U M S Y outh E ducatio n Program
Caro l i na C hocol ate D ro ps
TEACHER RESOURCE GUIDE 2010–2011 UMS 10-11
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SUPPORTERS
The Andrew W. Mellon Foundation University of Michigan Anonymous Arts at Michigan Arts Midwest’s Performing Arts Fund The Dan Cameron Family Foundation/Alan and Swanna Saltiel CFI Group Community Foundation for Southeast Michigan Doris Duke Charitable Foundation Endowment Fund DTE Energy Foundation The Esperance Family Foundation David and Jo-Anna Featherman Forest Health Services David and Phyllis Herzig Endowment Fund JazzNet Endowment W.K. Kellogg Foundation John S. and James L. Knight Foundation Masco Corporation Foundation Michigan Council for Arts and Cultural Affairs THE MOSAIC FOUNDATION [of R. & P. Heydon] National Dance Project of the New England Foundation for the Arts National Endowment for the Arts Prudence and Amnon Rosenthal K-12 Education Endowment Fund PNC Bank Target TCF Bank UMS Advisory Committee University of Michigan Credit Union University of Michigan Health System U-M Office of the Senior Vice Provost for Academic Affairs U-M Office of the Vice President for Research Wallace Endowment Fund
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UMS 10-11
This Teacher Resource Guide is a product of the UMS Youth Education Program. Special thanks go to Bruce Conforth for his contributions to the development of content for this guide. Additionally, UMS appreciates Sarah Suhadolnik, Emily Barkakati, Britta Wilhelmsen, Matthew Mejia, Pam Reister, the University of Michigan Museum of Art, Linda Grekin, and Omari Rush for their feedback and support in developing this guide.
U M S Y o u t h EDUCAT IO N P RO G RA M
Carolina Chocolate Drops Friday, December 3, 2010 • 11 AM – 12 NOON • MICHIGAN THEATER
Sponsored by CFI Group and David and Jo-Anna Featherman. Funded in part by the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius.
Teacher Resource Guide 2010-2011 UMS 10-11
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TA B L E O F C O N T E N T S
Short on time? If you only have 15 minutes to review this guide, just read the sections in black in the Table of Contents. Those pages will provide the most important information about this performance.
Attending the YOUTH PERFORMANCE 6 Coming to the Show 8 Map + Directions 9 Michigan Theater 10 Being an Audience Member
CAROLINA CHOCOLATE DROPS 29 Ensemble History 31 Individual Bios 34 CCD on String Bands 35 Repertoire 36 Visual + Performing Arts
ABOUT AMERICAN ROOTS MUSIC 12 What is American Roots Music? 13 Piedmont Region 16 Timeline 20 Musicians of the Piedmon 25 String Band Instruments
RESOURCES 38 National Standards 39 Curriculum Connections 42 Lesson Plans 44 Other Resources
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UMS 10-11
ABOUT UMS 46 What is UMS? 47 Youth Education Program 49 Contacting UMS
AT T E N D I N G T H E Y O U T H P E R F O R M A N C E
UMS 10-11
5
D E TA I L S
COMING TO THE SHOW We want you to enjoy your time with UMS! PLEASE review the important information below about attending the Youth Performance:
TICKETS TICKETS We do not use paper tickets
DOOR ENTRY A UMS Youth Performance
DURING THE PERFORMANCE At the
for Youth Performances. We hold school
staff person will greet your group at your bus
start of the performance, the lights will
reservations at the door and seat groups
as you unload on Washington Street. You will
dim and an onstage UMS staff member will
upon arrival.
be escorted by the usher through the Michi-
welcome you to the performance and provide
gan Theater alley/walk-way and enter through
important logistical information. If you have
the front door of the Michigan Theater, which
any questions, concerns, or complaints (for
faces Liberty Street.
instance, about your comfort or the behavior of surrounding groups) please IMMEDIATELY
ARRIVAL TIME Please arrive at the Michigan Theater between 10:30-10:50pm to allow you
USHER
report the situation to an usher or staff member in the lobby.
time to get seated and comfortable before the show starts.
SEATING & USHERS When you arrive at the front doors, tell the Head Usher at the door the name of your school group and he/ she will have ushers escort you to your block
PERFORMANCE LENGTH 60 minutes with
of seats. All UMS Youth Performance ushers
no intermission
wear large, black laminated badges with their
DROP OFF Have buses, vans, or cars drop off
names in white letters.
students on the south side of East Washington Street (BEHIND the Michigan Theater). If there is no space in the drop off zone, circle the block until space becomes available. Cars
AFTER THE PERFORMANCE When the
may park at curbside metered spots or in the
performance ends, remain seated. A UMS staff
Maynard Street parking structure.
member will come to the stage and release
BEFORE THE START Please allow the usher
each group individually based on the location
to seat individuals in your group in the order
of your seats.
that they arrive in the theater. Once everyone is seated you may then rearrange yourselves and escort students to the bathrooms before the performance starts. PLEASE spread the adults throughout the group of students.
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UMS 10-11
BUS PICK UP When your group is released,
SENDING FEEDBACK We LOVE feedback
ACCESSIBILITY Courtesy wheelchairs are
please exit the performance hall through the
from students, so after the performance please
available for audience members.
same door you entered. A UMS Youth Perfor-
send us any letters, artwork, or academic
mance staff member will be outside to direct
papers that your students create in response
PARKING There is handicapped parking
you to your bus.
to the performance: UMS Youth Education
located in the South Thayer parking structure.
Program, 881 N. University Ave., Ann Arbor,
All accessible parking spaces (13) are located
MI 48109-1011.
on the first floor. To access the spaces, drivers
AAPS
need to enter the structure using the south (left) entrance lane. If the north (right) entrance lane, the driver must drive up the ramp
AAPS EDUCATORS You will likely not get
and come back down one level to get to the
on the bus you arrived on; a UMS staff mem-
parking spaces.
ber or WISD Transportation Staff person will put you on the first available bus.
NO FOOD No food or drink is allowed in the theater.
WHEELCHAIR ACCESSIBILITY Michigan Theater is wheelchair accessible with a completely ramped concessions lobby. The auditorium has wheelchair accessible seating locations two thirds of the way back on its main floor.
LOST STUDENTS A small army of volunteers staff Youth Performances and will be
PATIENCE Thank you in advance for your
ready to help or direct lost and wandering
patience; in 20 minutes we aim to get 1,700
students.
people from buses into seats and will work as efficiently as possible to make that happen.
BATHROOMS ADA compliant toilets are available.
ENTRY The front doors are not powered, however, there will be an usher at that door opening it for all patrons.
LOST ITEMS If someone in your group loses an item at the performance, contact the UMS Youth Education Program (umsyouth@umich. edu) to attempt to help recover the item.
UMS 10-11
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→
E Huron St
→
RACKHAM
MICHIGAN THEATER Front/Enter
Fletcher St
Thayer St
Alley/Walkway
E Washington St
E Liberty St HILL
State St
Maynard St
Thompson St
Division St
Public Parking
N University Ave
William St Mall Parking & →
(ONE-WAY NORTH!!)
N
MAP + DIRECTIONS This map, with driving directions to the Michigan Theater, will be mailed to all attending educators three weeks before the performance.
MAP
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VENUE
M I C H I G A N T H E AT E R The historic Michigan Theater opened January 5,1928 at the peak of the vaudeville/movie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ. At its opening, the theater was acclaimed as the best of its kind in the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation. With broad community support, the Foundation has raised over $8 million to restore and improve the Michigan Theater. The beautiful interior of the theater was restored in 1986. In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addition, which also included expanded restroom facilities for the historic theater. The gracious facade and entry vestibule was restored in 2000. MICHIGAN THEATER 603 E Liberty Ann Arbor, MI 48104 Emergency Contact Number: (734) 764-2538 (Call this number to reach a UMS staff person or audience member at the performance.)
UMS 10-11
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D E TA I L S
BEING AN AUDIENCE MEMBER When preparing students for a
members from hearing. Often in large
on stage or whether they will miss
live performing arts event, it is impor-
rock concerts or in movie theaters,
something because of the sound and
tant to address the concept of “concert
the sound is turned up so loud that
movement you are making. Given this
etiquette.” Aside from helping prevent
you can talk and not disturb anyone’s
consideration, it’s often best to wait
disruptive behavior, a discussion of concert
listening experience. However, in other
until a pause in the performance (a
etiquette can also help students fully enjoy
concerts and live theater experiences,
pause of sound, movement, or energy)
the unique and exciting live performance
the sound is unamplified or just quite,
or to wait until the performer(s) bow to
experience. The following considerations
and the smallest noise could cause
the audience to share your enthusiasm
are listed to promote an ideal environment
your seat neighbor to miss an impor-
with them.
for all audience members.
tant line of dialogue or musical phrase.
Your Surroundings • Concert halls and performing arts venues are some of the most grand and beautiful buildings you might ever visit, so be sure to look around while you follow an usher to your group’s seats or once you are in your seat.
Movements or lights (from cell phones) may also distract your audience neighbors attention away from the stage, again, causing them to miss important action...and there’s no instant replay in live performance! • At a performance, you are sharing the physical components of the performance space with other audience
• UMS Ushers will be stationed through-
members. So, consider whether you
out the building and are identifiable
are sharing the arm rest and the leg
by their big black and white badges.
room in such a way that both you and
They are there to help you be as
your seat neighbors are comfortable.
comfortable as possible and if you have a question (about the perfor-
• As an audience member, you are
mance, about where to go, or about
also part of the performance. Any
what something is), please ask them,
enthusiasm you might have for the
and don’t feel shy, embarrassed, or
performance may make the perform-
hesitant in doing so.
ers perform better. So, if you like what you are seeing make sure they know it!
Sharing the Performance Hall
Maybe clap, hoot and holler, or stand
with Other Audience Members
up and cheer. However, when express-
• Consider whether any talking you do during the performance will prevent your seat neighbors or other audience
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UMS 10-11
• Out of respect for the performer(s), if you do not like some part of the performance, please do not boo or shout anything derogatory. Remember, a lot of hard work went in to creating the performance you are watching and it takes great courage for the performer to share his or her art with you. Share your Experience with Others • An important part of any performing arts experience is sharing it with others. This can include whispering to your seat neighbor during the performance, talking to your friends about what you liked and didn’t like on the bus back to school, or telling your family about the performance when you get home. More Information • For more specific details about coming
ing your own personal enjoyment of
to the concert (start time, bathroom
the performance, consider whether
locations, length), see pages 6-8 of this
your fellow audience members will be
guide.
able to see or hear what’s happening
ABOUT AMERICAN ROOTS MUSIC
UMS 10-11
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ABOUT
A merican R oots M usic
Most of our identification with
grew, sheet music publishers and early
music is seen as any music (bluegrass,
American popular musical styles comes
record companies needed to expand
blues, jazz, country, gospel, ol-timey,
from the names given to its genres.
their list of products to keep up with the
folk, Cajun, Native America, etc.) that
Throughout American history, the nam-
developing styles, and to make it easier
served as the musical and cultural basis
ing of a musical style was always associ-
for consumers to identify a style they
for the American musical styles (rhythm
ated with its consumption; the style’s
liked. This led to the development of the
and blues, rock and roll, soul, even rap)
name was a way of both marketing the
categories of folk, country, race records
that would come after it. “Roots music”
music and allowing the consumer to
(replacing “Coon Songs”), blues, jazz,
emphasizes diversity in American music
know what they were buying. At the turn
and ultimately rock and roll, pop, rap,
and culture, whereas the genre-oriented
of the twentieth century, these popular
and other such genres. The more recently
approach emphasized homogeneity.
categories were fairly limited: Waltz, Two-
developed term “roots music” attempts
“Roots music” celebrates cross-cultural
Steps, Marches, Rags or Ragtime, etc.,
to break free from this generic world and
sharing, the tradition of musical and
and when dealing with African-American
place music within its cultural and histori-
cultural lineages, and the innovation of
–inspired pop tunes the derogatory titles
cal framework. Root music, by its nature,
those artists working today to keep this
“Coon Songs” or “Ethiopian Melodies”
includes a much wider range of music
rich heritage alive.
were used. As the twentieth century
than can ever exist within any one of
developed and as the music industry
the aforementioned genres. Today, roots
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UMS 10-11
ABOUT
T he P iedmont R egion The Birthplace of Black String Band Music Synonymous with East Coast blues and string band music was the area known as the Piedmont Region of the United States. Geographically, this area runs along the Appalachian hills all the way from New Jersey to Alabama. It stretches as far west as the foothills of Kentucky and Tennessee and as far east as Raleigh, North Carolina and Richmond, Virginia. Some of the major cities included within this area are Birmingham, Alabama; Columbia and Atlanta, Georgia; Greenville, South Carolina; Chattanooga, Tennessee; Charlotte, Greensboro, Winston-Salem, Durham, and Raleigh, North Carolina; Lexington, Kentucky; Roanoke and Lexington, Virginia. The range of this region makes it accessible to seaports like Norfolk,
urbane, fluid, contemporary style of music
Virginia; Charleston, South Carolina;
than they had known in their homes in the known as a quintessentially white Ap-
Savannah, Georgia; and of course New
deep south.
Orleans. And all of this means one thing: cultural diversity!
Whites had already settled in these areas prior to the Great Migration and found
During the Great Migration of African-
work in textile mills, factories, or coal
Americans out of the South from 1910-
mines, bringing with them the Anglo
1930 many individuals and families chose
ballad tradition as well as fiddle jigs and
to come to these eastern cities instead
reels. Because the Piedmont was neither
of heading to the northern industrial
as isolated nor severely racist as places
centers of Cleveland, Detroit, Pittsburgh,
like the Mississippi Delta there was a great
etc. These migrants brought with them
deal of cultural interplay between African-
jazz from the southland and hard blues from the Mississippi Delta. The urban industrial cities throughout this region were already immersed in the pop tunes and ragtime of the day and these new migrants would infuse this music with their own unique styles creating a more
ment of bluegrass music. Bluegrass is palachian musical style, and yet its roots are a remarkable hybrid. The “father” of bluegrass music – Bill Monroe, a white musician – was taught to play guitar and mandolin by Arnold Schultz - an AfricanAmerican musician. The banjo, an instrument closely associated with bluegrass, is actually an African instrument, originally called a “banjar” and brought to America by slaves. Dock Boggs, a white
musician credited with helping create the American and white musicians in this area. bluegrass style of banjo playing, develWhite musicians would teach fiddle tunes oped his style by trying to emulate the and Anglo traditions like the waltz to
blues guitar technique of the AfricanAfrican-Americans, and they in turn would American musician Mississippi John Hurt. teach the blues to whites. One of the most It was precisely this type of close cultural interesting bits of musical cross-breeding
interaction that made the music of the from this region is the case of the develop- Piedmont so unique. White and African-
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UMS 10-11
American string bands shared similar
handful of important recordings of white
such as these would form the crux of a
repertoires, played for each others’ par-
string bands and solo artists from the
great tradition on Race Records and in
ties and dances, and were often believed
1920s and early 30s exist – a testament
cultural history. In the 1960s they would
to be of the opposite race. But it was the
to the cultural traditions and sharing
serve as some of the great influences of
African-American musicians who rose to
mentioned above – the primary artists to
the folk/blues revival. And today they are
prominence in the commercial recordings
emerge from this region were African-
being rediscovered and celebrated by a
that were to come out of the Piedmont.
Americans. String bands emerged from
host of new artists such as the Carolina
Georgia - Peg Leg Howell and His Gang;
Chocolate Drops.
Because whites had greater access to mainstream economic resources, however, they tended to use music more for social purposes than professional advancement. Dock Boggs, for instance, was offered several recording contracts but he chose to hold on to the relative economic safety of a coal mining job to the caprice of a career in music. While a
Tennessee - The Tennessee Chocolate Drops, The Memphis Jug Band; North Carolina – The Three ‘Bacca Tags; and Mississippi – The Mississippi Sheiks. Individual artists like Blind Willie McTell, Rev, Gary Davis, Blind Boy Fuller, and Blind Blake ruled the six string guitar and took the instrument into new and innovative directions. Throughout the 1930s artists
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TIMELINE
M usic + M usicians of the P iedmont
F ield R ecordings + C ollections
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Date
1911
Genre
Folk Songs
Region
Georgia
Artist(s)
Unknown
(Newton County) 1925
Work Songs
North Carolina
Unknown
1934
Work Songs, Blues,
Georgia (Atlanta, Milled-
Prisoners:
Folk Songs
geville) & North Carolina
(Reece Crenshaw (Black)
(Raleigh)
Blind Joe Walker (Black)
Blues,
Georgia
Robert Davis (Black)
Dance Pieces,
(Frederica)
John Davis (Black)
1935
Breakdowns,
Bill Tatnall (Black)
Two-Steps
Brewster Davis (Black) John Brewster (Black) Henry Blue (Black)
1936
Blues
Virginia
Jimmie Strothers (Black)
(Lynn, Richmond)
Willie Williams (Black) 1937
Folk Songs
South Carolina
Unknown
Songs
One More Rounder Gone,
Instrumentation
Unknown
Collected By
Howard Odum
Honey Take a One on Me none listed
Vocal
Robert Winslow Gordon forthe Library of Congress
Trouble,
Guitar
John Lomax
John Henry and In Trouble
Guitar
for the Library of Congress
Poor Joe Breakdown
Guitar
John and Alan Lomax,
John Henry
Guitar
Zora Neale Hurston
Fandango
Guitar
for the Library of Congress
Guitar
Keep Away from the
Banjo
Bloodstained Banders,
John Lomax for the Library of Congress
We Are Almost Down to the Shore, Red River Runs Guitar John Henry, Corrina
Guitar, Washboard, Washtub Bass
John Lomax for the Library of Congress
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Date 1924
Genre Blues
Region Georgia (Atlanta);
Artist(s) Unknown
Ed Andrews (Black)
1926
Blues
Georgia (Atlanta)
Peg Leg Howell (Black) & His Gang (Fiddler Eddie Anthony & Guitarist Henry
C ommercial R ecordings
Williams)
1927
Blues
Florida (Jacksonville)
Blind Blake (Arthur Phelps)
Georgia (Atlanta)
Barbecue Bob Hicks (Black)
Blind Willie McTell (Black) The Cofer Brothers(White) Leon (guitar) Paul (fiddle), The Georgia Crackers (the Cofer Bros w/ Ben Evans- guitar) 1928
Blues
1929
Blues
1930
Blues
Georgia (Atlanta),
Curley Weaver (Black)
South Carolina (Greenville)
Pink Anderson (Black)
Tennessee
Howard Armstrong (Black)
Georgia (Atlanta),
Georgia Cotton Pickers
Tennessee (Knoxville)
(Black) (Barbecue Bob, Curly Weaver guitar, Buddy Moss harmonica) Tennessee Chocolate Drops (Howard Armstrong, Roland Armstrong, Carl Martin) (added Ted Bogan – guitar)
1933
Blues
Georgia (Atlanta)
Buddy Moss – guitar (Black) w/ Fred McMullen guitar & Curley Weaver
1935
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Blues
North Carolina,
Blind Boy Fuller (Fulton Allen)
South Carolina
Rev Gary Davis
Songs
Time Ain’t Gonna Make Me Stay
Instrumentation
Collected By
Guitar
Unknown
String Band
Unknown
(reputed to be the first commercially recorded country blues) Fo’ Day Blues, Too Tight
Diddie Wa Diddie
Guitar
Barbecue Blues,
12 String Guitar
Unknown
Mississippi Heavy Water Blues Statesboro Blues
12 String Guitar
Keno the Rent Man
String Band
Diamond Joe,
String Band
The Georgia Black Bottom No No Blues, Tippi’ Tom,
Guitar
I Got Mine, In the Jailhouse Now
Guitar
none listed
Fiddle, Mandolin, Guitar
Unknown
Diddle Da Diddle,
String Band
Unknown
Unknown
Sittin’ On Top of the World
State Street Rag, Ted’s Stomp
String Band
Bye Bye Mama, Red River Blues
String Band
Unknown
Step It Up and Go, Rag Mama Rag I
Guitar
Unknown
Am the Light,
Guitar
Cross and Evil Woman Blues UMS 10-11
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PEOPLE
M usicians of the P iedmont String Bands Tennessee Chocolate Drops (Howard
World’s Fair, then settling in that city.
string band music. Howell first recorded
Armstrong, violin, mandolin/ Carl
Martin and Armstrong were also virtuoso
solo for Columbia in 1927 but for his
Martin, bass/ Ted Bogan, guitar)
players in their own right: Martin hav-
return visit to the recording studio later
ing such a wide array of plucking and
that same year brought “His Gang” with
bowing techniques on the bass that his
him. Their music was based heavily in
playing was considered to be a tour de
dance tunes and Anthony’s fiddling style
force of bass styles. Ted Bogan was an
is unique in string band music: biting,
extremely skilled flatpicker with an ap-
and wild in its attack on the strings. They
proach to chording that would equal any
issued a number of highly successful re-
jazz guitarist. Their playing was consid-
cordings (Beaver Slide Rag and Lonesome
ered so dynamic that it was often said
Blues among them) but Anthony died
about them “if they played any faster
prematurely in 1934 and Howell gave up
they’d catch on fire!”
performing.
braced the entire spectrum of African-
Peg Leg Howell and His Gang (Peg
The Georgia Cotton Pickers (Barbe-
American and white American popular
Leg Howell, guitar/ Henry Williams,
cue Bob Hicks, guitar/ Curly Weaver,
music while still retaining elements of
guitar/ Eddie Anthony, violin)
guitar/ Buddy Moss, harmonica)
The Tennessee Chocolate Drops em-
minstrel shows, country dance music, ragtime, blues, vaudeville tunes, and jazz. Throughout their peak years they played extensively across the whole of the Appalachian region. Howard Armstrong was a virtuoso fiddle and mandolin player who was raised in a family of eight performing brothers and sisters. He began recording in 1929 with the great black songster Sleepy John Estes and perhaps the greatest pure blues mandolinists Yank Rachell. In 1930 Armstrong joined with bassist Carl Martin and guitarist Ted Bogan to form the Chocolate Drops. They were an instant success on the medicine show circuit and toured with such blues greats as Big Bill Broonzy and Memphis Minnie. In 1933 they appeared at the Chicago
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UMS 10-11
Peg Leg Howell and His Gang called Atlanta, Georgia their home and represented the rougher, bluesier side of
Barbecue Bob
Bob Hicks was born in rural Georgia
well as performing widely for white
to whether one considers the Mississippi
in 1902 but moved to Atlanta around
audiences. Their repertoire consisted of
Sheiks or the Memphis Jug Band to have
1923. He got his nickname as a cook
pop tunes, parlor songs, “hokum” pieces
been the greatest string/jug band ever re-
in Tidwell’s Barbecue and entertained
(humorous songs generally with sexual
corded, for they both crossed many musi-
patrons with his guitar. He was one of
overtones), dance music, waltzes, and
cal genres from pop to blues, ragtime
the earliest African-American males to
country blues. Their first “hit” – “Sit-
to country, dance to ballads. Will Shade
record, beginning in 1927 and estab-
ting on Top of the World” – became a
had already played guitar in various
lished a successful solo career. In 1930
blues standard and has been covered by
medicine and minstrel shows by the time
he established the Georgia Cotton Pick-
innumerable artists. Lonnie Chatman
he got the idea to assemble a string band
ers, one of the finest small groups of the
(aka Chatmon) came from a family that
around 1926. Shade and Will Weldon
pre WWII era. Joining him were guitarist
produced several giants of the country
(Shade’s first partner) played guitar duets
Curly Weaver, who like Hicks had already
blues. Brother Armenter “Bo” Chatmon
on street corners in Memphis until they
enjoyed a solo recording career, and
(better known as Bo Carter) was one of
began to add other musicians and record
Buddy Moss on harmonica. Moss was
the most prolific of all Mississippi blues
in 1927. Musically their large member-
only 16 when he joined the Cotton Pick-
musicians, brother Sam enjoyed a career
ship pool allowed the Memphis Jug Band
ers and after Hicks died in 1931. He went
that extended well into the 1970s, and
the flexibility to play a mixture of many
on to create his own career as a singer/
the legendary Charley Patton – the
genres. Interestingly, a number of their
guitarist. The Cotton Pickers recorded a
“Father of the Delta Blues” – has always
songs mentioned hoodoo magical beliefs,
number of versions of previous hits (such
been rumored to be either an illegitimate
and some members also contributed to
as Blind Blake’s “Diddy-Wah-Diddy”) but
brother or some close relative. Walter
gospel recordings, either uncredited or as
turned them into newer-sounding rock-
Vinson was a neighbor of the Chatmans
part of the Memphis Sanctified Singers.
ing ensemble pieces.
and started playing guitar when he was
Although their final recordings as a group
six. The Sheiks were actually discovered
were in 1934, Shade kept them together
by recording artists while playing for a
and working well into the 1940s.
Mississippi Sheiks (Walter Vinson, vocal and guitar/ Lonnie Chatman, violin)
white square dance. Memphis Jug Band (Will Shade [aka
The Baxters (Andrew Baxter, violin/ Jim Baxter, vocal and guitar)
Son Brimmer] vocal and guitar/ Ben Ramey, kazoo/ Charlie Burse, guitar and vocal/ Jab Jones, jug/ Charlie Pierce, fiddle/ et. al.)
Although not physically from the Piedmont region, the Mississippi Sheiks were arguably the most successful string band of the 1930s and their presence was certainly felt on the East Coast, both through their touring and record-
The Memphis Jug Band was organized
Andrew and Jim Baxter hailed from
ings. They also recorded briefly as the
in the late 1920s by Will Shade and over
Calhoun in Gordon County, Georgia.
Mississippi Mud Steppers, adding banjo/
its lifetime contained a wide variety of
Andrew was a well-known fiddler in the
mandolinist Charlie McCoy to the group).
musicians from the Memphis, Tennes-
area and teamed up with his son Jim,
They were the most sophisticated of
see area (even including such notables
an excellent guitarist and singer, in the
bands of their ilk, utilizing complex
as the legendary Memphis Minnie). It is
1920s. They were much in demand for
chords and playing in various keys, as
only a matter of personal preference as
dances performing country, blues, and
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21
gospel songs. Indicative of the cultural
from southwest North Carolina.
exchange between musicians of different races in the Piedmont region the Baxters
The Carolina Twins - Fletcher and
often performed with the white string
Foster (Gwin Foster, guitar and har-
band The Yellow Hammers (Charles
monica/ David Fletcher, guitar)
Moody, Jr. on guitar; Bud Landress on banjo; Phil Reeve on guitar; and Bill Chitwood on fiddle). Their first recording session in 1927 was shared by both groups, an extremely unusual interracial event even given the informal mixed-race performances in the area. The Baxters were the first group to record the now standard folk tune “K.C. Railroad Blues”.
a great affinity for Black blues and string Gwin Foster began his music career in
The Three ‘Baccer Tags (George
North Carolina as a harmonica virtuoso
Wade, mandolin and vocal/ Luther
and guitar player. Although he was
Baucom, mandolin and vocal/ Reid
white, Foster was dark complexioned and
Summey, guitar and vocal)
was often mistaken for being of mixed race. By the late 1920s he had teamed with David Fletcher who originally played the upright bass. The duo began playing for parties and dances throughout North Carolina and in 1928 had a regular halfhour radio show on WBT-Charlotte. They were billed as the Carolina Twins and recorded some 21 sides between 1928 and 1930. While the majority of their
The Three ‘Baccer Tags were a white
songs stayed within the typical string
string band from Gastonia, North
band style, two of their recordings were
Carolina that first recorded in Charlotte
particularly noteworthy for their unique-
in 1931. Their name came from RCA
ness: Charlotte Hot Step and Red Rose
Victor’s recording engineer Ralph S.
Rag, the latter a version of the 1911 rag-
Peer who was alleged to have told the
time hit by the same name. They were
group that if their records didn’t sell he’d
never able to make music their full-time
drop them like “the tin tags on plugs of
pursuit and like so many other musicians
tobacco.” Fortunately they enjoyed a
of this period, Black and white alike, fell
great deal of success mixing sentimen-
victim to sel;f-destructive drinking and
tal ballads with pop tunes and comic
difficult lifestyles.
novelty numbers.
The three members
of the group all met while working at the
The Allen Brothers (Austin, banjo and
Seminole Cotton Mills and soon began
vocals/ Lee, guitar and kazoo)
to play for church picnics and other social events in the area. By 1930 they were regularly featured on radio station WRBU in Gastonia. They were the most widely recorded pre-WWII white string band
22
UMS 10-11
The Allens were another example of the cultural interplay between Blacks and whites in the Piedmont region. Although young white musicians they developed
band music and by the 1920s were performing throughout the Appalachians in coal towns and in medicine shows. While not a terribly original group they are important for their cultural impact. In 1927 they cut their first records for Columbia: a remake of the venerable bluesman Papa Charlie Jackson’s “Salty Dog,” “Chattanooga Blues,” “Coal Mine Blues,” and “Laughin’ and Cryin Blues.” When the recordings were sent to Columbia’s New York offices it was assumed that given the sound and themes of the songs that the Allen Brothers were Black and an advertisement for “Laughin’ and Cryin’ Blues” was sent out to national newspapers with a drawing of the two performers as being Black. Whether or not this confusion was in any way responsible, the record met with great success, as did the others in the issue, with “Salty Dog” selling 18,000 copies.
Solo Artists
Fiddlin’ John Carson
Blues” with the ragtime-inspired “West Coast Blues” on the B-side. Both are considered excellent examples of his ragtimebased guitar style and prototypes for the Piedmont blues. Little is known about his life or death but his complex and intri-
revival of the 1960s, and spent much of his later life playing at various folk music festivals and recording for Folkways Records. Blind Willie McTell, guitar
cate finger picking inspired generations of musicians to follow: Reverend Gary Davis, Jorma Kaukonen, Ry Cooder, and Carson was born in Fannin County, Georgia in 1868, and as such his music
many others. Dock Boggs, banjo
was indicative of the earliest examples of American roots music. He started to play fiddle while in his teens on an instrument that had been brought to the United States from Ireland. He combined making music with working in a textile
Blind Willie McTell was born in 1898 in
plant until it went on strike in 1913
Thompson, Georgia. He was a twelve-
leaving him with no other option than to
string finger picking Piedmont blues
play on the street for nickels and dimes.
guitarist, and was one of the very few
Between 1914 and 1922 he was named
country bluesmen to play the guitar in
Champion Fiddler of Georgia 7 times. He
both the complex, fingerpicking ragtime
began to record in 1923 and eventually produced over 150 sides of music. Blind Blake (aka Arthur Blake, Arthur Phelps) guitar
Boggs’ style of banjo playing, as well as his singing, is considered a unique combination of Appalachian folk music and African-American blues. He was born in southern Virginia in 1898 and learned much of his music from an African-American guitarist named “Go Lightning” who would “hobo” up and down the railroad tracks between Norton and Dorchester. Boggs’s style is, as many other artists of the time, a hybrid of Anglo and AfricanAmerican musical traits. He is considered a seminal figure in part because of two of his recordings from the 1920s, “Sugar Baby” and “Country Blues. Boggs was initially recorded in 1927 and again in
Blake’s first recordings were made in 1926 and his records sold very well. His first solo record was “Early Morning
1929, although he worked primarily as a coal miner for most of his life. He was “rediscovered” during the folk music
style indicative of the Piedmont guitarists, and a heavier bottleneck blues style. His playing in both idioms is masterful, fluid and inventive. McTell was also an excellent accompanist, and recorded many songs with his longtime musical companion, Curley Weaver; their recordings are some of the most outstanding examples of country blues guitar duets. He began recording in 1927 and had one of the longest careers of any artist in his style, recording his last sessions in 1949. Pink Anderson, guitar Pinkney “Pink” Anderson was born in South Carolina in 1900 and started playing medicine shows as early as 1914. He made his first recordings for Columbia in 1928. Anderson’s musical style on the guitar was a combination of the typical
UMS 10-11
23
Piedmont fingerpicking and the Anglo-
Reverend Gary Davis, guitar, banjo
styled ballads common to the Appalachians. Although not as well-known as many of his contemporaries, his few recordings still stand out as some of the best examples of the Piedmont blues. Blind Boy Fuller (Fulton Allen), guitar
Gary Davis was born in Laurens, South Carolina in 1896. Blind from infancy he early on developed a unique two-finger (thumb and index finger) style of fingerpicking on the guitar that enabled him to create a four-part harmony sound. In the mid-1920s he moved to Durham, North Fulton Allen was born in Wadesboro, North Carolina in 1907 and became one of the most popular Piedmont blues guitarists of all time. He learned to play guitar as a boy and quickly picked up traditional songs and chants, ragtime pieces, and blues. By 1927 he had lost his sight and began studying the recordings of Blind Blake in earnest. It was also at this time that he became associated with Reverend Gary Davis. He began playing on the streets of Durham, North Carolina and developed a large following, eventually leading to a record contract in 1935. It was at his first recording session that the American Recording Company decided that Blind Boy Fuller would be a more commercial name. Over the next five years he recorded over 150 songs and became known as one of the foremost of the Piedmont blues guitarists. Many of his songs included the double-entendre and, unlike virtually any other Piedmont guitarist, he favored playing his complex fingerpicking on a National “steel� guitar, giving his playing and recordings a unique sound.
24
UMS 10-11
Carolina and met, and apparently mentored, Blind Boy Fuller. At the same time he was becoming an ordained Baptist minister. Davis was perhaps the most sophisticated of all the Piedmont guitarists and his repertoire ran the gamut of folk ballads, ragtime pieces, military marches, pop songs, lullabies, and blues (which he was generally reluctant to perform in public). He moved to New York City to become a street preacher in the 1940s and was extremely influential in the folkrevival of the early 1960s.
ABOUT
B anjo , F iddle , and G uitar : A T ypical S tring B and Fiddle The fiddle is the oldest and most
Americans and Mexican-Americans also
as 1781 when Thomas Jefferson named
basic instrument of roots music. Perhaps
developed unique fiddle styles in the
the banjar as the “instrument proper to
due in part to its flexibility and sheer
Southwest, likely picking up the instru-
them,” meaning his African slaves. The
loudness, the fiddle is the dominant
ment from early frontiersmen.
early banjars were made out of gourds
melodic instrument for old-time tunes. It is accompanied by a variety of other stringed instruments such as banjo,
Fiddling has often been associated with classic American heroes. George Washington had his favorite fiddle tune (“Jaybird Sittin’ on a Hickory Limb”), as did Thomas Jefferson (“Grey Eagle”). Davy Crockett was a fierce fiddler, and
with fretless necks, likely with heavy strings, producing a deep, mellow sound. By 1847, there are accounts of the fiddle and banjo being played together; it was the beginning of the modern string/bluegrass band.
Andrew Jackson’s victory over the British in the War of 1812 is still celebrated with the popular “Eight of January.” In more modern times, Henry Ford started a series of fiddling contests in the 1920s to help preserve the old American values. Though the fiddle was the main instrument in early country music in the 1920s, it was gradually replaced by the steel guitar and electric guitar. It re-emerged guitar, mandolin, and bass. The fiddle was virtually the only instrument found on the early frontier. In the South, written accounts of fiddle competitions can be traced as far back as 1736. Even though the fiddle is heavily rooted in Scottish and Irish tradition and is therefore often considered a “white instrument,” in the 19th century, a strong tradition began among African-Americans. This occurred because slave-owners would send slaves away to learn traditional fiddle tunes for the purpose of entertainment upon their return. All of this translated into an eventual blues fiddling style that would persist from the 1800s into the 1930s. Native
in popularity in the 1940s as Bill Monroe, Earl Scruggs, and Lester Flatt developed bluegrass. Innovators like Chubby Wise, Scotty Stoneman, Kenny Baker, and Benny Martin turned the fiddle into a driving vehicle for improvisation.
Eventually, this early Black folk tradition was adopted, quite popularly, by whites, heavily in the Appalachians. It became
Banjo The banjo is instrument that finds
the focus instrument in minstrel shows
its roots in Africa, originally known as
(typically a show done by whites, high-
the “banjar.” Where the fiddle can be
lighting African-(American) culture, often
called the most significant instrumental
performed in blackface), which began
contribution from Northern Europe, the
to gain popularity in the early-to-middle
banjo is the equivalent from Sub-Saharan
19th Century. African-Americans certainly
Africa. It can be traced back to 13
influenced the sound and repertoire of
century African culture and was being
these early minstrel groups by teaching
written about here in America as early
the first generation of white banjoists
th
UMS 10-11
25
how to play. Even after the minstrel
tives reveals a number of memories of
tory in 1900 reported that over 78,000
shows fell out of popularity, the banjo
guitar-playing by blacks in pre-Civil War
guitars had been manufactured that year.
remained prevalent among Southern,
times, almost all of them located in the
Throughout the 1920s, American musi-
whites. In the 1920s, several regional
Mississippi River delta. While it is unclear
cians set about inventing new ways to
styles emerged. Masters of the banjo, like
the style with which these guitars were
tune and note these instruments.
Uncle Dave Macon, could play as many
played, the location of these recounts is
as 17 styles. The “banjo entertainer”
significant: it would later be the center
emerged with the rise of Vaudeville and
for the classic delta blues
early radio, where the banjo would be
The first generation of country or “hillbilly” musicians tended to play a style with loud, percussive strokes designed to provide little but rhythm. But soon, key
used by singers who told jokes, did comic
players, like blind Riley Puckett, a north-
songs, and generally “cut up.”
ern Georgia native who made hundreds
It was in 1945 that the banjo was taken
of records as a singer and band guitarist,
in a different direction by a young Earl
showed the guitar was capable of adding
Scruggs, from North Carolina. He per-
melody lines as well as rhythm. And in
fected the three-finger roll, which allowed
1927, at the famous Bristol sessions in
him to play a rapid-fire cascade of notes.
northeast Tennessee, Maybelle Carter (of
With this, the banjo was capable of hold-
the Original Carter Family) introduced
ing its own in the driving tempos of the
what would become known as “the
emerging bluegrass music. Scruggs be-
Carter Scratch,” playing a melody on
came probably the single-most influential
the bass strings and brushing the higher
instrumentalist in American roots music,
strings for rhythm. It would become the
as generations of younger musicians took
quintessential lick for country music.
his style and built on it, even taking it into
Down in Tennessee, a brash young man
the realms of jazz and formal music.
named Sam McGee, the traveling partner of Uncle Dave Macon, watched with fas-
Guitar America’s archetypal instrument is
cination as black section hands near his
undoubtedly the guitar. While important
farm in middle Tennessee played a blues
figures such as Benjamin Franklin and
finger picking style. He would soon com-
Andrew Jackson’s wife played the guitar or guitar-like instruments, the guitar did not gain widespread popularity or usage until the 20th century. As early as the 1600s, Spanish settlers had brought to the New World a European-style guitar with five sets of double-strings. By 1800, the six-string instrument we are familiar with today had developed and was also brought over from Europe. The instrument was popular enough by 1816 that the first guitar instruction book was published. Early guitars were smaller than today’s modern style, were strung with gut strings, and were finger-plucked (as opposed to today’s popular style of using a pick). A study of ex-slave narra-
26
UMS 10-11
By the turn of the 20th century, improved
bine this with ragtime he had learned
guitar-making techniques allowed manu-
from a parlor guitar teacher in nearby
facturers like Martin (founded 1833) and
Franklin to create some of the first solo
Gibson (founded 1894) to offer steel-
records featuring the guitar: “Buck
string guitars. When played with picks,
Dancer’s Choice,” “Railroad Blues,” and
this allowed a much brighter, louder
“Knoxville Blues.”
sound and let the guitar hold its own in a string band and as a solo instrument in its own right. It was about this time that the singer Lead Belly discovered an inexpensive Stella 12-string with steel strings and as loud as a piano. Soon mail-order catalogue stores like Wards and SearsRoebuck were adding inexpensive guitars to their catalogues. Sears’ models ranged from $2.70 to $10.20, and one inven-
O ther S tring B and I nstruments While the banjo, fiddle, and guitar are the instruments of a typical string band, other complementary instruments often augment this core ensemble, including the following:
Bones
Harmonica
Jug
Kazoo
Washtub Bass Spoons
UMS 10-11
27
C A R O L I N A C H O C O A LT E D R O P S
28
UMS 10-11
ABOUT
E nsemble H istory “Tradition is a guide, not a jailer. We play in an older tradition but we are modern musicians.”—Justin Robinson In the summer and fall of 2005, three young black musicians, Dom Flemons, Rhiannon Giddens, and Justin Robinson, decided to travel to Mebane, North Carolina, every Thursday night to sit in the home of old-time fiddler Joe Thompson for a musical jam session. Joe was in his 80’s, a black fiddler with a short bowing style that he inherited from generations of family musicians. He had learned to play a wide ranging set of tunes sitting on the back porch with other players after a day of field work. Now he was passing those same lessons on to a new generation. When the three students decided to form a band, they didn’t have big plans. It was mostly a tribute to Joe - a chance to bring his music back out of the house again and into
Asheville, N.C., he flew east and ended up
The connection turned out to be a great
dance halls and public places. They called
moving to the Piedmont where he could get
match. While the young “Drops” were
themselves the Chocolate Drops as a tip of
at the music first hand.
upstarts in a stable of deep tradition, they
the hat to the Tennessee Chocolate Drops,
were also the link between past and future.
the three black brothers - Howard, Martin
The Chocolate Drops started to play around,
They began to expand their repertoire, taking
and Bogan Armstrong - who lit up the music
rolling out the tunes wherever anyone would
advantage of what Dom calls “the novelty fac-
scene in the 1930s. Honing and experiment-
listen. From town squares to farmer’s mar-
tor” to get folks in the door and then teaching
ing with Joe’s repertoire, the band often
kets, they perfected their playing and began
and thrilling them with traditional music that
coaxed their teacher out of the house to join
to win an avid following of foot-tapping,
was evolving as they performed. They teased
them on stage. Joe’s charisma and charm
sing-along audiences. In 2006, they picked
audiences with history on tunes like “Dixie”,
regularly stole the show.
up a spot at the locally-based Shakori Hills
the apparent Southern anthem that musicolo-
Festival where they lit such a fire on the Being young and living in the 21st cen-
gists suggest was stolen by the black-face min-
dance tent floor that Tim and Denise Duffy of
tury, the Chocolate Drops first hooked up
strel Dan Emmert from the Snowden family,
the Music Maker Relief Foundation came over
through a yahoo group, Black Banjo: Then
black Ohio musicians who missed their warm,
to see what was going on. The band was still
and Now (BBT&N) hosted by Tom Thomas
sunny home. The “Drops” gave new energy
figuring out who they were, yet Duffy offered
and Sule Greg Wilson. Dom was still living in
to old tunes like John Henry and Sally Ann,
to house them with people like Algie Mae
Arizona, but in April 2005, when the web-
adding blues songs, Gaelic acappella, and flat-
Hinton, musicians who were not pretenders
chat spawned the Black Banjo Gathering in
footing to the show.
to a tradition, but the real thing.
UMS 10-11
29
Yes, banjos and black string musicians first got here on slave ships, but now this is everyone’s music.
The band moved up through the festival
Off-stage, their connection to the Music
Rolling Stone Magazine described the Carolina
circuit, from the Mt. Airy Fiddler’s Convention
Maker Relief Foundation meant a place to
Chocolate Drops’ style as “dirt-floor-dance
to MerleFest. They shared the stage with a
record. In 2007, Music Maker issued “Dona
electricity”. If you ask the band, that is what
new fan, Taj Mahal, and traveled to Europe. In
Got a Ramblin’ Mind” and, in 2009, “Carolina
matters most. Yes, banjos and black string
2007 they appeared in Denzel Washington’s
Chocolate Drops & Joe Thompson.” In 2010,
musicians first got here on slave ships, but
film The Great Debators and joined Garrison
with the release of their Nonesuch recording
now this is everyone’s music. It’s OK to mix it
Keiler on Prairie Home Companion. In 2008,
“Genuine Negro Jig,” the group confirmed its
up and go where the spirit moves.
they received an invitation to play on the
place in the music pantheon. With its tongue
Grand Ole Opry. “The Drops were the first
in cheek, multiple-meaning title, the album
black string band to play the Opry,” Duffy
ranges boldly from Joe Thompson’s “Cindy
notes. “The Opry has a huge black following
Gal” to Tom Waits’ “Trampled Rose” and Rhi-
but you don’t see that on stage.” Opry host
annon’s acoustic hip hop version of R&B artist
Marty Stewart pronounced the performance a
Blu Cantrell’s “Hit ‘Em Up Style.”
healing moment for the Opry.
30
UMS 10-11
PEOPLE
D om , R hiannon , + J ustin Dom Flemons “I left Arizona because I knew the music would take me somewhere - but I had no idea!” You don’t have to be born in the Piedmont to feel the music in your blood. It may even be fair to say that Dom Flemons’ journey has been a trip from instinct to action. It all began with a PBS documentary about the history of rock and roll. “There was an episode on the folk music revival that got me wanting to do it,” Dom explains. “At the time, Dylan albums were inexpensive so I started buying them. From there I read about the folk scene in New York City and I tried to do that in Phoenix. I began busking and playing in coffee houses.” Dom calls this a natural progression backwards. From writing short stories and poetry slams he moved to music, from a fascination with the 60’s and playing guitar he collected recordings of the early masters and used them as teachers. Finally, Dom added banjo to the mix, going for the sound of the old-time players. While still a student in Arizona, he headed off for Encanto Park in Phoenix and jumped into Wednesday night music jams. If he was the only young player and the only black man with a banjo, Dom didn’t care. He did find his way to a website, blackbanjo.com, and learned about plans for a Black Banjo Gathering in North Carolina.
After the success at the Banjo Gather-
On stage Dom rolls from one instrument
ing, Dom decided to move to the Pied-
to another with a fearless attitude toward
mont. Here, he hooked up with Rhian-
tradition and repertoire. As the Carolina
non Giddens and followed her to Joe
Chocolate Drops push Joe Thompson’s
Thompson’s house where Justin Robin-
classics into new territory, Dom remem-
son was playing. Without even planning,
bers his idol, Mike Seeger, who died in
Dom’s music revival dream was real. “It
2009. “Mike is the person who changed
gave me a different perspective” Dom
my outlook – he got me trying to do
reflects, “going from being someone
what he was doing, taking traditional
who was learning from recordings – it
things and smashing them together and
was very different to learn sitting next
making something different.”
to the artists and hearing them talk and seeing how mannerisms are translated into the music.” UMS 10-11
31
Rhiannon Giddens
“We’re first and foremost entertainers and musicians. The other stuff enriches, deepens the experience - but if you can’t enjoy the music, we aren’t doing our job.” It’s hard to contain the energy and enthusiasm of Rhiannon Giddens. Her life story reads like a post-modern novel with overlapping plots. Talents and fascinations, whims and obsessions tumble over each other and pour out in a fiery stage performance rooted in disciplined virtuosity. It’s the training of opera overflowing into the unchained world of old-time music. At age 16, Rhiannon began her vocal training at Oberlin College choral camp, where she took on the deepest part of the classical vocal river - opera. “I did five operas and three main roles,” Rhiannon summarizes, “I got into it pretty hardcore.” So hardcore that she decided to take some time off. That’s when Rhiannon “eased into the folk world,” as she puts it, although the sequence is not quite so clean. Rhiannon had already been sparked by a flyer at Oberlin advertising English Country Dancing. “I’m a Jane Austin fan and that’s what they do in her books. Turned out to be contra.” Back home with a day job in graphic design, Rhiannon began to attend weekly contra dances, moving rapidly from just
32
UMS 10-11
dancing to calling. It was one quick step
After witnessing an inspiring banjo
more and a slippery slope into playing
performance by Joe Thompson, Rhian-
the music. “I decided I wanted to play
non heard about blackbanjos.com and
fiddle” Rhiannon says in a matter of fact
hooked up with Sule Greg Wilson and
voice, “so I went into a store in Greens-
Tom Thomas doing web work for the
boro and picked one off the wall, gave
Black Banjo Gathering. She also followed
it a draw and bought it. It was a cheap
up on an invitation from Daniel Laem-
Chinese fiddle – hard to play, but that
ouahuma Jatta to visit Gambia, got a
toughens you up.”
gig as a singing hostess at the Macaroni Grill and saved up the money for a trip to
Hands on the fiddle, Rhiannon began
Africa. By 2006 the Carolina Chocolate
to mix it up, singing as always with her
Drops were moving to the top of the
sister, Lalenja Harrington, joining up with
list. In 2010, the band was a full-time
Cherise McCloud (“who is a Mezzo”),
job – along with a new daughter who is
forming a Celtic band, Gaelywand, and
already a veteran road warrior.
entering Scottish music competitions.
Justin Robinson
“Some people say you should play one instrument, but I feel a need for a change of pace.” While early string band musicians trace their roots to front porches and frolics, Justin Robinson began his musical education with the careful discipline of classical violin. “I was about 8 years old when I started violin,” Justin recalls. “It was my parents’ idea, but I wanted to play. They were into classical music. At the time, my mother was not performing yet, but later she sang with Opera Carolina in Charlotte.” While Justin showed promise, as a teenager he made the all too familiar turn from practice to “other things”. He was an avid listener, but it wasn’t until the end of college that actually playing the music became important again. While Justin made a deliberate choice to pick up the old instrument, violin, he had made a second deliberate decision; He was going to use the instrument to fiddle. If there is one word that fits Justin’s music, it has to be eclectic. If there’s a second word, it has be determined. Asked how he ended up at the 2005
banjo-playing friends and began to go
and began to hone their own sound.
Black Banjo Gathering, Justin puts it
to Joe’s every week. Rhiannon started
Justin and his new young black musi-
straight. “I invited myself,” he says. “I
coming along a month or two later and,
cian friends had inherited an unexpected
went there with the intention of meet-
in October, Dom joined in. Soon Justin’s
role as a new generation’s voice in black
ing Joe [Thompson]. I knew he lived in
quest became a regular apprenticeship
string music.
Mebane [N.C.] so I went up there with
with a man tied by blood and time to
the intention of meeting him and going
the origins of black string players. The
to his house to play.” Justin collected
Chocolate Drops were formed as a band
UMS 10-11
33
PEOPLE
C C D on S tring B ands The Carolina Chocolate Drops
works in this way, always playing his
are the newest and youngest players in
fiddle in the company of a banjo.
a long lineage of Black String Bands. The tradition traces its roots to musicians from Africa who came to the Americas in the holds of slave ships. The anchor instruments were made of gourds with a neck and a variety of string combinations. The same basic gourd banjo, called the ekontone, is played today in Gambia. Alongside the banjo gourd, musicians devised a number of fiddles, Americanborn relatives of the African ritti or one-stringed fiddle. Eventually, perhaps under the influence or orders of masters who wanted Irish jigs played in their parlors, black fiddle-players picked up the European violin, taking that instrument back to their cabins, adding classical-style fiddle to banjo and percussion; so the blurring of boundaries began. All three of the Carolina Chocolate Drops can switch instruments, playing banjo and fiddle, trading leads and playing along with a stock of other instruments. This mixing-it-up comes from the traditional black string band where the banjo takes the lead, trading off with fiddle, while any number of other instruments join in around them. Joe Thompson
34
UMS 10-11
While string bands and old-time music are often grouped with bluegrass at festivals, the sound is very different. Bluegrass has a fast-paced style and draws more on the guitar and the mandolin. It rarely includes the home-made instruments common to string band players like bones (or spoons), quills, and jugs. That said, more and more bluegrass musicians are opening up their style. Banjo players like Béla Fleck and Tony Triska are just as likely to show up around jazz musicians as they are to play at a bluegrass festival. Audiences expect a string band to stick closer to home. The string band, with its panoply of
ers and contemporary players like Joe
instruments, is also a socially open form.
Thompson, it’s clear that the music kept
It says anyone can play or dance or sing.
going, passed down by family members
It’s about getting together. Some suggest
and played for dances and gatherings in
that black string bands disappeared after
both the white and the black community.
the Civil War because the musicians no
As Rhiannon likes to tell her skeptical
longer wanted to play music associated
fans, square dancing and string music is
with forced performances for white
all about African roots and black folks’
plantation audiences. The immediacy and
traditions.
self-taught quality of the music makes it more likely that the documentation, not the music, disappeared. Looking back from early twentieth century play-
In the end, it’s all about serious fun and traditional innovation.
REPERTOIRE
L ikely T o B e P erformed While the Carolina Chocolate Drops will decide which pieces to perform much closer to the date of the Youth Performance (they will announce the titles from stage), they are likely to play the following four pieces: “Little Rabbit,” “Georgie Buck,” “Dona Got a Ramblin’ Mind,” and “Sourwood Mountain.” Below are video links to the Carolina performing each piece as well as lyrics for the three songs with vocals.
“Georgie Buck”
“Sourwood Mountain”
“Dona Got a Ramblin’ Mind”
Video: http://www.youtube.com/
Video: http://www.youtube.com/
Video: http://www.youtube.com/watch?v
watch?v=8yTijiKUUV8
watch?v=5v4ATabf07M
=N3CM5WOaJZ4&playnext=1&list=PL75
Georgie Buck is dead
CHORUS:
The last thing he said
Roosters a-crowin’ on Sourwood Mountain,
Dona got a ramblin’ mind (x4)
“Don’t put no shortnin’ in my bread.”
Hi ho fiddle, I ay
Dona gone jump the fence
So many pretty ones you can’t count ‘em,
Dona gone down the line
0203F197682997&index=9
Georgie Buck is dead The last thing he said “Don’t put no shortnin’ in my bread.” CHORUS:
Hi ho fiddle, I ay My true love’s a blue-eyed daisy If I don’t get her, I’ll go crazy
Down the road
(CHORUS)
Down the road I see
Big dogs bark and little ones bite you
Trouble in my way Trouble in my way
(CHORUS)
Georgie Buck is dead
My love lives at the head of the holler
Last word he said
She won’t come and I won’t foller
“Don’t let a woman have her way.
(CHORUS)
She be gone all day. Don’t let a woman have her way.” (CHORUS) Georgie Buck is dead The last word he said “Don’t put no shortnin’ in my bread.”
Video: http://www.youtube.com/ watch?v=tszAmWRVVpU
Big girls court and little ones spite you
Trouble in my way down the line.
“If she have her way,
“Little Rabbit”
My true love lives over the river A few more jumps and I’ll be with her (CHORUS) Ducks in the pond, geese in the ocean Devil’s in the women if they take a notion (CHORUS)
Put no shortnin in my bread... Put no shortnin’ in my bread... (CHORUS)
UMS 10-11
35
CONNECTIONS
V isual + P erforming A rts The following artwork is part of the University of Michigan Museum of Art Collection.
Look at the image on to the right and consider the following:
Sherman Lambdin United States, born 1948
How does this image reflect your percep-
Red Devil Bird
tion of American Roots Music? Of String
1970–91
Band Music?
Painted wood twig Gift of the Daniel and Harriet Fusfeld Folk Art Collection, 2002/1.211
If you wrote or could pick a piece of music to represent this image, what kind of music would it be? Why? How does this image physically represent music? What are three words you would use to describe the image? How do these three words relate to what you know about American Roots Music? How might the piece relate to the work of Carolina Chocolate Drops? What material (mode) is the image made out of? How does that affect how it appears and what it represents?
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UMS 10-11
RESOURCES
UMS 10-11
37
ENGAGE
N ational S tandards The following are national standards addressed through this Youth Performance and through the ideas in the following curriculum connections.
English Language Arts
Mathematics
Social Sciences
English K-12
Data Analysis and Probability Pre-K-2
Civics K-4
NL-ENG.K-12.8 Developing Research Skills
NM-DATA.PK-2.1 Formulate Questions
NSS-C.K-4.2 Values and Principles of
NL-ENG.K-12.12 Applying Language Skills
That Can Be Addressed with Data and
Democracy
Collect, Organize and Display Relevant Data to Answer
Performing arts
Civics 5-8 NSS-C.5-8.2 Foundations of the Ameri-
Data Analysis and Probability 3-5
can Political System
Music K-4
NM-DATA.3-5.1 Formulate Questions
NSS-C.5-8.3 Principles of Democracy
NA-M.K-4.6 Listening To, Analyzing, and
That Can Be Addressed with Data and
Describing Music
Collect, Organize and Display Relevant
Geography K-12
NA-M.K-4.8 Understanding Relation-
Data to Answer
NSS-G.K-12.2 Places and Regions
ships Between Music, The Other Arts, and Disciplines Outside the Arts NA-M.K-4.9 Understanding Music in
U.S. History K-4 NSS-USH.K-4.1 Living and Working To-
Relation to History and Culture
gether in Families and Communities Now
Music 5-8
NSS-USH.K-4.3 The History of the United
NA-M.5-8.8 Understanding Relation-
States: Democratic Principles and Values
ships Between Music, the Other Arts, and
and the People from Many Cultures Who
Disciplines Outside the Arts
Contributed to its Cultural, Economic and
NA-M.5-8.9 Understanding Music In
Political Heritage
Relation to History and Culture
and Long Ago
U.S. History 5-12 NSS-USH.5-12.3 Revolution and the New Nation
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UMS 10-11
ENGAGE
C urriculum C onnections The UMS Youth Performance by the Carolina Chocolate Drops gives students the chance to explore the music, geography, history, communities, and cultures of America. To help connect these performances to classroom curriculum, pick one of these concepts and activities or create an entire interdisciplinary curriculum with these as a base.
The Carolina Chocolate Drops is a three-piece string band that has its roots in the Piedmont Region of North Carolina and performs “roots” music. Before attending this concert take the opportunity to talk, not just about roots music, but about the word roots, its many meanings and the different ways it is used. Define homonym as one of a group of words that share the same spelling and the same pronunciation but have different meanings. The word left is a good example. As a verb, left refers to leaving or exiting a place. As a noun it can refer to direction. the communities to which they belong
students to ask their parents or grandpar-
The word root is a homonym. As a
and their local residential communities.
ents about their family roots. Graph the
whole class, or with students divided into
Families have roots. Discuss why a per-
results. You might find out the answer to
pairs come up with as many meanings
son might want to know his or her fam-
question like these:
for the word root as you can. These can
ily’s roots. Include a little science here.
Where did most of the families in
include the following:
What is a root? What does it look like?
this class originate?
Root- the underground part of a plant
Do all plants have roots? What do roots
Where did the fewest families
Root – to root out, destroy, get rid of,
do for a plant? Roots nourish plants. Do
come from?
eradicate
they also nourish families? How?
How many countries are represented
Root - to root around, dig with a snout
as places of origin?
like a pig
Find out where the families in your class
Root – of something, it’s origin, where it
originated. Ask your students if they
comes from
know when their family settled in the
When your graph is complete, take out
What are the names of those countries?
United States and where they came from
a wall map and put pins in each country
Kindergartners, first graders and second
before they moved to this country. If
that is the country of origin of one of
graders study themselves, their families,
not, come up with a list of questions for
your student’s families. This is a good UMS 10-11
39
time to include some mapping skills.
Tell students about the concert. Com-
and the Kite Dragon by Bruce Edward
Where is each country in relation to the
pare the term roots music and its mean-
Hall, (conflict between ethnic groups) Tea
United States? Which is the furthest
ing with the concept of family roots.
with Milk by Allen Say (different customs)
away? Which is the closest? Are any of
and The Name Jar by Yangsook Choi.
the countries across an ocean? Which
Communities have roots. Help students
countries and which oceans? Which
look at their community and the com-
countries are closest to each other?
munities that surround theirs. Some
Third graders study Michigan. Take a
communities are made up of people from
look at Michigan. The state is made up
Talk about some of the reasons families
all different cultures and countries. Oth-
of different groups of people. Some eth-
might have left their original country
ers have a mostly homogeneous popula-
nic groups are dispersed throughout the
to come to The United States. Discuss
tion. Some communities are composed
state. Others are mostly found in one
the fact that our country is often called
of families that have been in the Unitied
part of the state. Who are the people
a country of immigrants. What did im-
States for so many years that they don’t
of Michigan? What are their roots?
migrants bring with them to our country?
have any ethnic affiliation.
Where did the early settlers come from
Which things are now an integral part of our life and culture?
(Comfort with who you are)
and where did they settle? What about There are “ethnic communities.” Ask
today’s new immigrants? Do they come
if anyone has been to a Chinatown, a
from the same countries as the early set-
Using reference books or the computer,
Mexican town, a little Italy? What was
tlers? Do they settle in the same areas?
show students how to find a few simple
it like? Wlhy do we have communi-
Why or why not?
facts about their family’s country of ori-
ties that are made up predominently of
When the Carolina Chocolate Drops
gin. Tell them to look for something spe-
one ethnic group? Discuss immigrants
decided they wanted to perform the
cial that represents or is identified with
coming to this country not knowing the
music of the Piedmon Region in North
the country. Share these facts any way
language or culture and settling near
and South Carolina, they went to a
you wish. Ask for written paragraphs
other people from the same country.
man named Joe Thompson, an old-time
or reports, oral presentations, collages,
Talk about comfort level, ease of living,
fiddler, who had performed that type
pictures, music, etc.
language, prejudice. Read aloud Henry
of music for years. They talked to him
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UMS 10-11
about the music, listened to him and
cas and bones and just had a good time
to their mother and their mother sang to
learned from him. They used his music as
playing and singing and dancing. It was
them? Is there a recipe that has been in
a base and then added to it and changed
a community activity, community music,
their family for generations? Does their
it until it was their own. Through the
community entertainment. The same
mother, perhaps, have a piece of jewelry
years, we have used this same process to
kinds of things were happening with
that belonged to her grandmother or
develop some of the important institu-
other music in other parts of our country.
their dad have a watch from his grandfa-
tions and documents in our country.
Small communities of people all across
ther? What kinds of customs, traditions
the United States got together for barn
and celebrations are a part of their family
Fifth graders study America’s past. The
dances, singing and dancing to the kinds
and have been a part of their family for
first people in this country beside the na-
of music they knew and liked. Does that
many years? Have students share these
tive peoples, were mostly from England
still happen? Do small groups of people
things orally, or by writing a paper about
and other parts of Western Europe.
get together to make and enjoy music or
them and their importance.
Along with their families, they brought
do we entertain ourselves in other ways
their culture, traditions and ideas to this
today? Do we come together as a com-
Read aloud The Always Prayer Shawl
new country. By the time of the Revo-
munity for entertainment? Is our enter-
by Sheldon Oberman, Pink and Say by
lutionary War, many of those ideas had
tainment provided by people outside the
Patricia Polacco, Always an Olivia by
become a part of our nation.
community? Do we entertain ourselves
Carolivia Herron and The Burnt Stick by
with more solitary pursuits?
Anthony Hill. These are all books about
Take a look at the Declaration of Inde-
the connection between generations and
pendence and the Constitution. Where
The music played by the Carolina Choco-
the passing down of customs, traditions,
did the ideas in the those documents
late Drops is head-bobbing, foot-stamp-
ideas, stories and special things.
originate? Did we change them in any
ing music. It’s available if you google
The following National Standards are met
way? How?
California Chocolate Drops. Play some of
completely or in part with the included
this music for your students before they
curriculum guide.
The Constitution was formed so that it
attend the concert and set them loose to
could meet the changing needs of our
move and dance to the sound. After stu-
country. How can we change the Consti-
dents have heard the Carolina Chocolate
tution? What is the process? Have we
Drops play, play a piece of classical music.
changed the Constitution? How?
Have students think of as many words as they can to describe and compare the
Fourth graders study regions of the
two kinds of music.
United States. Find North Carolina on the map. In what section of the country
The band members of the Carolina
is it? North, South, East or West?
Chocolate Drops went to Joe Thompson and listened to him talk about and play
The Piedmont Region of North Carolina
his music and the music of the Piedmont
is a hilly section of the state at the base
Region in North Carolina. He passed
of the mountains. In what geographical
down his musical heritage, the music he
region is North Carolina? How would
knew and performed, to the members
you describe that region? How does that
of the band. We learn about our history
part of North Carolina compare to the
and feel connected to our past when
region in which you live?
ideas, things and skills are passed down to us from the generation before us the
When the Black people who lived in the
way Joe Thompson passed down his
Piedmont Region of North Carolina got
music. Ask students if anything in their
together they played music for their own
family has been passed down. Ask if
entertainment. People took out kazoos
there is a song their grandmother sang
and banjos, fiddles and guitars, harmoniUMS 10-11
41
ENGAGE
LESSON PLANS Langston Hughes and the Blues http://rockhall.com/education/resources/lesson-plans/sti-lesson-2/ An authentic African-American folk-music and the foundation for much American music including rock and roll, the blues is a unique expression of black American culture. In addition to being an art form in its own right, the blues has inspired many writers and artists including Langston Hughes. Exploring the connections between the blues and the poetry of Hughes will enrich students’ understanding of the African-American experience in the early part of this century. You Don’t Know What You’ve Got Until It’s Gone: The Changing American Landscape http://rockhall.com/education/resources/lesson-plans/sti-lesson-15/ The rise of American cities between 1865 and 1900 was spawned by the industrial revolution. Technological advancements in industry and transportation fathered the enormous growth of large cities across the United States. The patterns of urban growth then saw the rising middle-class moving further out from the cities creating the suburbs. Suburbs flourished as rural areas dwindled with farmers selling off their land for new housing developments and shopping malls. Today, we have a global and mobile society interconnected by computers, fax machines and the internet. These changes in the way Americans live and work have sparked new challenges for each generation. Understanding the causes and effects of these changes may enable students to better prepare for the world of the future. By studying contemporary song lyrics, students may be better able to recognize the effects of these changes upon others. Runaway Slaves http://rockhall.com/education/resources/lesson-plans/sti-lesson-19/ The Underground Railroad was a significant part of American History. It served as a lifeline to hundreds of slaves who risked their lives to escape the horrors of bondage. Through readings of primary sources and listening to music, students will gain a better understanding of how slaves pursued their “freedom” by stealing away to “Follow The Drinking Gourd” to the north and to freedom. I Went to the Crossroads: The Faust Theme in Music, Film, and Literature http://rockhall.com/education/resources/lesson-plans/sti-lesson-27/ The Faust theme, that of risking eternal damnation by selling one’s soul to the devil in exchange for magical powers, can be found in virtually every genre of music as well as in literature and the visual arts. Examples utilizing this theme can be found as early as biblical times as a means of understanding humanity’s place in the universe and the struggle between good and evil. This interdisciplinary lesson focuses on the life and music of bluesman Robert Johnson as a twentieth-century interpretation of this famous myth and demonstrates thematic connections between various art forms.
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UMS 10-11
Guitar Is Everywhere! http://www.pbs.org/teachers/connect/resources/6351/preview/ A quick activity (10-15 minutes) in which students watch a guitar performance and discuss the versatility of this amazing instrument. What Does this Song Really Say? http://artsedge.kennedy-center.org/educators/lessons/grade-3-4/What_does_this_song_say.aspx Students listen to, sing, and read the lyrics to various African-American spirituals. They discuss the coded messages in the songs, and the purpose of these codes. Students then write original coded messages, and present their work in a performance format. Twelve-Bar Blues: Examining the History of Blues http://artsedge.kennedy-center.org/educators/lessons/grade-6-8/Twelve_Bar_Blues.aspx Students will first learn about the history of blues music and important figures of this genre. Next, they will learn some of the key vocabulary and compositional techniques associated with the blues. Using what they have learned, students will compose a melody, using a 12-bar blues chord progression and present their melodies to the rest of the class.
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43
EXPLORE
OTHER RESOURCES Organizations
Web Sites
University Musical Society
Carolina Chocolate Drops
881 N University Ave
www.carolinachocolatedrops.com
Ann Arbor, MI 48109-1101 (734) 615-0122 umsyouth@umich.edu www.ums.org The Ark 316 S Main St Ann Arbor, MI 48104
Rock and Roll Hall of Fame www.rockhall.com
Smithsonian Folkways
www.folkways.si.edu
(734) 761-1818 www.theark.org
Rolling Stone Magazine www.rollingstone.com
The Program in American Culture at the University of Michigan
The Folk Alliance International
3700 Haven Hall
www.folk.org
Ann Arbor, MI 48109-1045 (734) 763-1460 ac.ing@umich.edu
The American Folklife Center
www.lsa.umich.edu/ac
www.loc.gov/folklife
Zingerman’s Roadhouse (for a southern foodways dinner) 2501 Jackson Ave Ann Arbor, MI 48103 (734) 663-3663 www.zingermansroadhouse.com
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ABOUT UMS
UMS 10-11
45
UMS
W H AT I S U M S ? The University Musical Society (UMS) is committed to connecting audiences with performing artists from around the world in uncommon and engaging experiences. One of the oldest performing arts presenters in the country, the University Musical Society is now in its 132nd season. With a program steeped in music, dance, and theater performed at the highest international standards of quality, UMS contributes to a vibrant cultural community by presenting approximately 60-75 performances and over 100 free educational and community activities each season. UMS also commissions new work, sponsors artist residencies, and organizes collaborative projects with local, national, and international partners.
UMS Education and Community Engagement Department
STAFF
INTERNS
Kenneth C. Fischer,
Emily Barkakati
UMS President
MAILING ADDRESS 100 Burton Memorial Tower
Neal Kelley Claire C. Rice Interim Director
Matthew MejĂa
Mary Roeder
Emily Michels
881 North University Ave Ann Arbor, MI 48109-1011
Residency Coordinator
Bennett Stein Omari Rush Education Manager
Sarah Suhadolnik Britta Wilhelmsen
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UMS 10-11
UMS
U M S Y O U T H E D U C AT I O N P R O G R A M 10 THINGS TO KNOW
QUALITY Every student deserves access to
ACCESSIBILITY Eliminating participation barriers
“the best” experiences of world arts
Working directly with schools to align our programs with classroom
• UMS subsidizes Youth Performance
and culture
K-12 SCHOOL PARTNERSHIPS
goals and objectives
tickets to $6/student (average subsidy: • UMS presents the finest international
$25/ticket)
performing and cultural artists.
Ann Arbor Public Schools and the Washt• When possible, UMS reimburses bus-
• Performances are often exclusive to
• Superintendent of Ann Arbor Public • UMS Youth Education offers person-
Schools is an ex officio member of the
alized customer service to teachers in
UMS Board of Directors.
• UMS Youth Performances aim to
order to respond to each school’s unique
present to students the same perfor-
needs.
mance that the public audiences see (no watered-down content).
enaw Intermediate School District.
sing costs.
Ann Arbor or touring to a small number of cities.
• 14-year official partnerships with the
• UMS has significant relationships with Detroit Public Schools’ dance and world
• UMS actively seeks out schools with
language programs and is developing
economic and geographic challenges to
relationships with other regional districts.
ensure and facilitate participation. • UMS is building partnerships with or of-
DIVERSITY Highlighting the cultural, artistic,
fering specialized services to the region’s ARTS EDUCATION LEADER
independent and home schools.
and geographic diversity of the world One of the premier arts education • Programs represent world cultures and
programs in the country
mirror school/community demographics. • UMS’s peer arts education programs: Car• Students see a variety of art forms:
negie Hall, Lincoln Center, Kennedy Center.
classical music, dance, theater, jazz, choral, global arts.
• UMS has the largest youth education
UNIVERSITY EDUCATION PARTNERSHIPS Affecting educators’ teaching practices at the developmental stage
program of its type in the four-state region
• UMS Youth Education is developing
• UMS’s Global Arts program focuses
and has consistent school/teacher participa-
a partnership with the U-M School of
on 4 distinct regions of the world—
tion throughout southeastern Michigan.
Education, which keeps UMS informed
Africa, the Americas, Asia, and the Arab World—with a annual festival featuring
• 20,000 students are engaged each sea-
the arts of one region.
son by daytime performances, workshops and in-school visits. • UMS Youth Education was awarded “Best Practices” by ArtServe Michigan and The Dana Foundation (2003).
of current research in educational theory and practice. • University professors and staff are active program advisors and workshop presenters. UMS 10-11
47
KENNEDY CENTER PARTNERSHIP
TEACHER ADVISORY COMMITTEE
• UMS Youth Education has been a
Meeting the actual needs of today’s
member of the prestigious Kennedy
educators in real time
Center Partners in Education Program since 1997. • Partners in Education is a national consortium of arts organization and public school partnerships.
• UMS Youth Education works with a 50-teacher committee that guides program decision-making. • The Committee meets throughout the season in large and small groups
• The program networks over 100 na-
regarding issues that affect teachers and
tional partner teams and helps UMS stay
their participation: ticket/bussing costs,
on top of best practices in education and
programming, future goals, etc.
arts nationwide. IN-SCHOOL VISITS & CURRICULUM PROFESSIONAL DEVELOPMENT “I find your arts and culture workshops to be one of the ‘Seven Wonders of Ann Arbor’!” –AAPS Teacher
DEVELOPMENT Supporting teachers in the classroom • UMS Youth Education places international artists and local arts educators/ teaching artists in classes to help educa-
• UMS Youth Education provides some
tors teach a particular art form or model
of the region’s most vital and responsive
new/innovative teaching practices.
professional development training.
• UMS develops nationally-recognized
• Over 300 teachers participate in our
teacher curriculum materials to help
educator workshops each season.
teachers incorporate upcoming youth performances immediately in their daily
• In most workshops, UMS utilizes and engages resources of the regional community: cultural experts and institutions, performing and teaching artists.
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UMS 10-11
classroom instruction. UMS Youth Education Program umsyouth@umich.edu | 734-615-0122 www.ums.org/education
SEND US YOUR FEEDBACK! UMS wants to know what teachers and students think about this Youth Performance. We hope you’ll send us your thoughts, drawings, letters, or reviews.
UMS YOUTH EDUCATION PROGRAM Burton Memorial Tower • 881 N. University Ave. • Ann Arbor, MI 48109-1011 (734) 615-0122 phone • (734) 998-7526 fax • umsyouth@umich.edu www.ums.org/education
UMS 10-11
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