The Spirit of Kwanzaa:Giwayen MataKwanzaa events at NJPAC are made possible through the generosity of Leon & Toby Cooperman

2011 – 2012

passportculture to

Generous support for SchoolTime provided,

in part, by

Teacher’s Resource Guide

Your

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Giwayen Mata • njpac.org

The New Jersey Performing Arts Center (NJPAC) Arts Education Department presents the 15th season of the Verizon Passport to Culture SchoolTime Performance Series.

Teacher’s Resource GuideThis resource guide will help you prepare your class for an enriching experience at our SchoolTime Performance. The guide provides discussion ideas, activities and reading resources that can promote arts literacy in your classroom. Permission is granted to copy and distribute this guide to any class attending a 2011-2012 SchoolTime Performance (all other rights reserved). You can find additional resources online at tinyurl.com/njpac-org-teacherguide

NJPAC Arts EducationAt NJPAC, our mission is to join with parents, teachers and community to cultivate an appreciation of the arts in all children of New Jersey. We believe the arts provide an effective means of knowing and learning that helps children find the self-esteem, poise and confidence they need to succeed in every facet of life. Our innovative programs are designed to engage the artist in every child:

In-School Residencies Bring the joy of dance, music and theater directly into your classroom with teaching artists who create stimulating performing arts experiences that engage students’ imaginations and encourage their creative self-expression.

SchoolTime and FamilyTime Performances Open your students’ eyes to the worlds of music, dance, storytelling, theater, and puppetry through professional stage productions.

Arts Training Programs Students express themselves through after-school study of acting, dance, instrumental music, vocal music, and musical theater. Teaching artists with professional performing arts experience mentor the students at NJPAC’s Center for Arts Education.

CONTENTSOn StageGiwayen Mata awakens the spirit of Kwanzaa in all of us

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In the Spotlight“Elephant Women” communicate with force and eloquence

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Did You Know?Kwanzaa: uniting people of African descent

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Theater TalkPutting words to movement

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In the ClassroomTeaching Science Through Theater and other activities

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More ResourcesRelated readings and other media

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FoundationKid Power!Through energy efficiency and conservation, kids can help preserve our planet’s rich natural resources and promote a healthy environment.

TIP OF THE DAY

A global celebration The holiday of Kwanzaa was created to foster a sense of community among Africans and people of African descent. All of us—no matter what national origin—are part of a larger community—the Earth’s community. You can help conserve the Earth’s energy by simply turning off all lights before leaving a room or preserve the environment by participating in cleanup days at parks and beaches. Made possible through the generosity of the PSEG Foundation.

visit NJPAC.ORGFind additional resources online at tinyurl.com/njpac-org-teacherguide

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The women of Giwayen Mata in rehearsal

On Stage

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Bell and Sekere Polyrhythm – In these challenging financial times, it is imperative that we practice Ujamaa (Cooperative Economics) and learn as many ways as possible to support one another economically. The bell or agogo is used in many cultures to signal that it is time for something important to happen. Giwayen Mata plays this dense polyrhythm as a reminder of what time it is.

Dancing with Nia – Kwanzaa is a time to celebrate the first fruits of the harvest season, but a harvest need not refer only to food. The first fruits of the harvest season are also the results of the work that has been done throughout the year—the fruits of one’s labor. As cultural ambassadors, Giwayen Mata’s Nia (Purpose) is to preserve and demonstrate the beauty, richness and achievements of African cultures and cultures of the African diaspora through song, rhythm and dance.

Giwayen Mata • njpac.org

The Spirit of Kwanzaa: Giwayen Mata, the award-winning, all-female ensemble, honors the Nguzo Saba (The Seven Principles of Kwanzaa)* and celebrates the richness of Africa and African-American culture through compelling live drum rhythms, dazzling choreography and soul-stirring singing. Among the electrifying, high-powered pieces to be presented at this NJPAC performance are:

Handclap Polyrhythm – Using the hands as instruments, audience members participate with Giwayen Mata in a musical demonstration of Ujima (Collective Work and Responsibility).

Goin’ to the Gullah – Kujichagulia (Self-determination) is a key element in being able to maintain a connection and identity with one’s culture in the face of adversity. In the 1700s, hundreds of thousands of Africans were forced into slavery. One of the many restrictions they had to endure was that they were not allowed to play drums. As a result, the enslaved people developed hand-clapping, foot-stomping and body-slapping polyrhythms, illustrating that even when musical instruments were forbidden, the rhythm within the African people remained strong.

Mendiani – This rite of passage dance and rhythm is from the Malinke ethnic group. Young girls are carried into the communities on the shoulders of males. When their feet touch the ground, they are ready to continue their preparation into womanhood. In a drum medley, Giwayen Mata has combined the Mendiani rhythm with other rhythms for fun, thoughtful reflection, expression, and Kuumba (Creativity).

Giwayen Mata awakens the spirit of Kwanzaa in all of us

7 Harambees – In the spirit of Imani (Faith), Giwayen Mata invites the audience to stand with them, knowing that together we can create a future that is hopeful for all of us—regardless of any differences we may seem to have.

Kuku – A social dance from the Susu people of Guinea, Kuku was originally danced in celebration of a good harvest of fish. It is now performed for a wide variety of occasions. Premiered by Giwayen Mata in 1993, it has become the ensemble’s signature piece during which the women invite the audience to take off their shoes and dance with them in the name of Umoja (Unity).

Giwayen Mata’s vibrant presentation of these visually and musically exciting African and African-influenced dances** creates a joyful, lively experience in the true spirit of Kwanzaa.

*See page 5 for a detailed explanation of The Nguzo Saba.

**A brief history of West African dance can be found on online. Please go to njpac.org. Click on Education, then on Performances, then on Curriculum Materials. Scroll down to “Download Teacher Guide” in Adobe Acrobat PDF format and select the Resource pages for The Spirit of Kwanzaa guide.

The term “Giwayen Mata” comes from the Hausa ethnic group of Nigeria and West Africa. It means “elephant women” and often refers to the leaders of women’s organizations. For a group of dancers and drummers who came together in Atlanta in 1993, it was the perfect term for their trailblazing, innovative performance style.

Atlanta’s Giwayen Mata first brought their drums together for a gathering of Muslim women. The women wanted to dance, but their faith did not permit it in front of men. At the time, only a handful of women in the Atlanta area were playing the djembe and other African drums traditionally played by men. Several of the female drummers assembled for the event and had such a good time that they stayed together, eventually coalescing into a drum and dance performance group.

Now, Giwayen Mata not only performs, but also teaches classes and workshops in drumming and African dance. In addition to performing traditional dances, members of the ensemble choreograph modern works inspired by traditional African dance but based on modern dance and jazz dance techniques

Clad in stunning African garb, these exhilarating “elephant leaders of women”—their hands beating on drums, their feet stomping, their necks nodding—contract and release their torsos, extend their arms and leap athletically into the air to deliver explosive performances that entertain and enlighten audiences of all ages and ethnicities.

Omelika Kuumba (Artistic Director/Co-founder) is a drummer, dancer, choreographer, and a cultural arts educator. Sis. Omelika studied modern dance as a child and later under artists such as Kwame Ross, Ronald K. Brown and Abdel Salaam. She has been taught by some of the best known performers

of African drumming and dance in the United States and Africa including Marie Basse Wiles, Assane Konte, Youssouff Koumbassa, Dr. Zak Diouf, and Taffa N’Daiye Rose. In addition, she studied with the renowned Mozel Spriggs while a student at Spelman College.

Sis. Omelika has had a multiplicity of professional experiences in the United States, Africa and Europe. Highlights include studying African drumming and dancing in Senegal (West Africa), performing at the opening and closing ceremonies of the 1996 Summer Olympic Games and teaching music and choreography in Stuttgart (Germany), Hastings (England) and in Bermuda. She is an instructor of African Dance Forms at Spelman College as well as in the Dance Department at Emory University. She also directs Ashietu, the Sisters Chapel African Dance and Drum Ministry at Spelman College.

Sis. Omelika’s professional recognitions with Giwayen Mata include the “Critic’s Pick Best of Atlanta Award

for Best World Music Group” from the newspaper Creative Loafing. She received awards from Women of Multi-Ethnicity and Nationality and USA magazine. She is listed in Who’s Who in Black Atlanta, received the Kuumba Tribute Award from the East Point/College Park Chapter of Delta Sigma Theta Sorority, Inc., the Ruby Award from students in the Spelman College Department of Drama and Dance, and was inducted into the Beta Omega Chapter of Phi Beta Delta Honor Society for International Scholars.

Other members of Giwayen Mata include: Rashida Abdullah, Zanaida Bynum-Roberson, Tambra Harris (Choreographer/Lead Dancer), Sarahn Henderson (Co-founder), Yakini Horn (Lighting Designer/Stage Manager), Iris Joi Hudson, Gail Jordan (Co-founder), Rashidah Richard, Tameca Tucker, and Amamansa Whitten.

For an excellent documentary on Giwayen Mata, go to youtube.com/watch?v=K44usz3gjfg

In the Spotlight

“Elephant Women” communicate with force and eloquence

Giwayen Mata • njpac.org

For more about The Spirit of Kwanzaa, go to giwayenmata.org

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Kwanzaa is a non-religious, African-American holiday that celebrates African culture and values. The holiday, which has grown to be a worldwide phenomenon, was created by Dr. Maulana Karenga, professor and chair of the Black Studies Department of California State University in Long Beach, California. Dr. Karenga established the holiday in 1966 in an effort to revitalize, preserve and promote Pan-African culture and foster a sense of pride and community among Africans and people of African descent around the world. Celebrated from December 26 to January 1, Kwanzaa offers African-descended people a time to be together to rejoice in their heritage. The word Kwanzaa comes from the Swahili phrase “matunda ya kwanza” which means “first fruits.” Dr. Karenga chose Swahili because of its significance as a Pan-African language.

In order to appreciate the meaning and significance of Kwanzaa, one must understand the Nguzo Saba or The Seven Principles of Kwanzaa. The Nguzo Saba teaches the fundamental African values that are the building blocks of family, community, tradition, and culture. On each successive evening of the seven-day Kwanzaa celebration, activities, especially in family settings, often focus on one of The Seven Principles.

In addition, one must understand The Symbols of Kwanzaa which also reflect these fundamental values. The symbols are often used in decorating the home or a table for Kwanzaa or in observing rituals associated with the holiday in communal or family settings.

The Nguzo Saba:The Seven Principles of Kwanzaa

Umoja (Unity) – to strive for and maintain unity in the family, community, nation, and race.

Kujichaguilia (Self-Determination) – to define ourselves, name ourselves, create for ourselves, and speak for ourselves.

Ujima (Collective Work and Responsibility) – to build and maintain our community together and to make our brothers’ and sisters’ problems our problems and solve them together.

Ujamaa (Cooperative Economics) – to build and maintain our own stores, shops and other businesses and to profit from them together.

Nia (Purpose) – to make our collective vocation the building and developing of our community in order to restore our people to their traditional greatness.

Kuumba (Creativity) – to do always as much as we can, in any way we can, in order to leave our community more beautiful and beneficial than when we inherited it.

Imani (faith) – to believe with all our hearts in our people, our parents, our teachers, our leaders, and the righteousness and victory of our struggle.

The Symbols of Kwanzaa

Mazao (The Crops) – symbolic of African harvest celebrations and of the rewards of productive and collective labor.

Mkeka (The Mat) – symbolic of our tradition and history and, therefore, the foundation on which we build.

Kinara (The Candle Holder) – symbolic of our roots and of our parent people—continental Africans.

Muhindi (The Corn) – symbolic of our children and our future, which they embody.

Mishumaa Saba (The Seven Candles) – symbolic of the Nguzo Saba, the central set of values which African people are urged to live by in order to rescue and reconstruct their lives in their own image and according to their own needs.

Kikombe cha Umoja (The Unity Cup) – symbolic of the foundational principle and practice of unity which makes all else possible.

Zawadi (The Gifts) – symbolic of the labor and love of parents and the commitments made and kept by the children.

Bendera (The Flag) – The colors of the Kwanzaa flag are black for the people, red for their struggle and green for the future and hope that comes from their struggle. It is based on the colors given by the Hon. Marcus Garvey as national colors for African people throughout the world.

Did You Know?Kwanzaa: uniting people of African descent

Giwayen Mata • njpac.org

A table set with the symbols of Kwanzaa

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Other terms important to appreciating this performance:

culture or cultural heritage – the collective customs and accomplishments of a particular people or group.

djembe – a very popular large kettle type drum made from a tree trunk with a goat skin stretched across the top opening.

ethnic – of or relating to a group of people who share racial, linguistic, religious, or cultural ties.

heritage – a country or area’s history; cultural traditions that pass from one generation to another.

All dance is made up of three basic components:

space – the whole design and use of the place in which dance takes place. There are two types of space: personal space and general space. Personal space is the area around the dancer’s body– literally the space that the dancer can reach around his or her body while staying in the area through which the dancer travels as he or she dances.

tempo (or time) – the speed of a piece of music or a movement.

energy – the amount of force used in movement that changes the quality of the movement. Other elements of dance include:

choreography – the process of creating a dance.

shapes – the various designs that

dancers can make with the lines of their bodies.

pattern – a design made by dancers in a space to create a visual and sometimes dramatic configuration.

gesture – the use of the body or limbs as a means of nonverbal expression.

rhythm – a pattern of beats with accents that are set to a tempo or time. African dance is distinctly characterized by cultural elements that include:

call-and-response – a communication pattern where one party sends forth a message or a “call” and another party sends back a response. This pattern is very common in African and African-American music and dance.

polyrhythms – simultaneous, distinct rhythmic patterns that overlap to create one complex rhythmic pattern.

Giwayen Mata • njpac.org

Dance Talk

Putting words to movement

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Giwayen Mata • njpac.org

Before the Performance Teaching Science Through Theater (Grades 6-12)By Sharon J. Sherman, Ed.D.

Education in the arts allows students to refine their perceptual, physical and technical skills. Using theater to teach science is an engaging way for students to show what they know; use their imaginations; demonstrate performance; and practice participation by working and creating with others.

In middle school, students learn that all animals and most plants depend on other organisms and their environment to meet their basic needs. We ask students to think about the ways in which organisms interact with ecosystems. They study symbiotic relationships between organisms of different species and look at a variety of relationships. These include producers and consumers, predators and prey, parasites and hosts, scavengers and prey, and decomposers and prey (Science Standard 5.3.8.C.1).

High school students can analyze the interrelationships and interdependencies among organisms and explain how these relationships contribute to the stability of the ecosystem (Science Standard 5.3.12.C.1).

A picture play can be used to unite theater and science. Gather several photographs depicting different organisms interacting with ecosystems. Have students work in pairs and give each pair a photo. After studying the photo, they can enact a dramatic work based on their interpretation, expressing personal opinions, thoughts and ideas.

You can use video to further develop this concept. NATURE, the PBS series, features two online video clips that allow students to explore the attributes of predators living in the African grasslands. Using video with animation, Survival of the Fastest: Predators and Prey on the African Savannah studies “Cheetah vs. Gazelle” and “Lion vs. Wildebeest.” Students learn about the strengths of these predator-prey relationships, the characteristics of effective hunters and qualities that prey have developed for survival (www.pbs.org/nature).

After viewing the videos, students can research different ecosystems, such as desert, jungle, mountain, underground, and ocean. Working in pairs, students should select one predator from the ecosystem and a prey on which it feeds. Producers and consumers, parasites and hosts, or scavengers and prey are other selections. Have students act out the relationships that occur in the ecosystem.

Sharon J. Sherman, Ed.D. is Dean of the School of Education and Professor of Teacher Education at Rider University in Lawrenceville, NJ.

The Teaching Science Through the Arts content of this guide is made possible through the generous support of Roche.

After the Performance1. Ask students to compare and contrast their expectations of the performance with their actual experience. Then, ask them to write a review of the performance by answering the following questions: What parts of the performance did they especially like? Why? What parts did they dislike? Why? Were there any story elements to the dances? What did the dancers and drummers communicate to the audience? What did they communicate to each other? How did the costumes, lights and sets contribute to the performance? (1.1, 1.4)

2. Ask students to review the many components of the performance: dance, music, story, costumes, and history. Divide the class into groups. Assign each group one of the components to represent in a creative way. Bring the groups back together to make their own performance. (1.1, 1.2, 1.3, 1.4)

* Number(s) indicate the NJ Core Curriculum Content Standard(s) supported by the activity.

1. As part of their introduction to the performance, students should be made aware of good theater behavior: • Watching and listening to the performance without

speaking. • Remaining seated during the entire performance. • Applauding at appropriate times during and

after the performance. Discuss what is expected of a polite audience member and list the students’ responses and suggestions. Make connections with occasions where students have had to conduct themselves in a similar manner. (1.2)*

2. “Why Dance?” is an arts integrated resource of Verizon’s Thinkfinity.org. In this lesson, one of a multi-part unit from ARTSEDGE, students identify reasons why people dance. Centers are set up to research various kinds of dance. After exploring three centers, students create a dance, poem, report, or collage to explain why people dance. Artsedge.kennedy-enter.org/ content/2319 (1.1, 1.2, 1.3)

visit NJPAC.ORGFind additional resources online at tinyurl.com/njpac-org-teacherguide

In the Classroom

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8 Giwayen Mata • njpac.org

William J. Marino.……............................…………………………………………………………………….Chairman John Schreiber.............…....……..................…………………………………..President & Chief Executive Officer Sandra Bowie………….………........................……………………………………..Vice President of Arts Education Sanaz Hojreh.……………......................….……..………………………..Assistant Vice President of Arts Education Chamie Baldwin Graff.............….………............……………................…Director of Marketing, Arts Education Caitlin Evans Jones…………..........................……….………………………….…Director of In-School Programs Jeff Griglak......………......................……………….………………………………..……..Director of Arts Training Constance Collins........…….….........................Administrative Assistant and Office Manager for Arts EducationLaura Ingoglia…………........................….……………………....…………....Editor of Teacher’s Resource Guides Linda Fowler..…………........................…….…………………....…………....Editor of Teacher’s Resource Guides

Writers: Charmaine Patricia Warren Laura Ingoglia Mary Lou Johnston

Editor: Laura Ingoglia

Design: Pierre Sardain 66 Creative, Inc. 66Creative.com

NJPAC Guest Reader: Baraka Sele

NJPAC Teacher’s Resource Guide Review Committee: Judith Israel Mary Lou Johnston Amy Tenzer

Photos by Desdemona Burgin, Joi Faison, Eric Richards and Obasina Adigun.

Copyright © 2011 New Jersey Performing Arts Center All Rights Reserved

One Center Street Newark, New Jersey 07102Administration: 973 642-8989Arts Education Hotline: 973 353-8009artseducation@njpac.org

NJPAC wishes to thank Omelika Kuumba, co-founder and artistic director of Giwayen Mata, for assistance in preparing this guide.

More Resources AcknowledgmentsBooks for Students

Drewal, M.T. Sources of African and African-Related Dance. American Dance Guild, 1974.

Karenga, Maulana, Dr. Kwanzaa: A Celebration of Family, Community and Culture. University of Sankore Press, 1998.

Books for Teachers

Anderson, David A. Kwanzaa: An Everyday Resource and Instructional Guide. Brumbs and Thomas, 1992.

Holloway, Joseph E., ed. Africanisms in American Culture. Indiana University Press, 1990.

Videos

Dancing Through West Africa. Filmmakers Library, 1986. An award-winning film about Americans, led by African-American choreographer Chuck Davis, who toured West Africa to learn Senegalese dance.

Websites:

history.com/minisites/kwanzaa - History Channel Exhibit on Kwanzaa. An arts integrated resource of Verizon’s Thinkfinity.org, this page from the History Channel introduces an online exhibit on Kwanzaa.

giwayenmata.org - Official website of Giwayen Mata.

as of 9/22/11 NJPAC Arts Education programs are made possible by the generosity of: Bank of America, The Arts Education Endowment Fund in Honor of Raymond G. Chambers, Leon & Toby Cooperman, The Horizon Foundation for New Jersey, Amy C. Liss, McCrane Foundation, Merck Company Foundation, Albert & Katharine Merck, The Prudential Foundation, PSEG Foundation, Marian & David Rocker, The Sagner Family Foundation, The Star-Ledger/Samuel I. Newhouse Foundation, Surdna Foundation, Verizon, Victoria Foundation, Wells Fargo, John & Suzanne Willian / Goldman Sachs Gives and The Women’s Association of NJPAC.

Additional support is provided by: Advance Realty, C.R. Bard Foundation, Becton Dickinson and Company, The Frank and Lydia Bergen Foundation, Allen & Joan Bildner, Bloomberg, Ann & Stan Borowiec, Jennifer Chalsty, Chase, Edison Properties, Veronica Goldberg Foundation, Meg & Howard Jacobs, Johnson & Johnson, The MCJ Amelior Foundation, The New Jersey Cultural Trust, The New Jersey State Council on the Arts, Novo Nordisk, Panasonic Corporation of North America, Pechter Foundation, PNC Foundation on behalf of the PNC Grow Up Great program, The Provident Bank Foundation, E. Franklin Robbins Charitable Trust, Roche, TD Charitable Foundation and The Blanche M. & George L. Watts Mountainside Community Foundation.

Find additional resources online at tinyurl.com/njpac-org-teacherguide or scan the QR code displayed here.

For even more arts integration resources, please go to Thinkfinity.org, the Verizon Foundation’s signature digital learning platform, designed to improve educational and literacy achievement.

visit NJPAC.ORG