AFRICAN AND AFRICAN-AMERICAN TRADITIONS IN LANGUAGE ARTS
Portland Public Schools Geocultural Baseline Essay SeriesAfrican and African-AmericanTraditions in Language ArtsbyJoyce Braden HarrisBiographical Sketch of the AuthorJoyce Braden Harris is the co-founder and director of the Black Educational Center in Portland, Oregon.The center operates a school and the Talking Drum Bookstore and sponsors various educationaland cultural events. Ms. Harris was educated at Reed College (B.A. in American Studies), Oregon StateUniversity (B.A. in Elementary Education), and Portland State University (M.S. in Education).Ms. Harris is a curriculum consultant for Portland Public Schools and has conducted workshops nationallyon topics related to African and African-American history and culture.PPS Geocultural Baseline Essay Series
AUTHOR: HarrisSUBJECT: Language ArtsCONTENTSContentPageBIOGRAPHICAL SKETCH OF THE AUTHOR. ICONTENTS .IIINTRODUCTION .1ORAL TRADITION.3FOLKTALES.5PROVERBS.6RIDDLES.7TALKING DRUMS.8ROCK PAINTINGS .9EGYPTIAN LITERARY ORIGINS .12OLD KINGDOM .12MIDDLE KINGDOM.12NEW KINGDOM.14BOOK OF THE DEAD.15LATE KINGDOM .19THE DEVELOPMENT OF WRITING.19HIEROGLYPHS.20AFRICAN WRITERS OF THE ANCIENT WORLD .21CONTEMPORARY AFRICAN LITERATURE.23WORLD-RENOWNED WRITERS OF AFRICAN DESCENT .25THE DEVELOPMENT OF AFRICAN-AMERICAN SPEECH .26FEATURES OF AFRICAN-AMERICAN SPEECH.30AFRICANISMS IN THE ENGLISH LANGUAGE .33SPIRITUALS .38SURVEY OF AFRICAN-AMERICAN LITERATURE FROM 1746 TO 1984 .42SLAVE NARRATIVES .47AUTOBIOGRAPHIES .47PERIODICALS.49THE HARLEM RENAISSANCE.541930-1940 .601940-1960 .621960-1984 .64AFRICAN-AMERICANS IN CHILDREN'S LITERATURE PRIOR TO 1950 .67BLACK CHILDREN'S FOLKLORE.71LA-ii
AUTHOR: HarrisSUBJECT: Language ArtsCONTEMPORARY BLACK CHILDREN'S LITERATURE (1960-1984) .74CHILDREN'S LITERATURE 6TH - 12TH GRADE.77ILLUSTRATORS .81SUMMARY.82REFERENCES .83APPENDIXES.88A: BACKGROUND READING FOR TEACHERS .88B: SELECTED CHILDREN'S BIBLIOGRAPHY.89C: AUDIOVISUAL MATERIALS .95INDEX .99LA-iii
AUTHOR: HarrisSUBJECT: Language ArtsAFRICAN AND AFRICAN-AMERICAN TRADITIONS IN LANGUAGE ARTSby Joyce Braden HarrisINTRODUCTIONThis survey of African-American Literature is not limited to the literary accomplishments ofAfricans in the U.S., although this will be the primary focus. This essay will "return to thesource, "Africa, the world center of culture and learning in antiquity to pay homage to"literary ancestors" who influenced world literature and ultimately provided the culturalblueprint for African-American literature. This cultural reality is important because itprovides Africans in the U.S. and the Diaspora with a frame of reference based on Africantraditions of excellence and achievement that have spanned thousands of years.J. Mason Brewer describes the cultural legacy of African-Americans in his introduction toAmerican Negro Folklore:"Probably no people have been so completely thebearers of tradition as the African slave immigrants.They brought with them no material possessions to aidin preserving the arts and customs of their homeland.Yet, though empty-handed perforce, they carried in theirminds and hearts a treasure of complex musical forms,dramatic speeches, and imaginative stories, which theyperpetuated through the vital art of self-expressions."1LA-1
AUTHOR: HarrisSUBJECT: Language ArtsThe study of African-American literature has been subjected to the same myths,omissions, and distortions encountered in studying African-American History.It is important to understand the particular impact that these misconceptions have had onthe study of African-American literature:1. Courses in African-American literature rarely establish literaryorigins and influences that pre-date slavery. Theliterature is studied solely in the context of one condition,oppression. African historical and cultural frames of referenceare not acknowledged, particularly in terms of the positiveimpact this conditioning has had on the form and nature ofBlack literature.2. Africa is commonly viewed as not having contributed much toworld literature. This myth has been carried out by historians whoinsist that Africans, for the most part, were oral and had no writtentraditions. Homer, the Bible, and Greek drama came from theoral tradition, yet their literary value is not challenged. Thelegitimacy of the oral tradition as a valid communication systembecomes an issue of who defines it. The Egyptian contributionto world literature is in truth, Africa's gift to the world. NonAfricans were not responsible for Egypt's greatness, BlackAfrica was, since the two were one and the same during Egypt'smost productive periods.3. African linguistic influences on the English language are notfrequently included in language arts. African languages havehad an influence on the English spoken by Americans,particularly in the Southern United States.4.The worth of African-American literature is evaluated in termsof its "universality," a term which often means that the further theliterature strays away from African cultural and historicalreferences, the more acceptable it is to non-Africans basedon European literary standardsLA-2
AUTHOR: HarrisSUBJECT: Language Arts5. African-American literature is studied in isolation from literaturein the Diaspora in spite of the parallels that exist in themes andgenres and the fact that there has been a reciprocal exchange ofideas based on shared cultural and historical realities.6. Black literature is manipulated and controlled by white editors andpublishers. "He who controls the images controls the mind."Black writers who are published generally receive little or nopromotion for their works. Poor sales are then cited as reasonsfor not accepting manuscripts from Black authors and putting theworks that are published out of print.7. The African linguistic influences on the English spoken byAfrican-Americans have been used to label Black children asinferior, instead of to recognize that the linguistic patterns ofAfrican-Americans form a functional language system with itsown rules.ORAL TRADITIONThe oral tradition was the basis of African culture. It consisted of history, religiouspractices, cosmology, rituals, folktales, proverbs, riddles, games, songs, dance, magic,epic tales, myths and narratives. The African incorporated the everyday rhythms of lifeinto his expression. African traditions of communalism, respect for elders, rituals of lifeand death, child rearing practices and storytelling were to later appear in the westernhemisphere, having been brought by the enslaved Africans.The importance of the oral tradition is evidenced by the important role the Griot orstoryteller held in ancient Africa. The Griot recorded the customs, traditions, andhistory of the people. He was generally a counselor to the king, and this knowledge waspassed on to another member of the "Griot" family. The Griots were "speakingdocuments."2 Traditional Griots took an oath to teach only what the guild approved.LA-3
AUTHOR: HarrisSUBJECT: Language Arts"For," say the Griot, "all true learning should be a secret."3 The Egyptian MysteriesSystem which also swore its initiates to secrecy and prohibited them from writingdown its teachings is another example of the cultural unity of traditional Africaninstitutions.The epic story of Sundiata, King of Mali, as told in the words of the Griot MamadouKouyate, can be used in the classroom for all grades. The history begins bydiscussing the first kings of Mali. In the words of the Griot, "Listen then, sons of Mali,children of the Black people, listen to my words, for I am going to tell you of Sundiata, thefather of the Bright Country, of the savanna land, the ancestor of those who draw the bow,the master of a hundred vanquished kings."4 The role of Egyptian wise men was similar tothe Griot; they orally documented Egypt's culture and history; priests and scribesrecorded these oral presentations.Western (White) historians have not accepted the African oral tradition as a legitimate andeffective system of documenting history. African history that was preserved orally asopposed to being written down is therefore viewed as inferior and invalid. Surely, writtenrecords are useful, but to deny a people's history because its preservation was doneorally instead of written, suggests that there are other dynamics defining thelegitimacy of the oral tradition, namely Western attitudes toward literacy and thepresumed superiority of the written over the spoken word. Author Clyde Taylor, whohas written extensively on literacy, offers this analysis:"The tendency of writing to fix or freeze speech has in the Westextended towards a fixation of the universe of human discourseitself. Any effort to discuss human behavior outside of the gridof accumulated categories and definition meets with witheringLA-4
AUTHOR: HarrisSUBJECT: Language Artsresistance. Under this cognitive system, dominated byalphabetic linearity, the interconnected pulsations ofexpressive culture are imprisoned or exiled to 8 perpetualunderground"5.FOLKTALESThe folktale is the most common form of oral literature in Africa. Storytelling sessions wereentertaining and enhanced by audience participation. Narrators used folktales to teachthe group's values, accepted behaviors and beliefs. The most popular folktalecharacter from African literature is Kweku Ananse, of West Africa, more fondlyknown as Spider. In Jamaica he is called Annancy. Folklorists say that in AfricanAmerican oral literature Per Rabbit, or Bo Rabbit, is Ananse's counterpart. Brer Rabbitis the most popular figure in AKcan-American folklore, and many of his escapadesappear in many African tales.Joyce Cooper Arkhurst helped to popularize Anansi in the 1960's with twocollections: The Adventures of Spider and More Adventures of Spider. Africanfolktales have become a very popular genre and can be used to further students'knowledge of African history, culture, values and institutions.Several African-American writers have based their stories on African folktalescontaining lessons that are historically relevant to Black people. Mother Crocodile, byRosa Guy, is based on 3f(}lkt8 8tDld by Senegalese writer Birago Diop. He learned thestory as a child from Amadou Koumba, a Griot who lived in his grandmother's house.The story tells of young crocodiles who ignore their mother”s warning to stay near her in theriver because a war is going on and their livescould be in danger. They disobey her andLA-5
AUTHOR: HarrisSUBJECT: Language Artsare caught in a crossfire. Their lives are saved only when one of the crocodiles recalls thewords of their maternal ancestors:"The two younger crocodiles began to cry. But theoldest thought of his mama. He remembered Dia's talesof their grandmama. He remembered Dia's tales of theirgreat grandmama."6Mother Crocodile emphasizes how the wisdom of elders was used to teach children inAfrican communities.PROVERBSAfrican proverbs are used to summarize ancestral wisdom. Proverbs are used toguide human behavior, describe human nature, explain natural occurrences, andteach basic societal beliefs. Proverbs can be used in the classroom for creativewriting and to encourage critical thinking. The power of the word can be seen in theseproverbs.1. The day on which one starts out is not the time tostart one'spreparations (Nigeria).2. Those who hear the ringing of only one bell hearonly one thing(Ghana).3. He who learns, teaches (Ethiopia)LA-6
AUTHOR: HarrisSUBJECT: Language Arts4. By trying often, the monkey learns to jump from thetree (Cameroon).5. If you watch your pot your food will not burn(Ghana).Africans often use proverbs in the same way that their African-American brethren usesignifying, a quick tongued response filled with wit.Nigerian author Chinua Achebe uses proverbs in his novels to illustrate how Africansused proverbial wisdom in their struggle against colonialism. This example is from Arrow ofGod. The speaker is a village elder about to advise a young warrior:"If the lizard of the homestead neglects to dothe things for which its kind is known, it will bemistaken for the Ward of the farmland ."7RIDDLESAfrican children use riddles for entertainment in the same way that American youthtell jokes.My father built me a house without windows.(An egg) Ghana.You don't need to call him to follow you. (Yourshadow) Ghana.LA-7
AUTHOR: HarrisSUBJECT: Language ArtsHowever, one type of riddle has the same function as all African oral literature, thepreservation of African cultural values. In this category the riddles are lengthier and askthe listener to solve a problem. Respect for elders and family unity are thetraditional African values expressed in this riddle from Northern Zimbabwe:"A man and his wife went to visit their friends. On their return home they wereaccompanied by their respective mothers. On the road, the four were set upon by allmanner of horrible creatures, lions, snakes, leopards, etc., etc. They managed toelude them and got to a river."There they found a canoe, but to their horror it would only hold three people. Theirenemies were pressing hard upon their trail. The river was full of crocodiles; they couldn'thope to swim, only three could escape. One must die! Who was it to be? The mansacrificed his mother-in-law you say. No! His wife would not allow him. She wouldnot desert her mother, nor he his: the elders would not forsake their children. How didthey get out of their difficulty? The answer: They all sat down on the river bank and diedtogether."8In the classroom students can be given the riddle and asked to write their ownsolutions. This type of creative writing activity encourages students to explore their ownvalues.TALKING DRUMSBy varying the tone and pitch of the drum, Africans created a "language" thatreplicated the spoken word. Used mostly in West and Central Africa, the talking drum wasused as a means of communication. This was one of the reasons why the African slave inAmerica was forbidden to recreate the rhythm of the drum. In spite of this interference,LA-8
AUTHOR: HarrisSUBJECT: Language Artsthe language of the drum has survived in the speech and music of AfricanAmericans. Talking Drums of Africa by Christine Price is a children's book thatrhythmically explores the role of the drum in Africa.ROCK PAINTINGSThe Bushman of Southern Africa, who may be man's oldest ancestor,9 related the factsabout his lifestyles, religion, mythology, migration and survival by painting them on rocks.These rock paintings, many which date back milleniums ago documented the dailyactivities of the Bushman. According to modern observers these rocks are "the openpage of knowledge," and on them ". . . a Bushman artist told a s
Black writers who are published generally receive little or no promotion for their works. Poor sales are then cited as reasons for not accepting manuscripts from Black authors and putting the works that are published out of print. 7. The African linguistic influences on the English spoken by African-Americans have been used to label Black .
African-Americans in the Early Twentieth Century 1895-1928 Third Written Paper on African American Writing Assignment due April 9 by 11:50 p.m. Week 11: The African-American Odyssey 17. African Americans and the 1920s 1918-1929 Week 12: The African-American Odyssey 18. Black Protest, the Grea
that student populations across the state are 51.8% Hispanic, 29.4% Anglo, 12.7% African American and 3.7% Asian. Texas has 1,025 school districts, of which 27 are African American superintendents and 7 are female African American. Current Trends Currently, the issues of African American men in school leadership may seem somewhat outdated.
9. Increase attendance and reduce absenteeism rates for African American/Black students 10. Increase the rate of freshman on-track for African American/Black students 11. Increase graduation rates for African American/Black Students 12. Increase the post-secondary enrollment rates of African American/Black students high school
i-he Collection of Temne Traditions, Fables etc., as contained in the I. Part of the following pages, was received by the author from one of the oldest Temne men living at Port-Loko about twelve years ago, who has since died. These Traditions etc. were of course delivered orally not in writing. As regards the Traditions about the creation of .
JAMAICA: TRADITIONS. ALIA HENRY ARCHITECTURAL DESIGN V. Jamaican traditions help is defining the island, which what makes it unique. Traditions are acted upon a representing a specific person, era, or event. For instance, some Jamaican traditions consist of drinking sorrel on
Sep 21, 2015 · AFRICAN AND AFRICAN AMERICAN CULTURAL UNITY DAY IN HONOR OF BLACK HISTORY MONTH, FEBRUARY 28, 2015. CONFERENCE SUMMARY. Sponsors African Heritage Family Outreach & Engagement Program African Immigrant . no idea about Africa. Today is the day we begin to learn from each other’s experience. Bla
development of their unique cultural and social traditions, and the establishment of African-American organizations, black people have managed to sustain themselves in the face of almost constant adversity. Other African Americans have advocated strategies of collective political change, challenging the barriers of inequality in white America.
Accounting for Nature: A Natural Capital Account of the RSPB’s estate in England 77. Puffin by Chris Gomersall (rspb-images.com) 8. Humans depend on nature, not only for the provision of drinking water and food production, but also through the inspiring landscapes and amazing wildlife spectacles that enrich our lives. It is increasingly understood that protecting and enhancing the natural .
