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Lesson Title: Music in West Africa

Name: Leona Lowery

Discipline: Music

School: Northwestern High School

Grade Level:  9 - 12

Time Period:  4-6 – 90 minute classes sessions

I. Conceptual Framework

Big Idea: Power

Rationale: Power is an important idea and topic for my students to learn about because understanding power is a part of their day-to-day experience.  Because so much of human behavior stems from the need for acquisition of, display of and maintenance of power, students can see how this human need is represented in Western African music and how it translates into African American music of today. 

African American music has its roots in West Africa, and the power represented by that music is still present in modern African American forms such as Rhythm and Blues, Hip-Hop, and Contemporary Gospel.  Traditional forms that have an even more direct link to Western African music are spirituals and blues. Discussing power with my class will help them see the struggles for power and the symbols of power in West African music and how those struggles and symbols are present in R&B, Pop and Gospel music.

Essential Questions:

• What is power?
• How does power affect the student experience at Northwestern?
• How does art (music) express power?

Key Concepts:

Power

• Power
• Power is about dominance.
• Power is about conflict.
• Power is about insiders and outsiders.
• Power is about voice.
• Power is about possession.

Music in West Africa

• Music is a part of daily life in Western Africa.
• Western African music is participatory.
• The drum has a major role in West African music.
• The griot is historian and musician rolled into one.
• Music in Western Africa is learned through an oral tradition.

Comparison and Contrast of West Africa and African American Music Today

• Influences and characteristics of West African music are present in the early music of the African slave.
• Blues and Spirituals are based on the rhythms, melodies and life experience of the African Slave.
• Jazz is a complex art form with Western African characteristics
• Rhythm and Blues grew from the Blues.
• Musical traditions from Western Africa are present in the contemporary sounds of African-American music

State and Local Standards:

National Standards in Social Sciences:

• Understanding maps and geographical representations, tools and technologies to acquire, process and report information from a spatial perspective.
• Understanding how to analyze the spatial organization of people, places and environments on Earth’s surface.
• Understand how culture and experience influence people’s perceptions of places and regions.
• Understand how forces of cooperation and conflict among people influence the division and control of Earth’s surface.

Maryland State Essential Learner Outcomes – Music

• Identify and explain compositional techniques used to provide unity and variety, tension and release in various musical works.
• Listen to, perform and describe examples representing diverse genres and cultures.
• Identify various roles in society performed by musicians and describe contributions of representative individuals for each role.
• Identify various functions of music in diverse cultures throughout history.

II. Topics

Music in West Africa: Music in West Africa is a way of life. It is not merely for the artist or artistic. All members of the community participate in one way or the other in the making of music. Examining the countries and social life of Western Africa will give students the opportunity to see how music is woven into the day-to-day life of these peoples. It will also begin discussion and observation into the role of music in their lives.

Comparison and Contrast of Western African Music to African American Music of Today: Africans were brought to America by the millions; their culture, though stripped from them, managed to emerge despite the efforts to subdue it. The rhythms and melodic lines from West African countries translated into the Blues and Jazz in the early 20th century and are still present today in the contemporary sounds of African American music. We will also examine those similarities and differences in Rhythm and Blues, Hip-Hop, Pop and Contemporary Gospel music.

III. Art forms, Artifacts, and Performances

West African Drumming
Reason for inclusion: Drums in West Africa cultures are a symbol of power, communication and ceremony. Materials are carefully chosen and drums are skillfully made. The drum “speaks” by announcing gatherings and ceremonies. It was a symbol of power. Slave traders realized the power of the drum and slaves were forbidden to make or play them. The polyrhythms in Western African music still emerged in the slave dances and religious music of the 1700’s. Drum making and playing are an integral part of Western African society. Students can identify the characteristics of Western African Drumming in modern African-American music.

Bogolanfini – Mudcloth
Reason for inclusion: The West African country of Mali is the home of Bogolanfini – mud cloth. The women were the original producers of this humble cloth for women and girls to wear. Men only wore it for hunting and were not privy to the secret meaning of the symbols on the cloth. Strips are woven and special mud prepared to bake into the strips that are then sewn together. The students will study the power behind this simple, once ignored cloth. It now is used to empower the community by being produced in larger quantities because of its growing popularity even though it began as a simpler statement of power of women in the community. Although this is not musical, the students can draw the parallel between the art of the people and the society.

The Griot
Reason for inclusion: The Griot in Western African societies is a historian and musician. Even in the caste system, he still holds power because he holds the legacy of a people in his art form. His stories are passed down through an oral tradition and usually stay within a “family” of griots. By studying the art of the griot, my students will understand the narrative storytelling found in many African- American art forms and in musical story-telling today. The instruments used in the work of the griot are, the Korah – a 21 stringed African harp and the Balafon – a hand crafted idiophone much like the xylophone of Western culture.

IV. Lessons

Objectives:

• Students will define power in order to see its effects in their own lives.
• Students will examine how music expresses power in order to compare and contrast it in West African music and in African American music.
• Students will define and identify characteristics of power in West African music culture in order to understand shared characteristics in African–American music.
• Students will identify characteristics and geographical location of Bogolanfini in order to understand the characteristics, distribution and migration of human populations.
• Students will study the effects of Bogolanfini of the culture of the Bamana people in order to understand societal past and present.
• Students will observe and listen to examples of Griot performances and African drumming in order to identify characteristics of the music.
• Students will identify by sight and sound the music of the Kora and balafon in order to explain how the roles of creators and performers involved in production and presentation of music are similar to and different from music created and performed in African American culture.
• Students will perform a West African drum and dance performance in order to demonstrate knowledge of rhythms.
• Students will compare and contrast symbols of power in music in order to demonstrate knowledge of the historical, musical and cultural background of a representative sample of musical works.

Key Concepts:

• West African drumming is a specialized art form that includes craftsmanship, artistry, musicianship and interpretation all learned through an oral tradition.
• West African drumming is a form of communication.
• West African drumming was so powerful; the slave traders were intimidated by it and forbade Africans to use it.
• West African drumming uses complex polyrhythms found in the syncopated music of early African slaves.
• Bogolanfini is a simple, yet beautiful cloth made by women of Mali
• Bogolanfini is a past, a present and a future symbol of power of the community and those in it.
• Bogolanfini has traveled to America and is present in American clothing.
• The Griot is a historian and musician on West African culture
• The Griot although not the highest ranking in the caste system, was a powerful figure in the community because of his ability to hold the culture.
• The Griot has a specialized used of the Kora (a 21- stringed harp) and the balafon (a xylophone-like instrument made with rose wood and small gourds).

Lesson Type:

• Building a Knowledge Base
• Building knowledge about West African Art Forms

What will students do?	What will students learn from this activity?
1. Students will “unpack” the idea of power and how it relates to them.	1. Students will learn the meaning of power and how it relates to student life and musical expression.
2. Read and examine geographical location of Western Africa. List countries involved in this lesson study.	2. Students will learn how to use the map of Africa to find countries and regions and to show movement of peoples.
3. View film and study the culture and listen to music of West African countries and their music.	3. Students will get a closer look at African culture and learn that much of the stereotypical views by Americans are false.
4. Begin discussion study of West African Drumming by examining materials used, craftsmanship, drumming techniques and performance practices.	4. Students will learn the differences between a hand made membranophone and a factory made “drum” and will begin drumming basic beat patterns.
5. Read and discuss Bogolanfini cloth of Mali and examine examples.	5. Students will correctly identify Bogolanfini in American clothing styles and how its past, present and future show the power of the Bamana people.
6. Perform West African dance movements and drumming styles.	6. Students will learn rhythmic patterns and polyrhythmic patterns and dancing styles.
7. Read about and discuss the role of the Griot in West African culture. Students will also view a performance of a Griot.	7. Students will communicate criteria for evaluating performances.
8. Identify instruments of Western Africa- Kora – 21-stringed harp made of calabash and rose wood and nylon strings. Balafon - 17-19 note xylophone made with rose wood and gourds.	8. Students will compare styles and genres of African music form and African musical instruments and trace the evolution of those forms and instruments.

Lesson Type:

• Personal Connections

Comparison and Contrasts of Western African Music to African American Music of Today
What will Students Do?	What will students learn from this activity?
1. Identify how power affects the student experience at Northwestern High School.	1. Students will understand how culture and experience influence people’s perceptions.
2. Form groups and discuss how music affects power.	2. Students will learn musical forms that represent power in American culture and other cultures.
3. Find characteristics of African Drumming in African American music - ragtime, work songs, early jazz and gospel.	3. Students will compare common elements of music from Western and non-Western cultures.
4. Present a comparison project of musical samples by finding similar musical characteristics between Western African music and their own listening library.	4. Students will identify and compare styles and genres of music from Western and non-Western cultures.
5. Identify Bogolanfini patterns and Kente prints in American clothing.	5. Students will understand the changes that occur in the meaning use, distribution and importance of resources.

Summative Assessment Format:

Essential Questions - How does music express power?
Students will be assessed on their ability to explain how music expresses power as defined by the unit study.

Assessment Content – Big Idea
It is most important for students to understand that power is about dominance, voice and possession. Other thoughts and ideas from class discussions will be accepted.

Assessment Content – West African Culture
It is most important for students to understand that West African culture is at the same time modern and ancient. Traditional concepts of oral tradition, natural resources and community are now intertwined with commerce, progress and global popularity. Students will be assessed on their knowledge of class discussions and reading notes.
Students will also be assessed on their participation in a performance of West African dance and drumming.

Assessment Content–- West African Art Forms
Students will be assessed on their knowledge of the following art forms:

• Drumming and Drum making
• Bogolanfini
• Griot storytelling
• Instruments - Kora and balafon

Assessment Evidence:

Student Writing

• Notebooks - I will grade notes taken during class discussion and readings
• BCR – Brief Constructed Response - Students will do periodic BCR’s for warm-up and quizzes.
• ECR - Extended Constructed Response – I will assess ECR’s in the unit exam.

Student Commentary

• Presentations - I will assess student presentations of examples of modern African American music with West African influences.

Student Performances

• Performance - I will assess student participation in West African dance and drumming activities.

Assessment Criteria:

Student Writing – How will I evaluate evidence?

• Students must gather significant information in their notes for use during the entire unit.
• BCR - Students’ understanding of concepts and definitions and ability to express them in warm-ups and quizzes with 80% accuracy.
• ECR - Students’ significant understanding of the unit; knowledge of basic facts and understanding of class discussions. The student will demonstrate the ability to compose in a variety of modes by developing content, employing specific forms, and selecting language appropriate for a particular audience and purpose. Spelling and proper grammar will also be assessed.

Student Commentary

• Presentations - Students understanding of how the characteristics of Western African music translates into the music of modern African Americans. With note cards or very little notes, students should be able to play a musical example for the class and explain to the class the Western African characteristics found in the music.

Student Performance

• Student understanding of the rhythmic concepts and dance moves practiced in class. Students should participate in the group and demonstrate knowledge of cultural practices studied in class.

Lesson 1 - Music is West Africa

Objectives

• Students will define power in order to see its effects in their own lives.
• Students will examine how music expresses power in order to compare and contrast it in West African music and in African American music.
• Students will identify West African countries and major cities in them in order to identify and locate physical and human characteristics of places and explain how those characteristics have affected people living there.
• Students will define and identify characteristics of power in West African music culture in order to understand shared characteristics in African–American music.
• Students will perform a West African drum and dance performance in order to demonstrate knowledge of polyrhythms and dance movements.
• Students will identify different drum types in order to explain how natural materials are used from available resources in West African communities.

Vocabulary

• ADOWA DRUMS – Carved drums with peg tuning. Fontomfrom and Antumpan are headed with cow skin. The others are headed with antelope skin.
• BREKETE – Double headed bass drum with goatskin. Has snare string stretched across skin to make buzzing sound.  Has powerful, thunderous sound. Shoulder strap and long curved stick.
• CONGA – These drums are of traditional conga shape, carved from tweneboa wood.  They are specially fitted with cow skin. 
• CEREMONIAL DRUM – Carved to three different shapes. These drums are headed with Antelope skin using rope and peg tuning, and can be played by hand or with a stick.
• DJEMBE – Carved to a fairly even thickness, left a little thicker at their bottoms, these djembes are made from tweneboa, a mahogany/cedar type wood that is lightweight and durable and used almost exclusively for drum making wood in Ghana.
• DONDO – Talking drum from Ghana.  Variable pitch drum. Two types available, Hausa and Dagombo.
• EWE DRUMS – Two types available. Carved or hoop and stave construction. Antelope skin. Peg tuning.
• KETE DRUMS– Set of four drums decorated with red and black checks from the Ashanti region. Large drum headed with cow skin, others with antelope skin.
• KPANLOGO – Conga shaped pegged drum headed with antelope skin.
• CALL AND RESPONSE – A stylistic characteristic of West African music where a leader sings and the group responds or repeats.

Materials

• Text - Music: Its Role and Importance in Our Lives
• Listening Examples - West African Drumming
• DVD – West African Dancing and drumming
• Instruments for class – various drums and rattles

Warm-Up Activity: “What is power?” - Have students discuss their answer with two classmates and record their answer in notebooks. “How does music express power?” Ask this question for a class brainstorming activity. Show a 2 minute clip of West African Dancing/Drumming. Ask the question again and see how or if the answer changes.

Activity 1: Using the map of Africa used in the “Crossing Border – Breaking Boundaries” Institute, have students identify the West African countries of Sierra Leone, Cote D’Ivoire, Ghana, Benin, Nigeria and Cameroon.

• Students will view two short videos (Music of Africa and West African Drumming and Dancing).
• During the videos, “freeze frame” and discuss the countries, dance and drumming characteristics with students.
• Students should take notes in notebooks.
• Use graphic organizer to collect thoughts on dance and drumming styles.

Activity 2 - Guided Practice: Divide the class into a group of “dancers and drummers” and use the basic rhythms learned from the Mdjiani Dance and Drum rhythms workshops. Allow students to move from the role of dancer to drummer and to practice individually. Allow students to improvise movements and drumming styles – but have them return to basic Mdjiani pattern.

Independent Activity - Student Journals: Students should make a journal entry about a celebration or event for which a Mjiani Dance could be used.

Homework: Have students visit the website - http://www.motherlandmusic.com/drums.htm and read about and record the making of drums and the different types of drums that this company sells.

Closure/Summary: West Africa is a diverse place with many different countries. The people speak hundreds of languages and live in various atmospheres. Large cities, small villages and places in between. The traditional music of West Africa represents oral traditions passed down through centuries of craftsmen and musicians. Today we began a study of the power of the drum and the dance and we will continue to look at the music of West Africa and how it relates to much of the music we listen to today.

Assessment: Before the end of class, lead a class discussion on the power of the music that was listened to today. What was more powerful – watching the video clip or performing the dance moves and playing the drums?