Artsource The Music Center’s Study Guide to the Performing Arts
TRANSFORMATION
ENDURING VALUES
DANCE ®
CLASSICAL
1. CREATING (Cr)
CONTEMPORARY
2. PERFORMING, PRESENTING, PRODUCING (Pr)
EXPERIMENTAL
3. RESPONDING (Re)
MULTI-MEDIA
4. CONNECTING (Cn)
FREEDOM & OPPRESSION
Title of Work: African Roots in American Soil Performed by African American Dance Ensemble
Creator: Choreographer/ethnologist Dr. Chuck Davis (1937-2017)
Background Information: Chuck Davis, a towering African American dancer and choreographer, was born on New Year’s Day in Raleigh, North Carolina. He states, “I came from a background which was poor financially, but rich in love. I love my family and the spirit of unity in the community.” His first dance break came when he filled in for an injured member of the Richardson Dancers in Washington D.C. He continued to dance with the company, but did not gain professional status until 1959 when he joined the Klara Harrington Dance Company. He performed with a number of modern, jazz, Afro-Cuban and African companies, working with such people as Pearl Primus, Bernice Johnson, Olatunji and Eleo Pomare, to name a few. In 1968 he founded the Chuck Davis Dance Company in New York, prompted by his disdain for the way black people were portrayed in Tarzan movies. To fight this injustice, he set out to portray the truth about black culture through dance. An introduction to Charles Reinhart in 1972 gave him his chance to spread his message through the national Artists-in-Schools program, as a faculty member at The American Dance Festival, and later as a member of the Duke University dance faculty. In 1977 he took his first trip to Africa and also founded the annual DanceAfrica festival sponsored by the Brooklyn Academy of Music. Many benefit from Davis’ long experience and extensive research in Africa. “I have gone to Africa and I have sat at the feet of elders and I have listened as their words
ARTISTIC PROCESSES
TRADITIONAL
THE POWER OF NATURE
THE HUMAN FAMILY
poured like raindrops onto and into my being. I have danced on the dusty earth and the sound of my feet pounding against the earth brought the rhythms of life into my blood. The elders applauded and I fell down and gave thanks.” After two decades of building his company in New York, he returned to North Carolina to start a second company, the African American Dance Ensemble, which he currently directs. He works energetically to bring all people his message of “Peace, Love and Respect for Everybody” through dance.
About the Artwork: During the infamous ‘Middle Passage,’ black people were transported to many places and carried the genes and customs of several different racial and ethnic groups with them. Mr. Davis meticulously studies the specifics of each and then shows the blending of these different cultures. The African diaspora (scatter widely) means that there is a connection wherever black people went. This would include all of the dance styles from countries such as Brazil, Cuba, Haiti and black Africa, as well as those from black America.
Creative Process of the Artist or Culture: Mr. Davis believes that “To understand the culture, study the dance. To understand the dance, study the people. A person with no heritage knowledge has a rough future in store.” New York N. Carolina Photo courtesy of Chuck Davis
“My one goal is to service humanity through dance.” Chuck Davis
Discussion Questions:
self-determination, collective work and responsibility, cooperative economics, purpose, creativity and faith. See Kwanzaa Celebration Addendum.
After the video has been viewed: • What is Africa? Where is it? Who lives there? • What do you know about the continent of Africa? About any of the countries in Africa? About any of the specific cultural groups? • What is the meaning of “African diaspora?” Which parts of the world have a direct African connection? How is it seen, heard and felt within the culture? • Why does Chuck Davis think dance is so powerful? What do you think about the power of dance? Why? • What impressed you most about the dancing in the video? What words describe the movement? • How does this style of dance compare to other styles of dance you have seen?
Audio-Visual Materials: • Artsource® video excerpt of African Roots in American Soil African American Dance Ensemble, courtesy of Chuck Davis. • Artsource® audio recording: The Girl on the Rock, an African folk tale from the Shona People of Zimbabwe, told by Paul Tracey, courtesy of Andrew and Paul Tracey. • Artsource® audio recording: Traditional African music (drums, xylophones, mbira), courtesy of the International Library of African Music (Rhodes University, South Africa). • Photos: courtesy of Chuck Davis.
Sample Experiences:
More About the Creative Process of the Artist: Every year Chuck Davis journeys to Africa and “sits at the feet of the elders.” He researches the history of specific ethnic groups and strives to learn how each dance is connected to the society and which movements, songs and music are performed for specific occasions. Only when he knows this information can he incorporate the authentic movements into original African American work. Although he recognizes that movement takes on other meanings when it is removed from its roots, he is conscientious about paying homage to its origin. His work is an African American interpretation of authentic material from Africa resulting in a blending of styles and movement.
Multidisciplinary Options • In many of the African ethnic groups, it is believed that wise people speak in proverbs. It is thought that everything has a place in life and a reason for being. Look at the Proverb Addendum in this unit and select one, or take a proverb which you know from your own heritage. Develop a short story with animal or human characters that ends or begins with this proverb. • Learn about the African American celebration called Kwanzaa. It begins December 26th and lasts for seven days, stressing the principals of unity,
LEVEL I * • Listen to the African tale, The Girl on the Rock. Learn the response portion of the chant and the rhythmic sounds which represent each animal character. After the story is known, dance the parts and characters. • Watch the video, African Roots in American Soil, and give responses to the two dances. LEVEL II * • Experience chanting as a tool for learning, and perform in a Call and Response manner. • Identify some of today’s popular dance steps. Watch the video of African Roots in American Soil and note the similarities between the movements in Isicathulo and some of today’s popular dance steps. Try to do some movements from the video. LEVEL III * • Many African ethnic groups have some form of a “Leadership Dance.” Leaders create challenging rhythmic patterns which the group performs together. • Black African groups have ceremonies which celebrate the passages of life. Think of ceremonies in the American culture which do this (birthdays and weddings). Create a Baby Naming Ceremony, including a special chant and dance movement. Students should select a name for themselves which tells something of their character, appearance, accomplishments or history. *
Indicates sample lessons
2
DANCE
DANCE AN AFRICAN FOLK TALE ENDURING VALUES
LEVEL I Sample Lesson INTRODUCTION: There is no substitute for a good storyteller. Their words, gestures, inflections and the emotions they evoke cannot be translated into the printed word. Storytelling is an ancient and respected tradition in societies where verbal communication is foremost and people have time to give to the experience. This art still flourishes in many countries, regions and villages throughout the continent of Africa. At important and exciting moments in a story, the African teller may break into a melodic and rhythmic song or chant. Many times different characters in the story will have their own song. One of the charms of many African stories is the creation of roles played by animal characters who communicate with humans on equal terms.
Illustration of The Girl on the Rock by Eric Byrd from The Lion on the Path, by Hugh Tracey courtesy of Andrew and Paul Tracey
In the stories of the Shona-speaking people of Zimbabwe, Elephant and Lion are the undisputed chiefs in the stories; Baboon is their assistant and Antelope is their obedient subject. Others, such as Hyena and Jackal are portrayed as servants, and Tortoise is the creature of unhurried wisdom. Rabbit is quick-witted and playful, but suffers the consequences of those who outsmart him. Python is the healer and Crocodile can take on the traits of a husband or father. Birds are messengers and also serve as a nagging conscience, following evil doers. When the stories are told, the audience is usually aware of these traditional character traits and looks forward to new adventures which involve these various animals. In well established storytelling groups among the Karanga people (Shona group) in Zimbabwe, it is customary to conclude a session by reciting an old traditional verse, often a nonsense one, in order to break the story spell. It is clearly understood that anything that is said after the story spell is true and no longer make-believe. The following story, The Girl on the Rock, is from the Karanga people and was heard and translated by Dr. Hugh Tracey. OBJECTIVES: Students will be able to: • Gain an appreciation for traditional African storytelling and its universal appeal. (Connecting) • Participate in the retelling and dramatization of an African story from the Karanga people in the country of Zimbabwe. (Creating & Performing) • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting) 3
MATERIALS: • Artsource® audio recording of The Girl on the Rock, told by Paul Tracey. • The book The Lion on the Path and other African Stories, told by Hugh Tracey. Published by Paul Tracey, 340 Las Casas, Pacific Palisades, CA 90272. (optional) Adinkra symbol for Improvement, Growth and Interdependence. “No child is born with teeth.”
PROGRESSION:
• Have the class sit in a small, informal group. Give the students some background on storytelling in general and then a specific introduction to the characteristics of the stories of the Karanga (Shona group) people in Zimbabwe. Show a map of Africa and locate the area of their homeland. • Introduce the story and then play the Artsource audio recording of The Girl on the Rock. If you feel comfortable, teach the ‘response’ part of the song to the students ahead of time so they can sing it with the story. If you don’t feel able to teach it, encourage the students to try singing it after they have heard it a few times. The words are: Adinkra symbol for Law & Justice. “You are the subject of he whose handcuffs you wear.”
KUNYA RUNDE, KUNYA RUNDE (phonetically) Koon-ya roon-day (translation) Down by the River, down by the river.
• After the story has been told, review the sequence and have the students recall the different animals and their rhythmic sound patterns. Discuss the ways they think each animal might move. Stress the different movement qualities, weight and size. Use the chart below for reference. Saying the rhythmic sounds of the animal will help students with the rhythm of the movement. ANIMAL
SOUND
MOVEMENT
Rabbit
gwara, gwara
jumping, light, quick head motion
Buffalo
pi-piti, pi-piti
heavy, side sway, big shoulder (it helps to place the hands above the knee)
Antelope
ka-kata, ka-kata
strong and light, precise feet, curved horns, leaps
Elephant
so-kutu, so-kutu
heavy, swinging, lifting the trunk
Lion
ra-pata, ra-pata
strong, powerful, catlike, proud
• Depending on space, have the students improvise the movements of the various animals. They might do this in small groups or as a class. • Briefly discuss the story with the children to learn their ideas and responses to what they experienced. 4
EXTENSIONS: • The following is a suggested format for structuring the story for young students: • Select students to dance the roles of the young children, Girl on the rock, Rabbits, Buffalos, Antelopes, Eagle, Elephants and Lion. With the exception of the Girl and the Lion, let all interested students dance one or more of the parts. The story can be divided in the following way: • The class, except for the Girl and her playmates, creates a circle which represents the banks of the pool in the river. • The Girl and her playmates dance their way down to the river, eventually coming to the pool which they enter and mime the play of splashing, jumping and swimming. The girl climbs onto a chair which represents the rock while her playmates join the circle. • The animals enter in order: Rabbits, Buffalos, Antelopes, Elephants and Lion. Each animal group goes through the same routine, moving to the river’s edge, taking a big drink, looking up and seeing the Girl, asking “Who’s that sitting on the chief ’s rock?” in unison. The Girl on the rock answers, “It’s only me. When I tried to get down, I couldn’t.” Each animal group responds, “Oh dear!” They move out again in character and back to their places in the circle. • Finally, Lion enters and the Girl gets very frightened. Lion says, “Who’s that sitting on my rock?” Girl says, “It’s only me, I made a mistake and I can’t get down.” Lion says, “Well, I’ll have the elephants get you down.” Together, the Elephants lift the Girl down, the Lion then climbs onto the rock and the Girl is escorted home by Eagle while the circle of people perform a simple circle dance. • The story can end with a chant or rhythm to break the storytelling spell, or a magic word decided upon by the class. VOCABULARY: Zimbabwe, Karanga people, spell, unison ASSESSMENT: (Responding & Connecting) DISCUSS: Discuss the big problem in the story and how it was solved. ANALYZE: Discuss what you would have done if you were the girl and why. CONNECT: Think of a time when you did something that you knew was wrong. Discuss what happened. Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking
Illustration by Eric Byrd from The Lion on the Path, by Hugh Tracey courtesy of Andrew and Paul Tracey
5
DANCE
CHANTS AS A WAY TO LEARN ENDURING VALUES
LEVEL II Sample Lesson INTRODUCTION: Chanting words and phrases is a very traditional form of communication. Chants can be sung as a prayer, be part of a ritual or ceremony, accompany magic words and acts, teach, preserve one’s history or be part of a game. Examples of the latter in the American culture would be jump rope, hopscotch and clapping games done by children everywhere. Chanting uses words to establish a rhythm which channels our energy physically, spiritually or mentally. ‘Rap’ is a rhythmic form which has its roots in the ancient chants of traditional black African cultures. This lesson involves both a traditional Ghanaian children’s game chant and an original chant which helps with learning. OBJECTIVES: (Student Outcomes) Students will be able to: • Perform a children’s game chant from Ghana. (Performing & Connecting) • Create a chant about an academic area of study for the purpose of learning information. (Creating & Performing) • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting) MATERIALS: • Drum or other percussion instrument.
Chuck Davis The African American Dance Ensemble Photo: Kevin Keister
• An example of a current rap song (optional). PROGRESSION: (rather than one lesson, the following are points of departure for your own development of several lessons) IDEA I • Introduce some background on African chanting and explain that traditional African chants usually have a Call and Response, or a part which is first said by the leader and echoed in unison by the group. The following is one of the many variations of a well-known children’s game chant from Ghana. The words are nonsense sounds and have no specific meaning.
8
CHE CHE KULE CHE CHE KULE (touch head) CHE CHE KO VISA (touch shoulders) KO VISA LANGAN (touch hips) LANGAN CHE LANGA (touch knees) KOO A LAY LAY (stand, arms held high)
Che Che Kule (touch head) Che Che Ko Visa (touch shoulders) Ko Visa Langan (touch hips) Langan Che Langa (touch knees) Koo A Lay Lay (stand, arms held high)
When the chant is completed, everyone falls to the ground and there is alternate counting, from one to ten, beginning with the leader. Then all jump up to a standing position and begin again. After the children jump up, it is an option to have them take a strong shape and hold it, while the leader picks one or more new leaders. • Also the chant can be sung as a leader creates a movement pattern that the group follows. When the chant is finished, select a new leader. IDEA II • When the students become familiar with chanting and the call and response or echo form, you can create a chant, such as the Bacteria Chant below, which can be a tool for learning information. BACTERIA CHANT by Susan Cambigue-Tracey
BACTERIA ARE ONE-CELLED LIFE-FORMS ONE-CELLED LIFE-FORMS BUT, THEY AREN’T GREEN NO CHLOROPHYLL BUT, THEY AREN’T GREEN, NO CHLOROPHYLL
Adinkra symbol for Excellence, Genuineness & A u t h e n t i c i t y. “He who cannot the recognize true nsaa, buys its fakes.”
THE CELL HAS ONE OF THREE MAIN SHAPES THREE SHAPES THREE SHAPES COCCI BACILLI SPIRILLA COCCI, BACILLI, SPIRILLA COCCI ARE SPHERICAL - THAT MEANS ROUND BACILLI ARE RODS - THAT’S LIKE STRAWS SPIRILLA ARE SPIRAL - CORKSCREW TYPE THREE SHAPES THREE SHAPES COCCI, BACILLI, SPIRILLA BUT THEY AREN’T GREEN, NO CHLOROPHYLL BACTERIA POWER 9
• This simple chant is a rhythmic way to teach information which might otherwise be difficult to learn. The students become familiar with the special vocabulary words and also learn something about their shapes. After the chant, ask them questions about the information, such as: • What is bacteria? • What do you know about its color? • How many different cell shapes are there? • What are the names of the cells? • What are the characteristic shapes of each cell?
Adinkra symbol for Patience, Self-containment, Self-discipline and Self-control. “No matter how red-eyed (serious) one becomes, flames are not sparked in one’s eyes.”
• This can be followed by a movement experience in which the students physically create the shape variations of bacteria and find ways to move each one. • Ask the students to find a space in the room and demonstrate a round, spherical shape. They will create their own versions. • As other cell shapes are explored in movement, add the idea that these cells can also float or travel and can move at different levels or in different directions. Introduce the idea that they reproduce and grow; the result is that they cause disease and decay. Disease is harmful, but decay is necessary for us to digest our food and also helps organic garbage break down into earth. There are both friendly and unfriendly bacteria and this is determined by the combination of the three cell types. Strep throat (streptococci) will have one type of cell combination and yogurt will have another. • In small groups have the students show the concept of cell division in movement. If photos of bacteria or bacteria slides and microscopes are available, follow this lesson up with scientific involvement and study. The movement experience creates understanding and interest in learning. Music can be added, if desired. EXTENSIONS: • Have groups of students or individuals create original chants based on a specific theme, area of study or story idea. Share these with the class. Break the chant into parts which can be done in the Call and Response form. • See “Proverbs” on pages 15-17. Select one and set it to music. Present it in the Call and Response form. VOCABULARY: chant, Call and Response, rap, bacteria, cocci, bacilli, spirilla ASSESSMENT: (Responding & Connecting) DISCUSS: Discuss ways in which these chants are similar to rap. ANALYZE: Discuss reasons why it might be easier to learn information through a chant or rap song than just reading about it or hearing a lecture. Emphasis on: Common Core - CA State Standards for Language Reading; Writing; Listening; Speaking
Adinkra symbol for Vigilance, Protection, Security and Excellence. “The King’s eyes are placed all around him.”
10
DANCE
BUILDING LEADERSHIP THROUGH DANCE ENDURING VALUES
LEVEL III Sample lesson INTRODUCTION: In the traditional societies of black Africa, dance is an important medium of education. It helps African societies perpetuate themselves by assisting their members through the rites of passage, teaching accepted behavior, identifying roles and rules and assimilating its members into the prevailing attitudes, beliefs and rituals of the group. In black African cultures, dance is not seen so much as an artform, but as an integral part of the economic, political, social and religious aspects of life. For example, the Ibo of Nigeria teach about leadership through dance. A popular teen-age dance among the Ubakala Clan is Zik Meme Ka Odi Uma. This means that Zik tries to make things good. Zik (Nnamdi Azikiwewas) a President of Nigeria, led his nation to independence. The point of the dance is to emphasize cooperation with a worthy leader. The prestigious role of dance leader is awarded to the individual recognized as the best dancer, which mirrors the role of the leader of a country. This lesson is a form of a Challenge and Leadership Dance in which different people will lead rhythmic dance patterns which their group will try to follow. The leader who designs the most innovative movements, which can be well performed by the group, will demonstrate the most effective leadership traits. The group tries to support the leader by duplicating the dance movements accurately and with commitment. OBJECTIVES: (Student Outcomes) Students will be able to: • Demonstrate leadership skills through dance. (Performing & Connecting) • Demonstrate an ability to be both a good leader and a good follower through dance. (Responding & Performing) • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting) MATERIALS: • Artsource® video performed by the Chuck Davis African American Dance Ensemble. • Artsource® audio recording of African drum music. 11
PROGRESSION: • Watch the video. Use the Discussion Questions to elicit student responses. • Put on some African Drum music of your choice and ask the class to explore simple movements they can perform with different body parts, such as head, shoulders, arms, feet, hips, etc. Explore body parts first in isolation and then in combination, giving each movement idea a specific rhythm and direction. Ask different students to share their patterns with the rest of the class who will copy the patterns in unison. • Give the class dance information which they can use to change, extend or vary their movement idea. These might include: change of level or direction, an isolation of a body part combined with locomotor movement, large and small movements combined, a change of weight or quality, addition of accents, adding a turn, etc. • More complex patterns can be built by combining two or three rhythmic ideas together. • After the students have had an adequate time to explore and design movement patterns, divide them into four groups; each group is gathered behind their leader and is across from another group. Each group should select three to five people to lead them in different movement patterns, performed in unison by the leader and the corresponding group. Each group challenges the group across from them. • One group at a time performs their pattern, then returns to their place. The group facing them answers the challenge. Then the focus switches to the other two groups. After one set of patterns has been performed, a new leader moves to the front of the group and repeats the procedure. This continues until all leaders have had a turn. This is like a call-and-response format. • After this experience, discuss the traits of a successful leader and how this corresponds to leadership in African dance. What are the similarities in political and dance leadership? What are the differences? EXTENSION: • In small groups, create different rhythmic patterns which are learned by the group. Give each pattern a name. The leader will call out the name of the patterns in whatever order he or she wishes. Each pattern will be performed enough times so that everyone in the group does it well. A ‘break,’ which is a rhythmic signal that the end of one idea has occurred and that the beginning of another step or pattern will begin, can be done in between the patterns. VOCABULARY: leadership, break, rhythm pattern ASSESSMENT: (Responding & Connecting) ANALYZE: Discuss how and why the Challenge Dance can build leadership skills. Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking
The African American Dance Ensemble Photo courtesy of Chuck Davis
12