and so on. Some NorthernGhanaian personal names have appendices whichmake it easy for one to know from which tribe onecomes. Examples of such names are Musa Frafra -Musa of the Frafra tribe; Maama Dagomba -Maama of Dagomba; Atenga Mosi - Atenga ofMosi; Isifu Dagate - Isifu of Dagate, etc. In choos-ing this name it is the duty of the father to put intoaccount the general conduct and behavior of theparticular ancestor.

This article is reprinted with permission by the author,Prince Julius A. Adeniyi, Sr., Artistic Director of theAfrican Cultural Resource Center of Indianapolis, Inc.

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Adinkra symbol for State Authority,Legitimacy, Legality and Heroic Deed

• A leopard cannot change its spots.

• Bad workmen blame their tools.

• A bird in the hand is worth two in the bush.

• When the cat’s away, the mice will play.

• If at first you don’t succeed, try, try again.

• Give a man a fish, feed him for a day. Teach him how to fish, feed him for life.

• We’re all in the same boat.

• Cold hands, warm heart. (Compare)

• Rain beats a leopard’s skin, but it does not washout the spots.

• He who cannot dance will say: “The drum is bad.”

BUGANDA PEOPLE:

• He who hunts two rats, catches none.

•When the master is absent, the frogs hop into the house.

CAMEROON:

• By trying often, the monkey learns to jump from the tree.

• Knowledge is better than riches.

• Rain does not fall on one roof alone.

ZAIRE:

• Lower your head modestly while passing, and you will harvest bananas.

• The teeth are smiling, but is the heart?

ASHANTI PEOPLE:

AFRICAN SAYINGPOSSIBLE ANGLO-AMERICAN

EQUIVALENTS OR THOUGHTS:

PROVERBS AND WISE SAYINGS FROM AFRICA

Proverbs and wise sayings are found in the cultural heritage of many groups of people throughout theworld. No one really knows where they originated. They seem to have always been part of the culture andare passed from generation to generation as “the daughters of experience.” (Sierra Leone, Rwanda and Burundi)

When an old Zulu man was asked for an explanation of the origin of certain proverbs, he said, “My child,that is the way we speak, and that is the way we have always spoken. When we were born, people spoke thus.”

The following is a sampling of proverbs and wise sayings from a variety of countries and groups of peoplewho live in Africa. Have students think of comparable Anglo American proverbs or use examples shown.

There are many ways that students can work with and off these ideas. They can use them as points fordiscussion, write some of their own proverbs or develop stories which in some way incorporate a specificproverb with an imaginative example. Select one to set to music in the call-and-response form. Be creative and develop other ways that proverbs can be used to explore human values and wisdom.

Adinkra symbol forStrength, Seat ofPower, Authority andMagnificence

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POSSIBLE EQUIVALENTS

• As you make your bed you must lie on it.

• There’s a song in my heart.

• There is strength in unity.

• Patience is a virtue.• It's later than you think.

• Things forgotten are things forgiven; things forgiven are soon to be forgotten.

• Early to bed, early to rise, makes a man healthy, wealthy and wise.

• Be prepared!

• It takes two to tango.

• If the shoe fits, wear it.

• Out of sight, out of mind.Absense makes the heart grow fonder.

• Seeing is believing.

• His bark is worse than his bite.

• Don’t bite off more than you can chew.

• There’s safety in numbers.

AFRICAN PROVERBS

SIERRA LEONE:

• If you climb up a tree, you must climb down the same tree.

ETHIOPIA:

• When the heart overflows, it comes out through the mouth.

• When spider webs unite, they can tie up a lion.

• If one is not in a hurry, even an egg will start walking.

• If you offend, ask for pardon; it offended, forgive.

GUINEA:

• The man on his feet carries off the share of the man sitting down.

• Knowledge is like a garden: if it is not cultivated, it cannot be harvested.

• It takes two to make a quarrel.

KENYA:

• Try this bracelet: if it fits you wear it; but if it hurts you, throw it away no matter how shiny.

• Absence makes the heart forget.

• Seeing is different from being told.

• The dog’s bark is not might, but fright.

• Don't take another mouthful before you have swallowed what is in your mouth.

• Cross the river in a crowd and the crocodile won't eat you.

SOURCES:

• Nyembezi, C.L.S. Zulu Proverbs.Witwatersrand University Press, Johannesburg, South Africa: 1974.• African Proverbs. Compiled by Charlotte and Wolf Leslau. Peter Pauper Press, Inc. White Plains, NY: 1985.• Brewer’s Dictionary of Phrase and Fable, Harper & Row, NY: 1965

Adinkra symbol for Wisdomand Knowledge. “I have keptwhat I have heard.”

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AFRICAN PROVERBS

MAURITANIA:

• Two eyes see better than one.

• Ashes fly back into the face of him who throws them.

NIGERIA:

• The stone in the water does not know how hot the hill is, parched by the sun.

SENEGAL:

• It is better to travel alone than with a bad companion.

• If a little tree grows in the shade of a larger tree, it will die small.

TANZANIA:

• Do not mend your neighbor’s fence before looking to your own.

• We start as fools and become wise through experience.

ZULULAND:

• One does not cross a river without getting wet.

• The horse who arrives early gets good drinking water.

• Copying everybody else all the time, the monkey one day cuts his throat.

POSSIBLE EQUIVALENTS

• Two heads are better than one.

• What goes around, comes around.

• You can’t know what it’s like for someone until you walk a mile in their shoes.

• There are worse things than being alone.

• People who live in glass houses should not throw stones.

• Live and learn.

• You can’t learn to swim without getting your feet wet.

• The early bird catches the worm.

• Make up your own mind.

KWANZAA

Kwanzaa is an African American celebration which was created from an amalgam of African harvest festivals. The name is derived from the Swahili word for ‘first fruit of the harvest.’ The seasonal greetingused is Habari gani which means “What’s new?” in Swahili.

The celebration, which begins on December 26th and continues for seven days, was inaugurated in themid 1960s as a black-nationalist celebration of familial and social values. However, the festivities are nowembraced by the mainstream of African Americans. This concept was created by Ron Karenga, nowknown as Maulana Karenga, a black studies professor at California State University, Long Beach. He

states that the holiday is a time to help black people “rescue and reconstructour history and culture and shape them in our own image.” To do this, thereare seven principles which have been tablished as fundamental principles uponwhich to base one’s actions in life.

THE PRINCIPLES OF KWANZAA1. Umoja (Unity)2. Kujichagulia (Self-determination)3. Ujima (Collective responsibility )4. Ujamaa (Cooperative economics)5. Nia (Purpose)6. Kuumba (Creativity)7. Imani (Faith)

Families have established their own ways of celebrating the seven days ofKwanzaa, but usually they will light a candle for each day. The candles arecalled mishumma saba and represent the seven principles of Kwanzaa. Somefamilies sit in a circle each night and ask every person to talk about the specificprinciple for the day and what they have learned through experience and

observation. Many communities design events which include the crowning of a king (oba) and queen(iyaba) to remind African Americans that they are descended from a heritage which included powerfulkings and queens. These festivities include African music and dancing and focus on the pride of Africanheritage. A new tradition involves a character who represents an African griot, or wise man, and wears aNehru-style suit. He joins hands with children to ask what they have learned about Kwanzaa.

On the final day, friends and relatives often join family members for a feast called Karamu when traditional soul food and traditional African foods are served. Some of the foods include spicy, fried plantains (type of banana) from the Caribbean, (boiled) rice from the U.S., grouper (type of fish) withtomato and thyme gravy from the Bahamas and ginger beer or soda from West Africa. This feast is traditionally decorated in red, green and black, the colors associated with Kwanzaa.

ADDITIONAL REFERENCES:

• Copage, Eric. Kwanzaa: An African-American Celebration of Culture and Cooking. Morrow Publishing,New York, NY: 1991. This book contains stories about black history and culture, as well as suggestionson how to use these stories to illustrate the seven principles.

• McClester, Cedric. Kwanzaa: Everything You Always Wanted to Know but Didn’t Know Where to Ask.Gumps and Thomas Publishers, New York, NY: 1990.

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Words in Swahili - a Bantulanguage widely used in EastAfrica.

Kongo soap stone stele relief Angola

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ADDITIONAL INFORMATION

Historical and Cultural PerspectiveDance, since the dawn of time, has been used as a teaching tool to foster learning and preservation of traditions and beliefs essential to each culture. In Africa, dance lifts the spirit of the ordinary person andplaces it in the center of the circle of life, which is celebrated from the cradle to the grave. This circle oflife, which is reinforced through dance, music and song was interrupted for many during the infamous‘Middle Passage,’ when they were forcibly taken from their culture and enslaved. During this period, rituals, rites and spiritual connections were severed as a new way of life was forced upon them. As peoplewere herded onto the ships and compelled to exercise with rhythmic jumping on deck, the powerful danceof life was replaced with movement of despair, necessary for survival. Ethnic customs, language, musicand dance were eradicated and new forms of communication came into being.

The call and response from the auction block blended the sounds and patterns of unfamiliar tongueswhich gave new life to ancient rhythms, long suppressed and thought forgotten. Field hollars, yardchants, body percussion and objects from the environment became the new ways to express the cry forfreedom and sustain hope for an enlightened future. Pounding feet on the dusty earth evoked memoriesof drum rhythms that nourished the energy to survive. Rhythmic messages told of passage on the under-ground railroad that led to freedom. (This wasn’t a railroad in the concrete sense of trains, but rather anunmarked trail known only to the abolitionists.) Every year Chuck Davis journeys to Africa and “sits atthe feet of the elders.” He researches the history of specific ethnic groups and strives to learn how eachdance is connected to the society, and which movements, songs and music are performed for specific occasions. Only when he knows this information can he incorporate the authentic movements into original African American work.

About the Artsource® VideoThis video, African Roots in American Soil, opens with Chuck Davis speaking about Africa and its historicalvalue and impact on contemporary societies. There are three dances presented in the video. The first isa dance called Lamban (Griot or historian’s dance), a dance style indigenous to the Old Mali Empire,circa 13th century. It is used not only as a social dance, but also to relate history, such as the epics ofSundiata Keita, the powerful king who brought peace to the land. The instruments used for this danceare the Balafon, Djimbe, Songbah, Djoundjoun and Kinkini. The next section shows how traditionalmovement and music have been adapted and incorporated into the telling of today’s stories. The Isicathulo(gum boot dance) of the Shona, Ndebele and Zulu people in Southern Africa incorporates rubber workboots in complex rhythmic patterns that express their creative spirits. The third dance, Balante, is basedon a post-initiation dance of the Jolas of the Casamance region of Senegal. It features the joyous, powerfuldancing of young men who have completed their rites of passage, attaining the status of manhood.

Preparing for the ExperienceMr. Davis believes that “To understand the culture, study the dance. To understand the dance, study thepeople.” Every year he journeys to Africa and learns from the elders and master drummers and dancersof each village he visits. He researches the history of specific ethnic groups and strives to learn how eachdance is connected to the society and which movements, songs and music are performed for specific occasions. He recognizes that movement takes on other meanings when it is removed from its roots, andso he is conscientious about paying homage to its origin. His work is an African American interpretationof authentic material from Africa resulting in a blending of styles and movement.

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Introducing the Artsource® VideoPrior to the performance, give students some historical and cultural perspective and background on theartist. Ask students what they might already know about countries in Africa, specific cultural groups whoreside there or dance movement associated with traditional African societies. Encourage them to considerthe reasons that traditional groups use dance, song and music as an intricate part of their lives and ceremonies. Give a brief description about each dance, taken from the previous page. Direct them toobserve aspects of the performance which give them information about the mood, movement and relationship between the musicians and the dancers. Be aware of how the dancers work together.

Discussion Questions1. Discuss what you learned about the traditional instruments used in traditional African dance.

2. Identify and discuss the characteristics of the rhythm patterns and movements of the Isicathulo (gumboot dance). What most impressed you?

3. Lamban is an ancient epic dance. Discuss what an epic (a long poem or other literary work telling ofheroic deeds or history) means and how the dance and music serve to preserve this historical record.

4. Initiates, in many traditional African societies, are expected to attain certain moral, intellectual and spiritual qualities before they attain manhood. This “rite of passage” period is secret and the boys and girlsare separated from their tribe to undergo these instructions and challenges. Identify and discuss any rituals, activities or accomplishments in our American society that serve as “rites of passage” for youngboys and girls.

Activities to Enrich the Experience1. Work in groups of four and make up four different rhythmic patterns using steps and body percussionthat can be performed in unison like the Isicathulo (gum boot) dance. Experiment with putting thesefour ideas together in different sequences until you decide which one works best.

2. Discuss the title of the video, African Roots in American Soil. What do you think this really means andwhat significance might this have for the American culture?

3. Chuck Davis journeys to Africa and other countries of the African Diaspora (the scattering of Africansto countries outside the continent of Africa). Do research to discover what these countries are and if possible listen to music that shows the African influence in these cultures. (These countries include Brazil,Cuba, Haiti, United States.)

4. View the video to study the dance movements. Select a few of the movements you find interesting andlearn them by trying them with the dancers in the video.

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CURRICULUM CONNECTIONS

Curriculum Connections: Visual and Performing ArtsView the video again and learn one or two of the patterns performed in the “Isicathulo” dance. This typeof research is a way that dances can be reconstructed.

Curriculum Connections: Language ArtsThink about the statement, “To understand the culture, study the dance. To understand the dance, studythe people.” Write a one page essay that supports or refutes this statement with examples or facts to supportyour opinion.

Curriculum Connections: Social StudiesLook at a map or a globe of the continent of Africa. Pinpoint the area of the old Mali Empire in WesternAfrica and the southern region where the Shona, Ndebele and Zulu people reside. Select one of these groupsthat interest you and research the music, dance and art of their culture, as well as some of the traditions andcustoms.

Curriculum Connections: Math/ScienceThe Isicathulo (gum boot dance) is a dance of complex rhythms that are worked out in counts of eight or 16even counts. Take a group of eight counts and find four different rhythmic patterns that can fit within thesecounts. You may add or subtract beats to create the rhythms. Figure out if the patterns fit exactly withinthe eight counts. See how many sets of eight counts you can create within. Clap or use body percussion toperform your full sequence.

Artsource ®

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Music Center

The Music Center’s Study Guide to the Performing Arts

135 North Grand Avenue

Los Angeles, CA 90012

www.musiccenter.org

© 1995 - 2012, The Music Center of Los Angeles County. All rights reserved.

Artsource® written units, audio, video and slides/photographic materials are subject to the provisions of copyrightlaw, and are to be used for educational purposes only. Individuals or institutions are prohibited from broadcastingover the air, charging admission or receiving direct compensation for the exhibition of the video, audio or photographic materials accompanying the Artsource® units.

The Music Center does not sanction the illegal use or unauthorized duplication of someone else’s work in any form.Individuals who willfully violate the Music Center’s policy do so at their own risk and are liable to the Music Centerin the event of a loss resulting from litigation.

ARTSOURCE®: THE MUSIC CENTER’S STUDY GUIDE TO THE PERFORMING ARTS

Artsource® highlights works of art and artists of stature from diverse cultures.

It represents early to contemporary art forms in the disciplines of

dance, music and theatre

and complements the programs and performances

of the Music Center’s resident companies and artist roster.

The arts are ancient, enduring and universal forms of communication.

Artists present their perceptions, reflections, and points of view which

influence, and are influenced by, the culture and period of time in which they exist.

I n t r o d u c t i o n

Project Director Melinda Williams

Project Coordinator Susan Cambigue-Tracey

Writers:Dance Susan Cambigue-Tracey

Diana Cummins, Carole Valleskey, Madeleine Dahm, Deborah Greenfield,Barbara Leonard, Melinda Williams

Music Rosemarie Cook-GloverEd Barguiarena, Susan Cambigue-Tracey, Barbara Leonard,

Connie Hood, Annette Simons, Marilyn Wulliger, Diana Zaslove, John Zeretzke

Theatre Barbara LeonardKathryn Johnson

Technical Production donated by Paul Tracey

Layout and Logo* Design Maureen Erbe Design*Received the LULU AWARD for excellence in graphic design and advertising,

sponsored by the Los Angeles Advertising Women (LAAW)

Additional Artwork & Artsource® Logo Graphic H. P. Law & Partners

The Music Center of Los Angeles County, wishes to thank the artists featured in this publication for their outstanding artistry and

their generosity in allowing us to share their creative spirit in the classroom.

Sincere appreciation is also extended to the members of the Center’s Board of Directors and Education Council for their guidance in developing

these resource materials; Music Center volunteers for their help in organizing, proofing and editing

Artsource® units; the professionals who provided field review; and the dedicated teachers who tested the

Artsource® units in their classrooms.

Mark SlavkinVice President for Education

Melinda WilliamsDirector of Education

Artsource® Contributors