Ranky Tanky (Grades 9-12)

2018/19 SEASON RANKY TANKY

The Broad Stage presents

RANKY TANKY

STUDENT MATINEE MON APR 8, 2019 11 AM GRADES 9-12

THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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Jane Deknatel Director, Performing Arts Center EDUCATION & COMMUNITY PROGRAMS STAFF

Ilaan E. Mazzini, Director of Education & Community Programs Mandy Matthews, Education & Community Programs Manager Olivia Murray, Education & Community Programs Assistant Rebecca Wright, Resident Educator

EDUCATION & COMMUNITY PROGRAMS Phone 310.434.3560 education@thebroadstage.org thebroadstage.org/education THE BROAD STAGE 1310 11th Street Santa Monica, CA 90401 Box Office 310.434.3200 Fax 310.434.3439 info@thebroadstage.org thebroadstage.org

Education and Community Programs at The Broad Stage is supported in part by The Herb Alpert Foundation Johnny Carson Foundation City of Santa Monica and the Santa Monica Arts Commission The Rosalinde and Arthur Gilbert Foundation Leonard M. Lipman Charitable Fund Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission The Ralph M. Parsons Foundation Dwight Stuart Youth Fund

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GREETINGS FROM THE BROAD STAGE! Dear Educators, We are so excited to be presenting Ranky Tanky at The Broad Stage! Ranky Tanky is a Quintet from Charleston, South Carolina and performs timeless music of Gullah culture born in the southeastern Sea Island region of the United States. Several of the band members are of Gullah heritage, and the group strives to share the music and culture that has deeply impacted their lives as South Carolinians. Ranky Tanky’s performance will capture young audiences with their playful game songs, ecstatic shouts, and heartbreaking spirituals.

Arts integration, Gullah history and culture, self-expression, and collaboration are at the core of the Ranky Tanky Study Guide. In Lesson One, students will explore Gullah culture, learn how to identify and hear Gullah music, and learn about the unique sounds of Ranky Tanky. Lesson Two will introduce students to the musical elements of call and response, body percussion, and polyrhythms. Students will also learn about the different types of Gullah songs, including children’s songs, ring shouts, work songs and spirituals. Students will learn about the history and meaning of spirituals, and write original lyrics that portray a message important to them. After seeing the Ranky Tanky performance, students will be asked to write a concert critique and analyze the musical elements, production, and performance in Lesson Four.

Please take some time to work through some or all of the lessons with your students prior to the Student Matinee performance. Concepts and topics explored in the guide emerged from discussions with Ranky Tanky and the Gullah experience. As always, this guide supports the California State and the VAPA Standards with arts integration as the focus. We hope that this guide proves to be helpful in preparing your students for the presentation. Please don’t hesitate to contact us with questions or ideas. We’ll see you at Ranky Tanky!

Sincerely, Education & Community Programs and Rebecca Wright, Resident Educator

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CONTENTS LESSONS

LESSON 1: Ranky Tanky: “Gullah Music with a Modern Twist”............................................................................................................ 5 HANDOUT 1: Gullah History....................................................................... 9 HANDOUT 2: “Kneebone Bend” Lyrics....................................................... 10 LESSON 2: Elements of Gullah Music.............................................. 11 HANDOUT 3: “Old Lady Come from Brewster” Lyrics................................ 17 HANDOUT 4: Polyrhythms.......................................................................... 18 LESSON 3: Spirituals and Song Lyric Analysis.............................. 19 HANDOUT 5: “Turtle Dove” Lyrics........................................................................23 LESSON 4: Ranky Tanky Concert Critique..................................... 24 HANDOUT 6: Writing a Concert Critique................................................... 26

ADDITIONAL RESOURCES GLOSSARY.................................................................................................. 27

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LESSON 1: RANKY TANKY: “GULLAH MUSIC WITH A MODERN TWIST” LESSON OBJECTIVE: Explore the roots of Gullah culture and music in order to gain a better understanding of the music of Ranky Tanky.

DURATION: 60 minutes MATERIALS: Handout 1: Gullah History, Handout 2: “Kneebone Bend” Lyrics, journal with multiple pages of blank paper, chart paper and markers, internet access for map research, Internet access to Youtube and Video/Audio playback capabilities.

STANDARDS: CCSS Speaking and Listening, Grades 9-12: 1.1. Initiate and participate effectively in a range of collaborative discussions (one-on- one, in groups, and teacher-led) with diverse partners on grades 9–12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively.

CCSS Speaking and Listening, Grades 9-12: 4 Present information, findings, and supporting evidence (e.g., reflective, historical investigation, response to literature presentations), conveying a clear and distinct perspective and a logical argument, such that listeners can follow the line of reasoning, alternative or opposing perspectives are addressed, and the organization, development, substance, and style are appropriate to purpose, audience, and a range of formal and informal tasks.

VAPA Music, Grades 9-12: 3.1 Identify the sources of musical genres of the United States, trace the evolution of those genres, and cite well-known musicians associated with them.

CONCEPTS/VOCABULARY: African Diaspora - Diaspora is a Greek word meaning “dispersed”. The term is used to describe the removal of people from their homelands in Africa to the Americas, Asia, and Europe. It also encompasses the people in these worldwide communities that are descended from Africa’s peoples.

Musically, people brought their traditional songs and dances with them and creatively adapted them to the new conditions and cultures that they encountered.

Creole language - A language developed from a mixture of several other languages that displays consistent grammatical structure and extensive vocabulary which have been transmitted over multiple generations.

Geechee - Describes a language, culture, and people inhabiting the low country and islands of Coastal Georgia, sometimes used interchangeably with Gullah.

Gullah - Refers to people of African ancestry that live in the Sea Islands and coastal areas of South Carolina, Georgia, and northern Florida; it also refers to the creole language of these people that is based on English and several other African languages.

Rice Coast - The the traditional rice-growing region of the Western coastal areas of Africa extending from modern day Senegal to Liberia.

GUIDING QUESTIONS: How can music help to communicate and express cultural identity?

Why is it important to understand the roots of various kinds of music?

How and why does music evolve into different forms?

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LESSON PLAN Warm-Up Discussion Give students a few minutes to individually brainstorm about their cultural roots.

What are some indicators that identify where you come from?

What are some ways in which you or your family maintain a connection to those roots?

As a whole class discussion or in smaller groups allow students to share out. Have students identify and chart any common factors or themes that could be applied to shared experiences.

PART 1: WHO ARE THE GULLAH? (NOTE: In order to give Geographic context to the region we will be discussing: Have students use maps to find the Gullah/Geechee Corridor and the Rice Coast countries of Africa) Pass out Handout 1: Gullah History to students and read together. After reading, have a class discussion around these questions: • What are the various sides of the argument for/against modernization and development of Gullah land?

• Discuss the reasons why it is important to their descendants today to protect and preserve Gullah/Geechee land and culture.

One of the most powerful ways that Gullah traditions are transmitted and preserved is through singing and music.

Listen to The Ring Shout The Ring Shout is perhaps one of the oldest African American performance traditions still in existence in North America. The McIntosh County Shouters from the Boulden Community on the Coast of Georgia are believed to be one of the last remaining traditional Ring Shout groups. This song features a lead singer, or “songster” who “raises up” the song; in this case it is Lawrence McKiver who also speaks about the context of this song at the beginning of the recording. There is a “stick man” beating a broomstick on the floor in a driving 1 - 2- 3 rhythm. There are “basers” who are a group of singers that answer the “songster” with vocal responses and rhythmic clapping. Finally, there are dancers called “shouters” who move with shuffling feet counterclockwise in a ring.

Listen to “Kneebone Bend” by McIntosh County Shouters together.

Ask students to journal any observations while listening.

McIntosh County Shouters singing “Kneebone Bend”: https://www.youtube.com/watch?v=KUJvAO8KECc Pass out Handout 2: Lyrics to Kneebone Bend and have students read and analyze the lyrics. Share out observations about the music or lyrics.

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PART 2: MEET RANKY TANKY! Ranky Tanky is a Quintet from Charleston, South Carolina that performs Gullah Music with “a modern twist.”

The five members are: Quentin Baxter: Drums/Percussion Kevin Hamilton: Bass Quiana Parler: Vocals Clay Ross: Guitar and Vocals Charlton Singleton: Trumpet and Vocals Baxter, Hamilton, Ross, and Singleton all started playing Jazz Music together over 20 years ago in Charleston. They went their separate ways for a bit to pursue their own musical projects. They all reunited recently to form Ranky Tanky and added Parler, a versatile vocalist who has operatic training and has performed in multiple styles such as pop, gospel, and R&B . Their goal in forming this band was to play music from and give voice to the rich tradition of Gullah Music. Several of the band members are of Gullah heritage, but all of the band members would say that Gullah music and its African roots has impacted their lives as South Carolinians. This respect runs deep as Ross states, “we have a responsibility to represent [Gullah Music] in a thoughtful way.”

Ranky Tanky in the Gullah language translates loosely as “Work it!” or “Get Funky!”

Listen to “Knee Bone” Have students make notes of anything they observe while listening to Ranky Tanky’s version of “Kneebone Bend” called “Knee Bone.” https://www.youtube.com/watch?v=mTK6dU-4MnM When Charlton’s mother, who is Gullah, first heard one of the traditional Gullah songs played by Ranky Tanky she said, “I like that song but y’all did it wrong” Ask your students, what do you think she meant by that statement?

Task: After listening to “Kneebone Bend” and Ranky Tanky’s “Knee Bone,” compare and contrast the musical elements and aesthetics and explain which version you prefer.

Divide students into small groups and have them compare and contrast the two versions of “Kneebone Bend.” Ask students to debate and answer these questions as a group.

What elements did you hear in Ranky Tanky’s music that provides the “modern twist” to Gullah Music?

Which version do you prefer and why?

Support your argument with specific references to the music.

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Assessment Criteria: • All students participate and debate respectfully.

• All students differentiate between traditional Gullah music and Ranky Tanky’s modern interpretation of Gullah Music.

• All students support their arguments using reasoning and evidence.

Purpose: To understand what role music plays in cultural identity, especially Gullah identity, and to be able to explain the influence of traditional Gullah music in a modern Gullah song by listening to the musical elements.

Have small groups share their findings to the class and support their arguments using reasoning and evidence.

STUDENT REFLECTION “Our lives are shaped by many things and understanding the influence of culture is powerful” - Ron Daise Watch the Tedx Talk from Charleston, South Carolina featuring Ron Daise, educator and historian “Gullah Geechee - the me I tried to flee.” https://www.youtube.com/watch?v=cuWRaWGVNlM In your journal, write down 5 things that resonated most with you from the video.

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HANDOUT 1: GULLAH HISTORY Written by Rebecca Wright

The Gullah People inhabit the lowcountry coastal region and barrier islands stretching from South Carolina to Georgia. Their ancestors were Africans from several of the traditional rice growing regions of West Africa known as the “Rice Coast”. These include countries that stretch from present day Senegal through Sierra Leone to Liberia. During the 1700’s American colonists realized that rice could grow really well in the coastal regions of the Carolinas and Georgia. People from these African countries were enslaved and brought to United States specifically to work on rice plantations due to their expertise with rice cultivation.

It is unclear exactly where the word Gullah came from. Some scholars believe it derived from the name of the Gola tribe in Sierra Leone. Some state the meaning of the word is “A People Blessed by God”. The word was also used to describe the creole language that the people from the various African tribes began to use for communication once they arrived in this region of America. The modern use of the word Gullah is used to describe the language, culture, and any person who was/is part of or descended from these communities.

Unlike many other areas of the African Diaspora, the Gullah language and culture remained largely isolated and continued to thrive on these islands for hundreds of years. The logistical difficulty of reaching the islands coupled with hot, humid summers and threats from mosquitos and alligators kept most of the white plantation owners and families away from the islands for much of the year. Only a few overseers were left behind to supervise the work. This geographic isolation enabled the Gullah people to preserve much of their African heritage in the absence of European influence.

After the signing of the Emancipation Proclamation on January 1st, 1863, there was great celebration in the Gullah communities. The rice plantations were basically abandoned by their white owners and Gullahs were able to live as free people. Gullah families pooled their resources to purchase many acres of land for their own homes and livelihood which included agriculture and fishing. For several generations families have successfully passed on the land and their traditions to heirs. But since the 1950’s, migration, modernization, and the development of infrastructure has placed these once isolated lands directly in the sights of wealthy developers. These coastal lands are being transformed into resorts, golf courses, and tourist destinations (Hilton Head!) Unfortunately, many Gullahs are being either taxed out, priced out, or even pushed out of their homeland as a result.

Gullah history demonstrates they are a resilient people - the question is what can be done to preserve their culture for generations to come? The tension between maintaining cultural traditions and the forces of capitalism and modern development upon the Gullah Culture are illuminated in these two videos: https://www.youtube.com/watch?v=nLTjpGeEZVY https://www.pbslearningmedia.org/resource/vtl07.la.rv.text.gullmusics/gullah-music/

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HANDOUT 2: LYRICS TO “KNEEBONE BEND” McIntosh County Shouters “That’s the oldest slave song that ever was sing by black people when they first come over from Africa over here. See, the song you would say, ‘kneebone in the wilderness’, you see, they didn’t know where they was so they was going to a place you never know nothing about, understand? And uh, they would sing this song ‘kneebone in the wilderness, kneebone in the valley’, they was praying at the time, that’s why they say ‘kneebone bend’ that’s why, they was bending down, they was praying. They would say ‘kneebone bend to save my soul’ that’s why they were praying, understand? So that’s the way my mama done told it to me, and aunts too. I had old ancestors that put out these songs, you know.” - Member Lawrence McKiver Part 1: Call from the Leader Part 2: Response from the Basers Kneebone, kneebone Kneebone hear God call you Oh, Lord, kneebone Oh, Lord, kneebone Kneebone, kneebone Kneebone hear God call you Oh, Lord, kneebone bend.

Oh, Lord, kneebone bend.

Kneebone hear God call you Kneebone, kneebone Oh, Lord, kneebone Oh, Lord, kneebone Kneebone hear God call you Kneebone, kneebone Oh, Lord kneebone bend.

Oh, Lord kneebone bend.

Kneebone, kneebone Kneebone bend to save my soul Oh, Lord, kneebone Oh, Lord, kneebone Kneebone, kneebone Kneebone bend to save my soul Oh, Lord, kneebone bend.

Oh, Lord, kneebone bend.

Kneebone, what’s the matter?

Kneebone in the valley Oh, Lord, kneebone Oh, Lord, kneebone Kneebone, what’s the matter?

Kneebone in the valley Oh, Lord, kneebone bend.

Oh, Lord, kneebone bend.

Kneebone, kneebone Kneebone, kneebone Oh, Lord, kneebone Oh, Lord, kneebone Kneebone, kneebone Kneebone, kneebone Oh, Lord, kneebone bend.

Oh, Lord, kneebone bend.

Kneebone in the wilderness Knee bone, what’s the matter?

Oh, Lord, kneebone Oh, Lord, kneebone Kneebone in the wilderness Knee bone, what’s the matter?

Oh, Lord, kneebone bend.

Oh, Lord, kneebone bend.

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LESSON 2: ELEMENTS OF GULLAH MUSIC LESSON AT A GLANCE LESSON OBJECTIVE: Students will explore different types of Gullah music, learn the musical elements, and create a polyrhythmic composition.

DURATION: 60 minutes MATERIALS: Handout 3: “Old Lady Come from Brewster” Lyrics, Handout 4: Polyrhythms, journals, chart paper and markers STANDARDS: CCSS Speaking and Listening, Grades 9-12: 1 Initiate and participate effectively in a range of collaborative discussions (one-on- one, in groups, and teacher-led) with diverse partners on grades 9–12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively.

VAPA Music, Grades 9-12: 1.4 Analyze and describe the use of musical elements and expressive devices in aural musical examples in a varied repertoire of music representing diverse genres, styles, and cultures.

VAPA Music, Grades 9-12: 2.8 Create melodic and rhythmic improvisation in a style or genre within a musical culture.

VAPA Music, Grades 9-12: 4.3 Explain how people in a particular culture use and respond to specific musical works from that culture.

CONCEPTS/VOCABULARY: Beat - Unit of measure of rhythmic time.

Body percussion - Using any part of body to make a rhythmic sound that is often used to accompany song and dance. e.g. Clapping, stamping, snapping, patting, etc.

Call and response - The interaction of two phrases of music in which the first phrase “caller” (often a soloist) sings out a musical idea. In the second phrase, the group sung “response” usually involves an answer or commentary on that idea.

Duple meter - Beats in measure sets of two.

Element - An important part of something abstract.

Elements of Music - Melody, Harmony, Rhythm, Form, Dynamics, Tempo, and Tone color.

Meter - The grouping of beats by which a piece of music is measured.

Percussion - Any instrument that is struck, shaken, or scraped to create a rhythmic sound. e.g. Drums, shakers, sticks, washboard, etc.

Polyrhythm - Music that uses two or more rhythms simultaneously that are not considered of the same meter or beat. 2:3 metered polyrhythms are found in African Music and Jazz.

Praise House - A meeting place for slaves on plantations; served as a center for worship and community leadership.

Rhythm - The combination of long and short, even and uneven sounds that convey a sense of movement in time.

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LESSON AT A GLANCE, CONT’D Shout or Ring Shout - A ritual practiced by African slaves (and their descendants) in the United States, in which worshipers move in a circle while shuffling and stomping their feet and clapping their hands.

Spirituals - Songs created by slaves that used stories from the Bible while simultaneously decrying the hardships of slavery.

Tempo - The speed of the beat.

Triple meter - Beats in measure sets of three.

Work Song - A song connected to a form of work, either sung while conducting a task (usually to coordinate timing) or a song linked to a task which might be a connected narrative, description, or protest song.

GUIDING QUESTIONS: What are the elements of music that help identify Gullah music?

Why is rhythm so essential to music?

How does technology and innovation affect the authenticity of traditional music?

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LESSON PLAN Warm-Up Brainstorm In small groups have students brainstorm all the ways they have experienced music, both live and with the use of technology. What influences have come from interactions with family members, friends, school, or community groups? Chart examples on the board.

MUSICAL ELEMENT: FORM CALL AND RESPONSE IN GULLAH MUSIC The musical form, call and response is found in many African cultures in both dialogue and music. It is also present in almost all types of Gullah music. This form encourages all persons to be engaged and to have their voices represented as part of the discussion.

Two distinct phrases are usually heard in succession. Typically one person will “call” out a melody and a group will “respond” with a different melody. This form is found in children’s rhymes and songs, work songs, and spirituals. You can even hear this form found in later African-American music forms such as gospel, blues, jazz, funk, and hip hop.

Listening Examples: Wade to the Water to My Knees - Lucille Holloway & McIntosh County Shouters https://www.youtube.com/watch?v=YjXbgrsgiFE Identify Instrumental call and response sections in the Ranky Tanky “Kneebone” song example (1:58 3:05): https://www.youtube.com/watch?v=mTK6dU-4MnM EXAMPLES OF GULLAH MUSIC There are many types of Gullah songs, including children’s songs, ring shouts, work songs and spirituals.

Listen and learn about these types in the following activities.

Gullah Children’s Songs Ranky Tanky incorporates Gullah Children’s songs into some of their music. Children’s songs are essential in transmitting cultural norms and building community. Children also develop skills like internalizing the beat/rhythm using body percussion, developing confident singers using rhyme and storytelling, and building community by playing games.

Pass out Handout 3: Lyrics to “Old Lady Come From Brewster” and “Ranky Tanky,” and have students compare and contrast the lyrics. Links to both versions are below if there is time to listen to the two songs and compare.

“Old Lady Come From Brewster” - St. John’s Island Children https://www.youtube.com/watch?v=BwZEaLERxEo Ranky Tanky Version, “Ranky Tanky”: https://www.youtube.com/watch?v=_wqRDzO-Lec THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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Ring Shouts Ring Shouts are communal gatherings, originally held by slaves, that typically take place in a Praise House. A Praise House is a central building that is a focal point for community gatherings and music in the Gullah community. African drumming and dancing was not permitted on Gullah plantations.

Praise Houses were fairly autonomous places where slaves were allowed to gather and worship without interference from masters or overseers.

An interesting aspect of Ring Shouts is that they never occur as part of an official Church worship service; while these celebrations did make use of Christian ideas in songs, they were held at a different time and in a different space than Church services.

The infectious rhythms and repetitive lyrics of these songs coupled with communal music making provides a welcome release to the hardships of life. The connection to African music is strong given the combined elements of call and response, polyrhythms, and the circular dance form evident in the Ring Shout.

In Africa drumming is used both for communication and keeping the beat. Instead of drums, the beat is kept with a wooden stick knocking on a wooden floor. The person in charge of the stick is called the “stickman” - an honored role earned through years of experience. The stickman’s 1-2-3 rhythm is prevalent in Gullah music.

There is also a lead singer called a “songster”. The role of this singer is to “set”, or “raise up” the song that will be sung. This person would have vast knowledge of Gullah songs. They could also improvise by bending pitches of the melody to shape the song to their own vocal style.

Other singers join in after the songster. These are called “basers” and their role is to add their own harmonies and responses to the song. Basers also use their hands and feet to perform counter rhythms (polyrhythms) to the stick beat.

Finally, there are the “shouters”. The role of the shouter is not defined as a loud vocalization but actually refers to a dance step. Traditionally, these are women wearing long dresses and head rags who move together in a circle. The circle moves counterclockwise with the dancers demonstrating a hitching movement with shuffling feet (crossing the feet was the Devil’s dance and not permitted) and with arms gesturing along with the song.

Further information: Documentary on MacIntosh County Shouters (Smithsonian Folkways) https://www.youtube.com/watch?v=fUdBru-7s7w Work Songs and Spirituals While work songs were meant to help ease the burden of physical labor by singing and chanting in time with the beat of tools, spirituals helped ease the emotional burdens of oppression. Both were sung as a part of slaves’ everyday lives.

The Georgia Sea Island Singers was a group formed in the 1900’s to sing ring shouts, hymns, work songs, and spirituals from Gullah culture. Bessie Jones was a singer in the group who possessed an extensive knowledge of Gullah songs. She worked with Alan Lomax, a famous ethnomusicologist, to gather, document, and record many of these songs for the Library of Congress and other organizations to help preserve black culture.

She recorded the work song “Sink ‘em Low” and explained in an interview to Lomax that she heard it as a shoveling song sung by a chain-gang digging a road in Georgia in the early 1900’s.

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Listening Examples: “Sink ‘em Low” Bessie Jones and the Georgia Sea Island Singers: https://www.youtube.com/watch?v=AiRetIBwKu4 “Sink ‘em Low” Ranky Tanky: https://www.youtube.com/watch?v=X0br_EU0pvU “You Better Mind” is an example of a spiritual. It serves as a warning that one will be judged by their actions. How might there be multiple layers of meaning to this song?

Who is the YOU this song is referencing?

“You Better Mind” - Bessie Jones and the Georgia Sea Island Singers https://www.youtube.com/watch?v=cx0NQvkQH-M “You Better Mind” - Ranky Tanky https://www.youtube.com/watch?v=guHq8EdvNGg MUSICAL ELEMENT: BEAT AND RHYTHM AFRICAN POLYRHTYHMS IN GULLAH MUSIC Music from West Africa often consists of layers of rhythms that are not derived from the same beat patterns, or meter. This rhythmic melange makes this music extremely complex because the beat emphasis is continually shifting. The result is music with a completely different feel from most Western music where the emphasis is typically static on particular beats (mostly beat 1 and sometimes beat 3).

Gullah people create polyrhythms using a combination of body percussion sounds - clapping hands, stomping feet, and instruments - drums, sticks, washboards, and other utility items. Polyrhythms allow each person a chance to add their own percussive voice to the conversation.

Polyrhythms can be found in music of many other regions of the African Diaspora such as in the Caribbean, Brazil, and even in African-American music forms such as Jazz. All of the members of Ranky Tanky are experienced Jazz musicians, so this polyrhythmic connection makes for a smooth transition in performances.

Listen to the songs below and notice how the polyrhythm develops as each instrument enters the conversation.

Listening Examples: “Fanga” Babatunde African Drum (Traditional African) https://www.youtube.com/watch?v=VT2J1Ot9N5c “Afro Blue” by Santamaria (Afro-Cuban Jazz) Listen until 0:45 https://www.youtube.com/watch?v=YbE7jf_Hp5w “Join the Band” by Ranky Tanky https://www.youtube.com/watch?v=xbHoD-dtGMY Note the scat singing in the Ranky Tanky example.

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Practice, Write and Perform Polyrhythms First, learn the common African Polyrhythm 3:2. This means in any given period of time there would be one part dividing the time into three beats and another part dividing it into two beats. In order for the two parts to be considered a polyrhythm, the common divisor of the parts can only be 1. Otherwise, there would be no contrasting beat.

Pass out Handout 4: Polyrhythms and explain the Time Unit Box System (TUBS). TUBS is used to notate rhythms over a particular time period. Each box represents a fixed unit of time. Boxes with marks indicate something must happen while the blank boxes indicate when something does not.

TUBS is the simplest way for showing relationships between polyrhythms that would otherwise be difficult to visualize in standard Western music notation.

Listen to this 3:2 metronome for assistance: https://www.youtube.com/watch?v=oSsjvFs2Mmw Listen to this 3:4 metronome for assistance: https://www.youtube.com/watch?v=2cXRbHndTIY As students build confidence, increase the tempo. That’s when the magic really happens!

Next, ask students to divide into small groups and create a Polyrhythmic composition together.

Task: Create a Polyrhythmic composition in a group using body percussion.

Have students follow these steps as they work together.

1. Decide on a polyrhythmic ratio. 3:2 with 6 units TUBS or 3:4 with 12 unit TUBS are the most common and easiest for beginners.

2. Assign 1 or 2 members to keep the beats.

3. Assign other members to create different rhythms within those beats.

4. Practice for 15-20 minutes until all parts are complete.

Note: Students may use body percussion or a percussive found sound (pencil, desk, book, ruler, etc.) to perform their particular rhythm/beat. If there is difficulty with feeling a rhythm, utilize a word or short phrase that they can say within the pattern.

After students practice, encourage a few groups to share their Polyrhythmic composition to the class.

Assessment Criteria: • All students participate and collaborate.

• All creative ideas are given consideration.

• Clear beginning and end to the piece.

Purpose: To make connections between elements of music (rhythm, beat, tempo), to work collaboratively with a group, and to understand how different types of sounds can be combined to create interesting patterns. Also, to use a specific type of musical style to influence compositional technique.

STUDENT REFLECTION Ask students to write a short critique assessing their group’s composition and performance. Describe what went well, what didn’t, and how they might change something in a future performance.

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HANDOUT 3: LYRICS TO “OLD LADY COME FROM BREWSTER” Old Lady From Brewster - Traditional Sung by St. John Island Children

Ranky Tanky Version

Old lady come from Brewster She had two hens and a rooster The rooster died, the old lady cried She couldn’t get eggs like she used to.

Who is the greatest?

We are the greatest!

Are you sure? Yeah!

Positive? Yeah! (unknown) Yeah!

Alright, Alright

Oh Ma, you look so.

Oh, Pa, you look so.

Who’s been here since I been gone?

Two little boys with their blue caps on.

Hang them on a hickory stick.

Ranky tanky, button my shoes.

Buffalo boy gonna buy me a bag.

Pain in my head, ranky tanky Pain in my shoulder, ranky tanky Pain in my hands, ranky tanky Pain in my thighs, ranky tanky Pain in my knees, ranky tanky Pain in my legs, ranky tanky Pain in my foot, ranky tanky Pain all over me, ranky tanky Pain all over me, ranky tanky

Old Lady come from Booster Had two hens and a rooster Rooster died, the Old Lady cried, Now she don’t eat eggs like she used to Oh Ma, you look so, Oh Pa, you look so, Said, “Who been here since I been gone?”

Two Little Boys with the blue caps on.

Leanin’ on a hickory stick.

Papa’s gonna slap them good.

Pain in my head, Ranky Tanky Pain in my heart, Ranky Tanky Pain in my feet, Ranky Tanky Pain all over me, Ranky Tanky

(Dance shuffle accompaniment) Stand with feet slightly apart.

Use the following step pattern: L, R, L, R, R, L, R, L, Continue alternating patterns to the end.

Place hands on the different parts of the body mentioned in the song.

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HANDOUT 4: POLYRHYTHMS

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LESSON 3: SPIRITUALS AND SONG LYRIC ANALYSIS LESSON AT A GLANCE LESSON OBJECTIVE: Students will analyze the lyrics of traditional Gullah songs to extract deeper meaning from the use of figurative/coded language.

DURATION: 60 minutes MATERIALS: Handout 5: “Turtle Dove” Lyrics, journals STANDARDS: CCSS - Reading Literature, Grades 9-12, 4 Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the impact of specific word choices on meaning and tone, including words with multiple meanings or language that is particularly fresh, engaging, or beautiful.

CCSS - Language, Grades 9-12, 5 Demonstrate understanding of figurative language, word relationships, and nuances in word meanings.

VAPA Music, Grades 9-12, 1.6 Analyze the use of form in a varied repertoire of music representing diverse genres, styles, and culture.

VAPA Music, Grades 9-12, 4.2 Analyze and explain how and why people in a particular culture use and respond to specific musical works from their own culture.

CONCEPTS/VOCABULARY: Code songs - Songs that were sung by slaves that contained dual meanings. The lyrics rely on symbolism and metaphor in order to communicate messages of protest and or escape that would be undetected. Biblical symbolism was often used.

Ex. references to Moses = Harriet Tubman, references to Exodus & Pharoah = escape from slavery and oppression Lyrics - Words to a song.

Melody - An organized sequence of single notes.

Metaphor - A figure of speech that describes and object or action in a way that isn’t literal but helps explain an idea or make a comparison.

Musical Form - The organization and structure of a composition and the interrelationships of musical events within the overall structure.

Song form - The organization of sections of a song, represented by letters that depict similar and contrasting sections: AB, ABA, AABA, ABC, verse/refrain, etc.

Spirituals - Songs created by slaves that used stories from the Bible while simultaneously decrying the hardships of slavery.

Symbolism - The use of symbols to signify ideas and qualities, by giving them symbolic meanings that are different than their literal sense.

Trope - Use of figurative language, via word, phrase, or image for artistic effect such as using a figure of speech.

GUIDING QUESTIONS: How do singers use words/language to convey a message?

What are some hidden messages in spirituals?

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LESSON PLAN Warmup Discussion and Analysis Give students 5 minutes to write down a line of a song lyric that they love.Have them examine the lyric for any figurative language and analyze it for multiple layers of meaning. Choose some students to share out their lyric and explain why it is powerful to them.

PART 1: SPIRITUALS AND MEANING Text is all around us, spoken, written, and even sung! Songs are stories and composers are authors with stories to tell. Griots were storytellers from West Africa who shared powerful messages through stories, poetry, songs, and music.

This tradition is also found in Gullah culture in the singing of Spirituals. Spirituals were a means by which slaves could express both overt and covert resistance to enslavement. They accomplished this through the use of figurative language such as metaphor and symbolism. Often the use of particular words, phrases, and characters were “codes” for something else, including plans for escape. Many coded songs originated during the time of the Underground Railroad.

The lyrics of spirituals reference symbols from the Bible as they could be sung in public and evade detection from masters and overseers. These songs could simultaneously communicate Christian ideals and the hardships of slavery. The power of this music lies in its layers of religious, emotional, and physical experiences shared amongst a group of people dealing with oppressive forces.

As a class, examine some of the following lyric fragments from well-known spirituals. Allow students a few minutes to discuss what they think the coded message might be.

1.

2.

3.

4.

5.

“Wade in the water, wade in the water children, God’s gonna trouble the water” “Steal away, steal away, steal away to Jesus” “When the sun comes back and the first quail calls, follow the Drinking Gourd” “Swing Low, Sweet Chariot, comin’ for to carry me home” “Go down, Moses, way down in Egypts land, tell old Pharaoh let my people go”

PART 2: LISTEN AND ANALYZE “TURTLE DOVE” The song “The Turtle Dove” is full of figurative language including Biblical symbolism. Listen to Ranky Tanky’s version of the “Turtle Dove” as a class. Listen to the song first without sharing the lyrics.

“Turtle Dove” Ranky Tanky: https://www.youtube.com/watch?v=HxGEiVBIbNU Option to listen to the traditional recording of “Turkle Dove” by Bessie Jones and the Georgia Sea Island Singers: https://www.youtube.com/watch?v=I1dL_nA3zMI

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After listening, have students create a chart with three columns: “I Hear”, “I Think”, “I Wonder.”

In the “I Hear” column write the name of the song. In the “I Think” column write what you think the song is about. In the “I Wonder” column write what you would like to know more about. Students pair share or small groups share out.

Pass out Handout 6: Lyrics to “Turtle Dove.” Listen to the song a second time and ask students to listen for a specific literary device, the song’s theme, purpose, or mood. Have students share out again.

A third listening could be done with another specific listening direction if there is time. During each listening students will gain more insight into the song’s message.

In addition, students should recognize musical elements such as the beat, tempo, rhythms, harmonies, and various vocal parts. Listen for any interactions between instruments that can be just as important as the vocal part in the musical conversation.

All songs contain some kind of underlying form, or structure, regardless of the genre of music.

We have already discussed call and response as a common musical form in African and Gullah music.

The song “Turtle Dove utilizes” another song form known as Verse/Chorus. It can be represented by letters that depict similar and contrasting sections: A = first melody (often the verse), B = second melody (often the chorus). Have students analyze and label the song form of “Turtle Dove”.

PART 3: WRITE SONG LYRICS Task: Write original lyrics using literary devices, rhythm, and inspired from a personal experience.

Ask students to write original lyrics inspired by the slave spirituals around the theme of a personal struggle or experience.

Ask students to brainstorm moments from their lives, current topics, or issues in their community or school that are important or powerful to them in some way. They can draw, write or sketch out these ideas.

Next, choose one item to focus on and ask students to write down all of the descriptive terms they can muster surrounding this moment or topic.

Then have students organize their words into either a two or four line stanza. Remind students that writing lyrics is just like writing poetry. Both lyrics and poetry connect us to our feelings and imaginations.

Here are a few other things to consider while writing: • Slang and informal grammar are completely acceptable.

• Punctuation is not necessary.

• Rhymes are optional.

• Use expressive and figurative language.

• Choose words not only for their meaning but especially for their sound and rhythm. Ask yourself, does the lyric have a rhythmic flow that works with the steady beat?

Have students revisit the polyrhythmic compositions created in Lesson #3 and see if they can pat/tap one of the beats while saying the lyrics they created.

Does the lyric have a rhythmic flow that works with one or both of the beats?

How does it sound when they have friends add secondary rhythms to their poem?

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Edit, revise, and reorganize until students have a finished product they are satisfied with presenting to the class or in pairs.

Assessment Criteria: • All students participate and collaborate in revision/peer editing.

• All students create an original lyric.

• All students recognize the underlying beat to the rhythm of their lyrics.

• All students listen and constructively critique each other’s work. ` Purpose: To be able to identify literary devices in writing, and practice lyric writing by creating original lyrics that reflect student voice and experience.

STUDENT REFLECTION Ask students to answer these questions in their journal.

How do music/lyrics give a voice to people in a different way than written stories?

How did spirituals help to preserve elements of African/Gullah culture during slavery?

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HANDOUT 5: “TURTLE DOVE” LYRICS

By Ranky Tanky Turtle dove done drooped his wings Turtle dove done drooped his wings Turtle dove done drooped his wings Went on Zion’s hill to sing Adam and Eve, door to door Adam and Eve, don’t tell that to me Meet me at the door, don’t tell that to me Sa sa la do oh sa la si ree My name is written on David’s line My name is written on David’s line My name is written on David’s line Gonna go to Heaven on the wheels of time Adam and Eve, door to door Adam and Eve, don’t tell that to me Meet me at the door, don’t tell that to me Sa sa la do oh sa la si ree When I get to Heaven I know the rules When I get to Heaven I know the rules When I get to Heaven I know the rules Kick ‘em right down to the bathing pool Adam and Eve, door to door Adam and Eve, don’t tell that to me Meet me at the door, don’t tell that to me Sa sa la do oh sa la si ree Turtle dove done drooped his wings Turtle dove done drooped his wings Turtle dove done drooped his wings Went on Zion’s hill to sing Adam and Eve, door to door Adam and Eve, don’t tell that to me Meet me at the door, don’t tell that to me

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2018/19 SEASON RANKY TANKY

LESSON 4: RANKY TANKY CONCERT CRITIQUE LESSON AT A GLANCE OBJECTIVE: Write a concert critique of the Ranky Tanky performance that demonstrates an understanding of the cultural concepts and musical elements of Gullah Music discussed in this unit.

DURATION: 60 minutes MATERIALS: Handout 6: Writing a Concert Critique, journal STANDARDS: CCSS Writing, Grades 9-12, 2 Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content.

CCSS Writing, Grades 9-12, 4 Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

VAPA Music, Grades 9-12: 4.2 Evaluate a performance, composition, arrangement, or improvisation by comparing each to an exemplary model.

VAPA Music, Grades 9-12: 4.4 Describe the means used to create images or evoke feelings and emotions in musical works from various cultures.

GUIDING QUESTIONS: How can you describe and articulate a live music experience?

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LESSON PLAN After seeing the Ranky Tanky Student Matinee at The Broad Stage, have a class discussion about the performance and experience of watching a professional music group. Make connections to topics explored in previous lessons (Gullah culture, polyrhythms, themes or messages in lyrics). Some sample questions include: • What was your most memorable moment from the performance?

• Were there any particular messages being communicated to the audience?

• If so, what were they and how do you know?

• Were there any technical moments that surprised you or that you enjoyed? Explain.

Explain to students that they are going to write a review or critique of the Ranky Tanky performance.

Pass out Handout 6: Writing a Concert Critique and talk about the elements within the critique.

Students will analyze Ranky Tanky’s interpretation of traditional Gullah Music and provide their subjective opinions on it.

Task: Write a concert review of the Ranky Tanky performance using Handout 6 as a guide.

Assessment Criteria: • Review follows the outline from Handout 6.

• Observations and opinions are clearly presented and articulated.

• Opinions and ideas are your own.

Purpose: To practice articulating an artistic experience through writing.

ADDITIONAL RESOURCES

Library of Congress video - McIntosh County Shouters: Gullah-Geechee Ring Shout from Georgia: https://www.youtube.com/watch?v=uxPU5517u8c NPR Fresh Air interview with Ranky Tanky: https://www.npr.org/2017/12/12/569965570/ranky-tanky-leans-on-the-music-and-culture-ofslave-descendants

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HANDOUT 6: WRITING A CONCERT CRITIQUE I. Introduction The introduction should answer the Who, What, Where, When, Why, How. • Who performed? Include name of the Group and the individuals within it • What? What was the style of music, the purpose, or theme of the performance • Where was it? Venue and City • When was it? Date and Time • Why did you come to this concert?

• How did you learn/hear about this music?

II. Description of Performance This is the main section of the critique and should cover a few of the songs that were played. These should be your own observations on the performance.

You should include the title of each song and some basic information regarding the musical or cultural elements you recognized in the song, the efficacy of the performers and your reaction to each song.

III. Evaluation • Why should people come to this performance?

• What did you experience that new to or different for you?

• Did you enjoy the performance?

• How did the audience as a whole react?

• Discuss any additional observations about the band or individual performers.

• Describe the enjoyment and/or acoustical merits of the performance space and what effect, if any, it had on the performance.

• Compare the live versions of the songs to the recorded versions.

IV. Conclusion Summarize your overall impression of this event. Do not include new information.

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GLOSSARY African Diaspora - Diaspora is a Greek word meaning “dispersed”. The term is used to describe the removal of people from their homelands in Africa to the Americas, Asia, and Europe. It also encompasses the people in these worldwide communities that are descended from Africa’s peoples. Musically, people brought their traditional songs and dances with them and creatively adapted them to the new conditions and cultures that they encountered.

Beat - Unit of measure of rhythmic time.

Body percussion - Using any part of body to make a rhythmic sound that is often used to accompany song and dance. e.g. Clapping, stamping, snapping, patting, etc.

Call and response - The interaction of two phrases of music in which the first phrase “caller” (often a soloist) sings out a musical idea. In the second phrase, the group sung “response” usually involves an answer or commentary on that idea.

Code songs - Songs that were sung by slaves that contained dual meanings. The lyrics rely on symbolism and metaphor in order to communicate messages of protest and or escape that would be undetected. Biblical symbolism was often used.

Ex. references to Moses = Harriet Tubman, references to Exodus & Pharoah = escape from slavery and oppression Creole language -A language developed from a mixture of several other languages that displays consistent grammatical structure and extensive vocabulary which have been transmitted over multiple generations.

Duple meter - Beats in measure sets of two.

Element - An important part of something abstract.

Elements of Music - Melody, Harmony, Rhythm, Form, Dynamics, Tempo, and Tone color.

Geechee - Describes a language, culture, and people inhabiting the low country and islands of Coastal Georgia, sometimes used interchangeably with Gullah.

Gullah - Refers to people of African ancestry that live in the Sea Islands and coastal areas of South Carolina, Georgia, and northern Florida; it also refers to the creole language of these people that is based on English and several other African languages.

Lyrics - Words to a song.

Metaphor - A figure of speech that describes and object or action in a way that isn’t literal but helps explain an idea or make a comparison.

Meter - The grouping of beats by which a piece of music is measured.

Melody - An organized sequence of single notes.

Musical Form - The organization and structure of a composition and the interrelationships of musical events within the overall structure.

Percussion - Any instrument that is struck, shaken, or scraped to create a rhythmic sound. e.g. Drums, shakers, sticks, washboard, etc.

Polyrhythm - Music that uses two or more rhythms simultaneously that are not considered of the same meter or beat. 2:3 metered polyrhythms are found in African Music and Jazz.

Praise House - A meeting place for slaves on plantations; served as a center for worship and community leadership.

Rhythm - The combination of long and short, even and uneven sounds that convey a sense of movement in time.

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GLOSSARY CONT’D Song form - The organization of sections of a song, represented by letters that depict similar and contrasting sections: AB, ABA, AABA, ABC, verse/refrain, etc.

Symbolism - The use of symbols to signify ideas and qualities, by giving them symbolic meanings that are different than their literal sense.

Rice Coast - The the traditional rice-growing region of the Western coastal areas of Africa extending from modern day Senegal to Liberia.

Shout or Ring Shout - A ritual practiced by African slaves (and their descendants) in the United States, in which worshipers move in a circle while shuffling and stomping their feet and clapping their hands.

Spirituals - Songs created by slaves that used stories from the Bible while simultaneously decrying the hardships of slavery.

Tempo - The speed of the beat.

Triple meter - Beats in measure sets of three.

Trope - Use of figurative language, via word, phrase, or image for artistic effect such as using a figure of speech.

Work Song - A song connected to a form of work, either sung while conducting a task (usually to coordinate timing) or a song linked to a task which might be a connected narrative, description, or protest song.

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