2017-2018 VocalEssence WITNESS Teacher Resource Guide

WITNESS 2017-2018 Teacher Resource Guide

Of Such I Dream

2017-2018 WITNESS SCHOOL PROGRAM TEACHER RESOURCE GUIDE

OF SUCH I DREAM Prepared by Joanna Cortright and Dwight Scott Edited by Robert Graham, G. Phillip Shoultz, III Layout and graphic design by Lora Aadalen Joshi | Aajo Design

SPECIAL THANKS TO: Timothy Berry Roxane Wallace The WITNESS Teaching Artists Caren Custer, Augsburg University Visions, Inc. JR Lundberg

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ABOUT THE WITNESS TEACHER RESOURCE GUIDE Thank you for your interest and participation in the VocalEssence 2017-2018 WITNESS School Program, where we celebrate the contributions of African Americans to our shared American cultural heritage. Since 1991, the annual concert theme, repertoire and performers have provided the framework for the study of cultural movements and the opportunity to learn about respected African American icons both past and present.

2017-2018 WITNESS THEME In 2017-2018, students will dream of a better world as we pay tribute to the Harlem Renaissance, on the 100th anniversary of its birth, through song, poetry, hip-hop, dance, and more. Beginning with the Great Migration of African Americans out of the South, students will explore why Harlem became the epicenter of black cultural life in the early 1900s and become familiar with several prominent artists and historical figures from this era, while making connections to cultural movements of the present day. Students will hear the debut of the VocalEssence Youth Choir as well as excerpts from the world premiere of William Banfield’s chamber symphony, I Trust Harlem Is Still There, based on the letters of Langston Hughes. It is our hope that students and teachers will be inspired and challenged to become agents of change in our community. The WITNESS Young People’s Concerts will feature the VocalEssence Chorus, the VocalEssence Youth Choir, as well as WITNESS Teaching Artists and other special guests.

WITNESS Artist Workshop with Timothy Berry, Folwell School, Performing Arts Magnet, Minneapolis

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PURPOSE OF THE TEACHER RESOURCE GUIDE Addressing social, historical and cultural contexts, this resource guide can be used primarily in arts, language arts or social studies classes for grades 4-12. In an effort to stay current with trends in arts education and infused curriculum, we have prepared these materials in a manner that is collaborative with you.

This resource guide integrates Minnesota Academic Standards and offers you a myriad of ways you can prepare students for the artist workshops and Young People’s Concert. The activities in this guide are intended as a springboard for teachers—they can be altered for different age groups, implemented before or after the WITNESS Young People’s Concert or be a jumping off point to go deeper into a particular subject.

With this said, we strongly recommend that all WITNESS partner school teachers use the lessons “Meet Langston Hughes: Dreamer and Harlem Renaissance Hero” on p. 19 and “The Harlem Renaissance” on p. 45.

Doing these lessons first will help teachers build a common foundation of knowledge for students who are attending the concert. We also encourage you to share the handout “What You Can Expect at the WITNESS Young People’s Concert” on p. 12 with your students one week prior to the concert so that they have appropriate expectations for what they will experience as well as behavior and concert etiquette.

As part of our mission at VocalEssence, not only do we “explore the interaction of voices and instruments through innovative programming of music, past and present,” we also “strive to inspire learners of all ages.” This collaboration between musicians, historians, artists, and teachers provides experiences that extend into lifelong learning. Thank you for your continued support and shared commitment to teaching and learning in our school communities.

—Robert J. Graham VocalEssence Education Manager

—G. Phillip Shoultz, III VocalEssence Associate Conductor, Education Program Director

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PART 1: WHAT’S IT ALL ABOUT?

08

About VocalEssence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

9

Program Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

10

VocalEssence WITNESS Program: A Brief History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

11

Student Handout: What You Can Expect at the WITNESS Young People’s Concert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Connections to Minnesota Academic Standards. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

PART 2: ACTIVITIES & RESOURCES

18

Meet Langston Hughes: Dreamer & Harlem Renaissance Hero . . . . . . . . . . . . . . . . . . . . .

19

Script from the Langston Hughes PowerPoint. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Langston Hughes Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Graphic Organizer: “Portrait of Langston Hughes”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Student Handout: Langston Hughes Biography for Teachers and Older Students . . . . . . . . . . . . . .

24 27 28 30

The Great Migration: Challenges & Opportunities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

33

Great Migration Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Jim Crow Worksheet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Push & Pull Factors Worksheet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

The Harlem Renaissance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

45

Harlem Renaissance Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Washington vs Dubois Worksheet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Cullen vs Hughes Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Harlem Heroes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

56

Notable People of the Harlem Renaissance for Student Research (List) . . . . . . . . . . . . . . . . . . . . . . 58 Harlem Hero Research Report template. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Responding to the Poetry of Langston Hughes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

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Lesson One: Making Meaning of “Dream Variations”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Alternative Langston Hughes Poems (List). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Think Aloud Organizer for ‘Dream Variations’ by Langston Hughes. . . . . . . . . . . . . . . . . . . . . .

Think Aloud Organizer for Understanding a Poem. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

62 64 65 67

Lesson Two: Interpreting/Translating “Dream Variations” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Graphic Organizer: Planner for a Soundscape of “Dream Variations”. . . . . . . . . . . . . . . . . . . . .

Graphic Organizer: Planner for Arranging a Theatrical Reading . . . . . . . . . . . . . . . . . . . . . . . . .

Template for a Book Dust Jacket Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Blank Template for a Book Dust Jacket Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

69 74 75 77 78

Lesson Three: “Dream Variations” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Margaret Bonds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Timeline for Langston Hughes Poetry. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Renaissance Reborn: The Legacy of the Harlem Renaissance. . . . . . . . . . . . . . . . . . . . . . .

84

Renaissance Reborn Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Dreams – Deferred but Determined Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Spoken Word Poem Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Harlem Renaissance Legacy Research Worksheet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

85 90 92 93

PART 3: WITNESS TEACHING ARTISTS: THEIR WORKSHOPS AND HOW TO PREPARE FOR THEM

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Workshops with WITNESS Teaching Artists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Timothy Berry: Vocalist, Composer, Percussionist. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Patricia Brown: Dance Instructor, Choreographer, Performer. . . . . . . . . . . . . . . . . . . . . . . .

96

Brandon Commodore: Drummer, Musician, Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Ginger Commodore: Singer, Songwriter, Actress . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Karla Nweje: Arts Educator, Dancer, Choreographer, Literary Artist. . . . . . . . . . . . . . . . .

97

T. Mychael Rambo: Actor, Vocalist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

98

Anita Ruth: Musician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Roxane Wallace: Performer, Instructor, Choreographer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

99

IMAGE CREDITS/SOURCES

100

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PART 1: WHAT’S IT ALL ABOUT?

About VocalEssence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Program Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 VocalEssence WITNESS Program: A Brief History. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Student Handout: What You Can Expect at the WITNESS Young People’s Concert. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Connections to Minnesota Academic Standards. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

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ABOUT VOCALESSENCE VocalEssence champions choral music of all genres, celebrating the vocal experience through innovative concerts, commissions, and community engagement programs.

As a leading Minnesota arts organization, VocalEssence uses the power of choral music to enhance our community by producing innovative vocal music events that stir people’s souls. We engage people of all ages and cultures through innovative, enticing choral music programming, such as performing ensembles, school curricula, elder learning initiatives and advocacy projects.

Called “one of the irreplaceable music ensembles of our time” by Dana Gioia, past chairman of the National Endowment for the Arts, VocalEssence is renowned for its innovative exploration of music for voices and instruments under the enthusiastic direction of Artistic Director and Founder Philip Brunelle and Associate Conductor G. Phillip Shoultz, III. Each season, VocalEssence presents an eclectic series of concerts featuring the 100-voice VocalEssence Chorus, the 32-voice professional Ensemble Singers, guest soloists and instrumentalists.

PHILIP BRUNELLE: Artistic Director and Founder, VocalEssence

Philip Brunelle, artistic director and founder of VocalEssence, is an internationallyrenowned conductor, choral scholar, and visionary. Philip has conducted symphonies, choral festivals, and operas on six continents. He is Vice President of IFCM (International Federation for Choral Music), holds five honorary degrees, and has been recognized for his commitment to choral music by the governments of Norway, Hungary, Sweden, Mexico, and the United Kingdom. vocalessence.org/philipbrunelle

G. PHILLIP SHOULTZ, III: Associate Conductor & Education Program Director, VocalEssence Known for his innovative pedagogy and ability to inspire singers, G. Phillip Shoultz, III, is the Associate Conductor and Education Program Director of VocalEssence. Phillip completed doctoral studies at the University of Minnesota and has prepared choirs for performances in Canada, England, Finland, France, Estonia, Russia and Germany. His work in the public schools garnered multiple Teacher of the Year honors. The winner of the 2015 ACDA Graduate Conducting Competition winner and an International Conductors’ Exchange Program Participant, Phillip believes in the transformative power of shared singing experiences. vocalessence.org/gps/

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PROGRAM TIMELINE We hope you will use this timeline as a calendar for your lesson planning. Everything below is organized so that you know what is expected of you in advance of the concert. Wherever possible, we have suggested possible date ranges for the activities. You will, however, need to choose when to do other lessons based on your own classroom schedule.

Saturday, September 30, 2017

Teacher Orientation Seminar, Plymouth Congregational Church, Minneapolis

October 2, 2017-February 12, 2018

Introduce the WITNESS School Program to your students through the lesson plans “Meet Langston Hughes: Dreamer and Harlem Renaissance Hero” on p. 19 and “The Harlem Renaissance” on p. 45

October-November 2017

Select Teaching Artist; Schedule Planning Meeting and Artist Workshops; Determine which activities from Teacher Resource Guide you would like to do with your students and the timeline for doing so

October 2017-April 2018

WITNESS Planning Meetings & Artist Workshops

October 2017-April 2018

All participating teachers and administrators complete workshop evaluation forms following your final Artist Workshop (note: this is different from the Young People’s Concert evaluation)

Wednesday, February 14, 2018

Distribute the student handout “What You Can Expect at the WITNESS Young People’s Concert,” p. 12

Friday, February 16, 2018 & WITNESS Young People’s Concerts, Orchestra Hall; Tuesday, February 20, 2018 10:15am & 12:15pm each day February 21-23, 2018

All participating teachers and administrators complete Young People’s Concert Evaluation and submit bus reimbursement forms (note: this is different from the Artist Workshop evaluation)

Sunday, February 18, 2018 4pm

WITNESS Subscription Concert, Orchestra Hall (Teachers receive a 50% discount—for tickets, call 612.371.5656)

May 1, 2018

Final day to turn in Bus Reimbursement Forms to VocalEssence

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VOCALESSENCE WITNESS PROGRAM: A BRIEF HISTORY

WITNESS Artist Workshop with Patricia Brown, Nativity of Our Lord Catholic School, Saint Paul, MN

WITNESS Artist Workshops with Ginger Commodore, Columbia Heights High School

In 1991, we created WITNESS to celebrate the artistic contributions of African Americans to the fine arts and to our common cultural heritage. By commissioning new works and programming rarely heard works by African American composers, we help broaden ideas about African American musical expression and introduce important new voices to our audiences through concerts, recordings and radio broadcasts. Michael Abels, David Baker, Ysaye Barnwell, William Banfield, Larry Farrow, Jonathan Bailey Holland, Joseph Jennings, Bobby McFerrin, Rosephanye Powell, Patrice Rushen, Evelyn Simpson-Curenton and Alvin Singleton are some of the people who have written new works and arrangements especially for the WITNESS program. The first commission—David Baker’s WITNESS: Six Original Compositions in a Spiritual Style—inspired the name for our program.

Our WITNESS concert artists have included James Earl Jones, Rita Dove, Billy Taylor, Melanie DeMore, Anthony Elliott, Patrice Rushen, Paul Shaw, Marietta Simpson and Yolanda Williams, and vocal ensembles Moore by Four, The Steele Family, Sounds of Blackness, The Fairfield Four, the Leigh Morris Chorale, the Morehouse College Glee Club and the Fisk Jubilee Singers. Many of the featured artists have made return appearances on other VocalEssence concerts. WITNESS has made it possible to initiate collaborations with African American artists in many disciplines.

A Minnesota State Arts Board Cultural Collaborations Grant supported our partnership with St. Paul visual artist Ta-coumba Aiken whose art has become the visual representation of WITNESS on all ads and publications. Aiken’s large colorful banners provide a stunning visual backdrop for WITNESS concerts, and his artwork adorns our WITNESS Companion CD covers.

WITNESS is critical for many of the students who might not otherwise have the opportunity to attend a professional event at a major concert hall. We believe an education and performance experience like WITNESS gives students an opportunity to learn from exceptional role models, increasing their self-esteem and creating a desire to continue exploring their own ways to express themselves through the arts.

Artist, Ta-coumba Aiken -11-

WHAT YOU CAN EXPECT AT THE WITNESS YOUNG PEOPLE’S CONCERT

WHO WILL I SEE? VocalEssence Chorus with Associate Conductor G. Phillip Shoultz, III The VocalEssence Chorus is an exceptional group of talented, committed singers from many walks of life. The chorus that is well known around the world. People recognize them for their great voices as well as their performances of new and rarely heard songs. With help from the community, they sponsor the workshops you had or will have by WITNESS Teaching Artists. They are happy that you get to hear them perform.

VocalEssence Youth Choir

WHAT WILL I HEAR? o The poetry of Langston Hughes, and his view of Dreams, presented through a variety of artistic expressions:  Solo and Choral Singing  Dance and Movement  Spoken Word and Hip-Hop o A variety of musical styles including songs. Listen for. . . . . . choral arrangements of spirituals, including “Walk Together Children”. . . . original choral compositions by contemporary composers such as Rollo Dilworth’s “In Time of Silver Rain” and Rosephanye Powell’s “To Sit and Dream”. o The sound of your own voice as you sing with us on André Thomas’ “I Dream a World”.

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Talented singers from several Minneapolis and St. Paul public high schools will join forces for the debut performance of the VocalEssence Youth Choir, joining the VocalEssence Chorus as this year’s guest ensemble. This dynamic group of student singers have worked hard to prepare for today’s concert. They encourage you to join your school’s choir!

VocalEssence WITNESS Teaching Artists Our roster of talented Teaching Artists are delighted to share their artistic gifts with you as they collaborate with the VocalEssence Chorus and Youth Choir to bring many lessons from your workshops to life.

Student Handout, page 1 of 2

WHY SHOULD I CARE?

HOW SHOULD I ACT?

• Music can express things that people cannot put into words alone.

When you go to the concert, concentrate on listening to the music...

• Feel the rhythms and follow the tunes.

• Listen for changes in the music—sometimes it will be very powerful and loud, and other times very soft and delicate.

• All people have music in their lives, no matter where they grew up.

• Singing brings people together.

…also, don’t forget to watch the performers on stage...

• Which instrument or voice has the main tune?

• What can you tell about the music by how the performers interact with one another?

• Learning about people who create and perform music can help us better understand our differences and similarities.

...and reflect on what you hear.

• How does it make you feel?

• Does it bring back certain memories?

• Could you sing these songs?

WHERE WILL IT BE?

If you feel a little nervous because this is your first concert, that’s okay. You are not alone. Other students feel the same way, even though they may not show it. The main thing to remember is that although performers like to hear your applause, they are also grateful for your quiet attention.

The following rules will help make the experience more enjoyable for everyone.

This year’s concert will be held at Orchestra Hall in downtown Minneapolis, one of the leading performing arts centers in the United States.

Refrain from talking.

The first and greatest rule. It also includes whispering during the music. If you like, tap your toes quietly inside your shoes– it’s a good exercise to reduce toe fat.

Please have nothing in your mouth, besides your teeth and tongue.

Gum and candy are not allowed.

Do not ring or text.

Leave cell phones, video games, iPods, cameras and other electronic devices at school or on the bus.

Do not sigh with boredom.

If you are really bored, keep it to yourself. Your neighbor just may be having a good time!

Do not embarrass your teacher or your school.

Remember that you are representing your school and want to be on your best behavior. There are many eyes looking at you. Show respect to the students and teachers around you, and to the artists performing on stage.

Do not compete.

Cheering, screaming and trying to chant a little louder than your neighbor is allowed at a basketball game, but not at the Orchestra Hall. Applause is the best way to show you have enjoyed something.

(Adapted from “The Ten Rules of Concert Etiquette for Students,” by the National Association for Music Education.)

Student Handout, page 2 of 2

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CONNECTIONS TO MINNESOTA ACADEMIC STANDARDS 2017-2018 VOCALESSENCE WITNESS SCHOOL PROGRAM SUBJECT STRANDS AND STANDARDS

LESSONS/LEARNING ACTIVITIES

ARTS: MUSIC All Arts: Artistic Process (Create or Make) Standard 1: Create or make in a variety of contexts in the arts area using the artistic foundations.

•

Responding to the Poetry of Langston Hughes, p. 61

•

Renaissance Reborn: The Legacy of the Harlem Renaissance, p. 84

•

Meet Langston Hughes: Dreamer & Harlem Renaissance Hero, p. 19

•

Responding to the Poetry of Langston Hughes, p. 61

•

Renaissance Reborn: The Legacy of the Harlem Renaissance, p. 84

•

Responding to the Poetry of Langston Hughes, p. 61

Standard 1: Read closely to determine what the text says explicitly and to make logical inferences from it.

• •

Harlem Heroes, p. 56 Responding to the Poetry of Langston Hughes, p. 61

Standard 1: Demonstrate understanding of a text, referring to details and examples in a text when explaining what the text says explicitly and when drawing inferences from the text.

•

Renaissance Reborn: The Legacy of the Harlem Renaissance, p. 84

All Arts: Artistic Process (Perform or Present) Standard 1: Perform or present in a variety of contexts in the arts area using the artistic foundations.

Music: Artistic Process (Respond or Critique) Standard 1: Respond to or critique a variety of creations and performances using the artistic foundations.

ENGLISH LANGUAGE ARTS English Language Arts: Reading (Key Ideas and Details)

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Standard 4: Determine the meaning of words and phrases as they are used in a text, distinguishing literal from nonliteral language, including figurative language such as similes.

•

Renaissance Reborn: The Legacy of the Harlem Renaissance, p. 84

• • •

The Harlem Renaissance, p. 45 Harlem Heroes, p. 56 Responding to the Poetry of Langston Hughes, p. 61

English Language Arts: Reading (Craft and Structure) Standard 1: Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.

Standard 2: Determine central ideas or • themes of a text and analyze their development; summarize the key supporting details and ideas.

The Harlem Renaissance, p. 45

Standard 4: Interpret words and phrases as they are used in a text, including determining…connotative and figurative meanings…

•

The Harlem Renaissance, p. 45

•

Meet Langston Hughes: Dreamer & Harlem Renaissance Hero, p. 19

English Language Arts: Reading and Literature Strand Standard 1: Students will actively engage in the reading process and read, understand, respond to analyze, interpret, evaluate, and appreciate a wide variety…of texts.

English Language Arts : Writing (Text Types and Purposes) Standard 2: Write informative/explanatory • texts to examine and convey complex ideas and information clearly and accurately • through the effective selection, organization, and analysis of content.

Meet Langston Hughes: Dreamer & Harlem Renaissance Hero, p. 19 Renaissance Reborn: The Legacy of the Harlem Renaissance, p. 84

Standard 4: Produce clear and coherent writing in which the development and organization are appropriate to task, purpose, and audience

Renaissance Reborn: The Legacy of the Harlem Renaissance, p. 84

•

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English Language Arts: Writing (Research to Build and Present Knowledge) Standard 6: Conduct short research projects that build knowledge through investigation of different aspects of a topic.

•

Renaissance Reborn: The Legacy of the Harlem Renaissance, p. 84

Standard 7: Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.

•

Harlem Heroes, p. 56

Standard 8: Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism.

•

Harlem Heroes, p. 56

Standard 9: Draw evidence from literary or informational texts to support analysis, reflection, and research.

•

Responding to the Poetry of Langston Hughes, p. 61

Standard 1: Engage effectively in a range of collaborative discussions with diverse partners on grade 4 topics and texts, building on others’ ideas and expressing their own clearly.

•

Renaissance Reborn: The Legacy of the Harlem Renaissance, p. 84

Standard 2: Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.

•

Responding to the Poetry of Langston Hughes, p. 61

•

The Great Migration: Challenges & Opportunities, p. 33 The Harlem Renaissance, p. 45

English Language Arts: Speaking, Viewing, Listening and Media Literacy (Comprehension and Collaboration)

SOCIAL STUDIES Social Studies: Geography (Geospatial Skills) Standard 1: People use geographic representations and geospatial technologies to acquire, process, and report information within a spatial context.

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•

Social Studies: Geography (Human Systems) Standard 5: The characteristics, distribution and migration of human populations on the earth’s surface influence human systems (cultural, economic and political systems).

•

The Great Migration: Challenges & Opportunities, p. 33

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The Great Migration: Challenges & Opportunities, p. 33 Renaissance Reborn: The Legacy of the Harlem Renaissance, p. 84

Social Studies: History (Historical Thinking Skills) Standard 1: Historians generally construct chronological narratives to characterize eras and explain past events and change over time.

•

Social Studies: History (United States History) Standard 1: Historians generally construct chronological narratives to characterize eras and explain past events and change over time.

•

The Harlem Renaissance, p. 45

Standard 5: History is made by individuals acting alone and collectively to address

•

The Great Migration: Challenges & Opportunities, p. 33 Renaissance Reborn: The Legacy of the Harlem Renaissance, p. 84

•

Standard 20: As the United States shifted • from its agrarian roots into an industrial and global power, the rise of big business, urbanization and immigration led to institutionalized racism, ethnic and class conflict and new efforts at reform. (Development of an Industrial United States: 1870-1920)

The Harlem Renaissance, p. 45

Standard 21: The economic growth, cultural innovation and political apathy of the 1920s ended in the Great Depression which spurred new forms of government intervention and renewed labor activism, followed by World War II and an economic resurgence. (Great Depression and World War II: 1920-1945)

The Harlem Renaissance, p. 45

•

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PART 2: ACTIVITIES & RESOURCES Meet Langston Hughes: Dreamer & Harlem Renaissance Hero . . . . . . . . . . . . . . . . . . . . .

19

Script from the Langston Hughes PowerPoint. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Langston Hughes Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Graphic Organizer: “Portrait of Langston Hughes”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Student Handout: Langston Hughes Biography for Teachers and Older Students . . . . . . . . . . . . . .

24 27 28 30

The Great Migration: Challenges & Opportunities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

33

Great Migration Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Jim Crow Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Push & Pull Factors Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

The Harlem Renaissance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

45

Harlem Renaissance Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Washington vs Dubois Worksheet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Cullen vs Hughes Worksheet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Harlem Heroes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

56

Notable People of the Harlem Renaissance for Student Research (List) . . . . . . . . . . . . . . . . . . . . . .58 Harlem Hero Research Report template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Responding to the Poetry of Langston Hughes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Lesson One: Making Meaning of “Dream Variations”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Alternative Langston Hughes Poems (List). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Think Aloud Organizer for ‘Dream Variations’ by Langston Hughes. . . . . . . . . . . . . . . . . . .

Think Aloud Organizer for Understanding a Poem. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

62 64 65 67

Lesson Two: Interpreting/Translating “Dream Variations”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Graphic Organizer: Planner for a Soundscape of “Dream Variations” . . . . . . . . . . . . . . . . .

Graphic Organizer: Planner for Arranging a Theatrical Reading . . . . . . . . . . . . . . . . . . . . . .

Template for a Book Dust Jacket Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Blank Template for a Book Dust Jacket Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

69 74 75 77 78

Lesson Three: “Dream Variations”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Margaret Bonds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Timeline for Langston Hughes Poetry. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Renaissance Reborn: The Legacy of the Harlem Renaissance. . . . . . . . . . . . . . . . . . . . . . .

84

Renaissance Reborn Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Dreams – Deferred but Determined Worksheet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Spoken Word Poem Worksheet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Harlem Renaissance Legacy Research Worksheet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

85 90 92 93

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LESSON PLAN: MEET LANGSTON HUGHES: DREAMER & HARLEM RENAISSANCE HERO INTRODUCTION A good place to begin preparing students for the WITNESS Young People’s Concert is to learn about Langston Hughes. Older students may have encountered Hughes in an earlier grade level through one of his poems, or a memory about his place in African American arts. His influence during the Harlem Renaissance was substantial and he is recognized as a significant American writer. His poetry inspires composers who transform his words into songs, writers who regularly quote his phrases, dancers who choreograph movement to his text, and readers who find joy, elation, and understanding in his words.

In this set of short lessons, students will be introduced to (or reminded about) Langston Hughes and his connection to the Harlem Renaissance. A PowerPoint presentation provides visuals for each segment. It is organized in the order presented below. The final activity, Portrait of Langston Hughes, asks students to organize and write about Hughes as a way for them to reflect on and summarize what they know about the Harlem Renaissance Hero.

Hughes in the 1920’s

LEARNING GOALS

The lessons can be presented across multiple days or grouped into a shorter time frame.

Through a set of short encounters focused on Langston Hughes, younger students will be introduced to Langston Hughes, and older students will acquire a deeper awareness and appreciation of his poetry and his role in the Harlem Renaissance.

PROCESS

MATERIALS

ONE: Probe for Prior Knowledge SLIDE #1 1. View the first slide which consists of a picture and a name. Ask students to respond to questions below. Open ended responses are great; there are no wrong answers. ­• What do you notice about this image? ­• Who is this man? ­• Have they heard his name before? ­• When and where do you think he lived?

What time frame? ­• What can you infer from this picture?

· PowerPoint presentation: Langston Hughes · Copies of the “Portrait of Langston Hughes” Graphic Organizer · Langston Hughes biography for teachers and older students (optional) · Recording of “I Dream A World”

2. Present SLIDE #2 and read ALL the content out loud. What new information does it provide? What connections can students make to prior knowledge about Hughes, the word “dreamer,” and the Harlem Renaissance? ******* -19-

LANGSTON HUGHES, HOW I BECAME A POET SLIDE #13 includes a link to a talk Hughes gave to a group of graduate students at University of California, Berkeley. His remarks touch on Jim Crow, stereotypes held by white classmates, how he became class poet in 8th grade, his family’s frequent moves, poets who influenced his writing, readings of a few of his earliest poems, his father’s move to Mexico City, and his interest in Harlem.

Likely recorded in the 1950s.

KEY TERMS Metaphor: words or phrases ordinarily used for one thing, are applied to another unlike thing for a rich, clear description.

Simile: makes a comparison between things that share a common feature. The words AS or LIKE are used to compare the two words.

Portrait: showing or describing someone or something in a painting, book, etc.

AUDIO EXAMPLES • Langston Hughes, How I became a Poet • I Dream A World, André Thomas VIDEO EXAMPLES • 1920s: Langston Hughes (Reading through History)

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TWO: View and Read a Short Biography about Poet Langston Hughes. SLIDES #3 TO #14 1. Continue viewing the PowerPoint biography with images.

Ask older students to read the text on each slide.

2. Take the time to listen to the 11-minute audio clip posted on slide #13. It is interesting to reach back and hear an historical voice of an important person. Or provide the link for students to download on their own.

Hughes has a tenor voice, though he says he couldn’t sing well in school. Prepare students for his higher pitched speaking voice if necessary and note that it is an old recording.

3. Older students can also read the Langston Hughes biography included with this lesson plan. BOTH the PowerPoint and the print biography can be posted on your class web pages for students to read outside of class time.

4. After reading and viewing, direct older students to summarize knowledge through a simplified jigsaw activity: ­• Divide into five groups to review and discuss aspects of Langston Hughes’ life and work.

• Each group selects a leader to keep the group on task and to summarize discussion.

• Each small group will focus on ONE of the following questions and plan a summary of their discussion to share with the rest of the class.

1. What did you learn about Langston Hughes’ early years? About his grandmother?

2. What challenges did Langston Hughes face when growing up?

3. What did he do after leaving Columbia when his father was no longer supporting him?

How did he earn a living?

4. What actions did he take to become accepted as a writer?

5. What did you learn about his college experiences?

6. Why do you think he is often referred to as a DREAMER? •

Reconvene and share information with the whole class.

Encourage students to take notes to organize their thoughts for the Portrait of Langston Hughes activity. *********

THREE: Investigate a Poem SLIDE #15 & 16 This encounter with “Dreams” directs students to read and speak Hughes’ words from a well-known work, and unlock its meaning by examining the metaphors.

1. Display the slide with the poem “Dreams.”

Hold fast to dreams For if dreams die Life is a broken-winged bird That cannot fly.

Hold fast to dreams For when dreams go Life is a barren field Frozen with snow.

· Students first read silently. Then ask for volunteers to read out loud. Prompt student responses with questions: “What do you notice about this poem?” and “What do you think the poet is saying; what is it about?

2. Remember the descriptive language device called the metaphor. What makes a metaphor? SLIDE #16 Find the metaphors in “Dreams.” SLIDE #15 · The first two lines in each section link to the second two lines to make the metaphor. Initially the connection may not make sense, but discussion will help students understand how they are the same thing in the poem.

- Why is a “dream that dies a bird with a broken wing that cannot fly?” Why do you think Hughes connected these two phrases to make a metaphor?

What was he saying to us, the readers?

- Why is a lost dream a “barren field frozen with snow.”?

- Does discussing and interpreting the metaphors help you to “get it” and understand what Hughes was communicating? · If you have time, compare metaphors to similes. How is a simile different? Read “Dreams” again with the word “like” in each section; “Like a bird who cannot fly.” How does this change the poem? · For younger students, here is a short Hughes poem from The Sweet and Sour Alphabet Book, “M” (for Monkey).

Find a metaphor and a simile in the first half of the poem.

MORE ON METAPHORS Metaphors are words or phrases ordinarily used for one thing, that are applied to another to give a rich, clear description.

Metaphors do not use the words LIKE or AS. The key word IS makes it a metaphor, because it states that one thing is the other.

You might read a phrase that doesn’t make sense at first; for example, “time is a thief.” But as you begin to understand the similarities between the two things it does make sense.

A simile makes a comparison between things that share a common feature. The word AS or LIKE is used to compare the two words. A metaphor is a direct comparison; one thing IS the other.

M (FOR MONKEY) Jocko is A peanut fiend.

He can eat peanuts Like an eating machine.

When the peanuts are gone And his fun is done, Jocko can chatter Like a son-of-a-gun!

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ASSESSMENT SUGGESTIONS · Informally assess students’ reading and speaking skills as they engage in the lesson activities. · The Artist Portrait provides evidence of writing, specifically related to integrating information from multiple print and digital sources.

Apply your existing writing check lists or rubrics to assess student work. · The Artist Portrait can be used again at the end of your WITNESS experiences.

Provide each student with a blank organizer after the concert, and ask them to provide as much detail about Langston Hughes and his role in the Harlem Renaissance as they can recall.

EXTENSION ACTIVITIES · Reread “Dreams.” Ask students this question: How does learning about Langston Hughes’ life help you better understand and interpret this poem in more detail? How? What do you know now? · Ask students to search for and to investigate other Hughes poems connected to dreams or dreaming.

Post the poems on a class bulletin board with space for other students to comment on the poems.

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FOUR: Organize an impromptu spoken word experience.

SLIDE #17 Display “Dreams” again and ask the whole class to read it out loud as a group. Then invite ideas for how students might make the spoken poem more interesting. · Encourage them to experiment with some vocal effects such as: - using a variety of dynamics; louder/softer - changing the pitch of their voices (higher/lower) - changing the tempo (speed) of different phrases - repeating key words - varying the texture (single voice/small or large group of readers/or dividing in half and having half the class speaking lines 1 & 2, and the other half speaking lines 3 & 4) - adding variety with echoing, overlapping lines, whispering, etc. · Make notes on a chart as suggestions are made. · Apply some or all the ideas and practice it several times.

Then perform a final reading. Record their reading and play it back for comments and suggested changes. Or divide the class into two groups – performers and audience – and take turns speaking and listening/critiquing. ********

FIVE: Create a Portrait of Langston Hughes Decide beforehand if this project will be done by individuals or as partners. Or consider making it a homework assignment.

1. Provide copies of the “Artist Portrait” graphic organizer for students to complete.

2. Strongly encourage them to expand far beyond the five circles, adding more comments, facts, and sketches connected to Hughes in the open spaces or back of the sheet.

3. Share student work by displaying completed Portraits in class or on a hallway bulletin board. ********

SIX: Sing “I Dream a World,” a Langston Hughes Poem Set to Music A setting of another Hughes’ dream poem, “I Dream a World,” will be performed at the WITNESS Young People’s Concert.

Set by American composer, André Thomas, audience members will be invited to join the choir in singing the melody line.

Students can quickly learn to sing this musical passage while listening to the recording and/or looking at the notated music, which is provided in an online resource.

I Dream A World by Langston Hughes I dream a world where man No other man will scorn, Where love will bless the earth And peace its paths adorn I dream a world where all Will know sweet freedom’s way, Where greed no longer saps the soul Nor avarice blights our day.

A world I dream where black or white, Whatever race you be, Will share the bounties of the earth And every man is free, Where wretchedness will hang its head And joy, like a pearl, Attends the needs of all mankindOf such I dream, my world!

MINNESOTA STATE STANDARDS CONNECTIONS ENGLISH LANGUAGE ARTS: Reading and Literature Strand Standard 1: Students will actively engage in the reading process and read, understand, respond to analyze, interpret, evaluate, and appreciate a wide variety… of texts.

ENGLISH LANGUAGE ARTS: Writing Text Types and Purposes Standard 2: Write informative/ explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content.

ARTS: Artistic Process: Perform Standard 1: Perform or present in a variety of contexts in the arts area using the artistic foundations.

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SCRIPT FROM THE LANGSTON HUGHES POWERPOINT Title Langston Hughes #2

Langston Hughes, poet and Harlem Renaissance Hero (1902-1967)

#3

A Short Biography of James Mercer Langston Hughes • Born in Joplin Missouri on February 1, 1902, to Carrie Langston Hughes and James Hughes.

• James soon left the family and moved to Mexico City. He was a lawyer, but could never find work in his field because of racial prejudice. He wanted a better life.

• Carrie traveled the Midwest searching for a teaching job and living with friends and relatives.

• Though she was well educated, she was only able to find low paying jobs.

#4

This was hard for Carrie and Langston. So, she sent him to Lawrence, Kansas to live with his grandmother, Mary Langston. Mary loved Langston. She told him many wonderful stories.

One true story was about her second husband, Sheridan Leary. Leary lost his life fighting against slavery as one of John Brown’s freedom fighters.

• Mary Langston planted the seeds of racial pride in her grandson.

• She inspired him to explore the world of poetry and books.

• He lived with his grandmother until he was twelve years old Langston Hughes in 1905, age 3 & Mary Langston Patterson

#5

When his grandmother died, Langston lived with family friends for a few years. Then he went back to Carrie, in Lincoln, Illinois. In Lincoln, his 8th grade classmates elected him class poet! He worked hard to create a special poem for 8th grade graduation.

He graduated from the 8th grade in 1916. The day after, he was on the move once more when his mother and her new husband went to Cleveland, Ohio.

Photo of Langston and Carrie Hughes from the book jacket of My Dear Boy: Carrie Hughes’s Letters to Langston Hughes, 1926-1938.

#6

• • • • • •

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He remained in Cleveland all through high school, even when his mother & stepfather moved to Chicago when he was 16 years old.

He was on the Cleveland High School track team Often made the honor roll In Senior Year was editor of the year book His first poems in print appeared in the school’s magazine, the Belfry Owl Loved his English teacher; she helped him discover the poetry of Carl Sandburg and Walt Whitman. Both influenced Hughes’ writing.

#7

• • • •

#8

• • • • •

#9

• • •

After graduating, traveled to Mexico by train to see his father.

Langston hoped he would help pay his college tuition.

Wrote “The Negro Speaks of Rivers” as his train was crossed the Mississippi.

This powerful poem was published the next year in the NAACP magazine, The Crisis.

“I heard the singing of the Mississippi when Abe Lincoln went down to New Orleans, and I’ve seen its muddy bosom turn all golden in the sunset.”

Langston made a deal with his father. If he would study engineering, James agreed to pay the tuition. (He thought writing was a waste of time.)

Hughes enrolled in Columbia University, New York City, in 1921. He studied engineering, but he discovered Harlem!

He left Columbia at the end of the school year because of racial discrimination.

Looked for work in New York, but jobs for young black men were hard to find.

But when he felt angry and disappointed, he channeled the angry and sad feelings into poems.

Found a job as mess-boy on a ship sailing for Africa. A mess-boy is like a busboy.

3 times a day, he cleans up the mess hall after the crew eats.

Stayed abroad and traveled to several countries for a few years.

Worked all kinds of odd jobs to stay afloat…and kept writing poems. Returned to the United States in 1924.

#10 POET DISCOVERED! • In 1924, Hughes was a busboy at Washington D.C.’s Wardman Park Hotel. One day he noticed poet Vachel Lindsay sitting at a table. Hughes quickly wrote out three of his poems and slipped them under a plate. The very next day, a story about the busboy poet and his poems was printed in a Washington newspaper.

• In the article, Lindsay said that the poet was a good writer. This was Hughes first major public recognition! He also introduced Hughes to his editors at Alfred A. Knopf Publishers.

• In 1925, he won first prize in the Opportunity Magazine writing competition: $40.00 and a gold medal!

• In 1926, Alfred A. Knopf published Hughes first book of poems, The Weary Blues.

• He went back to school and graduated from Lincoln University, an Historically Black College near Philadelphia, PA in 1929.

Hughes in 1928 at Lincoln University #11 “The Negro Artist and the Racial Mountain” • Hughes wrote the essay, “The Negro Artist and the Racial Mountain,” in 1926.

• The essay expressed his strong belief that that blacks must free themselves in their work from white cultural influences and express their African heritage and individuality.

• Published in The Nation magazine, it became the manifesto of the Harlem Renaissance.

Hughes in his 20s

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#12 Hughes lived in Harlem for many years.

With neighborhood children, he rescued a dusty spot in front of his Harlem home. He helped them plant and nurture flowers. Each child chose a plant, set it, and took responsibility for weeding and watering. The children’s names were posted on the picket fence.

He was not rich, but Hughes was always willing to help young black authors who dreamed of a writing career. #13 Hughes also traveled the world to meet the people who read his stories and poems. He wrote and spoke often about black people – of their strength and beauty, and of their challenges.

In this excerpt of a mid-century recording, Hughes is speaking to students at University of California, Berkley. He tells of how he became a poet, speaks of growing up as an African American child, why he was class poet in the 8th grade, and more. #14 Hughes died in New York City on May 22, 1967.

• He was 65 years old. His ashes lie in Harlem, beneath a floor medallion in the foyer of the Schomburg Center for Research in Black Culture.

• The design is an African cosmogram* entitled Rivers. The title is from his poem “The Negro Speaks of Rivers.” Printed in the center of the cosmogram is the line: “My soul has grown deep like the rivers.”

• A cosmogram is a flat geometric figure portraying a cosmology, the study of origins, evolution and the eventual fate of the universe. Often used for meditation. #15 Langston Hughes wrote many poems about dreams and about people’s life experiences.

Read this poem. What does it mean to you?

Dreams

Hold fast to dreams For if dreams die Life is a broken-winged bird That cannot fly.

Hold fast to dreams For when dreams go Life is a barren field Frozen with snow.

#16 What is a Metaphor?

When a word or phrase that means one ordinary thing is connected to something else that is not ordinary. “Time is a thief” is a metaphor. It may not make sense at first. But if you think about it, the connections and similarities between the two things begin to make sense.

The linking word IS makes it a metaphor.

Langston Hughes loved metaphors!

NOTE: Metaphors never include the words LIKE or AS. The small, important word, IS, makes it a metaphor. It says that one thing IS the other. #17 Read “Dreams” Out loud and Make it Come to Life • Change dynamics (louder/softer) • Change the pitch of your voice (higher/lower) • Change the tempo (speed) of different phrases • Repeat important words

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Here are some ideas: • Vary the texture… one voice/ small group of readers…dividing in half and alternating the lines • Also try echo words, overlapping lines, whispering, etc.

TIMELINE 1902

1907

1915

1916

1920

1921

1923

James Mercer Langston Hughes is born

Hughes goes to live with his grandmother

Moves to Lincoln, IL to live with mother.

Elected 8th grade class poet.

Moves to Cleveland, Ohio; attends Central High School

Graduates from Central High School; travels to visit father in Mexico; writes “The Negro Speaks of Rivers” on the way

Enrolls in Columbia University, New York City. Discovers Harlem. “The Negro Speaks of Rivers is published in “Crisis Magazine.”

Works as the mess-boy on a freighter; travels to Africa and later to Europe.

1924

1925

Returns to Working as a busboy, Washington meets poet, Vachel D.C. Lindsay. Subsequent newspaper article provides recondition!

1926

1929

1930

1967

First published book of poetry, Weary Blues; essay, “The Negro Artist and the Racial Mountain,” appears in The Nation.

Graduates from Lincoln, University

First novel, Not Without Laughter, published.

This is followed by many years of travel, writing (poetry, books, and plays), teaching, and work as a newspaper columnist.

Dies in New York City, May 22, 1967

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CREATE A PORTRAIT OF LANGSTON HUGHES What do you know about Langston Hughes, his life and accomplishments? Reflect on events, facts, and/or noteworthy details you’ve read or heard. Then summarize five that you think are the most significant into a portrait of this Harlem Renaissance poet.

(You can write and sketch inside AND outside the circles.)

Name(s): _________________________________________________ Date: ________________ -28-

CREATE A PORTRAIT OF LANGSTON HUGHES What do you know about Langston Hughes, his life and accomplishments? Reflect on events, facts, and/or noteworthy details you’ve read or heard. Then summarize five that you think are the most significant into a portrait of this Harlem Renaissance poet.

Draw a picture of Hughes for the center.

(You can write and sketch inside AND outside the circles.)

Name(s): _________________________________________________ Date: ________________ -29-

LANGSTON HUGHES BIOGRAPHY Langston Hughes, American poet, social activist, novelist, playwright, columnist, and notable figure of the Harlem Renaissance, was born in Joplin, Missouri, February 1, 1902.

His family identified with the black community, though Native American and French cultures were also part of his family history.

His parents were not close as a couple. His father, James, left shortly after Langston’s birth, going first to Cuba, then to Mexico City. Trained as a lawyer, he was bitter about racism and limited opportunities in the United States. Hughes’ mother, Carrie, was also a college graduate. She longed to be a teacher or an actress, but the only available jobs were paid very little. After separating from James Hughes, she left Langston with her mother, Mary Patterson Langston, in Lawrence, Kansas.

Langston Hughes was a lonely boy, but he loved books and the stories his grandmother told him as he sat upon her lap.

Memories of her skillful storytelling lives on in his poem, Aunt Sue’s Stories. Her stories planted the seeds of Langston Hughes’ pride of his African American heritage and activist spirit.

Mary Patterson Langston died when Langston was twelve years old. He was sent to live with friends for a short time, then returned to his mother in Lincoln, Illinois. She had recently remarried. Langston finished elementary school in Lincoln, graduating from the 8th grade. The family moved to Cleveland, Ohio where Langston attended Central High School for four years.

In high school, he ran with the track team, was editor of the year book, and was usually on the monthly honor roll. His first published poems appeared in the school’s magazine, the Belfry Owl. During high school, Langston’s mother and stepfather moved once again, this time to Chicago, Illinois. Langston remained in Cleveland, found a room in a nearby house, and graduated from Central in 1920.

After graduation, Langston traveled to Mexico to convince his father to support his college education. Eventually, James Hughes agreed, but only if Langston would give up the idea of becoming a writer and instead study engineering. Langston complied. In 1921, he enrolled in Columbia University in New York City. He dropped out at the end of freshman year, unhappy with the attitude of teachers and students towards a young man of color. But something quite amazing did happen while he was in New York City.

HE FOUND HARLEM.

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Pastel drawing of Hughes

by Winold Reiss

And the dark-faced child, listening, Knows that Aunt Sue’s stories are real stories.

He knows that Aunt Sue never got her stories Out of any book at all, But that they came Right out of her own life.

(From “Aunt Sue’s Stories” by L. Hughes)

Central H.S. from 1878 to 1940.

Notice the belfry tower.

He lived in the attic of this house the last two years of high school

Hughes in his early 20s

After dropping out of Columbia, Hughes desperately needed a job.

The first he could find was working on a ship sailing to Africa. He hired on as dining hall mess boy on an Africa-bound ship, bussing the dishes and cleaning up the crew’s mess after every meal. He loved Africa! He continued his travels, visiting places in Europe.

In France, he worked in the kitchen of a Paris night club.

At work at the Wardman Hotel

During that first trip to Africa in 1923, Hughes made an important decision – that he would write about and live within the traditions of oral and musical communication of the black culture. He sealed this life altering decision by throwing almost all his books overboard into the ocean. Now he would find inspiration and ideas in the people around him, and write in a language that everyday folks spoke and understood.

When Hughes returned to the United States in 1924, he went to Washington D.C. where his mother was living. He continued working in menial jobs, writing on his own time. In 1925, something quite remarkable occurred. Hughes was working as a busboy in the restaurant of the Wardman Park Hotel. He recognized one of the customers, Vachel Lindsay, an important poet. Hughes seized the opportunity, quickly wrote out three of his poems, and placed them next to Lindsay’s plate. Lindsay read them that evening at his poetry recital. Shortly after, a story and the poems were printed in a Washington newspaper. Though some of his works were already in print, this was his first dose of press recognition.

In 1926, Hughes went back to college, enrolling at Lincoln University, an historically black college in Pennsylvania, and graduating in 1929. Two of his classmates included Thurgood Marshall (U.S. Supreme Court Justice), and Cab Calloway (famous jazz musician and bandleader). Then it was back to Harlem.

All the while he traveled across the world, Harlem was his anchor.

Many of the writers, musicians, and artists were Hugh’s friends – and their energy and vibrant personalities inspired his own work.

He could hear the jazz music he loved any time of day. And the magazines and journals that published many of his poems were based in Harlem. For the last twenty years of his life, he lived in an old house built in 1869, just after the Civil War. The house is currently the home of the I, Too, Arts Collective, a group of Harlem area artists.

Hughes’ Harlem home

Though best known for his poetry, Hughes wrote in other genres as well. Novels, short story collections, children’s books, and plays are amongst his publications. He edited Common Ground, a literary magazine, co-authored a screen play and wrote two autobiographies.

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His work was recognized with awards and honors. He won a Guggenheim Fellowship that provided support for him to go to Spain and the Soviet Union, the Anisfield-Wolf Book Award, and the NAACP’s Spingarn Medal for distinguished achievements by an African American. He received honorary degrees from Lincoln University (his alma mater), Howard University, and Western Reserve University. After his death, the City College of New York named and funded the Langston Hughes Medal, an award made annually to an African-American writer.

His final poetry collection, The Panther and the Lash, was dedicated to Rosa Parks, the courageous woman from Montgomery, AL who refused to give up her seat on the bus and sparked one of the first major protests, the Montgomery Bus Boycott, during the fight for Civil Rights legislation.

Langston Hughes died in 1967 of cancer. His ashes were laid to rest in Harlem, of course, at the Arthur Schomburg Center for Research in Black Culture.

Marking the place is an art work titled “Rivers,” not only a work of art, but also a “dance floor and peace memorial in honor of Langston Hughes and Arturo A. Schomburg. The cosmogram is inspired by Hughes’s brilliant poem, “The Negro Speaks of Rivers.”

Seven edited fragments of the poem are positioned symbolically at relevant geographic locations on the cosmogram. The final words of the poem, “My soul has grown deep like the rivers,” are embedded in the body of a fish shape at the center of the circle.

The poet’s cremated remains are interred in a stainless-steel book-like vessel beneath this emblem.”

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Langston Hughes burial site in Harlem

LESSON PLAN: THE GREAT MIGRATION: CHALLENGES & OPPORTUNITIES INTRODUCTION Throughout its history, the United States has seen waves of people crossing and moving within its borders; and despite differences in time period and ethnicity, there are common threads – push and pull factors, challenging journeys, more challenges in striving to make a new life, and the impact that newcomers have on their new community and on the nation. As students discover the story of the Great Migration of African Americans from the South to the North and West between 1915 and 1970, they will identify these threads and, in the process, better understand the context out of which the Harlem Renaissance emerged.

LEARNING GOALS Students will use their skills in historical thinking, math, geography, and English Language Arts in these lessons that serve as an introduction to a consideration of the Harlem Renaissance.

MATERIALS yy “The Great Migration: Challenges and Opportunities” Power Point yy “Jim Crow” Resource Packet and Worksheet yy Push and Pull Resource Packet and Worksheet yy Great Migration Map and Worksheet yy Census Records Resource Packet and Worksheet

Union Terminal Colored Waiting Room, Jacksonville, Florida – 1921, Woodward Photo

NOTE: Feel free to use the following lessons in the way that best fits your needs. yy The lesson plan contains an ample amount of details to give you a working knowledge of the Great Migration’s historical context and narrative. yy You can convey as little or as much of those details as you like. yy You can, of course, follow the complete lesson plan, as outlined. yy

Or you may choose to focus on one or two of the key elements of the lesson plan (with an accompanying PowerPoint slide and, perhaps, a worksheet) as an introductory of concluding discussion and activity.

yy You might also decide to collaborate with a colleague who teaches social studies.

AUDIO Walk Together Children, Spiritual, arranged by Moses Hogan · Walk Together, Children, Spiritual, arranged by William Smith · Deep River (arr. Harry T. Burleigh), as performed by Marian Anderson · William Grant Still, A Deserted Plantation, Spiritual ·

VIDEO ·

The Great Migration (Reading through History)

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KEY TERMS Community:

A group of people living in the same place or who are similar in some way; a feeling of unity and friendship with others because of sharing common history, attitudes, interests, and goals

Migrate:

To move from one area to another with the goal of settling in the new place

Immigrate:

To come into a foreign country with the goal of settling there

Jim Crow Laws:

Laws that were created in the southern United States (between 1877 and 1965) designed to discriminate against Black people and segregate them from white people

Segregation:

Enforced separation of different racial groups in a country, region, public building, etc.

Prejudice:

Literally pre-judge; a judgment, opinion or attitude that is formed before having enough knowledge or experience

Discriminate:

To treat a person or particular group differently from others, usually in an unfair manner

World War 1:

The war mainly fought in Europe and the Middle East, between 1914 and 1918, in which the Allies (led by France, Russia, Britain, Italy, and the United States) defeated the Central Powers (led by Germany, Austria-Hungary, and Turkey)

Push Factor:

A negative condition or problem that motivates a person to want to leave a particular place

Pull Factor:

A positive condition that motivates a person to want to move to a particular place

Impact:

A strong effect or influence on someone, something, or some place that causes a change in some way

Census:

An official count or survey of a population

Great Depression:

The economic crisis in the U.S. and other countries, from 1929 through the 1930s which resulted in a fall in the stock market, bank failures, business closings, and unemployment

Rural:

Related to the countryside or farming areas

Urban:

Related to towns and cities, which are densely populated and developed with human-made structures

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SENSITIVE CONVERSATIONS As your students analyze images in the “Jim Crow” and “Push and Pull” Resource Packets, you will want to be prepared for their questions and comments. The sensitive nature of the images, which depict the prejudicial and discriminatory laws of the post-Civil War South, may lead to conversations that will extend the lesson beyond what you have planned.

Additionally, some students may assume that the images they are analyzing are fabricated. So, you will also want to be prepared to explain that the depicted signs and situations are real, documented historical evidence of the overt racism that Blacks suffered in this country.

TIMELINE 1877

1914

1915

Jim Crow laws go into effect

World First War 1 Great begins Migration begins Henry Ford recruits Blacks to work in the North

1916

1917

1918

1929

Pennsylvania Railroad Company recruits Blacks to work in the North

U.S. enters World War One

World War 1 ends

Stock World Second market War 2 Great crashes; begins Migration the Great begins Depression begins; First Great Migration ends

Marcus Garvey founds the Negro Improvement Association

1939 1940

1964

1970

Civil Rights Act passed

Reverse migration begins, as Blacks begin moving from the North to the South

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LESSON ONE: THE REASONS 1. “Migration”  Have SLIDE 1 of the PowerPoint displayed as students enter.  To begin, show SLIDE 2 which displays the word “Migration”; ask for definitions, and discuss the term.  Ask if any students were born in another country. [They “immigrated”]  Ask if any students were born in another State. [They “migrated”]  Explain that they will be learning about what came to be known as the Great Migration 2. SLIDE 3 The Great Migration  Probe for students’ prior knowledge of the term “GREAT MIGRATION”.  The Great Migration is the name given to the wave of movement by African Americans away from southern States to northern and western cities. It started in 1915 and ended in the 1970s.

3. What came before?

were elected to political office. This attempt to bring equality, order, and economic stability to the South was called RECONSTRUCTION.  In 1876 – due to political deals and compromises that were made – Federal troops were withdrawn from the South, and Reconstruction ended. What was life like for African Americans in the South when that happened?

4. “Jim Crow” Laws  After Reconstruction ended, “Jim Crow” laws were put in force throughout the South o SLIDE 5 The term “Jim Crow” is believed to be a reference to a minstrel-show song, “Jump Jim Crow.” o The term “Jim Crow” was used as a negative label for African Americans. o Explain that your students will now analyze one of those laws and some images that show examples of how those laws were enforced.

 SLIDE 4 Forty-five years before the Great Migration began, a war had ended. That war resulted in more American deaths than any other war before or since. Ask students to name that war. [Civil War, 1861-1865]  Probe for students’ prior knowledge about the CIVIL WAR. Ask if students know the causes of the Civil War: [Slavery; States’ rights (primarily regarding slavery)]  After the war ended, the Federal Government sent troops to the South to ensure the protection and rights of newly freed African Americans. Schools and colleges were created for them. Black men were allowed to vote, and several Blacks -36-

Jim Crow – etching and ink print, ca. 1835-1845, Library of Congress

 SLIDES 6-9 o Show slides and get students’ reaction to them. o FOR YOUNGER STUDENTS: Give students the “Jim Crow” Worksheet.

Have students complete the Worksheet together as a class. o FOR OLDER STUDENTS: Divide students into small groups, and have them work on the “Jim Crow” Worksheet in their groups; for additional reference, give each group the “JIM CROW” PRIMARY SOURCE Packet for a more in-depth discussion. o Ask students to analyze the images: what do they notice? What do they learn about the time and place of the image? How would they feel if they saw those signs today?

5. Ask students if this was how they were being treated where they live, what would they think of doing?  As has been true of all people who move from one country to another, or from one part of a country to another, there are specific reasons for doing so  SLIDE 10 We call these reasons “PUSH” and “PULL” factors – reasons that push a person to want to leave a place and reasons that pull a person to want to move to another place.  Explain that they will be analyzing various primary sources to determine what the factors were that motivated African Americans to migrate from the South.

6. The Chicago Defender  Ask students to tell you how people get information and advice today.

[Television, Radio, Internet]  Explain that in 1915, the main source of news was newspapers  In northern cities, there were Black-owned newspapers; o Ask students why they think African Americans at that time valued having a newspaper run by people of their own race.  SLIDE 11 The Chicago Defender was founded in 1905 and was the most influential Black-owned weekly newspaper in the country. o Dramatic headlines, gripping images, and red ink were used to capture attention and denounce the inequalities, assaults, and other atrocities that African Americans faced. o The newspaper was read throughout the South; but, as you would imagine, southern White distributors refused to circulate it; so, the paper was smuggled into the South by Black Pullman train porters and entertainers on tour.

7. Push and Pull  Explain that students will analyze letters from readers of the Chicago Defender and other primary sources to figure out specifically why many African Americans chose to migrate from the South to cities in the North and West.

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8. Conclusion

 SLIDE 12-14 “The Reason”

by Albert Smith, The Crisis (March, 1920)

 World War I o Explain that prejudice and discrimination was not limited to the South after the Civil War and Reconstruction. Many Whites in the North, even though they were against slavery, did not feel that Blacks were equal to them. o Factory owners and other business people in the North would often hire European immigrants to be their laborers rather than hire Blacks.

o Show slides and get students’ reaction to them. o FOR YOUNGER STUDENTS: Give students the “Jim Crow” Worksheet.

Have students complete the Worksheet together as a class. o FOR OLDER STUDENTS: Divide students into small groups, and have them work on the “Jim Crow” Worksheet in their groups; for additional reference, give each group the “PUSH AND PULL” PRIMARY SOURCE PACKET for a more in-depth discussion. o Ask students to analyze the images: what do they notice? What do they learn about the time and place of the image? How would they feel if they saw those signs today?

o Ask students to analyze the images:  What questions and statements does the author write?  What do you learn about the author’s life?  Does the Author concentrate more on push factors or pull factors?

What are those factors?  After the groups have completed their worksheets, have a general discussion about the push and pull factors of the Great Migration.

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o But in 1914, a war broke out in Europe that changed everything. Ask if students know what war that was.

[World War I] o SLIDE 15 With war raging, the number of immigrants coming from Europe decreased dramatically. o And when the United States entered the war, laborers became soldiers, and went off to Europe to fight. o But the factory owners and other business people still needed workers; ask students what they think the factory owners were now willing to do? [Willing to hire Blacks]  The opportunity o SLIDE 16 The door was now opening for Blacks (especially Black men) to take advantage of job opportunities in the North. So, starting in 1915, the Great Migration of African Americans from the South to the North and West began. o It slowed during the Great Depression but surged again after the start of World War 2 (in 1939), and continued for the next 30 years.

EXTENSION ACTIVITIES  Have each group create a cartoon and caption for the Chicago Defender that illustrates a push or pull factor (or both) for African Americans deciding to migrate to the North

LESSON TWO: THE JOURNEY

[NOTE: If you did the previous lesson, use the initial discussion as a review.]

1. “Migration”  Have SLIDE 17 of the PowerPoint displayed as students enter.

To begin, show SLIDE 18 which displays the word “Migration”.  Ask for definitions.

o Give each student drawing paper and colored pencils.

 Ask if any students were born in another country.

[Discuss the word “immigrate”]

o Students can base their cartoon on the images and letters in the “PUSH AND PULL” PRIMARY SOURCE PACKET and the class discussion.

 Explain that they will be learning about what came to be known as the Great Migration

 Ask students if they know of any local Black-owned newspapers. o Mention the Minnesota Spokesman-Recorder (Established in 1934, this newspaper is the oldest Black-owned business still in operation in Minnesota.) o Have students look for the online version of the newspaper and report on an article that they found.  Challenge students to find other local media owned or operated by African Americans (Radio, Television, Websites, Blogs; etc.)

 Ask if any students were born in another State.

[They “migrated”]

2. Ask students to describe different ways that people can use to move from one State to another today.

3. Focus on the years 1915 to 1940; have students give their ideas as to the kinds of transportation that southern African Americans might use to migrate to the North [Horse-drawn Cart—Train—Automobile] 4. SLIDE 19 Explain that students are going to investigate the different routes that African Americans took as they migrated from the South to the North and West. And they will figure out how long it would have taken.  Divide students into groups (or have each student work individually), and hand out the GREAT MIGRATION MAP and WORKSHEET.  As they analyze the map and see the flow of migration from the South, what similarities and differences do they notice in the different routes?

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5. Migration Math  Have students use the Worksheet to

calculate the time it would take (in 1925) to travel four different routes using three different modes of transportation [Horse-drawn Cart—Automobile—Train]: o Jacksonville, Florida to New York City, New York o Birmingham, Alabama to Chicago, Illinois o Lafayette, Louisiana to Minneapolis, Minnesota o Tyler, Texas to Los Angeles, California

 Have different groups report on their findings

6.

SLIDE 20 Conclusion  Have students discuss why different

individuals and families might choose one form of transportation over another. o Cost o Availability of transportation o Size of family o Amount of belongings taken o Safety

 Have students think about what

challenges African American families faced on their journeys

 Have them compare those challenges

with those that families face today as they decide to move from one part of the country to another.

LESSON THREE: THE IMPACT

[NOTE: If you did the previous lesson, use the initial discussion as a review.]

1. “Migration”  Have SLIDE 21 of the PowerPoint displayed as students enter. To begin, show SLIDE 22 which displays the word “Migration”.  Ask for definitions.  Ask if any students were born in another country. [Discuss the word “immigrate”]  Ask if any students were born in another State. [They “migrated”]  Explain that they will be learning about what came to be known as the Great Migration 2. Impact  As has been true whenever waves of people move away from one place to make another place their home, the Great Migration of African Americans from the South to the North and West had a significant impact on the places they left as well as on the places where they settled.  Ask students what kinds of impact they imagine this migration had  Ask students for ideas of different ways they can find out what that impact was: o Newspapers, magazines, books o Interviews and oral histories o Charts, graphs, and maps

3. SLIDE 23 Census Records  Explain that students will be using Census Records and Maps to discover some of the ways that the Great Migration impacted the country.  Discuss the Census Record:

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o A counting of everyone residing in the United States as mandated by the Constitution o The first Census was taken in 1790 and occurs every ten years (every year that ends in zero).  Give students (either individually or in small groups) the CENSUS RECORD RESOURCE PACKET.  Have students analyze the MAPS from the 1880, 1900, and 1930 Census Records on pages 1-3 of the Resource Packet. o What changes do they see in terms of the African American population in southern and northern States over time? o Why do they think that migration slowed down in the 1930s?  Briefly discuss the economic problems during the Great Depression o Then, in the 1940s, the same kind of opportunity arose for African Americans as happened in 1915.  World War II  Demand for workers in the North 4. One Family’s Migration Journey  Have students go to pages 4-9 in the Resource Packet, analyze the census records and fire insurance maps, and answer the questions.  Have students discuss their findings in a general class discussion.  Were there other details, either in the census records or on the maps, that they noted?

5. SLIDE 24-26 Conclusion  Use the slides to explain that many people

who study the Great Migration divide the movement into two parts o The movement of individuals and families from 1915 to 1930 is considered the First Great Migration. o The Second Great Migration occurred from 1930 to 1970.  Facilitate a discussion about the impact that the Great Migration had on the South, the North, and on African Americans themselves. o Statistics [from The Warmth of Other Suns by Isabel Wilkerson]:  In 1900, nine out of every ten Black Americans lived in the South. Three out of every four lived on farms.  Between 1915 and 1970, more than 6 million African Americans migrated from the South to the North, Mid-West, and West.  By 1970, less than half of the country’s African American population lived in the South. One out of every four lived on farms. o Ask students to consider:  What impact would the move from a rural life to an urban life have on the African Americans that migrated?  What impact would that move have on the relationship between Blacks and Whites in the North?  Why do you think the Second Great Migration ended in 1970? · Advancements in civil rights · Better economic opportunities in the South o Ask students if they think we still see the impact of the Great Migration in the South and the North today.

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RESOURCES Books Hine, Darlene Clark, Hine, William C., Harrold, Stanley, African Americans: A Concise History, vol.2: Since 1865, Pearson Education, Inc., 2004, 2006” Wilkerson, Isabel, The Warmth of Other Suns: The Epic Story of America’s Great Migration, Vintage Books, 2010 Websites Christensen, Stephanie, The Great Migration (1915-1960), BlackPast.org blackpast.org/aah/great-migration-1915-1960 Odlum, Lakisha, Teaching Guide: Exploring the Great Migration, Digital Public Library of America dp.la/primary-source-sets/guides/teaching-guide-exploring-the-great-migration History.com, Great Migration history.com/topics/black-history/great-migration/print Schomburg Center for Research in Black Culture, In Motion: The African American Experience; The Great Migration inmotionaame.org/print.cfm;jsessionid=f830880001500047198016?migration=8&bhcp=1 Library of Congress, Jim Crow and Segregation, Teacher’s Guide Primary Source Set loc.gov/teachers/classroommaterials/primarysourcesets/civil-rights/ pdf/teacher_guide.pdf BlackPast.org, The Great Migration (1915-1960), blackpast.org/aah/great-migration-1915-1960

MINNESOTA STATE STANDARDS CONNECTIONS SOCIAL STUDIES: Geography (Geospatial Skills) Standard 1: People use geographic representations and geospatial technologies to acquire, process and report information within a spatial context.

SOCIAL STUDIES: Geography (Human Systems) Standard 5: The characteristics, distribution and migration of human populations on the earth’s surface influence human systems (cultural, economic and political).

SOCIAL STUDIES: History (Historical Thinking Skills) Standard 1: Historians generally construct chronological narratives to characterize eras and explain past events and change over time.

SOCIAL STUDIES: Peoples, Cultures and Change Over Time

ASSESSMENT SUGGESTIONS •

Students will participate in small group and class discussions.

•

Students will complete and turn in the JIM CROW WORKSHEET, PUSH and PULL WORKSHEET, GREAT MIGRATION WORKSHEETS and the CENSUS RECORDS RESOURCE PACKETS.

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Standard 5: History is made by individuals acting alone and collectively to address problems in their communities, state, nation and world.

JIM CROW WORKSHEET

Look at all of the images. Then choose one of them to focus on and write about.

OBSERVE 1.

As you look at the image you selected, what details do you notice first?

2.

What do you notice that surprises you?

3.

What do you notice that you can’t explain?

REFLECT 1.

Describe what is happening in the image.

2.

How does the image make you feel? Why?

QUESTION 1.

As you analyze the image, what more do you want to know?

2.

How can you find the answers?

Name(s): ___________________________________________ Date: ______________

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PUSH & PULL FACTORS WORKSHEET First, look at all of the images. Then choose two of them to focus on and write about.

OBSERVE 1. Describe what you see or read. a.

b.

2. What details help you know when the events in the photographs happened or when the objects in the photographs were made?

REFLECT 1. Do you think that the events or objects in the photographs were “PUSH” factors or “PULL” factors for African Americans deciding to migrate from the South to the North? Why? a. b.

QUESTION 1. As you analyze the image, what more do you want to know?

2. How can you find the answers?

Name(s): ___________________________________________ Date: ______________

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LESSON PLAN: THE HARLEM RENAISSANCE INTRODUCTION What did it mean to be Black in America 100 years ago? What did it mean to be American? The cultural and artisitic earthquake that occurred between 1918 and the mid-1930s – with the neighborhood of Harlem in New York as its epicenter – answered those questions in unexpected ways. What came to be called the Harlem Renaissance challenged the established stereotypes of African Americans that Whites had held for centuries and produced some of the nation’s first uniquely “American” artistic traditions (distinct from European influence). This lesson will help students understand the when, where, why, who, and how of the Harlem Renaissance, and will highlight the themes of self-determination, seizing opportunities, and taking pride in one’s heritage.

LEARNING GOALS Students will discover when and how the Harlem Renaissance emerged, why it happened in that location, some of the main (and often conflicting) ideas about African American identity and the people who promoted or exemplified those ideas.

MATERIALS  Power Point: “The Harlem Renaissance”  Heading to Harlem Map Packet  Cullen vs Hughes Worksheet  Washington vs Dubois Worksheet  Harlem Renaissance Timeline AUDIO AND VIDEO · See examples listed in Harlem Heroes lesson on pg. 57 VIDEO · Harlem Renaissance (Reading through History)

Painting by Archibald Motley, 1943

NOTE: We recommend pairing this lesson – “The Harlem

Renaissance” – with the one that follows – “Harlem Heroes”.

This lesson serves as an introduction to the topic (the “When”, “Where”, “Why” and “How”). The Harlem Heroes lesson considers the “Who”, providing students the opportunity to learn about many of the important historical figures that emerged during the Harlem Renaissance. Pairing the two lessons will strengthen your students’ understanding of this year’s theme.

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KEY TERMS Stereotype:

An oversimplified idea about a particular type of person or thing that many p eople believe to be true

Negro:

A term used to describe people with dark skin (now, no longer used and sometimes considered offensive)

Renaissance:

Literally: “rebirth”; Historically: the cultural movement in Europe (14th-17th centuries) that was influenced by a revival of Ancient Greek ideas and resulted in advancements in art literature, and science; Generally: any period of renewed activity

Culture:

The way of doing things – beliefs, attitudes, customs, art, etc. — of a particular group

Identity:

The unique or outstanding qualities of a person or group that make them different from others

Heritage:

Traditions and qualities of a particular group, that have been handed down from the past and are still important

Deferred:

Of an action or event that is put off or delayed until a later time

Civil rights:

The rights of every citizen to freedom and equality (legally, socially, and economically)

Opportunity:

Circumstances that make it possible to do something that you want to do

Self determination:

The act or power of a person or group to take control of their own life or way of doing things

TIMELINE 1865-1877

1902

19051909

1909

1914- 1921 1918

Reconstruction Era

Langston Hughes is born in Joplin, Missouri

Niagara Movement

NAACP is founded

World War 1

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1923

Hughes’ The Cotpoem ton Club The opens Negro Duke Speaks Ellington of Rivers arrives in is pubNew York lished

1929

1930

1933

Stock market crashes; the Great Depression begins

Painter Jacob Lawrence settles in Harlem

Works Project Administration (WPA) program

PROCESS Harlem was a promise Of a better life, Of a place where a man Didn’t have to know his place Simply because He was Black From Harlem: A Poem

By Walter Dean Myers

GREAT MIGRATION After the Reconstruction Era in the South, “Jim Crow” laws were put in effect that legalized segregation and discrimination against African Americans  In 1915, African Americans began seeking opportunities for a better life by leaving southern States and moving to the North, Midwest, and West. (This wave of movement came to be called the Great Migration.)  There were many Push and Pull factors that motivated this migration o Push:  Jim Crow laws  Agricultural and environmental disasters o Pull  Job opportunities  Education

1. Have SLIDE 1 of the PowerPoint displayed as students enter.

To begin, show SLIDE 2 which displays the lines of the following poem Harlem.  Discuss with students what the poet means by the lines “a place where a man didn’t have to know his place”. o Briefly describe the early history of African Americans in the United States (slavery, prejudice, and discrimination) o Even after slavery ended, negative views and stereotypes about Blacks, and negative treatment toward them, had not.  “Know his place” o Probe for how students understand the phrase “Know your place”  Definitions: · To accept your position within society, an organization, a family, etc. and to not try to improve it · To accept that one is less important than others  Ask students why people try to put others “in their place” o How do you choose your own “place”? How do you celebrate your “place”?  Explain that students will be discovering how African Americans, one hundred years ago, refused to be “put in their place” while making their own place in the world.

2. Harlem: Where and Why?  Briefly consider key points from the Great Migration lesson (see sidebar above for some key points to review)  SLIDE 3 One of the places that “pulled” African Americans to its neighborhoods was New York City. o Harlem, a neighborhood in the borough of Manhattan, had been a white community that had experienced economic challenges.

Lenox Avenue in Harlem, c. 1920s

o SLIDE 4 Instead of foreclosing on houses that were built in the neighborhood, White property owners chose to sell or rent those properties to Blacks.

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o Ask students how they think many of the neighborhood’s White residents felt about the influx of African Americans into the neighborhood.

[They opposed it.] o Ask why real estate speculators still sold or rented to Blacks. [They were more interested in making a profit than they were in racial issues.]

3. Heading to Harlem  Thousands of African Americans moved into Harlem. By 1920, 75,000 Black people lived there.  Harlem came to be viewed as “the Negro Capital of the World”. o Black-owned businesses and organizations began operation. o Artists and musicians began to make the neighborhood their home  Divide students into small groups and give each group a HEADING TO HARLEM MAP PACKET o Have students work together in groups on Worksheets 1-3, then use SLIDES 5-9 to have a class discussion. o Ask students where they think they would have gone if they were migrating North over 90 years ago. How would they have traveled? Why? o Tell students that this “Renaissance” was taking place in cities throughout the North, Midwest, and West. · SLIDE 10 Have students read the article on “Rondo Street”, then discuss article as a class · Have students complete Worksheet 4 in the Packet, then use SLIDE 11 to have a class discussion.

NOT JUST HARLEM Although the cultural explosion that came to be known as the Harlem Renaissance takes its name from the that section of Manhattan, New York where so many of the movement’s artists and scholars lived and worked, it is important to remember that African Americans had migrated to other northern cities and were changing the cultural landscapes in those places as well. Philadelphia, St. Louis, Chicago, and Detroit also became centers of African American culture.

Saint Paul, Minnesota may not have been widely viewed as being on par with those other cities, either in size or influence. But the city’s Rondo neighborhood had a vibrancy all its own, as noted in this 1926 article from the St. Paul Echo newspaper.

4. “Renaissance”  SLIDE 12 One of the most influential African American thinkers of the period was W.E.B. Dubois. He was a sociologist, editor, and writer. In 1920, he wrote that the nation was at the start of a “renaissance of American Negro literature.” o [NOTE: You may want to spend a little time

explaining that the term “Negro” was used by both Blacks and Whites during that time period, much like the term “African American” is widely used today. Ask if any students

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know Spanish. What does the word “negro” mean in Spanish? – “Black”. So, the term was used back then as we also use the term “Black” today. However, the word “Negro” has now come to be associated with that older time – a time when African Americans were also being stereotyped by Whites and denied opportunities and rights. Caution students that it would be best not to risk offending others by using that old term.]

 The New York Herald Tribune declared that the country was “in the midst of what might not improperly be called a Negro renaissance”.  Discuss the meaning of the word “renaissance” SLIDE 13 o Literally: “rebirth” SLIDE 14 When capitalized, the word often refers to the time period between the 14th and 17th centuries – a time when the visual arts, architecture, literature, philosophy, and science experienced dramatic change, ex perimentation, and advancement.

5. Right Place, Right Time, Right People

The Cotton Club of Harlem

 SLIDE 16 The Harlem Renaissance came to be because the right people came together in the right place at the right time in history.  Ask students why New York was the right place: o Center of artistic life in the country o Center of publishing in North America o More liberal-minded Whites who had money and influence

o More broadly, the word means any movement or period of artistic and intellectual activity expressed in a new and exciting way.

 Ask students why 1918 was the right time:

o SLIDE 15 At its most general level, the word “renaissance” can be used for the rebirth, revitalization, or re-energizing of interest and activity in any area.

o People wanted to enjoy life (“Roaring Twenties”) o The United States emerged from the war as a Super Power

 Ask students what they think started happening in Harlem in 1918 that caused people to say that America was experiencing a “Negro renaissance”.

o Country emerged from horrors of war

o People wanted to establish America as having its own unique identity, no longer trying to imitate Europe  Into this mix, came the right people — African American artists, performers, and scholars — who were ready to celebrate their heritage.  And Whites who were eager to encourage that celebration, and who had the money, and influence to support it.

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6. SLIDE 17 Being Black in 1920  What did it mean to be a Black person in 1920?  Were African Americans free from prejudice and discrimination?  What was the most effective way for Blacks to combat discrimination and succeed in the White-dominated society of the 1920s?  As is true today, African Americans had different views about how they should move ahead: o Give students (or groups) the WASHINGTON vs DUBOIS Worksheet SLIDE 18 o Have a general class discussion about the contrasting views. How do those views relate to us today? o Is there a way to combine both viewpoints?  FOR YOUNGER STUDENTS: You can use SLIDE 19, which extracts two quotations from both men, as a basis for class discussion. o Give students (or groups) the CULLEN vs HUGHES Worksheet SLIDE 20 o Have a general discussion about the contrasting styles.  FOR YOUNGER STUDENTS: You can use SLIDE 21, which extracts a few lines from each poem, as a basis for class discussion.

No race can prosper till it learns that there is as much dignity in tilling a field as in writing a poem. It is at the bottom of life we must begin, and not at the top.

By habits of thrift and economy, by way of the industrial school and college, we are coming up.

Booker T. Washington Atlanta Exposition Speech

We are crawling up, working up, yea, bursting up-often through oppression, unjust discrimination and prejudice-but through them all we are coming up, and with proper habits, intelligence, and property, there is no power on earth than can permanently stay our progress.

Booker T. Washington

Was there ever a nation on God’s fair earth civilized from the bottom upward?

Never; it is, ever was and ever will be from the top downward that culture filters. The Talented Tenth rises and pulls all that are worth the saving up to their vantage ground. This is the history of human progress.

W.E.B. Dubois The Talented Tenth

We must complain. Yes, plain, blunt complaint, ceaseless agitation, unfailing exposure of dishonesty and wrong - this is the ancient, unerring way to liberty and we must follow it.

W.E.B. Dubois

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THOUGHTS IN A ZOO

AS I GREW OLDER

They in their cruel traps, and we in ours, Survey each other’s rage, and pass the hours Commiserating each the other’s woe, To mitigate his own pain’s fiery glow.

Man could but little proffer in exchange Save that his cages have a larger range.

That lion with his lordly, untamed heart Has in some man his human counterpart, Some lofty soul in dreams and visions wrapped, But in the stifling flesh securely trapped.

Gaunt eagle whose raw pinions stain the bars That prison you, so men cry for the stars!

Some delve down like the mole far underground, (Their nature is to burrow, not to bound), Some, like the snake, with changeless slothful eye, Stir not, but sleep and smolder where they lie.

Who is most wretched, these caged ones, or we, Caught in a vastness beyond our sight to see?

It was a long time ago.

I have almost forgotten my dream.

But it was there then, In front of me, Bright like a sun— My dream.

And then the wall rose, Rose slowly, Slowly, Between me and my dream.

Rose until it touched the sky— The wall.

Shadow.

I am black.

I lie down in the shadow.

No longer the light of my dream before me, Above me.

Only the thick wall.

Only the shadow.

My hands!

My dark hands!

Break through the wall!

Find my dream!

Help me to shatter this darkness, To smash this night, To break this shadow Into a thousand lights of sun, Into a thousand whirling dreams Of sun!

By Countee Cullen

By Langston Hughes

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7. The End of the Renaissance

were achieving. He said that, through art, “Negro life is seizing its first chances for group expression and self-determination.”

 Have students analyze the HARLEM RENAISSANCE TIMELINE · What event contributed to the end of the Harlem Renaissance?

o Discuss the term “self-determination”

 SLIDE 22 The stock market crash of 1929 changed everything.

 Why would this have been important for African Americans in the 1920s?

o Loss of bank accounts, jobs, businesses o African Americans were hit especially hard.

 Is it still important?  How does this tie in with the line in Walter Dean Myers’ poem, discussed at the beginning, regarding not having to know one’s place?

 The sponsors of art and literature found that their income was reduced.  Interest in African American artists disappeared.  People of all races were just trying to get by  Jim Crow segregation and violence against Blacks continued into the 1950s.  SLIDE 23 The Civil Rights era of the late 1950s and early 1960s saw the beginnings of legal equality for Blacks.  It was after this that African Americans, to a larger degree than in previous eras, began to make significant social and economic progress 8. Conclusion  Discuss the significance of the Harlem Renaissance with students by sharing with them the following facts and discussion points below: o The authors, artists, and scholars of the Harlem Renaissance – through their revealing of the African American experience – in realistic, fanciful, mournful, celebratory, angered, patient, agonizing, ecstatic ways – provided the shoulders on which later generations of African American authors, artists, and scholars could climb and strive to obtain their dreams. o In 1926, Alain Locke, an African American educator and critic, summed up the significance of what the artists of the Harlem Renaissance -52-

o The artists and scholars of the Harlem Renaissance were also linked with the progressive political and social movements of the time. Thus, the movement also laid the foundation for the Civil Rights movement in the 1950s and 60s.  Ask students what they can do, as did the artists of the Harlem Renaissance, to keep, show, and celebrate their “place” in the world, and to keep the dream of equality and justice alive? o o o o o o o o o o

Write a poem Compose a song Post a tweet Send an email Record a spoken word performance Produce a play Create a dance Author a book Paint a picture Make a sculpture

 [After students have completed their various projects, celebrating their “place” in the world, they can present a program for other students that include all of their creative work.]

If you do not teach social studies, consider collaborating with your colleagues who do!

RESOURCES Books Hine, Darlene Clark, Hine, William C., Harrold, Stanley, African Americans: A Concise History, vol.2: Since 1865, Pearson Education, Inc., 2004, 2006 Huggins, Nathan Irvin, Harlem Renaissance (Updated Edition), Oxford University Press, New York, 1971, 2007 West, Aberjhani, West, Sandra L., Encyclopedia of the Harlem Renaissance, Facts On File, New York, 2003 Websites Hutchinson, George, Harlem Renaissance: American Literature and Art, Britannica.com, britannica.com/event/Harlem-RenaissanceAmerican-literature-and-art Harlem Renaissance: The Blossoming of African American Culture in the 1920s, Issues and Controversies in American History, icah.infobaselearning.com/icahfullarticle.aspx?ID=107275 Library of Congress, The Harlem Renaissance, Teacher’s Guide Primary Source Set loc.gov/teachers/classroommaterials/primarysourcesets/harlem-renaissance/pdf/teacher_guide.pdf

ASSESSMENT SUGGESTIONS Students will participate in small group and class discussions.

Students will complete and turn in the Heading to Harlem, Washington vs Dubois, and Cullen vs Hughes Worksheets.

MINNESOTA STATE STANDARDS CONNECTIONS ENGLISH LANGUAGE ARTS: Reading (Craft and Structure) Standard 1: Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.

Standard 2: Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.

Standard 4: Interpret words and phrases as they are used in a text, including determining... connotative and figurative meanings...

SOCIAL STUDIES: Geography (Geospatial Skills) Standard 1: People use geographic representations and geospatial technologies to acquire, process and report information within a spatial context.

SOCIAL STUDIES: History Standard 1: Historians generally construct chronological narratives to characterize eras and explain past events and change over time.

Standard 20: As the United States shifted from its agrarian roots into an industrial and global power, the rise of big business, urbanization and immigration led to institutionalized racism, ethnic and class conflict and new efforts at reform. (Development of an Industrial United States: 1870-1920) Standard 21: The economic growth, cultural innovation and political apathy of the 1920s ended in the Great Depression which spurred new forms of government intervention and renewed labor activism, followed by World War II and an economic resurgence. (Great Depression and World War II: 1920-1945)

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WASHINGTON VS. DUBOIS WORKSHEET 1. Read the quotations from Booker T. Washington and W.E.B. Dubois “No race can prosper till it learns that there is as much dignity in tilling a field as in writing a poem. It is at the bottom of life we must begin, and not at the top. By habits of thrift and economy, by way of the industrial school and college, we are coming up.”

Booker T. Washington Atlanta Exposition Speech

“We are crawling up, working up, yea, bursting up-often through oppression, unjust discrimination and prejudice-but through them all we are coming up, and with proper habits, intelligence, and property, there is no power on earth than can permanently stay our progress.”

“Was there ever a nation on God’s fair earth civilized from the bottom upward? Never; it is, ever was and ever will be from the top downward that culture filters. The Talented Tenth rises and pulls all that are worth the saving up to their vantage ground. This is the history of human progress.”

W.E.B. Dubois The Talented Tenth “We must complain. Yes, plain, blunt complaint, ceaseless agitation, unfailing exposure of dishonesty and wrong - this is the ancient, unerring way to liberty and we must follow it.”

W. E. B. Dubois

Booker T. Washington

1. What are the main ideas in each quotation?

Washington

Dubois

Washington

Dubois

2. Which ideas do you agree with? Why?

Name(s): _________________________________________________ Date: ________________ -54-

CULLEN vs. HUGHES WORKSHEET 1. Read the poems by Countee Cullen and Langston Hughes. Are there words you don’t know?

Look them up in a dictionary!

THOUGHTS IN A ZOO

AS I GREW OLDER

They in their cruel traps, and we in ours, Survey each other’s rage, and pass the hours Commiserating each the other’s woe, To mitigate his own pain’s fiery glow.

Man could but little proffer in exchange Save that his cages have a larger range.

That lion with his lordly, untamed heart Has in some man his human counterpart, Some lofty soul in dreams and visions wrapped, But in the stifling flesh securely trapped.

Gaunt eagle whose raw pinions stain the bars That prison you, so men cry for the stars!

Some delve down like the mole far underground, (Their nature is to burrow, not to bound), Some, like the snake, with changeless slothful eye, Stir not, but sleep and smoulder where they lie.

Who is most wretched, these caged ones, or we, Caught in a vastness beyond our sight to see?

It was a long time ago.

I have almost forgotten my dream.

But it was there then, In front of me, Bright like a sun— My dream.

And then the wall rose, Rose slowly, Slowly, Between me and my dream.

Rose until it touched the sky— The wall.

Shadow.

I am black.

I lie down in the shadow.

No longer the light of my dream before me, Above me.

Only the thick wall.

Only the shadow.

My hands!

My dark hands!

Break through the wall!

Find my dream!

Help me to shatter this darkness, To smash this night, To break this shadow Into a thousand lights of sun, Into a thousand whirling dreams Of sun!

By Countee Cullen

By Langston Huges

2. Using one or two sentences, describe the main idea in each poem?

Cullen

Hughes

3. Which poem is more powerful to you personally? Why?

Name(s): _________________________________________________ Date: ________________ -55-

LESSON PLAN: HARLEM HEROES

LEARNING GOALS

INTRODUCTION

By undertaking short research projects, students will begin to perceive the scope of the Harlem Renaissance and learn the names and the work done by some of the many artists working in Harlem during this era.

Their work will be compiled and shared amongst class members and others.

There were hundreds of musicians, writers, dancers, visual artists, actors, and supporters who contributed their artistry, vision, and energy to the Harlem Renaissance movement. Students will be introduced to some of the better-known Harlem Heroes through a PowerPoint presentation. A list of other notable people of the movement is included. Teachers will assign each student one Harlem Hero as the subject of a research project, completion of a biographical portrait. The students’ work will be compiled into a Harlem Heroes collection, and shared within the class and the school.

KEY TERMS

MATERIALS

Artist:

A person skilled in one of the arts; for example: poet, writer, dancer, choreographer, sculptor, photographer, composer, musician, actor

·

“Heroes of the Harlem Renaissance” PowerPoint

·

“Notable People of the Harlem Renaissance for Student Research” — a list of the key artists, dancers, musicians, etc. organized by their art forms and/or areas through which they contributed, on p. 58

Biography:

A written history of a person’s life.

Compilation:

Producing something, especially a list, book, or report, by assembling information collected from other sources

Books, computers, and other media resources available for research

Language Arts/Reading

·

·

Student copies of the “Harlem Hero Research Report” template, on p. 60

MINNESOTA ACADEMIC STANDARDS CONNECTIONS Standard 1: Key Ideas & Details Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.

Language Arts/Writing

EXTENSION ACTIVITIES ·

·

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Use the structure of students doing individual research and compiling results when you study significant people of other movements or eras in history.

Ask your students to brainstorm other ways to share their compilation with people in your community and beyond.

Standard 6: Research to Build & Present Knowledge Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.

Standard 8: Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism.

ASSESSMENT SUGGESTIONS Assess the individual research projects for content, level of detail, and completeness. Apply existing language arts rubrics.

PROCESS

AUDIO

1. Probe for prior knowledge; ask students to name people/ artists closely connected to the Harlem Renaissance.

Collect responses on a chart.

· Marian Anderson— Deep River Spiritual, arranged by Harry T. Burleigh

2. View the “Heroes of the Harlem Renaissance” PowerPoint.

It includes four artists who worked in a varies of arts areas; Aaron Douglas, Zora Neale Hurston, Eubie Blake, Florence Mills and one of the architects of the movement, W.E.B. Dubois.

3. Share the “Notable People of the Harlem Renaissance” list with students and describe their assignment. Assign each student an artist for their project. When assigning artists, aim for a balance of arts areas. ·

·

·

Distribute the research template from p. 60. The categories and questions will focus their research and document what they learn.

Take student questions and clarify their use of the template. Mini-biographies, images, quotes from written text, photographs, audio or video links, original art, etc. are resources that can be collected and included.

Brainstorm a list of key words students might use to find information on their artist.

4. Create a compilation of Harlem Heroes when individual work is complete. Here are some suggestions for compiling student work:

· Duke Ellington – “David Danced” as performed by VocalEssence · Duke Ellington – “Don’t Get Down” as performed by VocalEssence · Duke Ellington – “Come Sunday” as performed by VocalEssence · Ella Fitzgerald—Blue Skies by Irving Berlin · Ella Fitzgerald and Louis Armstrong—Cheek to Cheek · William C. Handy, arr. Hall Johnson – “Saint Louis Blues” · Undine Smith Moore – “Tambourines to Glory” as performed by VocalEssence · Undine Smith Moore— “Mother to Son” as performed

by VocalEssence · Bessie Smith – I Ain’t Got Nobody

VIDEO

· Compile a booklet of Harlem Heroes consisting of the students’ individual pages. Fasten them together with binder rings or another option. Make copies for each student, and extras to share with other teachers and classrooms.

· Cab Calloway – “Minnie the Moocher”

· Create a compilation by asking students to enter their data in a page of a common file, then print the complete resource. A small group of students could oversee the project and provide a cover page, introduction, and the printing of the file.

· Dandridge Sisters: Harlem Yodel

· Compile a PowerPoint presentation by asking each student to enter their text and images on a single page of a PowerPoint file. A small group of students could oversee the completion of the PowerPoint. · Display the student Portraits of Harlem Heroes in a school hallway or the Media Center. In the Media Center, books, plays, visual art, and music by the Heroes could be offered for check out. · Add this resource to your class webpage and share with others in your school.

· Cab Calloway and Nicholas Brothers: The Jumpin’ Jive from the movie Stormy Weather. · Dandridge Sisters and Nicholas Brothers: Chattanooga Choo-Choo · Katherine Dunham – Stormy Weather video · Pearl Primus/Billie Holiday Strange Fruit · Pearl Primus documentary video · William Grant Still, Wade in the Water from Folk Suite No. 2 · Fats Waller: Ain’t Misbehavin’ · Fats Waller: This Joint is Jumpin’

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NOTABLE PEOPLE OF THE HARLEM RENAISSANCE FOR STUDENT RESEARCH WRITERS (Poets, Authors, Playwrights, Novelists, Editors) · Zora Neale Hurston, novelist, playwright, folklorist, anthropologist 1891-1960 · Nella Larsen · Angelina Weld Grimke · Georgia Douglas Johnson · Gwendolyn Bennett · Alice Dunbar Nelson · Jesse Fauset · Marita Bonner · Eulalie Spence · Dorothy West · Helene Johnson · Countee Cullen, poet, editor 1903-1946 · Langston Hughes, poet, novelist, playwright, essayist 1902-1967 · James Weldon Johnson, poet, novelist, playwright, civil rights leader 1871-1938 · Claude McKay, poet, novelist 1889-1948 · Wallace Thurman, dramatist, journalist, novelist 1902-1934

Zora Neale Hurston

Aaron Douglas

VISUAL ARTISTS (Painter, Sculptors, Illustrators, Filmmakers, Photographers) · · · · · · · ·

Augusta Savage, sculptor, 1892-1962 Meta Vaux Warrick Fuller Lois Mailou Jones Aaron Douglas, painter, illustrator, 1899-1979 Selma Burke, sculptor, 1900-1995 Palmer Hayden, painter, 1890 – 1973 Oscar Michaeus, filmmaker, producer, 1854-1951 James VanDerZee, photographer, 1886-1983 Cab Calloway

MUSICIANS (Composers, Singers, Pianists, Songwriters) · · · · · · · · · -58-

Billie Holiday, singer, songwriter Lil Hardin Armstrong Bessie Smith, singer 1894-1937 Mammie Smith (Blues) Ivie Anderson Ella Fitzgerald Ma Rainey Lucille Bogan aka Bessie Jackson Marian Anderson

Mamie Smith and her Jazz Hounds

· · · · · · · · · · ·

The Dandridge Sisters Victoria Spivey Eubie Blake, lyricist, composer, pianist, 1882-1983 Cab Calloway, vocalist, bandleader, 1907-1994 Louis Armstrong, trumpeter, bandleader, vocalist 1901-1971 Duke Ellington, composer, musician, bandleader 1899-1974 Fletcher Henderson, bandleader, arranger, pianist 1887-1952 James Johnson, pianist, composer 1894-1955 William Grant Still, composer, arranger, conductor 1895-1978 Fats Waller, pianist, vocalist, composer 1904-1943 Chick Webb, drummer, bandleader 1909-1939

DANCERS (performers, choreographers)

Katherine Dunham

· · · · · · · · ·

Florence Mills, dancer, singer, actress 1895-1927 Bill Robinson, dancer 1878-1949 George Snowden, dancer 1904-1982 Earl Tucker, dancer 1905-1937 Herbert White, dancer Josephine Baker, dancer, singer, cabaret The Nicholas Brothers Katherine Dunham Pearl Primus

ACTORS (comedians, entertainers) Peggy Ashcroft and Paul Robeson in Othello, 1930

Alain Locke

· · · · · ·

Jackie “Moms” Mabley, comedian Ethel Waters, actress, singer 1896-1977 Charles Gilpin, actor, singer 1878-1930 Adelaide Hall, actress, singer, dancer 1901-1993 Evelyn Preer, actress 1896-1932 Paul Robeson, actor, singer, activist 1898-1976

ACTIVISTS & SUPPORTERS · W.E.B. Dubois, Scholar, novelist, essayist, editor, 1868-1963 · Marcus Garvey, Activist - 1887-1940 · Charles Johnson, Scholar, editor, 1893-1956 · Alain Locke, Critic, philosopher, educator, 1885-1954 · Charlotte Mason, Philanthropist, 1855-1945 · Carol Van Vechten, Patron, photographer, novelist, journalist, 1880-1964 · A’lelia Walter, Heiress, hostess, patron, 1885-1931

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HARLEM HERO RESEARCH REPORT Hero’s Name

Picture

Birth, Early Years, Family

Artistic Work or Accomplishments Challenges

Web Links: Where to go to see more of this artist’s work.

3 Interesting Facts 1.

2.

3.

Researcher’s Name:

__________________________________________________________________

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RESPONDING TO THE POETRY OF LANGSTON HUGHES This section of the WITNESS Curriculum is comprised of three lessons: 1) Making meaning from the text of a poem using a language strategy 2) Interpreting/Translating the text of a poem through the arts 3) Listening and Responding to a musical arrangement of the poem “Dream Variations” Investigating and unraveling the meaning of a poem might seem mysterious and challenging. But there are tools to help us look closely at the text and determine what it might mean to us. This is worth learning to do because when we can find the heart and soul of a poem, we often find fragments of our own stories. The following lessons will help your students become fully engaged with “Dream Variations.” Teachers are also strongly encouraged to select a different Hughes poem and use this lesson multiple times.

In the first lesson, students are introduced to the work and invited to make meaning of the text using a Think Aloud strategy. Students craft a variety of creative interpretations of the poem in the second lesson.

Hughes selected the poems in this collection shortly before his death in 1967.

They represent work from his entire career.

The third lesson connects the poem to music they will hear at the WITNESS Young People’s Concert, a setting of “Dream Variations” composed by Margaret Bonds. Students will listen and respond to the music using the Descriptive Review Protocol.

KEY TERMS Think Aloud:

reading comprehension strategy where a reader monitors their thinking and verbalizes their thoughts aloud while reading

Book jacket:

also known as dust jacket; detachable outer cover, usually made of paper and printed with text and illustrations

Choreography: the sequence of steps and movements in dance Soundscape:

Combining spoken words such as a poem or story, with sounds from instruments, found sounds, or environmental sounds

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LESSON ONE: MAKING MEANING OF “DREAM VARIATIONS”

LEARNING GOALS Students will observe their teacher modeling the think aloud strategy. They will read a poem with a partner, applying the think aloud strategy to make their own connections, then capture their thoughts and meanings on a poetry organizer.

MATERIALS Chart or electronic image of “Dream Variations” or another poem; see p. 64 for additional Langston Hughes poems · Copies of the “Think Aloud Organizer for ‘Dream Variations’ by Langston Hughes” on p. 65 and the “Think Aloud Organizer for Understanding a Poem” on p. 67 · Pencils ·

AUDIO AND VIDEO · Margaret Bonds— Dream Variations fromThree Dream Portraits (classical song cycle, text by Langston Hughes; song cycle for piano and voice), 1959. · Rollo Dilworth—The Dream Keeper from Triology of Dreams · Rollo Dilworth—In Times of Silver Rain · Rosephanye Powell, To Sit and Dream

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INTRODUCTION Langston Hughes’ poems overflow with sound, color, imagery, and movement. They skillfully lead readers towards making connections with the words, phrases, and images chosen so carefully by the author – connections to a reader’s own experiences of living.

Helping students form a relationship with the text of a Hughes poem depends on being able to internalize the words. Readers must simultaneously read and think about the text. This dual process helps readers make meaning from what is on the page.

This goes beyond the ability to read the text fluently. It calls for students to actively engage “in asking questions, summarizing and synthesizing text, and identifying important ideas.” (Keene & Zimmerman 2007, p. 27). One approach to consider is the think aloud, where thinking is made visible as students read a text. This lesson will apply the think aloud strategy to “Dream Variations.”

PROCESS: MAKING CONNECTIONS TO THE POEM Prepare · Ask your Language Arts faculty if the think aloud strategy is used at your school and if students already understand the process. · In a think aloud, a reader demonstrates their active thoughts as they read, becoming more aware of all the connections and text triggers in their verbal and visual memories, emotions, and stored knowledge. · Practice the strategy before using it in class if it is new to you.

Read the material in the side bar, then select a poem. Pause after each phrase or sentence, and speak what first comes to mind about the text. What memories, images or connections are sparked by the words? What meaning are you making? · Here is a short Hughes poem for practicing a think aloud.

WINTER MOON

How thin and sharp is the moon tonight!

How thin and sharp and ghostly white Is the slim curved crook of the moon tonight!

1. Ask students if they have ever heard the term, think aloud, in Language Arts Class and provide a few minutes for students to tell you what they know in their own words. If this is a new idea, brainstorm what it might mean.

The Think Aloud Strategy 2. Tell them that a think aloud provides an opportunity to eavesdrop on someone’s thought processes. Demonstrate the think aloud with Winter Moon or another short poem you like.

Pause when a thought catches you, possibly at the end of each phrase, and describe the things you are thinking about and doing to make meaning: · Making connections to prior knowledge and/or experiences such as looking up at a full moon; recalling a painting of the moon you’ve seen; camping out in the woods; watching a moon eclipse; etc. · Having a sudden insight about the text · Visualizing the poem · Asking yourself a question (“I wonder…”) related to the poem.

You are not asking students to answer your comments and questions, just to observe how your brain is working in two channels: · Reading the text of the poem. · Simultaneously paying attention and talking about what you are thinking.

3. Display the poem, “Dream Variations,” and have students read it out loud. Pair students and give a copy of the organizer to each student. In pairs, they will read the poem and use the think aloud process with each other. They will: · Take turns reading sections of “Dream Variations,” then pause. · Think out loud about the thoughts that were brought up by the text; insights, connections to prior knowledge, questions, images, and experiences that relate to the poem.

The listening partner will also speak their own thoughts out loud. Both students take notes of what they were thinking on the organizer. · Partners then reverse their roles of speaker and listener and continue the process on the next lines of text. · Both partners summarize their comments on their own copy of the organizer and help each other remember some of the comments.

4. Reconvene and ask every student to share one think aloud response of their choosing as you move through the poem.

Collect their comments on a chart as a resource for the next lesson. Also collect the students’ copies of the worksheet promising that you will keep comments private. Return them to students after reviewing their work. Congratulate them for diving into the poem and thinking about it in a comprehensive way, making their own meaning of Langston Hughes words.

The think aloud has been described as “eavesdropping on someone’s thinking.” With this strategy, teachers verbalize aloud while reading a selection orally. Their verbalizations include describing things they’re doing as they read to monitor their comprehension. The purpose of the think-aloud strategy is to model for students how skilled readers construct meaning from a text.

Think-alouds | Reading Rockets www.readingrockets.org/ strategies/think_alouds

Dream Variations

By Langston Hughes

To fling my arms wide In some place of the sun, To whirl and to dance Till the white day is done.

Then rest at cool evening Beneath a tall tree While night comes on gently, Dark like me— That is my dream!

To fling my arms wide In the face of the sun, Dance! Whirl! Whirl!

Till the quick day is done.

Rest at pale evening . . .

A tall, slim tree . . .

Night coming tenderly Black like me.

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ALTERNATIVE LANGSTON HUGHES POEMS Dream Keeper Bring me all of your dreams, You dreamer, Bring me all your Heart melodies That I may wrap them In a blue cloud-cloth Away from the too-rough fingers Of the world.

I Dream A World I dream a world where man No other man will scorn, Where love will bless the earth And peace its paths adorn I dream a world where all Will know sweet freedom’s way, Where greed no longer saps the soul Nor avarice blights our day.

A world I dream where black or white, Whatever race you be, Will share the bounties of the earth And every man is free, Where wretchedness will hang its head And joy, like a pearl, Attends the needs of all mankindOf such I dream, my world!

To You To sit and dream, to sit and read, To sit and learn about the world Outside our world of here and now — Our problem world — To dream of vast horizons of the soul Through dreams made whole, Unfettered, free — help me!

All you who are dreamers too, Help me to make our world anew.

I reach out my dreams to you.

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In Time of Silver Rain In time of silver rain The earth puts forth new life again, Green grasses grow And flowers lift their heads, And over all the plain The wonder spreads Of Life, Of Life, Of life!

In time of silver rain The butterflies lift silken wings To catch a rainbow cry, And trees put forth new leaves to sing In joy beneath the sky As down the roadway Passing boys and girls Go singing, too, In time of silver rain When spring And life Are new.

The City In the morning the city Spreads its wings Making a song In stone that sings.

In the evening the city Goes to bed Hanging lights Above its head.

Dream Dust Gather out of star-dust, Earth-dust, Cloud-dust, Storm-dust, And splinters of hail, One handful of dream-dust Not for sale.

THINK ALOUD ORGANIZER FOR “DREAM VARIATIONS”

BY LANGSTON HUGHES You and your partner will read sections/phrases of “Dream Variations” and think out loud.

You will trade off reading and thinking aloud as you go through the poem. The first partner will read and speak a small section of the poem, then verbalize the ideas, memories, pictures, colors, thoughts and insights that are sparked by it. To save these thoughts, both the speaker and the listener will jot down their thoughts in the second column.

You can also sketch or draw your thoughts in the Thought Box.

Poem

Thought Box - Write your thoughts here

To fling my arms wide In some place of the sun, To whirl and to dance Till the white day is done.

Then rest at cool evening Beneath a tall tree While night comes on gently, Dark like me— That is my dream!

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To fling my arms wide In the face of the sun, Dance! Whirl! Whirl!

Till the quick day is done.

Rest at pale evening . . .

A tall, slim tree . . .

Night coming tenderly Black like me.

Name(s): _________________________________________________ Date: ________________

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THINK ALOUD ORGANIZER FOR UNDERSTANDING A POEM You and your partner will read sections/phrases of one of the alternative Langston Hughes poems and think out loud. You will trade off reading and thinking aloud as you go through the poem. The first partner will read and speak a small section of the poem, then verbalize the ideas, memories, pictures, colors, thoughts and insights that are sparked by it. To save these thoughts, both the speaker and the listener will jot down their thoughts in the second column. You can also sketch or draw your thoughts in the Thought Box.

Poem

Thought Box - Write your thoughts here

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Name(s): _________________________________________________ Date: ________________

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JAZZ POETRY Langston Hughes loved jazz!

His love of jazz is evident in his poems.

They are often described as Jazz Poetry.

Hughes explained that jazz and the blues were unique African American art forms that express and rejoice in their heritage and creativity and reject “the desire for assimilation and acceptance by white culture.”

Hughes and other poets infused jazz into their words, weaving its syncopated rhythms, repetitive phrases, forms (such as call and response and 12-bar blues), and the loose, swinging phrases that echoed jazz improvisation, into their works. In 1927, Hughes wrote “The Weary Blues,” a poem that is pure jazz. Here are the opening phrases. As you read out loud, add a loose, jazz swing to your voice.

“Droning a drowsy syncopated tune, Rocking back and forth to a mellow croon, I heard a Negro play.

Down on Lenox Avenue the other night By the pale dull pallor of an old gas light He did a lazy sway . . .

He did a lazy sway . . .

To the tune o’ those Weary Blues.”

Hughes loved sound of jazz so much that in 1955, he wrote a book for children so they could also come to love this music, The First Book of Jazz. His book outlines the roots of jazz: Africa, New Orleans, work songs, jubilees, blues, and ragtime, and deconstructs the key elements of jazz for younger readers.

LESSON TWO: INTERPRETING/TRANSLATING “DREAM VARIATIONS” INTRODUCTION Students will take ownership of the poem through original creative responses to Hughes’ words. “Dream Variations” is the focus for creative thinking as student interpret and translate Hughes words into various art form projects. Interpreting and translating a poem

by Langston Hughes via an artistic response provides students an opportunity to figure out how to develop something that is tangible, creative, hands on, and an interesting way to “show what they know.”

When learners interpret and translate via the arts, they are working on multiple aspects of the Create & Respond Processes including “how the parts work together to create a whole and develop meaning” (Engaging Activities in the Arts, Perpich Center for Arts Education, 2011).

LEARNING GOALS Students engage in creative responses to “Dream Variations” through music, dance, visual art, or drama. Their work provides evidence of what they know and understand about the poem and their ability to interpret or translate one artistic work through another.

MATERIALS · Space in which to work in their groups · Copies of the organizers/notes for each group · Sonic Poetry: a variety of instruments which might include classroom percussion instruments, invented instruments, found sound objects, and band/instrument that group members play; space where sound can be made · Dramatic Reading: space for moving and speaking · Choreograph a Movement Sequence: Poem on large chart paper; markers for taking notes on the chart; clear, open space for movement · Collage Poster of a Book Jacket: arts materials as suggested; work space with tables and chairs

SOURCES en.wikipedia.org/wiki/Jazz_poetry “Jazz Poetry” on Wikipedia poetryfoundation.org/articles/69394/jazz-as-communication “Jazz as Communication” and essay

by Langston Hughes.

AUDIO AND VIDEO EXAMPLES · See examples listed in Lesson One: Making Meaning of “Dream Variations” on pg. 62

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PROCESS In Preparation: · Select one or more projects from the four included in this lesson for your students, those that address your learning goals, resources, and time. The ideas and processes within each are only suggestions. · Teachers and students can alter projects to reflect their own creative responses to the poem. · Determine logistics: how you will form working groups, where they will work, and how much time needed to accomplish their plan. · Consider talking to staff in other learning areas about this project to find out if and how it might match and meet standards in other disciplines such a music, language arts, etc. · Think about whether projects can be completed by students on their own time.

1. Before the actual work begins, introduce the “next step” activity to students. They will work on a project to deepen their understanding of Langston Hughes’ poetry by translating and interpreting his words through a different art(s) area.

2. Briefly describe the project(s) you’ve selected for students. Discuss the logistics of where they will work, what they will do, when and how they will do it, and what they have for materials and resources. Some projects need resources beyond what you or your school can supply. As soon as they know which project they will work on, students can begin to collect materials they need.

3. Read through the steps on the organizer for each group prior to starting the work.

Below are detailed descriptions of the four projects.

ONE: CREATE A POETRY SOUNDSCAPE Students will use a variety of sound makers to create a sonic accompaniment for the spoken poem. They will need: · Copies of the organizer which includes the text of the poem -70-

·

·

A variety of a) classroom percussion instruments, b) found sound objects, c) band/orchestra/other instruments that students play, and d) mouth sound (other than singing) and body percussion A space in which to experiment and feel free to make sounds

Steps in the Process: 1. Review the process suggestions on the organizer. Appoint at least one scribe to document the work, write down the sound choices, and summarize the final “score.”

2. Recite the full poem in a moderate tempo to begin thinking about where they imagine sound for the words.

3. Work through and read the poem line by line and begin playing and adding sounds they think connect to and illuminate the text and mood of the poem, as well as the sound and feeling of the words. They can collaborate by playing their ideas for each other and getting feedback from the group. They work through the poem as they experiment with sounds.

4. They will assess what they’ve created and may narrow down the sounds they like the best and set others aside.

5. The scribe may need a reminder to write down the ideas the group likes best.

6. Overall, encourage working in areas related to music performance. They can determine: · Where a specific sound best fits the words. · Which sounds for which words should be played with louder or softer dynamics; changing dynamics; a loud accent · The tempo or speed of the poetry and the sounds · The ways to articulate their playing and reading: should the sound/poetry be smooth (legato) or snappy and detached (staccato) or strong and accented · How much texture they want. Are there places where just a few sounds should stand out? Places where they want many layers of sound?

7. The group should select a reader or small group of readers and assign instrument players to their parts of the soundscape.

Scribe captures in writing.

8. The readers speak the poem with the sounds woven through until the group can do it well and without hesitation. They are ready to perform for the class.

9. Document your work with audio or video recording.

EXTENSIONS:

· Play the soundscape twice; the first time with readers speaking the poem; the second time playing only the sound colors or patterns in sequential order. · For a deeper experience, the students from the Soundscape group can be paired with the Choreography group and brainstorm how they can work on a performance together. · Some or all the group members might want to take the challenge of writing a song for the text. Might be an out of class challenge that’s shared in class.

4.

5.

6.

TWO: ARRANGE A THEATRICAL READING Students will plan a dramatic reading of the poem. Though similar to Readers’ Theater, the dramatic reading provides more freedom to improvise and create an original interpretation.

Students will need: · Multiple copies of the project organizer which includes the text of the poem · Space to speak, read aloud and move around

7.

Steps in the Process: 1. Students read the poem together, then examine the text to make initial suggestions about key words and phrases and how they might be delivered.

2. Speak the poem line by line, as the group tries out alternate ways to deliver the phrases/ words. They might: · Play with the texture. Decide who speaks the line or phrase: one voice, a few, many voices. · Think about speaking the 2 parts of the poem as 2 different characters, changing the voice groups to do this.

3. Imagine who is speaking. Think about characters and practice delivering the words as an actor, a preacher, as Martin Luther King Jr., a wise

9.

8.

professor, a quiet spirit, a rapper would speak them. · Speak will energy, and confidence, even in the quiet parts. Remember that the words must be heard in a performance.

Consider rhythmic elements as they speak.

Will it have a single rhythmic flow? Or where there be pauses and places that are faster and slower?

Discuss how they might vary the tone of their voices by: · Changing the pitch of their voice: higher or lower · Changing dynamics from phrase to phrase or within a phrase” louder, quieter, forcefully, gently, etc. · Varying the articulation of the words: smoothly, forcefully, accents on some words · Repeat certain words or phrases as echoes or to reinforce the text · Alter the texture by using both groups, and solo voices to speak the text Remind the scribe and other group members to write down ideas on the organizer.

Review ideas and decide which to keep and which to delete. · Determine who is going to read which lines.

Consider where each speaker will stand, whether simple movements can be added, and how to remind each other to speak out in full voice. · Rehearse several times to achieve a smooth performance.

Document the work with at least one copy of a completed planner and an audio or video recording.

EXTENSIONS:

·

·

Find other poems that a group might want to work on, perhaps from other Harlem Renaissance authors or other Hughes’ poems.

Use the challenge of arranging a theatrical reading in future lessons where students are closely examining a text. Or could a set of scientific concepts or a math formula become a spoken work piece?

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THREE: CHOREOGRAPH MOVEMENT FOR A LANGSTON HUGHES POEM Students will choreograph a movement sequence based on their interpretation of a Langston Hughes poem. They will need: · a copy of the poem on large chart paper and several sheets of blank chart paper · markers for note taking · a clear, open space in which to move Steps in the Process: 1. Begin with stretches and reaches to warm up muscles.

2. As a group, read the poem slowly and thoughtfully, perhaps trading the role of reader. · Select one reader as “rehearsal” reader; the reader will also move. (An option might be to choose two readers who can switch.) The reader speaks the poem’s text slowly as the group experiments.

3. Think about unison and non-unison movement, using solo, duets and trios, and variations on who is moving.

4. It is okay to with start from the beginning or from the middle outwards if one or more group members already have great ideas for various parts of the poem. · Reader speaks the phrases expressively, as movers experiment. · Trade ideas and try out each other’s suggestions and experiment as a group. · Work on connecting your movements from phrases to phrase.

5. Remember to write down what your group liked on the charts. Written ideas can always be changed or amended. Make sure group members can see the charts.

6. Work together to make the sequence of movements flow from one to the other seamlessly; practice until they fit together.

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7. Continue with all the poetry phrases.

Remember to: · Always read the text out loud so movement is always connected to the words. · Try out ideas, then select the movement that best fits the wishes of the group. · Return often to movement phrases already in place and rehearse your way forward to make smooth transitions through the sequence of the piece. · Jot down a short description of your selected movements to keep a record of what you are doing for each segment of the poem.

8. Rehearse the whole sequence of movements with the speaker several times to put it into your body memory.

9. Consider asking someone from another group to speak the text. Or partner with the group working on the Theatrical Reading and rehearse together. Document your work via video.

EXTENSIONS:

· ·

Find other poems that a group might want to work on, perhaps from other Harlem Renaissance authors or other Hughes’ poems.

Use the challenge of choreographing in future lessons where students are closely examining a text and think beyond Language Arts. Movement could be created for a set of scientific concepts or a math formula.

FOUR: DESIGN THE COVER FOR A BOOK DUST JACKET Students will design and execute a book dust jacket for a new publication of Langston Hughes poetry. The new book features his many poems about DREAMS. The title is Dream Variations, after the lead poem in the collection. The publishing company is a non-profit organization with a limited budget. The visual artist(s) will create the design and execute a mock-up of the front and back cover of a book jacket pro bono.

(Pro bono is a Latin phrase that means professional work undertaken voluntarily and without payment.)

Note: The project is best executed by individuals or in partners. Several students can work on the project, and perhaps pool some of their ideas even though they will each complete the project.

Students will need: · Copies of the Template for a Book Dust Jacket Project that outlines the task, on p. 77 · Copy of “Dream Variations” poem · Paper for drafts and clean large sized paper for final dust jackets · Arts supplies: glue sticks, scissors, markers, chalk, rulers, pencils, etc. · Other dream related poetry (web search or see page 64) · Books with book jackets to examine from classroom or school library

Steps in the Process: 1. Set up the premise of the purpose of the poster – a pro bono book jacket (front and back covers) for a small publishing company.

2. Read the list of what to include from the planner.

3. Read “Dream Variations” more than once and brainstorm ideas for both covers.

4. Sketch out ideas on the draft paper that convey the desired content. · If you are working with others, bring your ideas to the group for feedback. · Think about key images, shapes, colors, selected words for the cover, lettering, and layout.

5. Look at each other’s work to see get other ideas. It’s also fine to share the biography text and other snappy sentences people are creating.

6. After completing a sketchy draft, refine your book jacket as you transfer to a final copy on a sheet of sturdy paper.

7. Exhibit the covers; describe your work to the class.

8. Document your work with photographs.

EXTENSIONS:

· Students in this group can plan an exhibit of the book covers in the school Media Center and include some existing books of Langston Hughes poetry. · Re-use this lesson when studying other authors in the future.

Another option is to use the software at readwritethink.org/parent-afterschool-resources/ games-tools/book-cover-creator-a-30233.html to create individual book jackets.

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PLANNER FOR A SOUNDSCAPE OF “DREAM VARIATIONS” Will you make up an introduction?

Describe it here.

Lines of the Poem Who will read?

Describe Your Soundscape Ideas Sounds/how they’ll be made & who will play them/special effects/etc.

To fling my arms wide In some place of the sun,

To whirl and to dance Till the white day is done.

Then rest at cool evening Beneath a tall tree While night comes on gently, Dark like me— That is my dream!

To fling my arms wide In the face of the sun,

Dance! Whirl! Whirl!

Till the quick day is done.

Rest at pale evening . . .

A tall, slim tree . . .

Night coming tenderly Black like me.

An ending (coda) Write group names on the back of this page.

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PLANNER FOR ARRANGING A THEATRICAL READING Choose a scribe. Write down your ideas. PRACTICE until you can easily speak your lines.

2. Speak the poem together several times. As you repeat phrases and words, play with the sound of your voices. Think of these choice as you try various ideas.

1.

Who will speak? 1 voice; more than one? Any sound effects?

Speak the poem in a rhythmic way? Chant it as in a rap?

How Loud? Soft? Changing dynamic Fast? Slow? Gradually levels? Whispering? Shouting? increasing the speed?

Slowing down?

How will you vary the texture?

Higher, lower speaking Echoes? Overlapping? Repeated voices? words? More /fewer voices?

Introduction: Will we have one? What will it sound like?

Text of the Poem

What Will We Do?

To fling my arms wide In some place of the sun,

To whirl and to dance Till the white day is done.

Then rest at cool evening Beneath a tall tree

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While night comes on gently, Dark like me—

That is my dream!

To fling my arms wide In the face of the sun,

Dance! Whirl! Whirl!

Till the quick day is done.

Rest at pale evening . . .

A tall, slim tree . . .

Night coming tenderly Black like me.

Group Name(s): ____________________________________________ Date: ________________

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Draw a logo for the publishing company

Imagine you are someone important such as a professor or a fellow poet.

Make-up a short book review about why this book is so good.

Title Author Publishing Company (Smaller font)

Publisher

Author

Book title

An image: original art, photograph plus design

(all in larger size font)

Author’ Name

(and subtitle if you have one)

Book Title

(This is the most fun to design!)

Front

One or two SHORT paragraphs

Write information about the poems, something that will make readers want to open the book

Inside Front Flap

1. Look at other books of poetry or fiction to get some ideas.

2. Your teacher will give you materials from the WITNESS Teacher Resource Guide for biographical information on Hughes, information about his poetry, and other useful details.

3. Search the web if you want more information and ideas.

4. Use the blank version of this template to sketch up a draft of your ideas.

5. Transfer the blank template on p. 78 to a fresh piece of paper for your final copy. Feel free to enlarge the template to the size of an existing book. When complete, cut it out and fold it for its full effect.

6. You can also work on this project using an online template at readwritethink.org/parent-afterschool-resources/games-tools/book-cover-creator-a-30233.html.

Publishing Company – make up a name location.

Use information from WITNESS materials

Author’s name Short Author Biography (2 or 3 sentences)

Inside Back Flap

Back

TEMPLATE FOR A BOOK DUST JACKET PROJECT

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Name(s): _________________________________________________ Date: ________________

BLANK TEMPLATE FOR A BOOK DUST JACKET PROJECT

ASSESSMENT SUGGESTIONS The work generated by the think aloud organizers provide informal evidence of student thinking and the ability to frame thoughts and questions. Student comments and conversations can be informally assessed.

The projects in Lesson Two lead to performances and exhibitions. They all provide concrete evidence of learning. Document the evidence through photographs and video. Prepare teacher generated checklists for assessing completed projects. The performances can also be assessed by peers.

Or videotape their project work and view at the next class. Use the think aloud strategy for students to self-assess and to comment on each other’s work.

EXTENSION ACTIVITIES

· Students can read other short Hughes poems and apply the think aloud strategy on their own. Ask that they jot down their stream of thought as they read, and share the poem and their response to it with you. · Transfer the think aloud to examining the lyrics of new songs. As they read the lyrics and comment, document their comments.

Use the chart of comments as a prompt when you ask students to write a description of the song, or one paragraph program notes.

After they know the piece well (after a performance, perhaps) they can compare their first impressions with what they now think about a song’s meaning. · Present students’ work to an audience.

(Another classroom, younger students, Parents’ Night?) · Ask students to brainstorm other ways they could interpret/translate Hughes’ poetry?

(Write a poem to respond to a poem? Design a set for the “Dream Variations” dance?

Create a photographic montage?) Suggest that they work independently on one of these ideas as an out of class project.

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LESSON THREE: “DREAM VARIATIONS” AND MARGARET BONDS

LEARNING GOALS After participating in a collaborative process to describe the song, students will discuss and write a rationale for how Hughes’ poetry and Bonds’ music are connected.

MATERIALS · Chart paper and markers · Recording of “Dream Variations” · Words to Hughes’ “Dream Variations” posted on wall or board · Information about Margaret Bonds, on p. 83 AUDIO AND VIDEO · Margaret Bonds— Dream Variations fromThree Dream Portraits (classical song cycle, text by Langston Hughes; song cycle for piano and soprano), 1959.

RESOURCES For more information about Descriptive Review, visit the Perpich Center website, p. 133 of the Artful Teaching & Learning Handbook, perpich.mn.gov/files/artful_ HANDBOOK6_7.pdf.

INTRODUCTION Langston Hughes’ poems have inspired the work of many composers, visual artists, and choreographers. In this lesson, students will hear the second movement from a set of songs, Three Dream Portraits, by Margaret Bonds. The lyrics of this song is Hughes’ poem, “Dream Variations.” Students will respond to the song using the Descriptive Review Protocol without knowing that song text is a poem they already know. The Descriptive Review Protocol is a process that helps students develop: thinking skills, spoken and written language literacy, music literacy, collaborative skills, and an environment for respectful dialogue.

PROCESS 1. Students will listen to a recording and explore the piece using the Descriptive Review protocol.

They will: · Listen and think about the music and the words they can use to describe it. Because their responses are important, their comments will be collected on a chart. · Describe the music without judging it, refraining from evaluating both the music and other student’s descriptions.

This is always an interesting challenge and learning curve. · Pay attention to other responses because they can spark more ideas about the musical details of the piece.

The challenge is to listen very closely and describe what they hear without making judgements.

The facilitating teacher records student responses, and does not make comments about what students say or impose their own thoughts and ideas.

2. Post the first question on the board/screen/top of the chart paper.

What do you notice about this music? What’s going on? · Play the recording then repeat the question. As students respond, write comments on the chart. · Play it again, asking: What else do you notice?

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· RESIST the urge to tell them that the song lyrics are the words of “Dream Variations.” That is a discovery they should make. · If students veer off into personal opinions (judgements), or memories, metaphors, and stories, remind them to stay with describing. Their opinions will emerge, but can be redirected with this question: What did you hear that made you say that? It usually helps move them back to describing.

3. When comments taper off, ask the second question: QUESTION: What questions do you have about this music? (I wonder…?)

Add questions to another part of the chart.

4. The third step is to make meaning by speculating about what they hear and think were the composer and performers’ intentions: the why, where, who, and how. Here is the Descriptive Review question: SPECULATE: What meaning or understanding is intended or conveyed by this music? (What does the composer and/or performer(s) want you to know, feel, understand?) · That is a big question with which to grapple. Instead, break it down into more specific question. For example: 1) Why do you think Margaret Bonds wanted to write a song for this Langston Hughes’ poem?

2) For you, what aspects of the song fits well with the poem?

3) Do you think the music and the poetry are well matched?

Why or why not? · Direct students to discuss these questions in partners. · Reconvene the class and ask partners to comment on their responses to the speculative questions.

Modify the Descriptive Review Process for Younger Students 1. Make sure the words to “Dream Variations” are visible (board, wall chart, of electronically) but do not call their attention to them.

2. Simplify the Descriptive Review process by focusing on their descriptions of the song. Ask this question:

KEY TERMS

· Descriptive Review Protocol: a facilitated conversation following agreed upon guidelines · Speculate: to think about something and make educated guesses about it · Collaborate: to work together on a project · Judgement: to hold an opinion or reach a conclusion MORE TIPS FOR USING DESCRIPTIVE REVIEW: · DO NOT edit student responses without asking permission. If you rephrase when writing a response, check with the responder. · Refrain from explaining the music, but ask clarifying questions.

What did you hear that made you say that?

· If a student repeats a comment, add a check to the first iteration. · Do not ask leading questions or complete student comments with “teacher words.”

What’s going on in this music?

Describe what you notice.

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3. Ask students to respond by going around the circle. They can respond, pass, or agree with a prior response. Write responses on the board or a chart. For a duplicate response, make a check. If they move into opinions, stories, or memories, redirect them with the questions,” but what did you hear that made you say that?”

If they run out of steam, ask prompting questions such as: · What did you notice about the instrument?

What instrument did you hear? · Who was singing?

One person? A group of people? · What did you notice about the words of the song?

Someone will likely notice that they’ve already heard these words in a poem by Langston Hughes.

4. Ask for student volunteers to read the comments out loud.

Ask if there are any questions about the music?

Tell students that Margaret Bonds, the composer, was a friend of Langston Hughes.

In pairs, ask students to SPECULATE about why they think Margaret Bonds chose to write music for this Langston Hughes poem.

ASSESSMENT SUGGESTIONS The descriptive chart provides evidence of the groups’ ability to analyze and describe what they hear in the music. The responses to the speculative task provides evidence of student’s ability to synthesize and make meaning from a musical work.

EXTENSION ACTIVITIES

· In the music classroom, use the students’ descriptive language as a word bank for an assignment of writing program for the piece. · Use the Descriptive Review Process with other music, or art works, diagrams, etc. The questions provide a good tool to use with younger students to examine book illustrations, what they see on a field trip, and what they notice in an experiment. For older students, thinking in these questions sets up a great set of Habits of Mind.

MINNESOTA ACADEMIC STANDARDS CONNECTIONS ENGLISH LANGUAGE ARTS: Speaking, Viewing, Listening and Media Literacy: Comprehension and Collaboration Standard 2: Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.

READING: (Key Ideas and Details) Standard 1: Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.

WRITING: Research to Build and Present Knowledge Standard 9: Draw evidence from literary or informational texts to support analysis, reflection, and research.

ALL ARTS: Artistic Process: Perform Standard 1: Perform or present in a variety of contexts in the arts area using the artistic foundations ALL ARTS: Create or Make Standard 1: Create or make in a variety of contexts in the arts area using the artistic foundations ALL ARTS: Respond or Critique Standard 1: Respond to or critique a variety of creations and performances using the artistic foundations

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MARGARET ALLISON BONDS Margaret Allison Bonds was born in Chicago on March 3, 1913.

Her father was a physician and her mother was a music teacher and organist. Bond’s parents separated when she was very young, so she used her mother’s maiden name throughout her career.

Growing up in Chicago, Bonds met and heard many of the African American musical celebrities and personalities of the day, for they were also her mother’s friends. Margaret composed her first piece when she was five years old. In high school, she studied with composer, Margaret Price, and composer-conductor William Dawson, both celebrities in the world of African American concert music.

After high school graduation, Bonds attended Northwestern University. Though she received both bachelors and master’s degrees from Northwestern, she was not allowed to live on campus or take part in most campus activities. She won early recognition as a composer before her 20th birthday when she was awarded third place in a national competition, the Wanamaker Foundation Prize.

Her piece was for a song for voice and piano called “Sea Ghost.”

Another “first” for Bonds was he solo performance with the Chicago Symphony Orchestra, the first African American soloist to perform with that orchestra.

Bonds continued her active career in music, touring as a soloist, accompanying other artists on piano, composing popular songs and musical theater scores, teaching composition and piano, and opening a music and dance school, the Allied Arts Academy, for African American school children of Chicago. She eventually moved to New York and studied composition at the Juilliard School of Music. She collaborated with Langston Hughes on several projects. Her compositional style was a traditional sound laced with jazz harmonies and rhythms. Music historian Eileen Southern said that Bonds “wrote in a neoromantic style that was subtly infused with jazz and Negro folksong elements.”

Bonds married Lawrence Richardson in 1940; they had one daughter. She died in 1972, in Los Angeles, CA.

TIMELINE FOR LANGSTON HUGHES POETRY 1913

1920

1926

1932

1959

Margaret Bonds born

Langston Hughes born

“Dream Variations” published in The Weary Blues

Langston Hughes wrote poem “Dream Keeper”

Margaret Bonds composes Three Dream Portraits for Voice and Piano

Langston Hughes wrote poem “I Dream a World”

Margaret Bonds

Advertisement for a 1952 concert featuring Langston Hughes, Margaret Bonds, and Dan Andrews, sponsored by the Cleveland Folk Arts Association.

SOURCES ·

encyclopedia.com/history/ historians-and-chronicles/historians-miscellaneous-biographies/ margaret-bonds#2874100016

·

scribd.com/document/150922224/ Margaret-Bonds-and-ThreeDream-Portraits Essay by Nicole Hunt

·

chevalierdesaintgeorges.homestead.com/bonds.html

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LESSON PLAN: RENAISSANCE REBORN: THE LEGACY OF THE HARLEM RENAISSANCE LEARNING GOALS Students will compare and contrast the poetic ideas of Langston Hughes and the late rapper Tupac Shakur, which will help them appreciate the influence that the Harlem Renaissance has had on the African American cultural landscape of today. Students will also be challenged to investigate today’s artists to uncover further examples of the Harlem Rennaissance’s enduring legacy that blossomed in New York and other metropolitan areas some ninety years ago.

The cultural movement that came to be known as the Harlem Renaissance celebrated African American self-expression and self-determination. Through literature, visual art, music, dance, theater, and scholarship, Blacks smashed stereotypes, exposed racial injustice, innovated musical Harlem Kids Break Dancing, c. 1980s sounds and artistic movement, and contributed powerfully to the character of the “Roaring Twenties”. Additionally, those artists and scholars laid the foundation for later African American cultural awakenings.

MATERIALS

KEY TERMS

· Renaissance Reborn PowerPoint · Dreams – Deferred but Determined Worksheet · Spoken Word Poem Worksheet · Harlem Renaissance Legacy Research Worksheet

INTRODUCTION

Legacy:

Something received or learned from, or influenced by, a person, group, or event in the past

Deferred:

Put off to a later time

Blues

A musical form of Black American origin that usually expresses sadness, regret, pain, etc.

Jazz:

A type of music of Black American origin that uses improvisation, forceful rhythm, and syncopation (the emphasis of the weak beats in musical phrases)

Improvisation:

Inventing music during the course of a performance as opposed to playing what is written

Spoken Word:

A poetic art form that is created to be performed and listened to rather than to be read

Inspire

To influence another person to feel or desire something; to motivate another to have an ability to do something

AUDIO · · · ·

Tupac Shakur: Changes Chance the Rapper: Blessings (with Jamila Woods & Byron Cage) Frank Ocean: Strawberry Swing Kendrick Lamar: Love (lyrics may be suggestive, but not explicit)

VIDEO · Langston Hughes, The Weary Blues · Tish Jones: Tracks · Chadwick “Niles” Phillips: The Real for Real · Tupac Shakur: The Rose that Grew from Concrete (discussion) -84-

TIMELINE 1929

1931

1940s-1950s 1969

1975

Stock market crashes; the Great Depression begins; First Great Migration ends

Arna Bontemps publishes God Sends Sunday (considered the final literary work of the Harlem Renaissance)

Rock and Roll music (influenced by the blending of blues, gospel, and spirituals) emerges

Author The Alice Sugarhill Walker Gang writes the releases article In “Rapper’s Search Delight”, of Zora which first Neale popularizHurston es hip-hop

Michael Jackson (with the Jackson 5), win “Amateur Night” at the Apollo Theater in Harlem

1979

1984

2010

August Wilson’s play Ma Rainey’s Black Bottom opens on Broadway

Kendrick Lamar releases his first commercial album Overly Dedicated

2016 Beyoncé releases the visual album Lemonade (described by one writer as reading “like Harlem Renaissance poetry”.)

PROCESS 1. “Legacy”  Have SLIDE 1 of the Power Point displayed as students enter. To begin, show SLIDE 2 which displays the word “Legacy”.  Ask for definitions and discuss the term.  You might go back and forth between slides 1 and 2 as part of the discussion of “legacy”. o Explain that the second image is a 1958 black-andwhite group portrait of 57 famous jazz musicians, photographed in Harlem. The title of the photograph is: “Great Day in Harlem”. o Explain that the first image is a 1998 group portrait of over 200 old and new school hip hop artists. The newer photograph pays tribute to the earlier one, just as the musicians in the later photograph showed respect to those musicians of the past, whose influence is still felt today.  Explain that they will be investigating the legacy of the Harlem Renaissance.

2. Dreams – Deferred but Determined  Divide students into small groups and give each group the Dreams – Deferred but Determined Worksheets.  Have student groups analyze Hughes’ poem “Harlem”.

SLIDE 3 o What dream is he writing about? o What are the different responses to disappointment that Hughes writes about? o How do you handle disappointment? o Have students come up with other responses to disappointment; can they add them to Hughes’ poem in a way that reflects his poetic style?

Wall Art in Harlem

HARLEM

By Langston Hughes

What happens to a dream deferred?

Does it dry up like a raisin in the sun?

Or fester like a sore— And then run?

Does it stink like rotten meat?

Or crust and sugar over— like a syrupy sweet?

Maybe it just sags like a heavy load.

Or does it explode?

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 Ask students if they think the dream of equality

and justice have been totally achieved, or is the dream still deferred? Why do they feel as they do?

3. Tupac Shakur  Ask students if they have heard of Tupac (2Pac).  Brief biography SLIDES 4-6 o Born Lesane Parish Crooks in Harlem, New York, on June 16, 1971. o Mother – Alice Faye Williams – changed her name to Alfeni Shakur after becoming involved in the Black Panther Party and renamed her son as Tupac Amaru. o At age 13, Tupac appeared in the play ‘A Raisin in the Sun’ at the Apollo Theater, playing the role of Travis Younger. o Alfeni, Tupac, and his sister Sekiya, moved to Baltimore, Maryland, where Tupac enrolled in the Baltimore School for the Arts, then to Marin City, California. o By the age of 17, he was a prolific writer of poetry and began to pursue a career in the world of Hip Hop. He made his recording debut in 1991. o Within a few years, Tupac was a successful rap artist and actor. o Though he publicly promoted a gangster lifestyle, at the same time he was privately financing an at-risk youth center and had set up a telephone help line for young people. o In 1996, after attending a boxing match at a hotel in Las Vegas, Tupac was involved in a fight of his own with a member of the Crips gang. o Later that evening, Tupac was riding in a car with a friend, who was a member of the rival Bloods gang.

While stopped at a red light, another car pulled up alongside them, a man got out and fired 13 shots at Tupac and his friend. Tupac died six days later.

He was 25 years old. o In 1999, The Rose That Grew from

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Concrete, a collection of his poetry (written between 1989 and 1991) was published.  Have students analyze Tupac’s poem “The Rose That Grew from Concrete”. SLIDE 6 o What does the rose in the poem symbolize? o What does the concrete symbolize? o What is the importance of the rose “keeping its dreams”?

THE ROSE THAT GREW FROM CONCRETE

By Tupac Shakur

Did you hear about the rose that grew from a crack in the concrete?

Proving nature’s law is wrong it learned to walk without having feet.

Funny it seems, but by keeping its dreams, it learned to breathe fresh air.

Long live the rose that grew from concrete when no one else ever cared.

4. Have students compare the Hughes and Shakur poems.

SLIDE 7 What common words or ideas are expressed?

5. From Jazz and Jazz Poetry to Spoken Word  Jazz and Jazz Poetry SLIDE 8: o History: · Jazz music has its origin in Blues music, which often had the themes of suffering heartbreak and injustice. Jazz, however, frequently evoked the feeling of going beyond the suffering and overcoming the pain. · Jazz music stretched and played with rhythm and repetition.

Improvisation [creating or making up music as you play] was also a key element. · Poets like Langston Hughes used the rhythms and repetitive phrasing of blues and jazz music in his writing.

Gil Scott Heron, Vinyl Album

 Spoken Word SLIDE 9: o History: · Gil Scott-Heron (seen by many to be one of the founders of rap music), used elements of jazz poetry in his spoken-word recordings in the 1970s and 1980s. · Spoken-word poetry is meant to be performed rather than read and often discusses themes of social justice, race, and community. · As in jazz and jazz poetry, rhythm, repetition, and improvisation are key elements of spoken-word poetry. o Give each student a SPOKEN WORD POEM WORKSHEET and help them create their own spoken word poems that they will practice and perform for each other. o Tips for creating spoken word poetry SLIDE 10: · Choose a subject and have attitude.

[Express your opinion about something, show your unique viewpoint; have confidence in yourself and your ideas.] · Use poetic elements. [Repetition of a key words or phrases; Rhyming that is innovative and not obvious · Performance. [Spoken word poems are written to be performed. Practice enough so that, as you perform, you can look

at the audience, speak loudly, and use facial expressions and gestures.] · Memorization. [Allows you to concentrate on the meaning and emotion behind the poem.] · Freestyle. [Be ready to improvise, one of the most important elements of spoken word, especially if you forget a word] o NOTE: The performance of these spoken word poems can be done either in class or in conjunction with other participating classrooms in an assembly or concert setting. o Also, let students know that there are places in Minnesota that encourage young spoken-word poets.

[See Resources.]

Welcome to North Minneapolis Mural

6. Modern-Day Renaissance:  Tell students that the legacy of rebirth can be seen in various African American communities throughout the country, including in Minnesota  African American artists are performing, thriving, and innovating in the State.  One example of this is the New Griot’s Festival SLIDE 11: o Founded in 2015 and created to connect emerging Black artists o An article on the festival in the Star Tribune called it “a festival for the New Black Renaissance”. o In 2017, the festival was held at the Guthrie Theater in Minneapolis.

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7. Tell students that “rebirth” has also been happening for different communities and neighborhoods:  Remember Rondo SLIDES 12-15: o The Rondo neighborhood was split down the middle by the construction of Interstate 94 in the 1950s and 1960s. o An estimated 600 homes and 300 businesses were removed. o In 1983, the first Remember Rondo Days festival is held to celebrate the history of the neighborhood o The Rondo Commemorative Plaza is in the planning stages for construction in the Rondo neighborhood  North Minneapolis SLIDES 16-17: o Statistics:  85% of the population are minorities  51.5% are below the poverty threshold  Almost 40% of residents have not graduated from high school o Over the years, various organizations have partnered with Northside groups and community leaders to revitalize the neighborhood. o Example of progress:  Hawthorne EcoVillage:  Northside Achievement Zone 8. Harlem Renaissance Research Projects SLIDE 18:  Having explored the connection between Langston Hughes and Tupac Shakur, have students research other contemporary writers, artists, performers, scholars, etc. who exemplify the legacy of the Harlem Renaissance.  Challenge students to be creative in how they do their research. o Help them think of key words to use when doing Internet searches o Encourage them to follow those internet searches through several layers to find connections that are not so obvious. o Also encourage students to explore local Twin Cities-based writers, artists, poets, scholars, musicians, etc. who exemplify the legacy of the Harlem Renaissance.  Have students use the HARLEM RENAISSANCE LEGACY RESEARCH WORKSHEET for their report and for sharing with the rest of the class.

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MEET DONTE COLLINS Donte Collins is a poet. Born in Chicago Heights and raised in Saint Paul, Minnesota, Donte began performing poetry in elementary school and has since earned international recognition. Named the first Youth Poet Laureate of Saint Paul, Minnesota, Donte is the author of “Autopsy” (Button Poetry, 2017) and winner of the 2016 Most Promising Young Poet Award from the Academy of American Poets.

Collins is the recipient of the 2016 Mitchell Prize in Poetry and studies at Augsburg College. Donte an alum of TruArtSpeaks, a non-profit arts organization based out of the Twin Cities cultivating literacy, leadership and social justice through the study & application of Hip Hop culture. Visit dontecollins.com to learn more!

MEET TISH JONES A poet and emcee, Tish Jones speaks to communities about controversial topics through her lyrical art. Inspired at an early age, her love of people and her pursuit of truth have made her a vital part of the Minneapolis arts scene. The founder, executive, and artistic director of a developing non-profit arts organization called TruArtSpeaks, Tish teaches performance art and creative writing in schools, libraries, art centers and prisons throughout the Twin Cities. She is a spoken word artist, activist, educator, and organizer from St. Paul, MN. Tish was a 2009 recipient for both Intermedia Arts’ VERVE Grants for Spoken Word Poets, and the MN Urban Griot Award for Female Spoken Word Artist Of The Year. Tish was named one of the City Pages “Artists of The Year” along with mention in the Star Tribune as an “Artist on the Verge” in 2007. Tish has performed on many stages, locally and nationally, as both an independent artist and as a member of Minnesota’s state slam team in 2006. Visit intermediaarts. org/changemakers-tish-jones to learn more.

MINNESOTA STATE STANDARDS CONNECTIONS ENGLISH LANGUAGE ARTS: Key Ideas and Details Standard 1: Demonstrate understanding of a text, referring to details and examples in a text when explaining what the text says explicitly and when drawing inferences from the text.

Standard 4: Determine the meaning of words and phrases as they are used in a text, distinguishing literal from nonliteral language, including figurative language such as similes.

Text Types & Purposes Standard 2: Write informative/explanatory texts to examine a topic and convey ideas and information clearly.

Standard 4: Produce clear and coherent writing in which the development and organization are appropriate to task, purpose, and audience Research to Build and Present Knowledge Standard 6: Conduct short research projects that build knowledge through investigation of different aspects of a topic.

Comprehension and Collaboration Standard 1: Engage effectively in a range of collaborative discussions with diverse partners on grade 4 topics and texts, building on others’ ideas and expressing their own clearly.

SOCIAL STUDIES: History Standard 1: Historians generally construct chronological narratives to characterize eras and explain past events and change over time.

Standard 5: History is made by individuals acting alone and collectively to address problems in their communities, state, nation and world.

ASSESSMENT SUGGESTIONS Students will participate in small group and class discussions.

Students will complete and turn in the DREAMS – DEFERRED BUT DETERMINED WORKSHEET, SPOKEN WORD POEM WORKSHEET, HARLEM RENAISSANCE LEGACY RESEARCH WORKSHEET. RESOURCES 1. 5 Tips On Spoken Word, Power Poetry powerpoetry.org/actions/5-tips-spoken-word 2. Spoken-word venues for youths:  Re-Verb Open Mic (all ages): Every Thursday at Golden Thyme Café (921 Selby Avenue, St. Paul)  Well-Placed Commas (all ages): Weekly Poetry Workshop (all ages): Sundays, 12-2pm at the Fox Egg Gallery in Minneapolis  Free Black Table (all ages): see Black Table Arts website for details.  Freedom of Xpression Open Mic (all ages): First Monday of every month in the Capri Theater (2027 West Broadway, Minneapolis)  Be Heard MN Youth Poetry Slam (teens): presented in 2017 by the Walker Arts Center and TruArtSpeaks  Open Stages at Intermedia Arts (teens): Free show by hosted by youths for youths (2822 Lyndale Avenue S., Minneapolis) 3. Minneapolis Justice Journal, environmentaljusticeofminneapolis.wordpress.com/ 4. Twin Cities Habitat for Humanity, minneapolismn.gov/www/groups/public/@clerk/ documents/webcontent/wcms1p-108450.pdf 5. Hawthorne Ecovillage Report, 2007-2012 minneapolismn.gov/www/groups/public/@clerk/ documents/webcontent/wcms1p-108450.pdf 6. Northside Achievement Zone, northsideachievement.org/ 7. TruArtSpeaks,

truartspeaks.org

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DREAMS – DEFERRED AND DETERMINED WORKSHEET (PART 1) 1. Read the poem “Harlem” by Langston Hughes.  What dream do you think he is writing about?

HARLEM

By Langston Hughes

What happens to a dream deferred?

 What are the different responses to

disappointment that Hughes writes about?

Does it dry up like a raisin in the sun?

Or fester like a sore— And then run?

Does it stink like rotten meat?

Or crust and sugar over— like a syrupy sweet?

Maybe it just sags like a heavy load.

 How do you handle disappointment?

Or does it explode?

2. Turn your ways of handling disappointment into poetry. Add them to Hughes’ poem in a way that reflects the style of this poem. [Notice the short sentences and the rhyming pattern.]

Name(s): _________________________________________________ Date: ________________

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DREAMS – DEFERRED AND DETERMINED WORKSHEET (PART 2) 3. Read the poem “The Rose that Grew from Concrete” by Tupac Shakur.  What does the rose in the poem symbolize?

 What does the concrete symbolize?

THE ROSE THAT GREW FROM CONCRETE

By Tupac Shakur Did you hear about the rose that grew from a crack in the concrete?

Proving nature’s law is wrong it learned to walk without having feet.

Funny it seems, but by keeping its dreams, it learned to breathe fresh air.

Long live the rose that grew from concrete when no one else ever cared.

 What is the importance of the rose “keeping its dreams”?

4. Compare the two poems.  What common words and ideas are expressed?

 How are the poems different?

Name(s): _________________________________________________ Date: ________________

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SPOKEN WORD POEM WORKSHEET 1. Read the following tips on creating a spoken word poem.  Choose a subject and have attitude. [Express your opinion about something, show your unique viewpoint; have confidence in yourself and your ideas.]  Use poetic elements. [Repetition of a key words or phrases; Rhyming that is innovative and not obvious]

2. After completing your spoken word poem, prepare to perform it!  Performance. [Spoken word poems are written to be performed. Practice enough so that, as you perform, you can look at the audience, speak loudly, and use facial expressions and gestures.]  Memorization. [Allows you to concentrate on the meaning and emotion behind the poem.]  Freestyle. [Be ready to improvise, one of the most important elements of spoken word, especially if you forget a word.]

Name(s): _________________________________________________ Date: ________________ -92-

HARLEM RENAISSANCE LEGACY – RESEARCH WORKSHEET After doing some general searching, decide which artist you want to find out more about. Use these questions to help you with your research. And if any other question comes to your mind, do some digging to find the answer!

CHILDHOOD 1. When and where was the person born?

2. What was the person’s family and childhood like?

3. Did the person experience an important event as a child that influenced their course in life?

ADULTHOOD 1. What other places has the person lived?

2. What was/is the person’s family like?

3. What other experiences did the person have as an adult?

4. Were there problems that the person had to overcome? What did they learn from it?

5. What was/is the person’s career and how did they become involved in this career?

LEGACY 1. Who or what inspired this person? How?

2. What have other people said about this person?

3. How has the person made a difference – in their community, their profession, your life, etc.?

Name(s): _________________________________________________ Date: ________________ -93-

PART 3: WITNESS TEACHING ARTISTS: THEIR WORKSHOPS AND HOW TO PREPARE FOR THEM

Workshops with WITNESS Teaching Artists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Timothy Berry: Vocalist, Composer, Percussionist . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Patricia Brown: Dance Instructor, Choreographer, Performer. . . . . . . . . . . . . . . . . . 96 Brandon Commodore: Drummer, Musician, Producer. . . . . . . . . . . . . . . . . . . . . . . . 96 Ginger Commodore: Singer, Songwriter, Actress . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Karla Nweje: Arts Educator, Dancer, Choreographer, Literary Artist. . . . . . . . . . . . . 97 T. Mychael Rambo: Actor, Vocalist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Anita Ruth: Musician. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Roxane Wallace: Performer, Instructor, Choreographer. . . . . . . . . . . . . . . . . . . . . . . 99

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WORKSHOPS WITH WITNESS TEACHING ARTISTS This year, students will learn about the history and significance of the Harlem Renaissance, on the 100th anniversary of its birth, through song, poetry, music, dance, and more. Beginning with the Great Migration of African Americans out of the South, students will explore why Harlem became the epicenter of Black cultural life in the early 1900s and become familiar with prominent artists and historical figures from this era, including Langston Hughes, while making connections to cultural and artistic movements of the present day. In your workshops with WITNESS Teaching Artists, students will be energized and inspired to use various modes of creative expression to explore the significance of the Harlem Renaissance through their artistic lens(es).

To prepare for your workshop or residency experience with the Teaching Artist, a planning meeting will be scheduled at least three weeks prior to the first workshop day. This meeting is an important step in the process and provides a time for all participating school teachers and the teaching artist to: 1) craft the vision of the workshop content, 2) share ideas (why and how), 3) walk through logistics and daily class schedule (who, where, when), 4) tour the workshop facilities at the school, and 5) identify what materials or other preparation work need to be done in advance of the first workshop day.

Planning meetings should be 30 to 60 minutes in length and can be scheduled during common prep periods or before/after the school day. It is imperative that all participating teachers and staff be present to facilitate a successful, cohesive and engaging workshop experience for the students and teachers involved.

TIMOTHY BERRY Timothy Berry has performed nationally as a singer, actor, and percussionist; including August Wilson’s Fences, and Black Nativity with Penumbra Theater, and La Boheme with the Minnesota Opera. He has also performed with Grammy Award winner, Larnelle Harris. His recorded music is on a variety of CDs, from Gospel to Caribbean, including his Soul Drums series, which stems from West African, Afro-Cuban, and African American music traditions. Dr. Berry has received several awards as a composer including: The Live Music for Dance award from the American Composer’s Forum, the Cultural Community Partnership grant, and winner in the Essentially Choral Competition for emerging American composers sponsored by VocalEssence and the American Composers Forum.

He has composed commissioned works for dance, choral, and church groups.

Dr. Berry is an Assistant Professor and Director of Educator Partnerships and Student Support for the College of Education at Minnesota State University, Mankato. He has edited and published interdisciplinary curriculum for P-12 settings. He maintains an active research agenda including critical race theory, project-based learning, and music and the arts. A member of the Critical Race Studies in Education Association, Dr. Berry has presented at national conferences and leads professional development in P-12 and higher education settings on topics that focus on critical race theory, leadership, racial equity, cultural competency, and organizational change. His doctoral degree in Educational Leadership is from MSU, Mankato. He holds a Master’s degree in Music Education with an emphasis in multicultural music from The University of Minnesota.

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PATRICIA BROWN For 23 years, Patricia Brown has been an active member of the Twin Cities arts community as a dancer, instructor, choreographer, and performer. She is an African-based movement instructor whose fusion style is rooted in dance of West Africa, other African regions, the Caribbean, and Americas. Incorporating various forms of artistic expression, her classes are a dynamic representation connecting the mind, creative energy, and body in motion. In addition to being a teaching artist with the VocalEssence WITNESS School Program, she teaches students in various settings, including primary and secondary schools, juvenile detention facilities, and summer arts programs, and creates choreography for theater, dance groups, and choirs. Patricia is an adjunct faculty member in the Theatre Arts and Dance departments at both Macalester College, and the University of Minnesota, where she received the College of Continuing Education Distinguished Teaching Award, and the Century Council Diverse Community Award. In 2013 Penumbra Summer Institute created the Patricia A. Brown scholarship in her honor. She was also nominated for a Sage Award for “Outstanding Dance Educator.” In 2015, Arts-Us presented her with the Legacy Arts Recognition Award.

Her choreography, and performances have been seen on area stages, including the Walker Arts Center, O’Shaughnessy Auditorium, Minnesota Historical Society, Patrick’s Cabaret, Macalester College, and Penumbra, Southern, Pillsbury House, Children’s, SteppingStone, History, and In the Heart of the Beast Puppet and Mask Theaters. National credits include Jazz at Lincoln Center, Guthrie Theater, Lied Center for Performing Arts, University of Michigan Men’s Glee Club, Lincoln Memorial, St. John the Divine, and Center for Puppetry Arts.

BRANDON COMMODORE Brandon Commodore is a talented musician, producer and businessman.

Brandon’s passion for music started at a very young age, when he picked up drumsticks and followed very close in his father’s footsteps; playing in school bands and continuing his music studies into college. Shortly after graduating high school, Brandon joined the Grammy Award winning Sounds of Blackness and shortly thereafter became full-time drummer for Mint Condition, his current main focus.

Brandon’s love for music in gospel, jazz, funk, R&B, pop, hip-hop, rap, classical and much more sparked his interest to team up with other musician friends to create band The BoomBox, now known as #MPLS. This partnership has allowed Brandon the opportunity to work with many other organizations, musicians and promoters to create music, headline events and offer educational opportunities for youth in the Twin Cities.

Brandon continues to take his passion to the next level, as he works to ensure the creativity and perfect sound for music he produces. His overall goal is to create sound that “feels good.” When Brandon is away from the studio or business meetings, he takes the time to educate himself, whether it through webcast, reading, mentorships or actively pursuing his Bachelor’s Degree in Business Management.

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GINGER COMMODORE Ginger Commodore is a singer, songwriter and actress who enjoys an illustrious career in the Twin Cities area. She is an original member of the Grammy Award-winning singing ensemble The Sounds of Blackness and several local Gospel groups. She is also an original member of the vocal jazz ensemble Moore by Four. She’s shared the stage with such notables as Doc Severenson, Patrice Rushen, Kenny Loggins and Rachelle Ferrell. Ginger’s theatrical credits include productions with the Minnesota Opera Company, the Mixed Blood Theatre, the Children’s Theatre Company, Hey City Theatre, the Penumbra Theatre Company and Chanhassen Dinner Theater.

Her career has led her to travel the world performing across the United States, in Italy, England, Finland, Portugal, and Japan. Ginger has expanded into producing and performing in tribute shows in the Twin Cities. Performances have been in tribute to Stevie Wonder, Aretha Franklin, Natalie Cole and Roberta Flack. Ginger is also an instructor with Penumbra Theatre’s Summer Institute.

KARLA NWEJE Karla Nweje is an arts educator, choreographer, performer, and literary artist. She holds a BFA in Dance Performance from Brooklyn College/ CUNY. As a literary artist, Karla is a published author and contributing writer to literary publications and writes and presents interactive workshops for youth. After obtaining teaching credentials, she worked as a NYC high school language arts teacher by day and a performer by night. During this time, she used movement and theater arts techniques to enhance the learning process in her classroom. The positive results she witnessed affirmed her conviction that the arts are vital to the comprehensive development of youth. Karla has performed and toured with dance and theater companies in NYC, Atlanta, and the Twin Cities. She continues to create and share work through The Samimejon Movement, her group performance initiative. A 2013 recipient of Ordway’s Excellence in Educational Service Award, Karla is a teaching artist and a design team member for its Dance to Learn Program. She is on several teaching artist rosters throughout the state of Minnesota, including COMPAS, The Givens Foundation for African American Literature, East Side Arts Council, and The Cowles Center for Dance. She is a regular presenter and speaker at arts and education conferences and was the keynote presenter for NWC’s 2014 Creativity Festival. Through arts residencies, workshops, professional development and more, Ms. Nweje continues to cultivate partnerships across organizations, programs, and school districts to make quality arts experiences accessible to all learners.

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T. MYCHAEL RAMBO Regional Emmy Award-winning actor, vocalist, arts educator and community organizer; T. Mychael Rambo has made an indelible mark here in the Twin Cities performing principle roles at such theaters as Penumbra, the Guthrie, Ordway, Illusion Theatre, Mixed Blood, Park Square Theatre, Children’s Theatre and Minnesota Opera, to name but a few. Nationally and internationally his stage credits include Carnegie Hall and performances abroad in Africa, Europe and South America. He has appeared in local and national television commercials, feature films, HBO mini-series, and other television programming.

T. Mychael is an accomplished residency artist and an affiliate professor in the College of Liberal Arts, Theatre Arts and Dance at the University of Minnesota.

As a recording artist, T. Mychael has released two popular CD’s: Simply - a collection of jazz standards; and The Gift- A Christmas With Love - a selection of original and holiday classics. T. Mychael had the great honor of singing the National Anthem for both President Barak Obama and former President Jimmy Carter. Mr. Rambo is also the proud recipient of the 2009 Sally Award in Education presented by the Ordway and the 2010 Minnesota Black Music Award. His other honors and awards include Young Audience Artist of the Year with his dear friend and teaching partner Anita Ruth, McKnight Theatre Artist Fellowship, Minnesota State Arts Board Artist Fellowship, Bush Finalist and both the University of Minnesota Century Council Community Award and Outstanding Community Service Award among others.

ANITA RUTH Anita Ruth has been active in the Twin Cities theatrical and musical circles for over 36 years. After serving as musical director for over eighty shows at the Chanhassen Dinner Theaters, she has led a varied and exciting life as a freelance musician and educator. She spent eight years with the Children’s Theater Company in both theatrical and educational capacities. Continuing her work with young people, Anita has partnered with T. Mychael Rambo on the COMPAS Artist’s Roster, being named Artists of the Year in 2006 by Young Audiences of Minnesota. Anita has worked for fourteen years with Project Success, a local nonprofit organization dedicated to helping inner city students thrive and fulfill their dreams. She is the musical director for three theater projects each year, involving over 300 students. Her work as a teacher also extends to music directing four shows every year with Bloomington Civic Theater. But, it is with the WITNESS School Program that she finds her greatest educational experiences. A roster member for thirteen years, Anita is committed to bringing the true story of African American history, song, and culture to all students and educators.

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ROXANE WALLACE Roxane Wallace is active in the arts as a performer, teacher, dancer, and choreographer. Originally from California, she holds a BA in Philosophy from the University of California at Berkeley. Constantly engaged in her field, she has worked with choreographers and directors of both regional and international acclaim earning her the “Best Dancer” title in the 2004 City Pages “Best of the Twin Cities”, a 2007 MN Sage Award for Outstanding Performer, and the honor of being named a McKnight Artist Fellow in Dance. Mrs. Wallace was seen nationally and internationally as a principal artist with Stuart Pimsler Dance and Theater Company for 15 years. As a creator of original, socially conscious work Mrs. Wallace wrote, choreographed, directed and produced “Evolution of a Soul Sista” and her “REvolutionary Soul Sistas” was presented by The Red Eye Theater where she served as a member of their Critical Core group. She continues to conduct workshops, serve as a guest instructor and/or choreographer and provides inspiration through dance to all ages in schools, universities, community groups and organizations around the Twin Cities and beyond. Currently, in addition to the VocalEssence WITNESS program, she is a company member of Time Track Productions, a teaching artist for the Cowles Center for Dance and the Performing Arts and an instructor at Zenon Dance Studio and School.

WITNESS Workshop with Ginger Commodore

WITNESS Workshop with Patricia Brown -99-

IMAGE CREDITS/SOURCES COVER: Cover: Ancestors Speak: A Harlem Renaissance Interpretation by Ta-Coumba Aiken, c. 2017

PART 1: Robert Graham: Caroline Wood VocalEssence Chorus: Krivit Photography & Bruce Silcox Philip Brunelle: Krivit Photography G. Phillip Shoultz, III: Caroline Wood WITNESS Artist Workshops: Stephen Maturen Orchestra Hall http://www.minnesotaorchestra.org/images/rentals/rental_overview_header.png

PART 2: MEET LANGSTON HUGHES: DREAMER & HARLEM RENAISSANCE HERO Hughes in the 1920s https://jackshalom.net/2017/05/12/how-i-became-a-poet-langston-hughes/ Langston Hughes (in Graphic Organizer) https://ciarraistudios.files.wordpress.com/2014/02/langston-hughes-with-hat-on.jpg Pastel drawing of Hughes, by Winhold Reiss http://www.english.illinois.edu/MAPS/poets/g_l/hughes/images/10man.jpg He lived in the attic of this house the last two years of high school http://media.cleveland.com/brett_impact/photo/langston-hughes-housejpg-e69cf044588f8c52_large.jpg Central H.S. from 1878 to 1940. https://case.edu/ech/articles/c/central-high-school/ Hughes in his early 20s http://1920sper3.weebly.com/harlem-renaissance.html At work at the Wardman Hotel http://media.gettyimages.com/photos/langston-hughes-working-as-a-busboy-in-hotel-restaurant-before-his-pictureid538349073?s=612x612 Hughes Harlem home https://www.nps.gov/nr/feature/afam/2008/langston_hughes_house-flick.jpg Langston Hughes burial site in Harlem https://autodo.info/pages/l/langston-hughes-ashes/

THE GREAT MIGRATION: CHALLENGES & OPPORTUNITIES Union Terminal Colored Waiting Room, Jacksonville, Florida – 1921, Woodward Photo http://photos.mycapture.com/JAXF/849577/17874838E.jpg Jim Crow – etching and ink print, ca. 1835-1845, Library of Congress http://www.loc.gov/pict ures/resource/ds.00886/ “The Reason” by Albert Smith, The Crisis (March, 1920) https://herb.ashp.cuny.edu/files/original/reason_356b1d79c6.png The Great Migration, 1900-1929 Map https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/hostedimages/1382466605i/ 5904225._SX540_.jpg (Source: “The Atlas of African-American History and Politics”)

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THE HARLEM RENAISSANCE Harlem Renaissance Painting, Archibald Motley https://s-media-cache-ak0.pinimg.com/originals/bd/a4/ab/bda4ab504127be577d7a50f8833253e5.jpg Lenox Avenue in Harlem, c. 1920s http://sspd.humanitiestexas.org/p.php?a=eXd8bmskYWNjJj8xJCg1PzsmJTQwJzouMDMlMS4nNzknIi0jJjs/ MSY+Mg==&m=1424667310 “Rondo Street” newspaper clipping Minnesota Historical Society The Cotton Club https://media1.britannica.com/eb-media/27/123927-004-52EE2B5D.jpg

RESPONDING TO LANGSTON HUGHES’ POETRY Selected Poems of Langston Hughes collection https://www.amazon.com/Selected-Poems-Langston-Hughes-Collection/dp/067972818X Zora Neale Hurston https://www.arts.gov/sites/default/files/styles/large-620/public/001-Hurston.png?itok=F1YxhiP7 Aaron Douglas http://www.wetcanvas.com/forums/showthread.php?t=917992 Cab Calloway https://upload.wikimedia.org/wikipedia/commons/a/a1/Cab_Calloway_Gottlieb.jpg Mamie Smith and her Jazz Hounds https://noputhyfooting.files.wordpress.com/2013/08/mamie-smith-her-jazzhounds.jpg Katherine Dunham https://i.pinimg.com/originals/b3/19/0a/b3190ab8ba275773c811eb927cccacbe.jpg Paul Robeson https://ichef.bbci.co.uk/images/ic/256xn/p02q2xk1.jpg

LESSON 3: “DREAM VARIATIONS” AND MARGARET BONDS Margaret Bonds http://www.library.georgetown.edu/sites/default/files/14-BondsPhotoatPiano.jpg Advertisement for a 1952 concert featuring Langston Hughes, Margaret Bonds, and Dan Andrews https://www.williamreesecompany.com/pictures/medium/WRCLIT73780.jpg

RENAISSANCE REBORN: THE LEGACY OF THE HARLEM RENAISSANCE Harlem Kids Break Dancing, c. 1980s https://i.pinimg.com/564x/76/5f/73/765f734332315bc426bd2c30fcae6746.jpg Always Harlem, Always Real – Street Art https://s-media-cache-ak0.pinimg.com/originals/e2/9c/fd/e29cfda66dbd23cf70012f800105f11a.jpg Gil Scott Heron Album https://images-na.ssl-images-amazon.com/images/I/51LxhCk1mgL._SX355_.jpg Welcome to North Minneapolis Mural https://www.tcdailyplanet.net/wp-content/uploads/files/2014/July/wbroad-328westbroadwayave.jpg

PART 3: WITNESS TEACHING ARTISTS: THEIR WORKSHOPS AND HOW TO PREPARE FOR THEM WITNESS Workshop with Ginger Commodore: Stephen Maturen WITNESS Workshop with Patricia Brown: Stephen Maturen

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IMAGE COURTESY OF TA-COUMBA AIKEN

This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund, and a grant from the Wells Fargo Foundation Minnesota.

Katherine B. Andersen Fund of The Saint Paul Foundation N. Judge* and Reatha Clark King Family Fund of The Minneapolis Foundation Charles M. Denny, Jr. & Carol E. Denny* Fund of The Minneapolis Foundation Walt McCarthy and Clara Ueland Lois Quam -104-